English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 1 Educare Sydney Study Notes Gabriella Finberg Nagata Educare Sydney educaresydney.com.au Editing and Layout – Neta labi Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 2 CONTENTS CONTENTS .............................................................................................................. 2 Introduction .......................................................................................................... 3 MODULE A-­‐ Paper 2 ............................................................................................. 4 Board of Studies requirements ............................................................................... 4 English Paper 2 ............................................................................................................. 5 Assessment tasks ......................................................................................................... 5 Understanding the texts selected for Module A: Elective 1 : Inter textual Connections. .......................................................................................... 6 Techniques in texts ..................................................................................................... 6 Module A ................................................................................................................. 6 Poetry of John Donne and Margret Edson’s Wit. ....................................... 7 How to use these notes .............................................................................................. 7 I. DONNE ................................................................................................................. 9 a. Overview .................................................................................................................... 9 i. Love poetry ............................................................................................................................. 9 ii. Holy Sonnets ......................................................................................................................... 9 b. Context ..................................................................................................................... 10 i. Political upheaval .............................................................................................................. 10 ii. Influence of religion ....................................................................................................... 10 iii. Renaissance Humanism .............................................................................................. 10 iv. The Elizabethan world order .................................................................................... 11 II. EDSON ............................................................................................................... 12 a. Overview ................................................................................................................. 12 b. Context ..................................................................................................................... 12 i. Spiritual uncertainty and influence of secularism ............................................. 12 ii. Patriarchy ........................................................................................................................... 13 iii. The deference to technocrats ................................................................................... 13 iv. Individualism and power ............................................................................................ 14 III. THEME 1: LOVE (A Valediction Forbidding Mourning ) .................. 15 a. A Valediction Forbidding Mourning and the theme of Love ..................... 15 i. Overview ............................................................................................................................... 15 ii. Analysis ................................................................................................................................ 15 b. Wit and the theme of Love .................................................................................. 17 i. Overview ............................................................................................................................... 17 c. Comparison of texts .............................................................................................. 18 IV. Theme 2: Death (Death Be Not Proud) ................................................ 19 a. Death Be Not Proud and the theme of death ................................................. 19 b. Wit and the theme of Death ............................................................................... 21 References to Donne ........................................................................................................... 22 c. Comparison of texts .............................................................................................. 26 V. THEME 3: Salvation and mercy (This is my playes last scene) ........ 27 a. This Is My Playes Last Scene and the theme of Mercy and Salvation .... 27 i. Analysis ................................................................................................................................. 27 b. Wit and the theme of salvation and mercy ................................................... 29 c. Comparison of texts .............................................................................................. 30 Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 3 Introduction The NSW Board of Studies launched a new English Syllabus effective from 2015 until 2020. These study sheets have been compiled to aid in the understanding of the English Stage 6 Syllabus requirements of 2015 and to provide textual guidance with suggested referencing. In keeping with the Board of Studies requirements, the notes are designed to extend students’ understanding of how and why meaning is conveyed and shaped through the language of their texts, an appreciation of the literary and aesthetic components of their texts, and to offer an understanding as to why social contexts influence meaning and interpretation. The notes provided are multifaceted in nature, offering literary insights that are intended to complement and extend a student’s responses to set texts; providing the student with a conceptual framework that is theme based, but flexible enough to allow student input. The notes examine and develop ideas in the areas of : Context -­‐ the author’s/composer’s and our contemporary contexts; Themes – relating to the Area of Study, and relating to the set text; Technique -­‐ the use of literary or cinematic techniques; with suggested references from the set text. These study sheets are not designed to act as crib notes but rather to be used only after the text has been read thoroughly. They are intended to complement the class teacher’s perspective and The Board of Studies HSC Prescriptions 2015-­‐ 2020. Once a student has read the text, and I must stress the importance of reading the text, the notes offer a refreshing and in-­‐depth exploration of the core ideas and values, engaging the students every step of the way and defusing many of the fears associated with exploration of the features of the language and ideas embedded in literature. Thematic notions can be drawn out of most texts. These themes may then form the basis of extended responses, speeches or other written forms of expression. The study sheets will enable students to not only understand the themes, but also more importantly, consider the more critical components of their texts and, in keeping with the syllabus, the distinguishing features of the texts. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 4 The notes will enable students to consider: •
•
•
•
The thematic ideas at the core of their texts;
How their own understanding of their world is often challenged by
new insights;
In what way a writer’s social, cultural or political context may
influence his or her subject matter;
How language and symbolism are used to provide insight into the
characters’ values and prejudices, and of course the implicit values of
the composer.
A significant component of my notes will encompass the exploration of form, as many students struggle with their understanding of how form contributes to the meaning of a text. In other words, what might a particular form of expression or feature of language have to say about a character, social value or perspective advanced by a writer? It is not enough to cite the fact that a poet or a writer makes use of metaphor or assonance. A student must be able to show how this technique gives rise to our greater understanding of the power of language and how it contributes to the ideas of the text. I have endeavored to highlight significant language features in my notes, however, the features of language are treated holistically as part of the ideas and as part of the inherent characterization of the text at hand. It is unnecessary to separate language from purpose and theme, as all elements reflect on the integrity of a text. When students engage in the exploration of texts they learn to discover their own insights and learning impediments which are invaluable not only in the HSC but to the process of their own self-­‐
learning. If students learn to draw on their own knowledge and instinctual response to literature and language they are better inclined to form effective responses to any questions posed by the HSC, and ultimately in any pursuit taken at a tertiary or professional level. MODULE A-­‐ Paper 2 Board of Studies requirements Module A requires the comparative study of two texts composed during different historical periods and social contexts. The 2015 syllabus selection for this elective is divided into Elective 1: Inter-­‐
textual Connections and Elective 2 Inter-­‐textual perspectives The electives are similar in nature as both require an understanding of the enduring characteristics of human behavior, and the ideological overlaps and disparities between differing historical and cultural contexts. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 5 Students have to compare and contrast the two selected texts chosen by their school, and in doing so, draw conclusions regarding the similarities and differences which distinguish each text in terms of their social context and the implied values of the composer. The module not only requires an understanding of how context shapes ideas but also how it impacts on the style and form composers use.
English Paper 2 Paper Two is sat for on two occasions and sometimes even three. It is sat for firstly, during the pre-­‐trial exam (although the format may differ), and of course always in the trial examination and the HSC. There are three sections in this paper which are divided into Module A, B and C. Each section requires a 40 minute extended response, in the form of a speech, interview or other text type. Module A is a Comparative Study of Texts; Module B is a Critical Study of Texts and Module C explores Representation and Text. Module A encourages a comparative exploration regarding the contexts and ideas of two disparate texts, which are often notionally linked. Module B specifies a close study of text, and an analysis of the text’s integrity and Module C explores the ways texts are represented, requiring an analysis of the relationship between the form of text and the way meaning is both shaped for us and by us. The duration of the second paper is 2 hours, allowing forty minutes for each question. All three modules pay close attention to the importance of textual form and the way this textual form contributes to the ideas in each module. All three modules, equally, highlight the importance of socio-­‐
cultural contexts in terms of their influence on key ideas and their impact on style and language. Assessment tasks The second assessment task varies from school to school, but generally takes place during term two of 2015. For Modules A , B and C the tasks set by the schools can be in the form of a speech, an interview, a feature article or an extended response. Irrespective of the style of response required, students need to be able to showcase their understanding of the ideas of their set texts, what is referred to as the textual integrity of the text, and the inherent values that have influenced their composer’s thinking process and style. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 6 Understanding the texts selected for Module A: Elective 1 : Inter textual Connections. Techniques in texts Fundamental to all of the English modules and the Board of Study Stage 6 Syllabus objectives and learning outcomes, is the requirement that all students are able to demonstrate how language shapes meaning. Many students are bewildered when it comes to talk about techniques. A common downfall in student assessment tasks and indeed the HSC, is the failure of students to acknowledge how their text gives rise to meaning. It is not merely a question of suggesting that metaphor or hyperbole is used; the student must be able to demonstrate how and why it adds to his or her understanding of the text. Writers and composers alike, employ language designed to mirror the way a character thinks or feels. The choice of language or technique used by the composer may also carry symbolic effect for the reader. The representation of characters by a composer will inevitably require that they be characterized in a particular way. This characterization is generally depicted through the use of literary techniques, or in the case of cinema, cinematic techniques. In understanding the power of techniques, students will be able to exploit the depth in their text of study. Module A One of the common problems arising from this module is the failure of students to consider not only how the mutual context of their prescribed texts resonate with each other, but how the contexts of each text also influence their differences. Students need to understand why two texts, which are different in terms of their medium, style and certainly context, are at their most powerful when considered alongside each other. In keeping with the syllabus requirements, students must then have a very clear understanding of the historical and cultural features that define each composer’s world and they must be able to recognise how these values are given representation, implicitly and explicitly.
Module A is a complex unit of study. It is complex because it demands understanding of the historical and cultural values of each respective composer, and complex because students compare two seemingly disparate styles of text that share thematic ideas which are equally shaped and informed by disparate context. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 7 Poetry of John Donne and Margret Edson’s Wit. By now most of you will be aware that the texts chosen for Module A depend on each school’s selection from the HSC Prescriptions 2015-­‐ 2020. I have chosen to compose study notes on three of John Donne’s poems and Edson’s play Wit because they are new to the syllabus and students are likely to find the subject matter of both texts intellectually and philosophically challenging. How to use these notes The notes have been compiled to enable students to draw conceptual links between Donne’s poetry and Edson’s play Wit. They provide observations on a selection of Donne’s poems specified by the Board of Studies, background information on the historical and cultural context of his writings, and an understanding of the characteristics of metaphysical poetry applied to Donne’s love poetry and religious sonnets. I have selected particular poems that I will explore in depth, as I believe these poems provide the most comprehensive and conceptual links to Edson’s play. After sections on the authors’ work and context, the notes then are organized under themes. I have chosen these themes, as they are conceptually broad enough for students to see correlations between the themes of Donne’s poetry and Edson’s play. In addition to the themes offered, students will find comparative analyses of each pair of texts. The study notes will also offer contextual knowledge that is intrinsic to Edson’s play Wit, and an exploration of the text’s dramatic features. Structuring an essay basing it on theme is by far the easiest approach because students can then compare and contrast Edson and Donne’s Poetry adding and integrating their own reflections on the nature of context and form. Questions for consideration have been used to provoke the students’ own creative responses and there are suggested passages provided from both texts. It is essential that students ruminate on ideas and offer their own reflections. The answer that students arrive at as a result of the questions I have set down may form part of the student’s own academic response. Again, I must stress that these notes are not intended to be crib notes. They are intended for extension and should be used in conjunction with a thorough reading of the text and, of course, the class teacher’s guidance and expertise. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 8 The Board of Studies set poems for Donne are: The Sunne Rising, The Apparition, A Valediction forbidding mourning, The Relique, This is my playes last scene, At the round earths imagin’d corners, If poysonous mineralls, Death be not proud, Hymne to God my God , in my sickness. I have chosen three specific poems from the suggested list, that I feel best complement the study of Edson’s play: A Valediction forbidding mourning Death be not proud. This is my playes last scene. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 9 I. DONNE a. Overview When studying Donne’s poetry students often fail to hear the intensity, passion and even grief, which underscore it, in particular, his Holy sonnets. Because Donne’s poems are often so cleverly argued making use of metaphysical conceits which at times can appear overly forced and for some, unnecessarily provocative, students and academics alike often fail to identify and feel the sense of urgency and passion which underpin his poetry. He has often been accused of being overly intellectual because his poems reflect logic of argument at play. However, because Donne was writing on an intensely personal subject matter, he sought a more innovative and personalized style of expression to augment the intensity of his feelings and to find a mode of expression that would separate his religious and love concerns from the sensuous and predictable pictorial poetry of the times. i. Love poetry An exploration of Donne’s style and subject matter uncovers a departure from the conventional Petrachan love poetry of the Elizabethan and Renaissance world. Petrachan love poetry tended to revere its subject-­‐ a maiden or lover, using language that engaged with romance and love. This had the effect of placing the mistress on a pedestal. However, the metaphysical poetry of Donne is rather more about himself and his state of love than the actual courtship aspect of love. Donne’s departure from the conventional, flowery descriptions of other romantic poets can be seen through his use of deductive inference (syllogisms), his choice of extended metaphors (conceits) and his struggle to use scholarly argument and paradox to assuage his own fears and moral dilemmas on the state of love. ii. Holy Sonnets Conceptually Donne’s poems deal with the desire of the spirit. The analogies he draws are often incongruous to the solemnity of his subject matter. His style , in dealing with the desire for salvation and mercy, was atypical of poetry of the time. Donne presents himself in his poetry as a sinner undeserving of God’s salvation, yet desperate for God’s assurance, while tormented by guilt and the lust of the flesh. However, what sets Donne apart from other poets of his time is the nature of his metaphysical arguments, his extended metaphors and his use of paradox. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 10 b. Context i. Political upheaval Donne’s poetry was composed during the 17th century, a time of political and religious upheaval. In 1611, Donne himself describes the unverse as “all in pieces, all coherence gone” (Untermeyer, p.113). Much of his poetry reflects a quest for spiritual and moral certainty as he struggles with the nature of desire, sin and salvation. Debate
about theology was common during the Renaissance and Elizabethan era,
so Donne’s theological and philosophic reflections were as much a
reflection on the times as they were a reflection of his own personal
quest. In this way we see can see the interrelationship between Donne’s
private world and his socio-historical context. “Intellectually, Donne had always been a Christian,
but his progress toward assurance was hindered by
his sense of Roman Catholic outlawry, his shift to
the Church of England, his moral lapses, the
worldly disaster of his marriage, and his restless
mind (Bush, English Poetry, 59)."
ii. Influence of religion The fractious nature of Christianity during the sixteen-­‐century can be noted by the shifting allegiances between Catholicism and Protestantism. The reformation and the rejection of The Pope, as the head of state by Henry the VIII would have impacted profoundly not only the pious, but also the intellectuals of the time according to Bush (1954). For most Elizabethans, salvation meant a return to God in the afterlife.
This salvation was essential, as mankind was born with Original Sin as a
result of Adam’s failure to abide by God’s words in the Garden of Eden
and of course the imperfection of inherited human nature. However,
according to Christian teachings, because of Jesus’ willingness to die,
(shed his blood for the sins of man) man is able to receive salvation.
To be reunited with God, Catholics believed that they had to be pardoned
for their sinful nature through Grace, which of course had to be earned.
Whether on earth or in purgatory, no individual is turned away from god
and all individuals can be forgiven, irrespective of their sin, except for
the sin of blasphemy.
iii. Renaissance Humanism The Renaissance brought with it discoveries of the solar system. The earth was no longer seen as flat and, in a departure from medieval beliefs, it became accepted that the world revolved around the sun. New lands were uncovered and the shift from the medieval order of ideas to a new way of looking at the world was encouraged. “Renaissance humanism” was encouraged through the study of Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 11 philosophy, grammar, poetry, and history. (studia humanitatis,). Not only was reason revered over passion, as commonly found in many of Shakespeare’s plays and much of the poetry of the 16th and 17th centuries, but physical and spiritual love retained their influence from Plato. Platonic love was likened to beauty, which encompassed a higher moral and spiritual order separate to physical desire. The replacement of classical allusions by allusions to alchemy, theology, geometry and theology place Donne firmly in the Renaissance tradition, making him not only creative and intellectual, but reflective of an era that was characterized by scientific and geographical discovery. An example of this can be seen when Donne makes reference to the spice routes of India as he tells the sun that the true spice is to be found lying next to him. Look tomorrow late and tell me
Whether both the Indias of spice and mine
Be where thou lef’st them.
iv. The Elizabethan world order The hierarchical structure of the Elizabethan world was seen as divinely inspired and as an extension of divine will. Theologians, philosophers and poets of the sixteenth and seventeenth century saw a correlation between the larger world of the cosmos-­‐ the macrocosm, and, the smaller world of the individual-­‐ the microcosm. Poets and humanists sought to find connections between the micro and the macro through their glorifying of the Creator and the Cosmos, and man acknowledged his position in the universe mirrored as part of a larger order. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 12 II. EDSON
a. Overview Margaret Edson’s Wit traces the spiritual and emotional journey of a professor of 17th century English poetry, specializing in the Holy Sonnets of John Donne. The protagonist, Vivan Bearing, reflects on her life’s work and struggles to acknowledge her emotional and physical vulnerability in the face of death, while she is being treated for metastatic ovarian cancer. The play is also a critique on the detachment of academic practices that ultimately fail to offer comfort and true support for individuals struggling to make sense of their world. Students need to understand how and why Edson inter-­‐textually references Donne’s poetry. Once students have considered the universal human struggle with mortality and the quest for personal salvation, they will understand the inter-­‐textual references Edson makes to Donne’s poetry and more importantly why both texts ultimately amplify the human quest for meaning. Edson’s use of voice, characterization, and dialogue are clearly all essential components needed for the reader to identify with the loneliness of Vivian’s struggle and the hard-­‐edged nature of our world. b. Context i. Spiritual uncertainty and influence of secularism Moral and spiritual uncertainties are universal to the human condition, however our post-­‐modern context and scepticism about the absence of any universal truth has contributed to the estranged emotional and spiritual condition of modern man, in particular in the face of human tragedy and mortality. A strong emphasis on secularism and intellectualism tends to prevail, in particular amongst academics who rely on the scrutiny of academic discipline to assuage moral doubt and existential uncertainty. Edson studied Renaissance history and became interested in Monastic Asceticism culminating in her time spent at a French Dominican convent. Her interest in the Catholic notion of abstinence and the quest for spiritual attainment are of central concern in Donne’s religious sonnets, and are referenced in Wit. In the play Vivian’s dry scholastic detachment and facetious observations become contrasted with a voice that displays fear, representing a lone individual seeking comfort. The inter-­‐textual referencing, in particular to Donne’s Holy Sonnets reflect Vivian’s willingness to move beyond the intellect to charter territories less known. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 13 ii. Patriarchy Edson juxtaposes the voices and perspectives of male doctors against Vivian’s plaintive struggle to remain empowered. In doing so, the reader is compelled to contemplate the emotional and psychological alienation undergone by women as they are denied mastery over their bodies and “converted into research material “. (Morales et al). The objectification of women remains at the very core of medical practices, and womens’ treatment in particular at the hands of male doctors are highlighted in this text. iii. The deference to technocrats In order to understand the emotional and intellectual complexity of Edson’s play, students need to have an understanding of the contemporary values which inform the world of research and academia: Vivian is conscience stricken by her own professional rigidity and detachment, which is likened to the medical establishment. During the later years of her life, Edson worked in a research and cancer wing of a hospital. It is here that she most likely formulated her critique on the practices and attitudes of the scientific medical establishment, presented in Wit as detached and unable to separate the spiritual and emotional needs of the individual from medical practice. Our contemporary tendency to defer to specialists and the emphasis that western society places on academia and scientific knowledge is a symptom not only of a world which is becoming increasingly specialized and technocratic in nature, but a world which, deliberately or incidentally, fosters an elitist stratum that maintains a firm grip on power. The movement towards specialisation presupposes the upholding of a system where those who are technically more specialised, exercise control over lay people. The chief of medical oncology at the university hospital, Kelekian, is represented by Edison as detached and goal driven. Edson carefully crafts Kelekian’s language, which is replete with academic jargon, to highlight his insensitivity and elitism. The antineoplastic will inevitably ..we will of course be
relying on your resolve to withstand some of the more
pernicious side effects.
Not only, of course, are Kelekian and Jason guilty of intellectual detachment and superiority, but Vivien too, acknowledges her own Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 14 intellectual elitism, when she reflects on her own role in academia as a professor and expert on Donne’s religious sonnets. To the scholar … trained in the subtleties of 17 century
vocabulary, Donne’s wit is … a way to see how good you
really are
iv. Individualism and power The economic and social structure of western society is essentially goal-­‐orientated in nature. Power is rewarded and individuals measure their worth often in accordance with their professional influence and leadership. Even the acquisition of knowledge is measured pragmatically. This is alluded to in Wit when Jason states: Professor Bearing was very highly regarded on campus. It
looked very good on my transcript.
Our socio-­‐political view of the world tends to draw justification from utilitarian principles that are often only thinly disguised excuses to advance political and individual agendas. It is therefore not surprising that Vivian is seen as a tool to advance the pursuit of academic research and individual preeminence. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 15 III. THEME 1: LOVE (A Valediction Forbidding Mourning ) A Valediction Forbidding Mourning is about love’s capacity to withstand physical separation in the face of death. Although the poem makes reference to the parting of loved ones, Donne is really more concerned with the power of love’s bond to withstand the imminent threat of death. I have notionally linked aspects of Edson’s play under the theme of love because the central character Vivian, in contrast to Donne, struggles to find love and comfort as she too faces the threat of death and separation from her world. a. A Valediction Forbidding Mourning and the theme of Love i. Overview In A Valediction Forbidding Mourning Donne seeks to celebrate the supremacy and transcendental nature of his love, negating the possibility of separation from his lover. This is explored through his assertion that the love shared between himself and his mistress is spiritually derived, and therefore able to defy physical separation. Donne uses the language of metaphysical conceit, and tightly controlled arguments and paradoxes to corroborate the eternal nature of his bond in love. ii. Analysis The opening stanza introduces us almost immediately to the sober finality of death. As virtuous men passé mildly’ away …
Whilst some of their sad friends doe say,
The breath goes now, and some say no..
Donne uses this analogy to draw attention to the dignity of those who both experience, and witness death. He uses the image of virtuous men passing to exemplify the dignity of separation in death that he and his lover will undoubtedly undergo. A separation so subtle, that their breaths remain, like virtuous men, indistinguishable from each other. Donne’s use of hyperbole, almost parodies the conventions and pictorial elements of 17th Elizabethan Poetry. Again, an appreciation of the innovative nature of Donne’s works may be better understood when students are able to familiarize themselves with 17th century conventions of Elizabethan poetry, Renaissance Humanism, and Platonic love. Donne rejects the romantic conventions of Petrarchan love poetry, preferring to explore and challenge the philosophic and moral Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 16 implications of love. His use of metaphysical conceits, his humour (wit), the outrageousness of his arguments and his use of voice are not intended to elevate the mistresses in his love poetry, rather, Donne is more often concerned with his own state of being in love. So let melt, and make no noise,
No teare- floods, nor sigh- tempests move….
Donne’s lines parody the language of courtly love and by expressing his disdain for such figurative description he, in fact, seeks to elevate and express the uniqueness of his own experience on the state of being in love. CONSIDER : What is the effect of juxtaposing the conventional display of emotion at lovers being parted, with Donne and his partner whose love, can defy separation? The Platonic valuing of love alluded to by Donne in this poem, as the lovers’ capacity to defy separation, is based on a spiritual and immortal love. Donne clearly attempts to unravel the abstract nature of love by drawing on concrete images of science and artistry. His poetic form is simple and mirrored by the subdued tone of his words: Moving of th’ earth brings harms and fears,
….
But trepidation of the spheres,
Though greater farre, is innocent.
Donne suggests that whilst earthquakes cause fear and terror, the tremor in the earth’s axis brought about by a movement of the heavens is in fact a natural phenomenon that does not cause distress. The metaphysical analogy is used to imply that the lovers are likened to the heavens and separation for them is natural. For the educated audience of the 17th century such analogies would have been understood because of the proliferation of scientific, astrological and geographic exploration. A fundamental feature of Donne’s works is his use of paradoxes, which he cleverly uses to distinguish his spiritual love from the “ layetie”. Dull sublunary lovers love
(Whose soul in sense) cannot admit
Absence, because it doth remove
Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 17 Those things which elemented it.
Donne uses rhyme to add simplicity and clarity to a paradox that stresses the implied distinction between lovers who are reliant on the physical, and those whose love transcend it. The reference to metal is characteristic example of Donne’s metaphysical poetry . our two souls therefore, which are one,
………endure not yet
a breach, but an expansion,
Like gold to ayery thinnesse beate.”
Whilst Donne’s conceit is clearly concrete and tangible, there is a distinct beauty and lyricism in these lines. The frailty and simultaneous strength of the image, and the mastery of Donne’s analogy which unify the lovers is hard to overlook. In the concluding stanza Donne uses the conceit of a compass to argue that he and his lover are in fact connected through their soul like the two legs of a compass. The leg of the compass is fixed and it remains fixed to the other leg as it traces an arc and completes its full circle returning home. b. Wit and the theme of Love i. Overview The Research unit of the hospital is important in terms of setting as the attitudes of the doctors’ mirror Vivian’s own intellectual detachment as an academic. The play explores her struggle to transcend her intellectualized and rational approach to illness, as her illness leaves her physically ravaged and compels her to search for her life’s meaning. Her probing intellect and capacity for reflection expose her loneliness, vulnerability and finally her acknowledgement that what she really needs is actually kindness and love. Vivian is presented as a social isolate, whose interest in ideas and the very nature of language, have insulated her from love, and from life itself. Flashbacks are used to provide us with a window into Vivian’s connections with others in her past. The relationship with her father is represented as pivotal to the shaping of Vivian’s connections, intellectual detachment are subsituted for love and empathy. The story of the Flopsy Bunnies is presented twice in the play. The first time we hear about Vivian reading a tender tale about bunnies guided by her father who is largely interested in Vivian learning the meaning of words. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 18 Mr Bearing : Now use it in a sentence. What has a
soporific effect on you ? ….What makes you sleepy ?
…..
Vivian: What about you ?
Mr Bearing: …Let me think: boring conversation, I
suppose after dinner.”
Consider: the contrast between a child’s inquisitive desires and true openness to learn and Mr Bearing’s insensitive response. What do you think Edson implies about the nature of love and bonds? Why is Vivian’s attempt to speak with her father and the flippant nature of his response so important to the play? Consider the way Vivian’s father engages with Vivian when she is a child and the sensitivity of the way E M demonstrates love and empathy through her reading of the Flopsy Bunnies as Vivian is dying. What do you think Edson is saying about the need for love and empathy? c. Comparison of texts Donne’s quest for love, salvation and mercy are also notions which Vivien grapples with, both as scholar and lecturer, and later as a patient suffering fear and alienation. It is only later that she comes to realise, that these are more than just metaphysical and intellectual devices on the part of Donne. For Vivian they become her truth. Through the use of meta-­‐fiction, dialogue, irony and inter-­‐textual referencing, the reader is compelled to journey along side Vivien’s poignant and equally confronting journey. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 19 IV. Theme 2: Death (Death Be Not Proud) In this poem, Donne addresses the personification of death and delivers a powerful series of metaphysical arguments to diminish his anxiety and fear in the face of dying. Donne negates Death’s omnipotence through a series of metaphysical arguments so that he is able to conquer his fear of dying. In contrast, Edson’s play explores Vivian’s struggle to acknowledge the rawness of her suffering and her fear as she comes closer to her own death.. a. Death Be Not Proud and the theme of death The poem begins with a dramatic address to death. Here he employs the imperative tense when addressing death, reversing the Elizabethan order of the micro and macro by personifying, and elevating himself above death. Using the Petrarchan sonnet rhyme scheme of A-­‐B-­‐B-­‐A Donne is very quickly able to use the power of rhyme to contain his arguments. Though the subject matter of this poem is sombre, Donne engages in gamesmanship as he reminds Death of his capacity to outwit him. Death, be not proud, though some have called thee
Mighty and dreadful, for thou art not so;
For those whom thou think'st thou dost overthrow
Die not, poor Death, nor yet canst thou kill me.
Consider: How would you describe Donne’s tone and how is this aided by the rhyme scheme of the first and fourth line? The second quatrain in the poem reflects the characteristic and persistent manner in which Donne is able to intellectualise and sustain his argument which is designed to eclipse death’s significance. Donne clearly references the pictorial representations of Death as images which connote an almost Romantic and certainly benign representation of death-­‐ “From rest and sleep, which but thy pictures be….”. In doing so, once again, he challenges traditional perceptions of death as he renders death as little more than pictorial and commonplace. In keeping with the Christian belief in the delivery of the soul for the virtuous, Donne wittingly reminds Death that the best men die soonest and their souls are delivered to god: And soonest our best men with thee do go,
Rest of their bones, and soul's delivery.
Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 20 Consider: How do the above lines innovatively reflect the Christian belief of rebirth and immortality? And how do the lines challenge the conventional understanding of death and the parting of loved ones? A fundamental feature of Donne’s holy sonnets is what is referred to as his dry wit. The wit of his works can be best understood by the cleverness and paradoxical logic of his analogies. In this poem we can see how Donne cleverly inverses Death as the supreme decider of fate. Thou art slave to fate, chance, kings, and desperate men,
And dost with poison, war, and sickness dwell,
And poppy or charms can make us sleep as well
And better than thy stroke; why swell'st thou then?
Consider: It is said that as John Donne’s health continued to fail him, he became obsessed with death. Do you think Donne’s wit allows him to contain his fear of death and the final judgment of god and if so, why? Donne’s succinct conclusion allows Donne to introduce his final coup, giving him victory over death One short sleep past, we wake eternally
And death shall be no more; Death, thou shalt die.
Consider: There is no doubt that Donne displays ingenuity and the compression of his final couplet in the poem also provides his sonnet with a logical conclusion to a voice struggling to diminish a universal fear of death; but does his use of tone and of particular punctuation, allow the audience to feel as well as intellectually respond to his words? Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 21 b. Wit and the theme of Death As Vivian approaches death, her vulnerability and the loneliness of her suffering become apparent. Some of the tenderest moments in the play take place between Vivian and, Susie her nurse. Vivian: I’m scared
Susie:
Oh honey of course you are.
…….
Vivian: You’re still going to take care of me , aren’t
you?
Susie:
Of course sweetheart don’t you worry”
Vivian: That was certainly a maudlin display.
Popsicles, Sweetheart ? I can’t believe my life has become
so corny …….
Now is not the time for verbal swordplay, …for
metaphysical conceit, for wit
Now is the time for simplicity and kindness.”
Consider: Vivian’s comment “Now is the time for simplicity and kindness”. Why is this realization of Vivian’s so important? Why does Edson present the nurse as the only person who empathises with Vivian? What observation is Edson making? Edson’s intellectual disassociation from life and her overt intellectual barrier is gradually unraveled as she faces her own mortality. Observing two of her students engage in conversation she says, that was a witty exchange, I must admit. It showed the
mental acuity I would praise in poetic text. But I admired
only the studied application of wit, not its spontaneous
eruption.
Consider: Why do you think Vivian is unable to celebrate her students joy ? Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 22 References to Donne We learn early on that Vivian struggles with being able to really understand the depth of Donne’s anguish. This can be seen in a flashback, which takes place between Vivian and her professor E.M. Ashford Vivian
E. M:
Life , death… I see . It’s a metaphysical conceit.
It’s wit! ....
… It’s not wit. Miss Bearing. It is truth.
Consider: Why does Edson make use of this flash back for Vivian, and in what ways does her current illness challenge or affirm her perspective of Donne? Much of the play explores Vivian’s emotional and spiritual acceptance of death although at some level, like her language, they remain abstract concepts, until she gradually uncovers the uniquely personal way that love and death present themselves. Vivian’s need for love, and her fear of what death brings is initially obscured by her academic and facetious tone, as she explains her physical condition to the audience. I have stage four metastatic ovarian cancer. There is no
stage five. Oh and I have to be very tough. It appears to be
as the saying goes, of life and death. I know all about life
and death. I am, after all, a scholar of Donne’s Holy
Sonnets, which explore mortality in greater depth than
any other body of work in the English language.
The reference to Donne is essential because both characters clearly struggle and use poetry and dialogue respectively, to both articulate and contain their fears. As Vivian’s intellectual apparatus is dismantled, she inter-­‐references John Donne’s poetry for assurance in the face of death Consider: Are there any stylistic parallels between Vivian and Donne? In what ways do the uniqueness of their styles serve to intensify their very private fear of death? Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 23 Like Donne, at times Edson’s tone is disarmingly flippant. The flippancy is clearly achieved by juxtaposing the severity of Vivian’s physical condition against the delivery and tone of her language. Vivian: Now our sands are almost run;
More a little, and then dumb
Despite Edson’s humour her language is poignant, but unlike Donne, whose response to death for example in Death Be Not Proud is sustained by a Christian belief in the life hereafter. Edson may be seen as a product of today’s secular context., a context, that grapples with belief and spiritual definition. Consider: To what extent do you think this secular context poses a hurdle for Vivian? Does the cerebral nature of the professor’s approach to life allow her comfort? Vivian’s struggle to emotionally identify with John Donne’s poetry as a young graduate foreshadows the irony of her hospitalization and her own confrontation with death. This is powerfully suggested in the scene between the young Vivian and her professor EM: EM :
The sonnet begins with a valiant struggle with
death……all the forces of intellect and drama
to vanquish the enemy. But it is ultimately
about overcoming the seemingly insuperable
Vivian : Life death… I see is a metaphysical conceit. It’s
wit ! …
EM :
……..Death is nothing to act out on a stage with
exclamation marks it’s a comma , a pause.
Consider: Why do you think the play is called Wit? Can the concepts of death and love be intellectually explored? In keeping with the secular detachment of our contemporary world and in particular the world of science and academia, Vivian’s need to make sense of her life is manifested in her quest for meaning. Vivian’s sense of self in the initial passages of the play is derived from her professional position, i.e. what she does, rather than who she is. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 24 Technician 1 :Doctor.
Vivian: Yes I have a ph. D…………
Technician 1. Take a deep breath, and hold it. Okay
Vivian: A scholar of seventeenth century poetry.
………..
My dissertation, Ejaculations in Seventeenth
Century Manuscript and Printed Edition of the Holy
Sonnets..was revised ….a very prestigious venue
Technician 2: Where’s your wheel chair?”
Consider: What effect does the deliberate juxtaposing of the technicians’ words against Vivian’s self-­‐introduction suggest about Vivian’s perception of self and the nature of life? Vivian stresses that her dissertation was on Donne’s Holy Sonnets which are referenced throughout the play. What do you see as the dramatic and thematic significance of such inter-­‐textuality? Consider: In the closing scenes of the play, Edson highlights Vivian’s fear of death in a poignant scene between Susie and Vivian. What is the importance of the following conversation and how do Vivian’s words reflect a departure from the opening scenes of the play and indeed, her very life? Susie: You can’t sleep?
Vivian: No I just keep thinking
……..
I know I can’t figure things out. I’m in a quandary,
having these doubts …..
I’m scared
Edson draws upon Donne’s religious sonnets throughout her play in order to reinforce the irony of Vivian’s own spiritual and moral reckoning and most importantly, her own fear of death. Whilst Donne sees death as a means towards ever lasting life and the “soul’s delivery “, Vivian, struggles with this concept and, as previously mentioned, it is the secular nature of Vivian’s context which forces Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 25 her to draw on Donne’s belief in the hereafter, as a reminder that she need not fear death. Vivian’s struggle, as a student, to understand Death Be Not Proud is recalled during one of her flashbacks in a conversation which takes place between Vivian and E.M. This is pivotal to our understanding of Vivian’s inability to really comprehend death. E.M explains to Vivian the true purpose of Donne’s concluding couplet: This sonnet begins with a valiant struggle of intellect and
drama to vanquish the enemy. But it is ultimately about
overcoming the seemingly insuperable barriers separating
life, death, and eternal life... Nothing but a breath –a
comma –separates life from life everlasting. It is very
simple really. With the original punctuation restored,
death is no longer something to act on a stage, with
exclamation on points. It's a comma, a pause ...Life, death,
soul, God, past, present. Not insuperable barriers, not
semicolons but a comma.
Whilst Donne and E.M clearly understand the ephemeral and fragile nature of life, Vivian is unable to appreciate the finiteness of the human condition. She does not notice the pause between life, death, soul and God. It is only as she herself comes closer to death that Vivian is able to acknowledge the fleeting nature of life itself. A key element of Edson’s criticism is directed at the insensitivity of the medical establishment, who are emotionally impervious to the degradation and discomfort experienced by their patients. In a scene, which takes place between Vivien and Jason, Vivien is given an internal examination. Director ….he helps her lie back ..raises her legs and puts
them in stirrups…Be very relaxed . okay . Just. There
Okay ? Now I have to go and get Susie. … Um. I’ll be
right back
Jason leaves long pause ….goes back and forth in the hall
and calling SUSIE’S name Susan …
Vivian … Two times one is one. Two times to is
four….Deathe be not proud, though some have….”
Consider: Why is Vivian’s choice of the religious sonnet Death be not proud so compelling? And why is Vivian’s humiliation juxtaposed against the words of Donne’s poem? Is Vivian perhaps implying, that compared to this assault of humiliation, death is not to be feared? Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 26 The play ends and Vivian passes from this world to the next as E.M
finishes her tale of The Runaway Bunny. Edson contrasts the delicate
passing of Vivian with Jason’s frantic attempts to artificially revive
Vivien.
Consider: To what extent is it a commentary on the contemporary world’s inability to accept transition and of course a person’s dying wishes, remembering that Vivian does not wish to be resuscitated. c. Comparison of texts Many readers see Donne as being overly intellectual; more concerned with artistry than his subject matter. It is presented as a misconception in Edson’s Wit as Vivian and other characters in the play, are quick to comment on Donne’s wit, but appear to overlook his emotional subtext. They fail to hear the sensitivity of his words and obvious preoccupation regarding the very real threat of separation in death. It is the very real fear of imminent death that leads him to seek an imaginative and creative response when forces beyond his control buffet his faith. This is, of course, far more obvious in his love poetry. For example in A Valediction Forbidding Mourning, Donne compares his and his lover’s soul with the needles in a compass that only ever move together. The rhyme scheme is lyrical and the balance of assonance and alliteration reflect a poem, which strives to mirror and capture the harmony of two souls that are capable of superseding and transcending the physical. Valediction is restrained in mood, Donne’s arguments read as syllogisms (logically reasoned arguments), which are expertly crafted with metaphysical conceits, reflecting a desire to not only use scholastic reasoning, but to validate his own fear of separation. Critics have also suggested that Edson attempts to “play to the gallery” and that she too is overly intellectual. However, like Donne, Edson’s style is deliberate, ensuring that her character Vivian, projects a level of intellectual restraint and that her words are never eclipsed by anything overly sentimental. Like Donne, Vivian’s’ detachment, reflects the suffering of an individual seeking intellectual detachment to contain human vulnerability in the face of death. Despite the secular nature of the post modern world and Vivian’s short-­‐fallings as a teacher required to exhibit empathy, like Donne, she comes to realize the fleeting nature of life and the importance of love, dignity and righteousness. Vivian’s selfless contribution to the Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 27 experimentation of medical science distinguishes her from the medical practitioners who fail to recognise her humanity and suffering. Whilst Donne’s poetry is a celebration and exploration of his faith, in Wit Vivian’s perspective on the world is filtered through an academic lens. As Vivian says: thought being extremely smart would take care of it. But I
see I have been found out.”
Like Donne, Vivian also struggles as she reflects on her own shortcomings and whilst Donne dubs his as sinful, Vivian acknowledges her transgressions less against god but against her fellow man. V. THEME 3: Salvation and mercy (This is my playes last scene) In This is my playes last scene, Donne is clearly concerned about the nature of salvation and mercy, which he desires in the afterlife. Like Donne, Edson is aware of her transgressions and seeks mercy and salvation, though her transgressions are against people, and Donne’s are against God. Convinced that he is in the final stages of his life which he compares to the final act of a play and the final stages of a religious pilgrimage and fearing judgment in the afterlife, the poem uses sonnet form to establish the increasing fear and intensity of Donne’s state of mind as he anticipates death, which he personifies as gluttonous and violent. In the sestet we can locate Donne’s resolve to cast his sins away and demand redemption. a. This Is My Playes Last Scene and the theme of Mercy and Salvation i. Analysis Drawing on a common Christian belief of the 17-­‐century, Donne considers himself a sinner. Like most of his religious sonnets, he oscillates between self–recrimination and devotion on the one hand, and imperiousness and arrogance on the other, as he does not pray to God, but rather demands God’s absolution. In the opening lines Donne presents his life, drawing on theatrical and spiritual metaphors. A sense of drama and performance is invoked by Donne’s choice of conceit. This is my play’s last scene; here heavens appoint
My pilgrimage's last mile;
Here Donne uses the metaphysical conceit of the final scene of a play in order to represent the final stages of his life. The tone is Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 28 unmistakably dramatic and somber reflecting the immediacy of Donne’s concerns as he contemplates the end of his life and the judgment in the afterlife. Pilgrimages were common in the 15th and 14th centuries, and in using this particular metaphysical conceit, Donne is able to proclaim and highlight his religious devotion, presenting his life, as a spiritual journey. Common to Donne’s poetry is his use of paradoxes. His paradoxical reference to his time left on earth, as running both ‘idly’ and ‘quickly’, are powerful. On the one hand ‘idly’ denotes a life of laziness (perhaps an allusion to the seven deadly sins, sloth being one of them) and the adverb ‘quickly’ conveys Donne’s anxiety that time is running out. Donne’s personification of death adds intensity to the poem as once again Donne alludes to the seven deadly sins, labeling and personifying death as gluttonous. And gluttonous death will instantly unjoint
My body and my soul,
The distinction between body and soul were of central importance to Christian belief. The body, being temporal, was subject to the sins of the flesh and it is Donne’s eternal waking soul that will suffer, should he be unable to absolve himself of the sins of the flesh, which are part and aprcel of the temporal world. Consider: How does the personification of gluttony intensify the horror of death and add power to the violence of the image invoked? Donne’s octave explores his fear of judgment but the sestet, offers an answer to his spiritual quest for salvation. It is in this sestet that Donne assumes the power to cast down his sins. Then, as my soul to'heaven, her first seat, takes flight,
And earth-born body in the earth shall dwell,
So, fall my sins
The use of alliteration and assonance add power and lyricism to Donne’s argument so that we are able to understand, and also feel, the power of his words. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 29 Consider: How does Donne’s use of imperative and choice of words reflect an attitude less of reverence, but far more of confidence? In what way do you think the poem challenges or affirms our expectations of someone seeking salvation – Can Donne be said to be looking for mercy? Consider the use of the comma after ‘So’-­‐ how can this be said to add weight to Donne’s expectations and conviction of salvation? The concluding lines of the sestet are clearly Donne’s plea for God’s help in preparation for his spiritual reckoning. Once again we see Donne refer to the Macro -­‐Micro order of the Elizabethan world through his use of imperative as he uses the language of command to enlist God’s help to achieve salvation and redemption. Impute me righteous, thus purg'd of evil,
For thus I leave the world, the flesh, the devil
b. Wit and the theme of salvation and mercy Vivian breaks the fourth wall to articulate and probe her emotional and physical state for the audience. …Bearing walks onto an empty stage pushing her IV pole
….
In false familiarity waving at the audience and nodding at
the audience ) . Hi how are you feeling today ?. That’s just
great…….”
The facetious joviality of Vivien’s language is cutting and is clearly given dramatic power against her obvious physical deterioration. We the audience, are forced to confront Vivian’s feigned attempt at restraint. The reflective and droll delivery of Vivian’s lines are clearly laden with irony as they expose the lack of mercy extended towards patients who suffer alienation, physical degradation and death. Vivian’s reminder to the audience that she is a “a professor of
seventeenth- century poetry, specializing in the holy Sonnets of John
Donne” demand that we consider the subject matter of Donne’s poetry and Vivian’s own reflections as she contemplates her life and her own mortality. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 30 CONSIDER: Vivian’s wit and feigned attempt at control is rendered obvious by juxtaposing the platitudes of those who appear concerned with her well being, and the brutal and degrading reality of her treatment – I have been asked as I was emerging from from a four hour operation with a tube in every orifice, “how are you feeling today?” Whilst Donne seeks mercy from God, the secular context of Vivian’s world does not allow her to seek mercy from God. She is dependent on the kindness and understanding of the doctors, but like the doctors of the cancer research unit, we learn that Vivian was detached and lacked empathy and understanding as an academic. It is only through her own treatment in hospital that Vivian comes to identify the importance of care and empathy. In a conversation, which takes place between her and Jason, Vivian demonstrates her need for mercy and tenderness. Vivian : are you going to be sorry when I – Do you ever
miss people?
……..so the young doctor, like the senior scholar, in
her pathetic state as a simpering victim , wishes the
young doctor would take more personal interest in
contact .
Now I suppose we shall see, through a series of
flashbacks, how the senior scholar ruthlessly denied
her simpering students the touch of human kindness
she now seeks.
Consider: What do Vivian’s words suggest about the importance of Mercy? Whilst Donne is able to ask God for mercy, Vivian has no-­‐one to ask. How does Vivian’s dilemma reflect the distinction between Donne’s religious context and Vivian’s secular one? c. Comparison of texts Donne’s religious sonnet This is my playes last scene and Edson’s play use dramatic but concise language and voice to reflect personal anxieties and bring intellectual reasoning to the imminent threat of death. Educare Sydney © Gabriella Finberg Nagata 2015 English Stage 6 -­‐ HSC Prescriptions 2015-­‐ 2020 p. 31 Donne draws on the metaphorical conceit of the poem and Edson sets her opening scene visibly on stage, deliberately making use of theatrical conventions such as the breaking of the fourth wall, to place Vivian in a context, where her final days are cast. Salvation and mercy are presented differently in Edson’s play but the anguish and poignancy that Donne and Edson undergo in the face of judgment are similar. For Edson, mercy and salvation appear complex, perhaps because, like Donne she feels underserving. References Morales, M., Hernandez, I, Rodriguez, M & Ozieblo, B. Violence Against Women: Forms and Responses Palgrave MacMillan, pp.15-­‐
38. http://www.researchgate.net/publication/269698894_Violence_aga
inst_Women_Forms_and_Responses Bush, D. (1952) English Poetry, 59 cited .in Rushman , C. (2001), The Religious Beliefs and Spirituality of John Donne and How They Compare to Catholicism retrieved March 2015, http://www.rushman.org/carrie/donneessay.html from: Educare Sydney © Gabriella Finberg Nagata 2015