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“... I have been suffering at times I could/step away from it by embracing it, a blues thing,/ a John Donne thing, divest by wrestling, then sing.’ Rhyme may be ‘arcane’, a done thing, but what the blues and Donne (Seuss must be thinking of his sonnet that begins ‘Batter my heart, three-person’d God’) show ...”

“... important courtiers and patrons of the period, using her paternal family connections to promote John Donne, among others, and participating in literary exchanges with her clients. The cultural prestige of these ladies in turn inspired Aemelia Lanyer, a commoner, to seek their patronage for her own poetry, which celebrated women’s virtues. Another ...”

“... was more to all this than shared churchmanship. In a celebrated comparison between Andrewes and John Donne, Eliot maintained that Andrewes was a ‘medieval’ rather than a ‘modern’ writer. He valued Andrewes because his magnificently dense prose subordinated personality to the demands of text, community and tradition. Andrewes bypassed subjective ...”

“... sickness [is] hot’ in London, we never see any evidence of plague or its victims. Shortly after, John Fletcher wrote The Tamer Tamed, in which a wife plays a trick on her domineering husband, having him quarantined after claiming to see the marks of plague on him: ‘The sickness … is i’ th’ house, sir,/My husband has it now, and raves ...”

“... in this new selection of his television criticism to Walter Pater, Keats, Saul Bellow and John Donne – consorting with boisterous jokes about the crushed budgerigars composing J.R.’s hatband. James goes as far as it is possible to go towards miscegenating Shakespeare, T.S. Eliot, and The John Curry ...”

“... of war in different ways during the 1940s (the Sinfonia da Requiem, the Holy Sonnets of John Donne),♪ while Walton churned out music for coercive films like Henry V and The First of the Few. In his Violin Concerto, Britten inaugurated an always changing, unpredictable, lifelong obsession with the form known as the passacaglia, in which ...”

“... title is presumably a market pitch. The subtitle, perhaps another pitch, lays bare a problem which John Stubbs never grips. We are two-thirds of the way through before we reach ‘the English civil war’ of the 1640s. The bulk of the book is set in the generation before it, from the years around the accession of Charles I to the outbreak of fighting in ...”

“... of discrimination and exclusion was alien to his sensibility, and he continually chafed at it. ‘John Donne Arriving in Heaven’ (1911) sees four people ‘praying in different directions’. When Heaven is all around, there is no single direction in which to turn, no focal point on which to concentrate. If a world resides in one grain of sand it must ...”

“... his. The Carcanet list that houses Patricia Beer is a good deal more harmonious; but it features John Ashbery, of whom one has to say that if he is right, Beer is wrong, and vice versa. It is not a new phenomenon: eclecticism coming on as catholicity. But what results is a delusive fecundity that can’t be kept track of: with so many new starts, how to ...”

“... came of age and could spend his own money he went to the flashiest college in Cambridge, St John’s. He later moved to Trinity Hall, where he complained to his rich uncle that he had ‘runn somewhat deepe into my Tailours debt’. He studied law and acquired expensive friends, many of whom he retained throughout his life. In 1623, aged over thirty, he ...”

“... the Oxford English Dictionary’s hundred most frequently cited authorities (one spot ahead of John Donne) for the earliest evidence of a word. He probably got this one from the German; it doesn’t seem to show up in French until 1820. Soon autobiography was everywhere, and not in a good way. Or so it seemed to the editors of the Quarterly ...”

“... and Christian orthodoxies informed early modern attitudes, so that the devoutly Protestant John Locke could assert on both counts that ‘labour for labour’s sake is against nature.’ There would be no work in heaven. But then in the second half of his chapter, on ‘the rewards of labour’, Thomas inverts this picture, tracing ‘the rudiments of ...”

“... for the dead. Ricks does indeed appreciate, as his title promises, the creative writers Marlowe, Donne, Clarendon, Crabbe, Austen, George Eliot, Lowell and Hardy; the historian Clarendon, the philosopher Austin and the biographers Gaskell, Froude and Hallam Tennyson; and, throughout, the line of great dead critics ...”

“... body to body, remains consistent. ‘It was not sex,’ but neither (to pick up an echo from John Donne) was it a mixing of souls. In ‘The Missing’, Gunn writes of his friends as ‘an involved increasing family’ (another family) of gay lovers: Contact of friend led to another friend, Supple entwinement through the living mass Which for all ...”

“... Dr Faustus at this time, especially its passages on Hell – and Music.’ (When?) It is all John of the Cross, Nietzsche, Eliot, John Donne, Leibniz, Kant and, of course, music. The determination to exaggerate leads to two dreadful things: the reader, irony of all ironies, starts to disbelieve the writer. And ...”