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~ HSSouls COMMENTARY General Commentary MacDonald (1868,121-23), both praising and criticizing the Holy Sonnets, quotes in full HSMade, HSSouls, and HSDeath, describing them as "very fine" (12 I). The Poet/Persona Grenander (1960,95-100) argues that HSSouls is a "non..symbolical poem por.. traying the protagonist in a mood of troubled searching, pondering a question of vital import to himself" (97). Grenander considers the importance of the beginning of the poem to its development and draws attention to the relationship between the speaker, his father's soul, and its spirituality. He notes that the "final object" of the speaker's attention includes "both these aspects, though in a glorified form" (98). Grenander observes that "the relative lengths of the two divisions of the poem are appropriate to the exigencies of each," and that "the proportionate lengths of each of the subsections of the first division are equally appropriate" (99). Stampfer (1970, 272-73) asserts that HSSouls follows HSSighs as a poem of soli.. tary but secure faith. Donne sees his dead father in the company of angels, despite the church barriers between them. This "abrupt" reference to Donne's father, Stampfer believes, closes a "cluster" of sonnets. He writes that a "great process of integration is clearly under way" in the octave (272), while in the sestet Donne seems to be "strongly identifying with the Anglican position." The closing couplet is the most reserved of the four poems added in 1635 (HSMade, HSLittle, HSSighs, HSSouls), Stampfer argues, the content of the unnamed "true grief" shared only with God. Whatever the grief, however, Stampfer asserts that Donne's "mindes white truth" is not shaken (273). Docherty (1986, 14°-41) finds two competing hypotheses at the center of the sonnet: "(a) if faithful souls are glorified like angels, then they perceive truth imme.. diately," and "(b) if, on the other hand, these souls have to interpret from duplici.. tous signs, how can they be assured of truth?" Donne, according to Docherty, situates these contrasting views within "the sphere of Donne's own betrayal of his father and of his father's religion" (140)' Although the second hypothesis seems to be Donne's preference, Docherty notes, the emphasis here is upon "faith," and therefore the two hypotheses "collapse and resolve themselves into the advocated activity of 'faithful' interpretation." The poem itself, Docherty suggests, might imply "that Donne, de.. spite outward appearances or signs, despite representations such as this one, has in 49° ~ HSSouis COMMENTARY General Commentary MacDonald (1868, 121-23), both praising and criticizing the Holy Sonnets, quotes in full HSMade, HSSouls, and HSDeath, describing them as "very fine" (12 1). The Poet/Persona Grenander (1960,95-100) argues that HSSouls is a "non-symbolical poem portraying the protagonist in a mood of troubled searching, pondering a question of vital import to himself" (97). Grenander considers the importance of the beginning of the poem to its development and draws attention to the relationship between the speaker, his father's soul, and its spirituality. He notes that the "final object" of the speaker's attention includes "both these aspects, though in a glorified form" (98). Grenander observes that "the relative lengths of the two divisions of the poem are appropriate to the exigencies of each," and that "the proportionate lengths of each of the subsections of the first division are equally appropriate" (99). Stampfer (197°,272-73) asserts that HSSouls follows HSSighs as a poem of solitary but secure faith. Donne sees his dead father in the company of angels, despite the church barriers between them. This "abrupt" reference to Donne's father, Stampfer believes, closes a "cluster" of sonnets. He writes that a "great process of integration is clearly under way" in the octave (272), while in the sestet Donne seems to be "strongly identifying with the Anglican position." The closing couplet is the most reserved of the four poems added in 1635 (HSMade, HSLittle, HSSighs, HSSouls), Stampfer argues, the content of the unnamed "true grief" shared only with God. Whatever the grief, however, Stampfer asserts that Donne's "mindes white truth" is not shaken (273). Docherty (1986, 140-41) finds two competing hypotheses at the center of the sonnet: "(a) if faithful souls are glorified like angels, then they perceive truth immediately ," and "(b) if, on the other hand, these souls have to interpret from duplicitous signs, how can they be assured of truth?" Donne, according to Docherty, situates these contrasting views within "the sphere of Donne's own betrayal...

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