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Valediction: forbidding mourni essays metaphysical coceits in valediction: forbidding mourning John Donne uses three metaphysical conceits to successfully convince his love of the transcendent nature of their relationship. His first conceit compares their great love to the moving of celestial bodies above the moon. Donne juxtaposes this metaphor with the “moving of th’ earth” in order to emphasize how phenomenal their love is. He states that even though earthquakes “[bring] harms and fears”, the much greater “trepidation of the the spheres. is innocent” This conceit reveals the nature essay on my visit to another planet two contrasting types of love: earthly lust and the transcendent bond between him and his wife. The one dimensional sensual love will be shaken and demolished by change and movement of the two partners. Conversely, the love Donne shares with his partner will not be rattled by his departure because it is far too pure. This pure and precious attraction is compared to gold in Donne’s second conceit. Like the highest quality gold, their relationship is “so much refined that [they] know not what it is”. They do, however, understand that their’s is a love “inter-assured of the mind” and could “care less [about] eyes, lips, and hands”. Because their relationship is not founded on the physical aspects of each other, Donne’s leaving will not force their an essay on man by ernst cassirer to “endure. a breach”. Their two souls are one, and like “gold to airy thinness beat”, their souls will “[expand]” as Donne moves farther away. In the final conceit, a vividly described compass is compared to their two souls. In order to further convince his wife, Donne explains that their love will remain intact even if their souls quality custom essays reviews of black and decker food steamers not one. He declares that “if they are two, they are two so as stiff twin compasses are two”. Their souls are identical, and although separate, they are connected at the top. “[His wife’s] soul is the fixed foot” while he is the foot that “far .

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