valediction forbidding mourning

انا درستها وكان تقريبا اهم شئ فيها Metaphysical conceit The poem considered to be the best example of powerful religious from
Metaphysical age.
Metaphysical conceit is a surprising and unusual comparison unusually a metaphor
The classic conceit is Donne's comparison of the union between two lovers to the two legs of a compass.
اتمنى انها تفيدك هالمعلومات وبالتوفيق يارب

كمان عندي شرح لكل Stanza اي سؤال عنها انا حاضره وبالتوفيق يارب

مشكوره ماتقصرين
اذا عندك أي حاجه عن هالقصيده تكفين أنا محتاجته
وشرح كل Stanza كمان محتاجه له

this poem is adresseed by Donne to his wife when he was about to travel for France.
1st Stanza:
Donne starts with a comparison between the separation of his wife to the death of a virtuous man and the difference between them that she should accept their separation because they will meet each other again like the religious man who believes that there is another kind of life after death
Donne tells us that there are people who think that when the man dies , he will not live again.
other people , on contrast, believe that there is another kind of life after death
معليش لضيق الوقت مقدرت اكمل لاني جالسه اكتبها من اوراق كنت بنزلها بالاسكنر بس موراضي مدري ليه لكن ان شاءالله للحديث بقيه

مشكوره قلبي ماتقصرين.
أسفين اذا تعبناك معانا.
عادي أنا راح أنتظرك لان امتحان الماده بعد اسبوع أخذي راحتك.

؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟؟

اسفه اختي هاله ماقدرت اكملك الشرح لاني حاليا مسافره العذروالسموحه

اذا قدرتي تنزليها بالسكنر ياليت واذا ماتقدري خلاص مشكوره ولكي خالص دعواتي عزيزتي

اختكم هالة
أعزائي أعضاء هذا المنتدى أنا بين يدي قصيده وهي
valediction: forbidding mourning
طلعت كل حاجه عنها بس
حسيت أني شرحت بشكل موسع ومو
واثقة بصراحه من الحل
أي عضوه عندها حاجه حلوه تقدر تضيفها عن هالقصيده وهي ل John Donne
حكون شاكره لها من كل قلبي......
أختكم تنتظركم .
I found during my search through the web a very nice literary analysis, Here it is.
Summary
The speaker explains that he is forced to spend time apart from his lover, but before he leaves, he tells her that their farewell should not be the occasion for mourning and sorrow. In the same way that virtuous men die mildly and without complaint, he says, so they should leave without "tear-floods" and "sigh-tempests," for to publicly announce their feelings in such a way would profane their love. The speaker says that when the earth moves, it brings "harms and fears," but when the spheres experience "trepidation," though the impact is greater, it is also innocent. The love of "dull sublunary lovers" cannot survive separation, but it removes that which constitutes the love itself; but the love he shares with his beloved is so refined and "Inter-assured of the mind" that they need not worry about m >
Though he must go, their souls are still one, and, therefore, they are not enduring a breach, they are experiencing an "expansion"; in the same way that gold can be stretched by beating it "to aery thinness," the soul they share will simply stretch to take in all the space between them. If their souls are separate, he says, they are like the feet of a compass: His lover's soul is the fixed foot in the center, and his is the foot that moves around it. The firmness of the center foot makes the circle that the outer foot draws perfect: "Thy firmness makes my circle just, / And makes me end, where I begun."
Form
The nine stanzas of this Valediction are quite simple compared to many of Donne's poems, which utilize strange metrical patterns overlaid jarringly on regular rhyme schemes. Here, each four-line stanza is quite unadorned, with an ABAB rhyme scheme and an iambic tetrameter meter.
Commentary
A Valediction: forbidding Mourning" is one of Donne's most famous and simplest poems and also probably his most direct statement of his ideal of spiritual love. For all his erotic carnality in poems, such as "The Flea," Donne professed a devotion to a kind of spiritual love that transcended the merely physical. Here, anticipating a physical separation from his beloved, he invokes the nature of that spiritual love to ward off the "tear-floods" and "sigh-tempests" that might otherwise attend on their farewell. The poem is essentially a sequence of metaphors and comparisons, each describing a way of looking at their separation that will help them to avoid the mourning forbidden by the poem's title. First, the speaker says that their farewell should be as mild as the uncomplaining deaths of virtuous men, for to weep would be "profanation of our joys." Next, the speaker compares harmful "Moving of th' earth" to innocent "trepidation of the spheres," equating the first with "dull sublunary lovers' love" and the second with their love, "Inter-assured of the mind." Like the rumbling earth, the dull sublunary (sublunary meaning literally beneath the moon and also subject to the moon) lovers are all physical, unable to experience separation without losing the sensation that comprises and sustains their love. But the spiritual lovers "Care less, eyes, lips, and hands to miss," because, like the trepidation (vibration) of the spheres (the concentric globes that surrounded the earth in ancient astronomy), their love is not wholly physical. Also, like the trepidation of the spheres, their movement will not have the harmful consequences of an earthquake.
The speaker then declares that, since the lovers' two souls are one, his departure will simply expand the area of their unified soul, rather than cause a rift between them. If, however, their souls are "two" instead of "one", they are as the feet of a drafter's compass, connected, with the center foot fixing the orbit of the outer foot and helping it to describe a perfect circle. The compass (the instrument used for drawing circles) is one of Donne's most famous metaphors, and it is the perfect image to encapsulate the values of Donne's spiritual love, which is balanced, symmetrical, intellectual, serious, and beautiful in its polished simplicity.
Like many of Donne's love poems (including "The Sun Rising" and "The Canonization"), "A Valediction: forbidding Mourning" creates a dichotomy between the common love of the everyday world and the uncommon love of the speaker. Here, the speaker claims that to tell "the laity," or the common people, of his love would be to profane its sacred nature, and he is clearly contemptuous of the dull sublunary love of other lovers. The effect of this dichotomy is to create a kind of emotional aristocracy that is similar in form to the political aristocracy with which Donne has had painfully bad luck throughout his life and which he commented upon in poems, such as "The Canonization": This emotional aristocracy is similar in form to the political one but utterly opposed to it in spirit. Few in number are the emotional aristocrats who have access to the spiritual love of the spheres and the compass; throughout all of Donne's writing, the membership of this elite never includes more than the speaker and his lover--or at the most, the speaker, his lover, and the reader of the poem, who is called upon to sympathize with Donne's romantic plight .