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Death Note (2017 film)
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Death Note
Promotional poster
Directed by
Adam Wingard
Produced by
Roy Lee
Dan Lin
Masi Oka
Jason Hoffs
Ted Sarandos
Screenplay by
Charles Parlapanides
Vlas Parlapanides
Jeremy Slater
Based on
Death Note
by
Tsugumi Ohba
Takeshi Obata
Starring
Nat Wolff
Lakeith Stanfield
Margaret Qualley
Shea Whigham
Paul Nakauchi
Jason Liles
Willem Dafoe
Music by
Atticus Ross
Leopold Ross
Cinematography
David Tattersall
Edited by
Louis Cioffi
Production
companies
LP Entertainment
Vertigo Entertainment
Lin Pictures
Distributed by
Netflix
Release date
August 25, 2017 (2017-08-25)
Running time
100 minutes
Country
United States
Language
English
Budget
$40 million[1]
Death Note is a 2017 American neo-noir dark fantasy horror film loosely based on the Japanese manga of the same name created by Tsugumi Ohba and Takeshi Obata. The film is directed by Adam Wingard and written by Charles Parlapanides, Vlas Parlapanides and Jeremy Slater. The film stars Nat Wolff, Lakeith Stanfield, Margaret Qualley, Shea Whigham, Paul Nakauchi, Jason Liles and Willem Dafoe, and follows the story of a high school student named Light Turner, who finds a mysterious notebook known as "Death Note". He soon meets the demonic death god Ryuk who teaches him how to use the notebook and tells him that the book causes the death of anyone whose name is written within its pages.
The film was released on Netflix on August 25, 2017. Upon release, Death Note received mixed to negative reviews from critics and audiences. Much of the criticism was directed towards the incoherent writing, pacing, and numerous changes from the source material; however, Wingard's direction, visual style, soundtrack, and the cast received some praise, particularly Dafoe's performance as Ryuk.
Contents
[hide]
1 Plot
2 Cast
3 Production
3.1 Casting
4 Release
4.1 Marketing
4.2 Critical reception
5 Possible sequel
6 References
7 External links
Plot[edit]
In Seattle, Washington, high school student Light Turner encounters a notebook marked "Death Note". He is visited by the death god Ryuk, who tells him that he can cause the death of anyone he wishes by writing their name in the book, as long as he knows their real name and face. Ryuk coaxes Light into testing it out on a bully. The bully is decapitated in a freak accident shortly afterwards. That evening, Light is compelled to write down the name of Antony Skomal, the man who killed his mother in a hit and run. Skomal dies in a similar freak accident at a restaurant. Ryuk explains other rules of the Death Note, including the ability to control the actions of the victim for up to 48 hours after their name is written before they die. Classmate Mia Sutton asks Light about the Death Note, and he demonstrates how it works. She encourages Light to use the Death Note with her to rid the world of criminals, improving the world. They decide to work together under the guise of a god they call "Kira", using the book's coercion powers to have their victims reveal this name to the world.
Kira becomes beloved by the public, as its killings are seen as righteous by the majority of law enforcement, and Light and Mia become lovers. Kira's actions draw the attention of "L", an enigmatic detective who is able to track down Kira's location to Seattle and his source to the city's police database. L and his assistant/father-figure Watari travel to Seattle and meet with James Turner, the chief of police and Light's father, to discuss how they will catch Kira. L gives a televised speech with his face concealed, taunting Kira to kill him, and when this fails to happen, L suspects that Kira must know a person's name and face to kill.
L has FBI agents follow Light and other suspects. Mia suggests killing the agents, but Light refuses. The FBI agents thereafter commit mass suicide and Light accuses Ryuk of killing them. James appears on television and vows to apprehend Kira. Mia urges Light to kill him for the greater good, but Light can't bring himself to do it. When James is not killed, L comes to the conclusion that Light must be Kira. L confronts Light, revealing his face to him. Realizing that L is closing in on him and with Mia motivating him, Light uses the Death Note to force Watari to uncover L's real name. As Ryuk explains, Light can burn the page with Watari's name on it within the 48 hours to cancel his impending death; however, this method can only be used to save a victim of the Death Note once. Watari leaves suddenly for the abandoned New York orphanage where he found L years before; L learns Watari has disappeared and orders Light's house to be searched; he finds nothing, as Mia was able to sneak the Death Note out.
Knowing that Light is still being followed, Mia helps him to sneak away at the school dance, allowing him to collect the Death Note and contact Watari via phone. Watari finds L's records moments before the 48-hour deadline, but Light finds Watari's page missing. Watari is then shot and killed by unknown soldiers before he can reveal L's name. Mia reveals that she used the Death Note to kill the FBI agents in order to protect herself and Light, took Watari's page, and has also written Light's name in the book, giving him until midnight before his heart stops. She offers to burn Light's page if he gives the Death Note to her, as she believes he is not capable of making the right decisions for the good of society. Meanwhile, L is devastated by Watari's death and goes on his own manhunt for Light.
Light tells Mia to meet him at the Seattle Great Wheel where he will turn over the book, and then flees from police, who are closing in on him. L catches up to him and prepares to kill him, but a passerby knocks L out after overhearing that Light is Kira. Pursued by police, Light meets Mia and takes her to the top of the ferris wheel. Light tries to convince Mia that they will be happier without the Death Note, at first seemingly dissuaded, Mia takes the Death Note when Light turns to look out, much to Light's intense dismay. Confused at first, she realised that Light must have wrote her name in the book, with her death contingent on her taking the Death Note from him. With both of them doomed, Ryuk causes the Ferris wheel to collapse. Mia falls to her death, while Light and the Death Note fall into the water. The page with Light's name on it drifts into a burn barrel, an event witnessed by L. Though Light is rescued from the water, he has fallen into a coma.
Two days later, a man leaves the Death Note at Light's bedside. When Light wakes up, he finds his father there, who tells him he knows that Light is Kira. James explains that he found a news clipping about Skomal's death in Light's room and realized that he was Kira's first victim. Light explains that he used the Death Note at the school to plan out Mia's death in a way that would ensure his own page got burned if she took the Death Note. He also manipulated several criminals to induce him into a medical coma, having them use the Death Note during his comatose absence to give himself an alibi. With Kira continuing to kill while Light was in a coma, L is taken off the case and forced to return to Japan. As his plane is about to take off, he ponders a comment Light made during their standoff, realizing Mia's involvement, he stops the plane and races to her home to search her possessions. He finds the Death Note page with the names of the FBI agents she killed on it, and in a hysterical fit, contemplates writing a name on the page. Back in Light's hospital room, Ryuk appears, laughing. When Light asks him why he's laughing, he simply comments "You humans are so interesting".
Cast[edit]
Nat Wolff as Light Turner / "Kira": A high-school student who discovers the titular "Death Note" and uses it to kill criminals by writing their names and causes of death, and thus, alongside Mia Sutton, becoming the world-famous serial killer known as "Kira", while praised by law enforcement.
Lakeith Stanfield as L: A highly intelligent and skilled—but also arrogant and unhinged—FBI agent who is obsessively determined to capture Kira and end his reign.
Margaret Qualley as Mia Sutton / "Kira": Light's classmate and love interest, who becomes an ally in his mission to rid the world of criminals, eventually seeking to kill those who seek to stop them and becoming dangerously obsessed with the book's power. In an interview with io9, Adam Wingard revealed that rather than being based on original manga character Misa Amane, Sutton as a character is based on the sociopathic qualities of Light Yagami.[2]
Shea Whigham as James Turner: Light's father and a police officer who aids L in bringing down the mysterious Kira, unaware that he is Light.
Paul Nakauchi as Watari: L's assistant and father-figure.
Willem Dafoe and Jason Liles as Ryuk: A demonic god of death and the creator of the Death Note, who begins communicating with Light when he receives the book and warns him about its repercussions. Liles played the character in costume, while Dafoe provided voice work and performance capture for the facial elements.
Production[edit]
In 2007, the Malaysian newspaper The Star stated that more than ten film companies in the United States had expressed interest in the Death Note franchise.[3] The American production company Vertigo Entertainment was originally set to develop the remake, with Charley and Vlas Parlapanides as screenwriters and Roy Lee, Doug Davison, Dan Lin, and Brian Witten as producers.[4] On April 30, 2009, Variety reported that Warner Bros., the distributors for the original Japanese live-action films, had acquired the rights for an American remake, with the original screenwriters and producers still attached.[5] In 2009, Zac Efron responded to rumors that he would be playing the film's lead role by stating that the project was "not on the front burner".[6] On January 13, 2011, it was announced that Shane Black had been hired to direct the film, with the script being written by Anthony Bagarozzi and Charles Mondry.[7] Warner's studios planned to change the background story of Light Yagami into one of vengeance instead of justice and to remove Shinigami from the story. Black opposed this change, and it had not been green-lit.[8] Black confirmed in a 2013 interview with Bleeding Cool that he was still working on the film.[9] In July 2014, it was rumored that Gus Van Sant would replace Black as the film's new director, with Dan Lin, Doug Davison, Roy Lee and Brian Witten producing through Vertigo Entertainment, Witten Pictures and Lin Pictures.[10]
On April 27, 2015, The Hollywood Reporter revealed that Adam Wingard would direct the film, that Lin, Lee, Jason Hoffs and Masi Oka would produce, and that Niija Kuykendall and Nik Mavinkurve would oversee the studio.[11] Producers stated the film would receive an R rating.[12] In April 2016, TheWrap reported that because Warner Bros. had decided to make fewer films, the studio put the film into turnaround but allowed Wingard to take the project elsewhere. Within 48 hours, Wingard was reportedly approached by nearly every major film studio.[13] On April 6, 2016, it was confirmed that Netflix had bought the film from Warner Bros. with a budget of $40–50 million and a recent draft of the script being written by Jeremy Slater. Production officially began in British Columbia on June 30, 2016, overseen by DN (Canada) Productions, Inc.[14][15][16][17][18]
Casting[edit]
The cast and crew of Death Note at the 2017 San Diego Comic-Con
On September 29, 2015, Nat Wolff was cast in the lead role.[19] On November 12, 2015, Margaret Qualley joined the film as the female lead.[20] In June 2016, Lakeith Stanfield joined the cast.[21] On June 30, 2016, it was announced that Paul Nakauchi and Shea Whigham had joined the cast.[22] On August 2, 2016, Willem Dafoe was announced to voice the Shinigami Ryuk.[23] In the wake of Dafoe's casting, Brian Drummond, who voiced Ryuk in the English dub of the anime, voiced his approval citing the casting of Ryuk.[24]
Early casting announcements, similar to other Hollywood productions based on Japanese manga such as Dragonball Evolution and Ghost in the Shell, resulted in accusations of whitewashing.[25][26] In response, producers Roy Lee and Dan Lin stated that "Our vision for Death Note has always been to...introduce the world to this dark and mysterious masterpiece. The talent and diversity represented in our cast, writing, and producing teams reflect our belief in staying true to the story's concept of moral relevance—a universal theme that knows no racial boundaries."[18] Oka announced that he also has a role in the film.[27] Atticus Ross and Leopold Ross composed the score for the film.
Wingard addressed the concerns over the film, explaining that the film is an American take on the Death Note story, stating, "It's one of those things where the harder I tried to stay 100 percent true to the source material, the more it just kind of fell apart... You're in a different country, you're in a different kind of environment, and you're trying to also summarize a sprawling series into a two-hour-long film. For me, it became about; what do these themes mean to modern day America, and how does that affect how we tell the story."[28]
Release[edit]
The film was released on Netflix on August 25, 2017. On July 20, 2017, the film was screened early for audiences at San Diego Comic-Con International 2017.
Marketing[edit]
On March 22, 2017, Netflix released a teaser of the film on YouTube.[29] An additional trailer was released on June 29, 2017.
Critical reception[edit]
Death Note received mixed to negative reviews, with critics calling it "a bad decision on top of a festering pile of bad decisions", "a lazy, unambitious, forgettable movie" and "boring",[30][31] though Adam Wingard's direction, the soundtrack, visual style and the performances of the cast received some praise, particularly Willem Dafoe as Ryuk.[31] On review aggregation website Rotten Tomatoes, the film has an approval rating of 40% based on 53 reviews, and an average rating of 4.6/10. The site's critical consensus reads, "Death Note benefits from director Adam Wingard's distinctive eye and a talented cast, but they aren't enough to overcome a fatally overcrowded canvas."[32] On Metacritic, which assigns a normalized rating to reviews, the film has a score of 43 out of 100, based on 14 critics, indicating "mixed or average reviews".[33]
Jeanette Catsoulis for The New York Times wrote that the film "feels rushed and constricted" compared to the volume of the source material, but praised how Wingard's direction focused on "mood over mayhem" to make the adaptation his own.[34] Peter Debruge for Variety said that he felt that Wingard took the film adaptation towards a Donnie Darko-styled work that would capture the interest of more Western audiences compared to the original work, but made the work capture the feel of a theatrical film rather than a work confined to its original medium. Debruge also wrote that despite the philosophical concepts of murdering via the Death Note, "the movie never quite reckons with just how twisted a concept it’s peddling, and that’s easily the scariest thing about it".[35] Brian Tallerico for Rogerebert.com gave the film one of four stars, stating that the changes that Wingard had made from the original work did not serve any artistic or thematic purpose, nor captured the cat-and-mouse game between Light and L that was core to the original work, and because the producers "refused to make Light the antihero he needed to be", the addition of Mia as a love interest "[left] the project hollow at its center".[36]
Tsugumi Ohba and Takeshi Obata, the original creators of Death Note, have praised the film, with the former stating, "In a good way, it both followed and diverged from the original work so the film can be enjoyed, of course by not only the fans, but also by a much larger and wider audience".[37]
Possible sequel[edit]
In an interview with Heat Vision, director Adam Wingard stated that Netflix has wanted to make at least two films, if enough people watch the first one. He said: "There are definitely lots of places to go, and we know generally where we would take it. Hopefully people will watch it and Netflix will order a sequel. They definitely are ready to. They just need people to watch it."[38]
References[edit]
Jump up ^ "Death Note – PowerGrind". The Wrap. Retrieved August 29, 2017.
Jump up ^ Trendacosta, Katharine (August 28, 2017). "Why Netflix's Death Note Is Really an Origin Story and Where a Sequel Could Go". io9. Retrieved September 10, 2017.
Jump up ^ Kitty Sensei (January 14, 2007). "Here're a few hints of the second and concluding part of Death Note the movie, The Last Name". The Star. Archived from the original on August 2, 2009. Retrieved September 1, 2009.
Jump up ^ "Warner Brothers Acquire Live-Action Death Note Rights". Anime News Network. May 1, 2009. Retrieved May 1, 2009.
Jump up ^ Fleming, Michael (April 30, 2009). "Warner brings 'Death' to bigscreen". Variety. Retrieved May 1, 2009.
Jump up ^ Weintraub, Steve (November 22, 2009). "Exclusive Interview: Zac Efron and Richard Linklater on ME AND ORSON WELLES; Plus Zac Addresses DEATH NOTE Rumors". Collider.com. Retrieved April 10, 2016.
Jump up ^ Fleming, Mike Jr (January 13, 2011). "Warner Bros Taps Shane Black For Japanese Manga 'Death Note'". Deadline.com. Retrieved January 14, 2011.
Jump up ^ Loo, Egan (November 2, 2011). "Shane Black Describes Changes He Opposed to Warner's Death Note". Anime News Network. Retrieved April 10, 2016.
Jump up ^ Connelly, Brendon (April 24, 2013). "Shane Black On His Death Note And Doc Savage Movies". Bleeding Cool. Retrieved April 10, 2016.
Jump up ^ Whitehead, Donna (July 10, 2014). "{TB EXCLUSIVE} Gus Van Sant Takes Over "Death Note"". The Tracking Board. Retrieved July 10, 2014.
Jump up ^ Kit, Borys (April 27, 2015). "'Guest' Director Adam Wingard Signs On for 'Death Note' (Exclusive)". The Hollywood Reporter. Retrieved April 10, 2016.
Jump up ^ Goldberg, Matt (February 22, 2015). "Exclusive: 'Death Note' Movie Rating and Tone Revealed". Collider.com. Retrieved April 10, 2016.
Jump up ^ Sneider, Jeff (April 6, 2016). "Adam Wingard's 'Death Note' Jumps From Warner Bros. to Netflix (Exclusive)". TheWrap. Retrieved April 10, 2016.
Jump up ^ Kroll, Justin (April 6, 2016). "Netflix Lands Adam Wingard's 'Death Note' Starring Nat Wolff". Variety. Retrieved April 8, 2016.
Jump up ^ "In Production". Creative BC. May 10, 2016. Retrieved May 12, 2016.
Jump up ^ Mirchandani, Amar (June 3, 2016). "Live-Action Manga Movie 'Death Note' Filming in Vancouver". 604 Now. Retrieved June 3, 2016.
Jump up ^ Idea, Nimfa (June 8, 2016). "'Death Note' Live Action Pic: Netflix Set to Kick Off Production in Metro Vancouver This Summer". Movie News Guide. Retrieved June 8, 2016.
^ Jump up to: a b Trumbore, Dave (June 30, 2016). "Adam Wingard Shares His Notes on 'Death Note' as Production Begins". Collider.com. Retrieved June 30, 2016.
Jump up ^ White, James (September 29, 2015). "Nat Wolff Finds Death Note | News | Empire". Empire. Retrieved September 29, 2015.
Jump up ^ Fleming, Mike Jr; Hipes, Patrick (November 12, 2015). "'Death Note' Movie Sets Margaret Qualley As Female Lead – Update". Deadline.com. Retrieved November 15, 2015.
Jump up ^ Kroll, Justin (June 10, 2016). "'Short Term 12's' Keith Stanfield to Star With Nat Wolff in Netflix's 'Death Note'". Variety. Retrieved June 11, 2016.
Jump up ^ Barkan, Jonathan (June 30, 2016). "Adam Wingard Starts Writing His 'Death Note'". Bloody Disgusting. Retrieved 30 June 2016.
Jump up ^ Sneider, Jeff (August 2, 2016). "Willem Dafoe to voice the Shinigami in Netflix's 'Death Note' (Exclusive)". Mashable. Retrieved August 2, 2016.
Jump up ^ Drummond, Brian (August 3, 2016). "Sorry to not be playing that apple lovin' Shinigami again, but what a great choice! @WillemDafoe". Twitter.
Jump up ^ Leon, Melissa (September 30, 2015). "Hollywood's Anime Whitewashing Epidemic: Nat Wolff to Star in 'Death Note'". The Daily Beast. Retrieved April 10, 2016.
Jump up ^ Jaworski, Michelle (November 13, 2015). "'Death Note' whitewashing accusations grow as it casts female lead". The Daily Dot. Retrieved April 10, 2016.
Jump up ^ Abrams, Natalie (November 17, 2016). "Hawaii Five-0: Masi Oka exiting after seven seasons — exclusive". Entertainment Weekly.
Jump up ^ Sanchez, Miranda (June 29, 2017). "How Netflix's Death Note Alters the Original Story With Its American Setting". IGN.
Jump up ^ Opam, Kwame (March 22, 2017). "Watch the first trailer for Netflix's live-action Death Note movie". The Verge.
Jump up ^ "'Death Note' Reviews Are in, and They're Not Great". Inverse. Retrieved August 26, 2017.
^ Jump up to: a b "Death Note - Movie Reviews". Rotten Tomatoes. Retrieved August 26, 2017.
Jump up ^ "Death Note (2017)". Rotten Tomatoes. Retrieved August 31, 2017.
Jump up ^ "Death Note reviews". Metacritic. Retrieved September 6, 2017.
Jump up ^ Catsoulis, Jeanette (August 24, 2017). "Review: In 'Death Note,' When Danger Calls, Reach for a Notebook". The New York Times. Retrieved August 30, 2017.
Jump up ^ Debruge, Peter (August 24, 2017). "Film Review: Nat Wolff in 'Death Note' on Netflix". Variety. Retrieved August 30, 2017.
Jump up ^ Tallerico, Brian (August 25, 2017). "Death Note". Rogerebert.com. Retrieved August 30, 2017.
Jump up ^ O'Connell, Sean (August 17, 2017). "What The Original Death Note Creators Really Think About The Netflix Remake". Cinema Blend. Retrieved August 18, 2017.
Jump up ^ Couch, Aaron (August 25, 2017). "'Death Note 2': Netflix Sequel Will Happen If People Watch First Movie". The Hollywood Reporter. Retrieved August 26, 2017.
External links[edit]
Death Note on IMDb
Death Note on Netflix
Death Note at Rotten Tomatoes
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Elegy XIX: To His Mistress Going to Bed
From Wikipedia, the free encyclopedia
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"Elegy XIX: To His Mistress Going to Bed", originally spelled "To His Mistris Going to Bed", is a poem written by the metaphysical poet John Donne.
The elegy was refused a licence for publishing in Donne's posthumous collection, "Poems", in 1633, but was printed in an anthology, "The Harmony of the Muses" in 1654.[1] The poem is classified as one of Donne's love poems, "marked by an energetic, often bawdy wit, a new explicitness about sexual desire and experience, and an irreverent new attitude towards authority figures".[2] Several poetic conventions, such as the blason, metaphysical conceit, neoplatonism and allusion are used by Donne in this work.
Contents
[hide]
1 Summary
2 Poetic Conventions
2.1 Blazon
2.2 Allusion
2.3 Erotic Imagery and Metaphor
2.4 Neoplatonism
3 See also
4 References
Summary[edit]
Throughout the poem, Donne's male speaker urges his mistress into bed. Donne's speaker fervently describes undressing and caressing his mistress, and at the end, the speaker reveals that he is fully unclothed and erect. The process of disrobing is followed from top to toe, centred on the belly and vulva, and each stage compares the beauty of dress as external decoration with the natural beauty of the undressed woman.
Poetic Conventions[edit]
Donne's poem reinvents Petrarchan poetic conventions, which figured around the despair and heartache brought about by unattainable love. Donne's "Elegy XIX" was also influenced by Ovid's "Elegies", in which Ovid used wit and detachment in describing the male lover's aggressive pursuit of women."[2] By combining Petrarch's technique of "wooing from afar" with Ovid's sexually aggressive language and style, Donne creates a parody of the conventional love sonnet, and an early specimen of libertine poetry.
Blazon[edit]
Ironically, Donne's speaker uses a blazon, or a record of virtues and excellencies[3] to describe his mistress disrobing (Lines 5–18). While standard Petrarchan blazons were used to list a woman's honourable attributes, such as her beauty or chasteness, Donne's poem "removes [the] woman from the pedestal on which she had been adored",[4] placing an erotic emphasis on an otherwise virtuous list. Instead of speaking of his mistress's virtues, Donne's speaker focuses solely on her appearance, which demonstrates that the speaker is looking for a coital experience with love.
Allusion[edit]
The poem is peppered with metaphorical allusion, used to further describe sexual imagery. In Line 21, Donne refers to "Mahomets Paradice", which was peopled with beautiful women ready to satisfy the carnal desires of the male inhabitants.[5] Similarly, Donne mentions that "Gems which you women use/Are like Atalanta's balls, cast in men's views" (35–6); in Greek mythology, Atalanta rejected all suitors who could not defeat her in a race; Hippomenes eventually defeated her by dropping apples along the race trail, which Atalanta stopped to pick up.[5] Donne's connection between religious allusion and eroticism creates a paradox, which suggests that Donne sees physical love as being just as necessary as love for the divine.
Erotic Imagery and Metaphor[edit]
"Elegy XIX" is full of erotic imagery, which complements Donne's adaptation of Ovidian wit. In the blazon, Donne's speaker orders, "Off with that happy busk, which I envy" (11); Donne's speaker uses the busk as a metaphor of the phallus, although it is unclear whether or not the speaker envies the busk because of its proportions, or because it is close to the mistress's body. Donne's speaker asks his mistress to "Shew/The haiery Diademe which on you doth grow" (15–6), or otherwise, let her hair down, which creates an image of freedom and relaxedness within the bedroom setting (it is also used later in Thomas Carew's "A Rapture").
Donne's metaphysical conceit occurs at line 27; "O my America! my new-found-land/My kingdome, safeliest when with one man man’d/My Myne of precious stones, My Emperie/How blest am I in this discovering thee!" (27–30). K. W. Gransden sees this excerpt as an “analogy from Elizabethan navigation and discovery, by which means he [the speaker] depicts the lover's journey to consummation in the most modern possible fashion. Donne neatly hits the traditional estimate of love by expressing it in terms of an adventure”.[6] Here, Gransden commends Donne’s comparison of sexual intercourse to an adventure, which was a modern way for his speaker to coax the mistress into bed. Donne's metaphysical conceit also dabbles in gendered power dynamics of early modern England. Dr. Ilona Bell suggests that "If the woman is [the speaker's] kingdom and his empire, he is her king and emperor, reveling unabashedly in his masculine dominion over her”,[7] which suggests that Donne's speaker takes a position of superiority and governance over his mistress. However, it is important to note that without the "new-found-land", AKA the mistress, Donne's speaker would not be a king. As much as the mistress needs the speaker, the speaker needs the mistress. This is also reverent in the last lines of the poem, "To teach thee, I am naked first, why then/What needst thou have more covering then a man?" (47–8); Donne's speaker removes his clothes to guide, or teach, his mistress; however, since he is naked first, he places himself in a place of vulnerability. Bell notes that "male domination [was] fundamental to Donne's poetic and cultural inheritance. Not surprisingly, therefore, Donne's poems acknowledge the sexual stereotypes and gender hierarchy that subordinated early modern women to men...; however, his poems also dramatise the ways in which Donne challenged... the patriarchal polity and society into which [he was] born and died”.[7] By supplying the reader with a metaphysical conceit that places the speaker over his mistress, but in a way that obviously shows his dependence on her, as well as providing an open-ended scenario where the man is either guiding his mistress into nudity or left vulnerable as she remains clothed, Bell's theory is supported.
Neoplatonism[edit]
Although the elegy is not Donne's most credible neoplatonic work, there is one instance where transcendent love is mentioned. Donne's speaker mentions that "As souls unbodied, bodies uncloth'd must be" (34), which suggests that the spiritual connection of two souls outside of the body, or a Neoplatonic love, is just as crucial and necessary to a relationship as physical, erotic love.
See also[edit]
Wikisource has original text related to this article:
Elegy XIX: To His Mistress Going to Bed
1654 in poetry
References[edit]
Jump up ^ Donne, John. "Elegy XIX: To His Mistress Going to Bed". Broadview Anthology of Seventeenth-Century Verse and Prose. Peterborough, Ontario: Broadview Press, 2004. 117, footnotes
^ Jump up to: a b Gibboury, Achsah. "Erotic Poetry". A Cambridge Companion to John Donne. Cambridge: Cambridge University Press, 2006. 133-4
Jump up ^ "blazon" 4. Oxford English Dictionary Online. 2nd ed. 1989. Oxford English Dictionary. Accessed 8 April 2009. <dictionary.oed.com>
Jump up ^ Gibbourey, 135
^ Jump up to: a b Broadview, 118 footnotes
Jump up ^ Gransden, K.W. John Donne. Toronto: Longmans, Green and Co., 1954.
^ Jump up to: a b Bell, Ilona. "Gender matters: The Women in Donne's Poems". The Cambridge Companion to John Donne. Ed. Achsah Gibbourey. Cambridge: Cambridge University Press, 2006.
[hide]
v
t
e
Works by John Donne
Prose
Biathanatos (1608)
Pseudo-Martyr (1610)
Ignatius His Conclave (1611)
Devotions upon Emergent Occasions (1624)
Poetry
"Death Be Not Proud" (1610)
"A Valediction: Forbidding Mourning" (1611)
"The Canonization" (published 1633)
"The Good-Morrow" (published 1633)
"Elegy XIX: To His Mistress Going to Bed" (published 1654)
"The Flea" (published 1633)
"The Dream" (published 1635)
Holy Sonnets
"A Hymn to God the Father"
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