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Because of his religious ancestry and the cultural political circumstances in the 1590s, Donne's Satyres and Elegies function as the problematic texts that contain his religious conflicts and subversive force directed towards the female monarch. Since Greenblatt's Renaissance Self-Fashioning (1980) and Marotti's influential essay on Elizabethan sonnet sequence (1982) came out to the literary world, scholars who have been practising the investigational methods of the new historicism have published important works and essays on Elizabethan literature. Based on the concepts of Greenblatt's 'poetics of culture' and Jameson's 'political unconscious', and with the aid of such scholars as Montrose, Javitch, Carey, Parfitt, and Guibbory, this essay investigated Donne's religious conflicts and subversive force in the context of late Elizabethan age.
Donne's secular ambition makes the speakers of his satires and elegies play the role of intelligent young men who are both attracted with and repulsed against the Elizabethan court. Witty, arrogant, subtle, attacking the courtly culture with sweeping rhetoric, such role-playing of the speaker's was the London bourgeois's strategy that aimed at obtaining the secular power and entering the "magic circle" by catching the eyes of influential court men. But, as 'Jack Donne' belonged to the Catholic minority, the conversion to the Church of England was required to be accepted to the cultural political establishment. So his Satyre Ⅲ reveals in the strenuous mimetic rhythm the religious constraints that not only lead him to labour on the question of choosing the "true religion" but also prepare him towards apostasy. The result is that the political religious radicalism were submerged under his proclaimed "positive scepticism" as subversive force against court polity.
Under the threat of Elizabethan court, Donne's radical position submerges within his amatory elegies. His anti-Petrarchism, debasement of women, various subversions of women's rule, and repeated attempts to possess the loving woman and colonize her, are the elements that constitute his political unconscious, functioning as strategies that would consolidate the male supremacy in both private and socio-political worlds. Such strategies reflect and reveal his personal sense of crisis and conservative, even reactionary male superiority that disrupts the seemingly strong rule of the female monarch. However, as his elegies repeatedly demonstrate, power is seen through the woman's unruliness and her subversion of permanent male rule as radically unstable in both private and public relations.
Donne's secular ambition makes the speakers of his satires and elegies play the role of intelligent young men who are both attracted with and repulsed against the Elizabethan court. Witty, arrogant, subtle, attacking the courtly culture with sweeping rhetoric, such role-playing of the speaker's was the London bourgeois's strategy that aimed at obtaining the secular power and entering the "magic circle" by catching the eyes of influential court men. But, as 'Jack Donne' belonged to the Catholic minority, the conversion to the Church of England was required to be accepted to the cultural political establishment. So his Satyre Ⅲ reveals in the strenuous mimetic rhythm the religious constraints that not only lead him to labour on the question of choosing the "true religion" but also prepare him towards apostasy. The result is that the political religious radicalism were submerged under his proclaimed "positive scepticism" as subversive force against court polity.
Under the threat of Elizabethan court, Donne's radical position submerges within his amatory elegies. His anti-Petrarchism, debasement of women, various subversions of women's rule, and repeated attempts to possess the loving woman and colonize her, are the elements that constitute his political unconscious, functioning as strategies that would consolidate the male supremacy in both private and socio-political worlds. Such strategies reflect and reveal his personal sense of crisis and conservative, even reactionary male superiority that disrupts the seemingly strong rule of the female monarch. However, as his elegies repeatedly demonstrate, power is seen through the woman's unruliness and her subversion of permanent male rule as radically unstable in both private and public relations.
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