ne that Garland perceived, Louthan takes Donne's analogy of virtuous men's death as an intentional comparison of the two forms of noble departure. Louthan argues that Donne's introduction implies that there is a disparagement of lovers who do make a great fuss over separation, because they are "inferior beings" whose love depends on "physical propinquity (47)." Garland's view holds the same pattern as Louthan. However, she argues that the implication the poem has about the moroseness of parting detracts from the author's analogy of the virtuous men's death. She develops this by saying the author seems "remote" both from his mistress and from any anxiety over his imminent departure. His control and reasoned argument seem to Garland to refute his consolation. She further questions, "just who is forbidden to mourn at this leave-taking (140)?" Although their criticisms do not agree on Donne's intentions, a bond between their views can be made. If Garland can see that there is an intended disconnection between Donne and his wife then, it almost seems that Louthan would agree, but contend that it was understandably intended. Louthan, like many other critics, would reason that Donne planned to express the strength his love of his wife and their strong connection by developing a tone that would be as most people see, at first hand, as remote. Most people panic before they part from this world, and likewise most lovers mourn as they part, so most people would see Donne's feeling to his separation of his wife as almost cold. However, Donne recognizes, as most critics see his intention, that when love is virtuous it does not need to be potent only by the physical connection; therefore, the spiritual love of Donne and his wife does not need to be obligated to mourning or panic, because they understand that their love resides on a higher level. It is in part of line five, "so let us melt"(Norton 1075) and the fifth stanza that most analysts can fully come to an agreement as to Donne's intentions. Sinha, like many others, identifies the poems next analogy as a contrast to the poem's last analogy of a compass. She categorizes the first analogy as the two-fold soul, and explains that Donne is telling his wife that their soul as one will not be broken by absence, but will simply "be expanded by it like gold beaten into a leaf (163)." Equally, the Reader's Note: "A Valediction", in the England in Literature text book explains that the analogies that he uses, are more characteristically defined as his use of conceit.* The passage explains that the gold spreads when beaten like "their soul will expand, without separation or break, to cover the distance."(240) According to these two views, there will really be no separation at all, since their relationship is spiritual, and their souls are one. However, Garland distinguishes more than most critics, she sees the final lines of this analogy as Donne's introduction of a mild version of religious metaphors in "The Canonization" and "The Exstasie." She develops beyond this stating that Done and Anne ke

Some common words found in the essay are:
Forbidding Mourning, Garland Sinha, Canonization Exstasie, Led Zeppelin, Peters Donne, Specifically Shawcross, England Literature, Donne Anne, Redpath Louthan, Contrast Donne's, valediction forbidding, forbidding mourning, valediction forbidding mourning, love wife, own love, poem donne's, donne wife, virtuous men's death, five seven, donne's introduction, lines five, dull sublunary, ptolemaic system universe, own love wife, analogy virtuous men's,
Approximate Word count = 2055
Approximate Pages = 8 (250 words per page double spaced)