The metaphysical poets of the Renaissance sought to explore the universal concepts of religion and love in the context of great social and religious change. The movement's principal contributor was arguably John Donne, whose poetry was innovative in its elaborate use of conceit in the representation and discussion of these enduring themes. Born a Catholic at a time of strong anti-Catholic sentiments, Donne later renounced his faith and became an Anglican priest. This deeply personal relationship with spirituality enriches his poetic exploration of desire. The profound effect of religion on his poetry is evident in Donne's extensive use of religious imagery as a vehicle for expressing romantic love. To reflect and challenge the changing societal values ​​of his time in The Canonization and A Valediction: Forbidding Mourning, Donne employs techniques favored by metaphysical poets, including paradox, rhetorical language, and conceit. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essay Paradox was a regular tool of metaphysical poets to force audiences to re-examine preconceived ideas about love. Conventional love poetry of the period emphasized the elevation and objectification of women, an Elizabethan belief that Donne sought to confront. However, Donne uses paradox to promote intellectual and sexual equality in relationships, challenging social values ​​that favored courtly love. In The Canonization, the poet creates an extended paradox in which two lovers become one. Donne uses a mythological allusion to the “phoenix” to introduce this paradox. The bird symbolizes rebirth, becoming a metaphor for two lovers becoming one. The repetitive use of the first person plural pronoun “we” throughout the fourth stanza suggests inclusiveness between the lovers. This paradox is explicitly raised when he states "we two, being one", leading Renaissance readers to reconsider the objectification of the female subject. Despite this extended paradox, Donne succumbs to societal constructs in his assignment of gender roles in relationships, as he divides the lovers into "the eagle and the dove." The “eagle” is a symbol of strength, generally associated with masculinity, while the “dove” evokes feminine peace. Therefore, Donne's use of paradox both confirms and subverts the inequality in relationships in Renaissance culture. The rhetorical language is typical of metaphysical poetry, emphasizing the rational progression of logic that characterized the movement's discussion of the abstract concepts of love and religion. Renaissance poets followed the Petrarchan style, emphasizing beauty as the primary virtue of women. Donne's use of rhetoric, however, encouraged readers to look beyond a purely physical connection between man and woman. In A Valediction: Forbidding Mourning, the previous paradox is repeated when Donne assumes that “the two souls are therefore one”. Rhetorical language, such as “therefore,” allows readers to follow the logical progression of one’s argument. Stating that “boring sublunary lovers…cannot admit absence,” the high modal language combined with assonance reinforces his argumentative tone, working to devalue the Renaissance preference for physical love. The poet uses synecdoche to emphasize that the lovers "don't care, eyes, lips and hands are missing", demonstrating that they are connecting.