ABSTRACT The poem known to readers since the seventeenth century as 'A valediction: forbidding mourning' is analyzed regarding, first, the transmission of the text: I show that there is a recognizably early version, close to the original written by Donne although he did not himself subsequently intervene in any significant fashion in the transmission of the poem. I then consider the dating of the poem, arguing that it was a communication to Anne before her secret marriage to Donne in 1601. I define 'Valediction' as a Baroque piece, and develop a reading with particular emphasis upon its playing with paradox. Finally, I consider its ms. transmission as an indication of its reception, and, in particular, consider Walton’s purposes in presenting both an eccentric version of the text and his use of invented or re-interpreted biographical details to force his own ideological allegiances onto Donne and his poetry. This article, then, attempts to draw an arc, stretching from the initial intention that informed the composition of the poem, to its later, definitive reception within a carefully constructed web of misleading, and mainly invented, details about Donne’s life which have informed criticism of Valediction (and other poems) since.

中文翻译：

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巴洛克式告别：多恩禁止哀悼。日期、目的和再利用

摘要 对这首自 17 世纪以来被读者称为“告别辞：禁止哀悼”的诗进行了分析，首先是关于文本的传输：我表明有一个可识别的早期版本，接近多恩的原作，尽管他做了他本人随后没有以任何重要的方式干预这首诗的传播。然后我考虑这首诗的年代，认为这是安妮在 1601 年与多恩秘密结婚之前与安妮的一次交流。我将“告别”定义为巴洛克风格的作品，并特别强调其玩悖论的阅读。最后，我考虑了它的 ms。传输作为其接收的指示，尤其是，考虑一下沃尔顿呈现文本的古怪版本以及他使用虚构或重新解释的传记细节将自己的意识形态效忠于多恩和他的诗歌的目的。然后，这篇文章试图画一个弧线，从最初的意图构成这首诗，一直到后来在精心构建的误导性网络中的最终接受，主要是虚构的，关于多恩生活的细节，这些细节为批评提供了依据。从那以后的告别（和其他诗歌）。