This article reconsiders the function John Donne (1572–1631) attributes to tangible landscapes and environments in his Songs and Sonnets. Inscribing these metaphors within wider considerations on Donne’s spatial imagination, I suggest that traditional criticism has been privileging his fascination towards the scientific discoveries of his times and their emphasis on rather abstract ideas of spatiality (cosmology, cartography, microcosmic and macrocosmic relations), while neglecting for the most part occurrences of ‘placial’ components – with the precise landscapes that they presuppose – in his love poetry. A closer look at poems such as ‘The Bait’ ‘Twickenham Garden’ or ‘The Blossom’, however, highlights Donne’s approach to the intricate relationship his characters seem to entertain with the environment they occupy. Mostly articulated in terms of corporeal transformations and divisions, these poems stress how lovers tend to become a ‘creature’ of the place they occupy, and the resulting tensions that arise between body and mind. This article concludes by suggesting that these ‘placial’ metaphors actually legitimate and invoke the ‘spatial’ flexibility, generally favoured by critics, one can observe in the other poems where Donne’s characters succeed in resolving these tensions.

中文翻译：

---

“爱，让我成为这个地方的一些毫无意义的部分”：多恩的歌曲和十四行诗中的风景、身体和“地方的生物”

本文重新考虑了约翰·多恩（John Donne，1572-1631）在他的歌曲和十四行诗中赋予有形景观和环境的功能。将这些隐喻铭刻在对多恩空间想象的更广泛考虑中，我认为传统批评一直优先考虑他对他那个时代的科学发现的迷恋及其对相当抽象的空间观念（宇宙学、制图学、微观和宏观关系）的重视，而忽视了在他的爱情诗中，大多数情况下都出现了“地方”成分——以及它们预设的精确风景。然而，仔细观察诸如“诱饵”、“特威克纳姆花园”或“花朵”之类的诗歌，可以突出多恩对他的角色似乎与他们所处的环境之间的错综复杂关系的处理方式。这些诗主要以肉体的转变和分裂来表达，强调情人如何成为他们所占据的地方的“生物”，以及由此产生的身心之间的紧张关系。本文最后指出，这些“地方”隐喻实际上是合法的，并调用了批评家普遍青睐的“空间”灵活性，人们可以在其他诗歌中观察到多恩的人物成功解决了这些紧张关系。