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التعليقات (9)
Analyse the features of metaphysical poetry?
In: Poetry
The metaphysical poets were a small group of English lyric poets of the 17th century who had similar styles and concerns. Their fresh and sophisticated approach to the writing of lyrics was marked by an intellectual quality and an inventive and subtle style, with the use of the metaphysical conceit (a figure of speech that employs unusual and paradoxical images). Of this group of poets the work of only two will be covered in this short course: John Donne (1572-1631) and Andrew Marvell (1621-1628). Some of the others were Crashaw, Cleveland, Cowley and Vaughan.
The term "metaphysical poets" was first used by Samuel Johnson (1744), who said that "the metaphysical poets were men of learning, and to show learning was their whole endeavour." He also said of their poetry that "the most heterogeneous ideas are yoked by violence together; nature and art are ransacked for illustrations, comparisons, and allusions…."
Donne, regarded as one of the chief poetic innovators among the metaphysical poets, was reacting against the 16th century (Elizabethan) love lyrics, which embodied courtly-love conventions which idealized women. Donne did not use the sonnet form for his love lyrics - a significant break with the tradition found in earlier poets such as Sidney and Spenser. He used colloquial language, he abandoned (and sometimes satirized) the courtly mode and focused on individual experience in a way that offered a less static notion of love than many previous poets. However, his view is often a somewhat egotistical view, with the stress on male ownership of women, defining "maleness" against "femaleness" and suggesting the primacy of the man rather than an equal partnership in love. In a sense, the achievement of Donne was to resituate the love poem outside the boundaries of the palace, as it were - that is, outside the courtly tradition. Sanders speaks of Donne's poetry in terms of "the self-exploratory role-playing and the swaggering behind a defensive mask; the perfection of art bordering upon human nullity; the treacherous manipulation of irony and the spectacle of the ironist betrayed" (50).
For centuries Catholicism had dictated both secular and religious values throughout ****pe, but the Reformation had offered a different, Protestant, view of the world, and the metaphysical poets were helping to establish this view. Seventeenth-century metaphysical lyricists wrote as though they were turning new ground, and their individual style developed partly in response to the task of situating the English lyric more firmly within the relatively new tradition of Protestantism.
The emphasis on individual experience mentioned above in relation to love poetry was also an important element of Protestant religious experience. The religious controversies in England (and elsewhere) revolved around matters of the individual conscience in religious matters, as opposed to the supremacy of the Church's authority.
In the work of a key metaphysical poet such as Donne religious poetry and love poetry were not mutually exclusive, and each might contain elements of the other. According to the twentieth-century poet TS Eliot, this reflected the more flexible cultural pattern of Donne's time. Eliot calls this new fragmented sense of life "the dissociation of sensibility", when "the integration of thought and feeling began to disappear from literature" as well. As Eliot says,
thought to Donne was an experience: it modified his sensibility...
the ordinary man
... falls in love, or reads Spinoza, and these
two experiences have nothing to do with each other, or with the noise
of the typewriter or the smell of cooking; in the mind of the poet these
experiences are always forming new wholes.
(The Metaphysical Poets, 287)
Not surprisingly, the themes of rebellion and instability are prominent in 17th century English poetry. Many of the metaphysical poets wrote against the backdrop of revolutionary political developments: continuous internal conflict, the impeachment and beheading (1649) of King Charles I, and the Civil War which followed this and produced, for a while, a radically changed form of government which excluded kingship (1642-1660).
Andrew Marvell (1621-1678), another of the Metaphysical poets, in 1657 was appointed as an assistant to the blind Latin secretary for the Commonwealth, John Milton (who wrote Paradise Lost , which you will be reading during your English 278 course). Milton supported the beheading of the King and the establishment of the Commonwealth under Cromwell. After the restoration of kingship in 1660, Marvell helped to save Milton from jail. Most of Marvell's poetry was published after his death, by a woman who was probably his housekeeper. " Playful, casual, and witty in tone, always light on its metrical feet and exact in its diction, Marvell's verse displays depth and intellectual hardness in unexpected places; its texture is extraordinarily rich" (M.H. Abrams, "Andrew Marvell", p. 1415)
The 17th century was a fruitful period for the lyric, both secular and religious. During this time, the lyric developed into a highly polished, formalized, self-conscious, self -questioning form which subverted and played with the courtly conventions (remember, the court had, for a while, disappeared), while also providing fertile soil for innovative poetic exploration. Note: Critics often make a distinction between the poet and the persona/ speaker in a poem, since we cannot usually assume that the persona's thoughts and experience are those of the poet. However, this distinction becomes a difficult one to make when dealing with some lyric poetry
دعواتك
In: Poetry
The metaphysical poets were a small group of English lyric poets of the 17th century who had similar styles and concerns. Their fresh and sophisticated approach to the writing of lyrics was marked by an intellectual quality and an inventive and subtle style, with the use of the metaphysical conceit (a figure of speech that employs unusual and paradoxical images). Of this group of poets the work of only two will be covered in this short course: John Donne (1572-1631) and Andrew Marvell (1621-1628). Some of the others were Crashaw, Cleveland, Cowley and Vaughan.
The term "metaphysical poets" was first used by Samuel Johnson (1744), who said that "the metaphysical poets were men of learning, and to show learning was their whole endeavour." He also said of their poetry that "the most heterogeneous ideas are yoked by violence together; nature and art are ransacked for illustrations, comparisons, and allusions…."
Donne, regarded as one of the chief poetic innovators among the metaphysical poets, was reacting against the 16th century (Elizabethan) love lyrics, which embodied courtly-love conventions which idealized women. Donne did not use the sonnet form for his love lyrics - a significant break with the tradition found in earlier poets such as Sidney and Spenser. He used colloquial language, he abandoned (and sometimes satirized) the courtly mode and focused on individual experience in a way that offered a less static notion of love than many previous poets. However, his view is often a somewhat egotistical view, with the stress on male ownership of women, defining "maleness" against "femaleness" and suggesting the primacy of the man rather than an equal partnership in love. In a sense, the achievement of Donne was to resituate the love poem outside the boundaries of the palace, as it were - that is, outside the courtly tradition. Sanders speaks of Donne's poetry in terms of "the self-exploratory role-playing and the swaggering behind a defensive mask; the perfection of art bordering upon human nullity; the treacherous manipulation of irony and the spectacle of the ironist betrayed" (50).
For centuries Catholicism had dictated both secular and religious values throughout ****pe, but the Reformation had offered a different, Protestant, view of the world, and the metaphysical poets were helping to establish this view. Seventeenth-century metaphysical lyricists wrote as though they were turning new ground, and their individual style developed partly in response to the task of situating the English lyric more firmly within the relatively new tradition of Protestantism.
The emphasis on individual experience mentioned above in relation to love poetry was also an important element of Protestant religious experience. The religious controversies in England (and elsewhere) revolved around matters of the individual conscience in religious matters, as opposed to the supremacy of the Church's authority.
In the work of a key metaphysical poet such as Donne religious poetry and love poetry were not mutually exclusive, and each might contain elements of the other. According to the twentieth-century poet TS Eliot, this reflected the more flexible cultural pattern of Donne's time. Eliot calls this new fragmented sense of life "the dissociation of sensibility", when "the integration of thought and feeling began to disappear from literature" as well. As Eliot says,
thought to Donne was an experience: it modified his sensibility...
the ordinary man
... falls in love, or reads Spinoza, and these
two experiences have nothing to do with each other, or with the noise
of the typewriter or the smell of cooking; in the mind of the poet these
experiences are always forming new wholes.
(The Metaphysical Poets, 287)
Not surprisingly, the themes of rebellion and instability are prominent in 17th century English poetry. Many of the metaphysical poets wrote against the backdrop of revolutionary political developments: continuous internal conflict, the impeachment and beheading (1649) of King Charles I, and the Civil War which followed this and produced, for a while, a radically changed form of government which excluded kingship (1642-1660).
Andrew Marvell (1621-1678), another of the Metaphysical poets, in 1657 was appointed as an assistant to the blind Latin secretary for the Commonwealth, John Milton (who wrote Paradise Lost , which you will be reading during your English 278 course). Milton supported the beheading of the King and the establishment of the Commonwealth under Cromwell. After the restoration of kingship in 1660, Marvell helped to save Milton from jail. Most of Marvell's poetry was published after his death, by a woman who was probably his housekeeper. " Playful, casual, and witty in tone, always light on its metrical feet and exact in its diction, Marvell's verse displays depth and intellectual hardness in unexpected places; its texture is extraordinarily rich" (M.H. Abrams, "Andrew Marvell", p. 1415)
The 17th century was a fruitful period for the lyric, both secular and religious. During this time, the lyric developed into a highly polished, formalized, self-conscious, self -questioning form which subverted and played with the courtly conventions (remember, the court had, for a while, disappeared), while also providing fertile soil for innovative poetic exploration. Note: Critics often make a distinction between the poet and the persona/ speaker in a poem, since we cannot usually assume that the persona's thoughts and experience are those of the poet. However, this distinction becomes a difficult one to make when dealing with some lyric poetry
دعواتك
The term "metaphysical poetry" is used to describe a certain type of 17th century poetry. The term was originally intended to be derogatory; Dryden, who said Donne "affects the metaphysics," was criticizing Donne for being too arcane. Samuel Johnson later used the term "metaphysical poetry" to describe the specific poetic method used by poets like Donne.
Metaphysical poets are generally in rebellion against the highly conventional imagery of the Elizabethan lyric. The poems tend to be intellectually complex, and (according to the Holman Handbook ), "express honestly, if unconventionally, the poet's sense of the complexities and contradictions of life." The verse often sounds rough in comparison to the smooth conventions of other poets; Ben Jonson once said that John Donne "deserved hanging" for the way he ran roughshod over conventional rhythms. The result is that these poems often lack lyric smoothness, but they instead use a rugged irregular movement that seems to suit the content of the poems.
For an example of metaphysical rebellion against lyrical convention, one can look at Donne's Holy Sonnet 14. The sonnet is a highly conventional art form, and one would expect a smooth iambic pentameter line. But notice all the stressed syllables in the first lines of this poem, and how hard it is to read them in the conventional iambic pentameter pattern:
Batter my heart, three-personed God, for You
As yet but knock, breathe, shine, and seek to mend;
That I may rise, and stand, oe'erthrow me, and bend
Your force, to break, blow, burn, and make me new.
In addition to challenging the conventions of rhythm, the metaphysical poets also challenged conventional imagery. Their tool for doing this was the metaphysical conceit . If you remember, a conceit is a poetic idea, usually a metaphor. There can be conventional ideas, where there are expected metaphors: Petrarchan conceits imitate the metaphors used by the Italian poet Petrarch. Metaphysical conceits are noteworthy specifically for their lack of conventionality. In general, the metaphysical conceit will use some sort of shocking or unusual comparison as the basis for the metaphor. When it works, a metaphysical conceit has a startling appropriateness that makes us look at something in an entirely new way. The classic metaphysical conceit is Donne's comparison of the union between two lovers to the two legs of a compass in "A Valediction Forbidding Mourning." In Holy Sonnet 14, there are other surprising metaphors--comparing God to a violent invader and a rapist, for instance.
Metaphysical conceit
The term is generally associated with the 17th century metaphysical poets in contemporary usage. In the metaphysical conceit, metaphors have a much more purely conceptual , and thus tenuous, relationship between the things being compared. Helen Gardner
observed that "a conceit is a comparison whose ingenuity is more striking than its justness" and that "a comparison becomes a conceit when we are made to concede likeness while being strongly conscious of unlikeness." An example of the latter would be George Herbert 's "Praise (3)," in which the generosity of God is compared to a bottle which ("As we have boxes for the poor") will take in an infinite amount of the speaker's tears.
An often-cited example of the metaphysical conceit is the metaphor from John Donne 's "The Flea," in which a flea that bites both the speaker and his lover becomes a conceit arguing that his lover has no reason to deny him ***ually, although they are not married:
Oh stay! three lives in one flea spare
Where we almost, yea more than married are.
This flea is you and I, and this
Our marriage-bed and marriage-temple is.
When Sir Philip Sidney begins a sonnet with the conventional idiomatic expression "My true-love hath my heart and I have his" , but then takes the metaphor literally and teases out a number of literal possibilities and extravagantly playful conceptions in the exchange of hearts, the result is a fully-formed conceit. دعواتك
Metaphysical poets are generally in rebellion against the highly conventional imagery of the Elizabethan lyric. The poems tend to be intellectually complex, and (according to the Holman Handbook ), "express honestly, if unconventionally, the poet's sense of the complexities and contradictions of life." The verse often sounds rough in comparison to the smooth conventions of other poets; Ben Jonson once said that John Donne "deserved hanging" for the way he ran roughshod over conventional rhythms. The result is that these poems often lack lyric smoothness, but they instead use a rugged irregular movement that seems to suit the content of the poems.
For an example of metaphysical rebellion against lyrical convention, one can look at Donne's Holy Sonnet 14. The sonnet is a highly conventional art form, and one would expect a smooth iambic pentameter line. But notice all the stressed syllables in the first lines of this poem, and how hard it is to read them in the conventional iambic pentameter pattern:
Batter my heart, three-personed God, for You
As yet but knock, breathe, shine, and seek to mend;
That I may rise, and stand, oe'erthrow me, and bend
Your force, to break, blow, burn, and make me new.
In addition to challenging the conventions of rhythm, the metaphysical poets also challenged conventional imagery. Their tool for doing this was the metaphysical conceit . If you remember, a conceit is a poetic idea, usually a metaphor. There can be conventional ideas, where there are expected metaphors: Petrarchan conceits imitate the metaphors used by the Italian poet Petrarch. Metaphysical conceits are noteworthy specifically for their lack of conventionality. In general, the metaphysical conceit will use some sort of shocking or unusual comparison as the basis for the metaphor. When it works, a metaphysical conceit has a startling appropriateness that makes us look at something in an entirely new way. The classic metaphysical conceit is Donne's comparison of the union between two lovers to the two legs of a compass in "A Valediction Forbidding Mourning." In Holy Sonnet 14, there are other surprising metaphors--comparing God to a violent invader and a rapist, for instance.
Metaphysical conceit
The term is generally associated with the 17th century metaphysical poets in contemporary usage. In the metaphysical conceit, metaphors have a much more purely conceptual , and thus tenuous, relationship between the things being compared. Helen Gardner
observed that "a conceit is a comparison whose ingenuity is more striking than its justness" and that "a comparison becomes a conceit when we are made to concede likeness while being strongly conscious of unlikeness." An example of the latter would be George Herbert 's "Praise (3)," in which the generosity of God is compared to a bottle which ("As we have boxes for the poor") will take in an infinite amount of the speaker's tears.
An often-cited example of the metaphysical conceit is the metaphor from John Donne 's "The Flea," in which a flea that bites both the speaker and his lover becomes a conceit arguing that his lover has no reason to deny him ***ually, although they are not married:
Oh stay! three lives in one flea spare
Where we almost, yea more than married are.
This flea is you and I, and this
Our marriage-bed and marriage-temple is.
When Sir Philip Sidney begins a sonnet with the conventional idiomatic expression "My true-love hath my heart and I have his" , but then takes the metaphor literally and teases out a number of literal possibilities and extravagantly playful conceptions in the exchange of hearts, the result is a fully-formed conceit. دعواتك
What is a metaphysical poem?
The term "metaphysical" when applied to poetry has a long and interesting history. You should know this, but the information in Helen Gardner's Introduction to The Metaphysical Poets (Penguin)is more than adequate. Luckily, you have no time in an exam for a lengthy discussion. The examiner wants to see you discuss the text.
Metaphysical poetry is concerned with the whole experience of man, but the intelligence, learning and seriousness of the poets means that the poetry is about the profound areas of experience especially - about love, romantic and sensual; about man's relationship with God - the eternal perspective, and, to a less extent, about pleasure, learning and art.
Metaphysical poems are lyric poems. They are brief but intense meditations, characterized by striking use of wit, irony and wordplay. Beneath the formal structure (of rhyme, metre and stanza) is the underlying (and often hardly less formal) structure of the poem's argument. Note that there may be two (or more) kinds of argument in a poem. In To His Coy Mistress the explicit argument (Marvell's request that the coy lady yield to his passion) is a stalking horse for the more serious argument about the transitoriness of pleasure. The outward levity conceals (barely) a deep seriousness of intent. You would be able to show how this theme of carpe diem (“seize the day”) is made clear in the third section of the poem.
Reflections on love or God should not be too hard for you. Writing about a poet's technique is more challenging but will please any examiner. Giving some time to each (where the task invites this), while ending on technique would be ideal.
Themes and subjects
As Donne and Herbert do, Marvell writes much about his own ideas, but with less consistency. There is variety and superficial contradiction in the Songs and Sonnets but Donne's preoccupation with love is not in doubt. Herbert's devout manner appears consistently in the poems in The Temple, but To His Coy Mistress is not easily reconciled with Bermudas or The Coronet. Marvell in all of these poems writes with lucidity and wit yet there is often an element of detachment - perhaps best shown in the dispassionate clarity and wordplay of The Definition of Love. It is interesting to note that the simplicity of much of Bermudas (essentially a list of God's gifts to the settlers of the islands, though individual lines contain the usual wit - as in the description of the
apples) is explained by the device of making most of the poem a hymn of gratitude, sung by the English sailors.
Though Vaughan's exclusive religious views may repel us, we cannot ignore the clarity and directness of his style. The syntax is easy to the modern ear and unusual vocabulary is rare. He may open with an exclamation: “Happy those early dayes!” or “They are all gone into the world of light!” The simple understatement employed by Herbert is more than matched in The World which has one of the most striking openings of any English poem:
I saw Eternity the other night.
It could be fairly argued that the poem does not wholly succeed in the account, in detail (no poem could!) of the vision of Eternity which follows, but we can see how Vaughan works in the tradition established for poetry by Donne and for devotional verse by Herbert.
دعواتك
The term "metaphysical" when applied to poetry has a long and interesting history. You should know this, but the information in Helen Gardner's Introduction to The Metaphysical Poets (Penguin)is more than adequate. Luckily, you have no time in an exam for a lengthy discussion. The examiner wants to see you discuss the text.
Metaphysical poetry is concerned with the whole experience of man, but the intelligence, learning and seriousness of the poets means that the poetry is about the profound areas of experience especially - about love, romantic and sensual; about man's relationship with God - the eternal perspective, and, to a less extent, about pleasure, learning and art.
Metaphysical poems are lyric poems. They are brief but intense meditations, characterized by striking use of wit, irony and wordplay. Beneath the formal structure (of rhyme, metre and stanza) is the underlying (and often hardly less formal) structure of the poem's argument. Note that there may be two (or more) kinds of argument in a poem. In To His Coy Mistress the explicit argument (Marvell's request that the coy lady yield to his passion) is a stalking horse for the more serious argument about the transitoriness of pleasure. The outward levity conceals (barely) a deep seriousness of intent. You would be able to show how this theme of carpe diem (“seize the day”) is made clear in the third section of the poem.
Reflections on love or God should not be too hard for you. Writing about a poet's technique is more challenging but will please any examiner. Giving some time to each (where the task invites this), while ending on technique would be ideal.
Themes and subjects
As Donne and Herbert do, Marvell writes much about his own ideas, but with less consistency. There is variety and superficial contradiction in the Songs and Sonnets but Donne's preoccupation with love is not in doubt. Herbert's devout manner appears consistently in the poems in The Temple, but To His Coy Mistress is not easily reconciled with Bermudas or The Coronet. Marvell in all of these poems writes with lucidity and wit yet there is often an element of detachment - perhaps best shown in the dispassionate clarity and wordplay of The Definition of Love. It is interesting to note that the simplicity of much of Bermudas (essentially a list of God's gifts to the settlers of the islands, though individual lines contain the usual wit - as in the description of the
apples) is explained by the device of making most of the poem a hymn of gratitude, sung by the English sailors.
Though Vaughan's exclusive religious views may repel us, we cannot ignore the clarity and directness of his style. The syntax is easy to the modern ear and unusual vocabulary is rare. He may open with an exclamation: “Happy those early dayes!” or “They are all gone into the world of light!” The simple understatement employed by Herbert is more than matched in The World which has one of the most striking openings of any English poem:
I saw Eternity the other night.
It could be fairly argued that the poem does not wholly succeed in the account, in detail (no poem could!) of the vision of Eternity which follows, but we can see how Vaughan works in the tradition established for poetry by Donne and for devotional verse by Herbert.
دعواتك
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Metaphysical’ is a strange name. Literally, it means:
The Metaphysical poets never used this term of themselves. It was their successors, who did not much care for their poetry, who gave them and their poetry the name
Metaphysical poetry is not afraid of ideas and concepts. These may be philosophical, but they may also be to do with religion, or science, or politics, or mathematics. Metaphysical poetry sometimes uses these ideas as the main part of the argument of the poem; but they are also used as a source of imagery , to illustrate a point.
In much Metaphysical poetry there is a debate going on, as in a law-court, in which a case is being made for or against somebody or something. The poems can have a considerable intellectual content but this does not mean that they are academic, boring, or without feeling. Most of the Metaphysical poets were also very passionate and very engaged emotionally but they managed to combine intellect and emotion, as good lawyers do in court.
Metaphysical’ is a strange name. Literally, it means:
- a certain branch of philosophy, to do with concepts like ‘Being’ and ‘Knowing’
The Metaphysical poets never used this term of themselves. It was their successors, who did not much care for their poetry, who gave them and their poetry the name
Metaphysical poetry is not afraid of ideas and concepts. These may be philosophical, but they may also be to do with religion, or science, or politics, or mathematics. Metaphysical poetry sometimes uses these ideas as the main part of the argument of the poem; but they are also used as a source of imagery , to illustrate a point.
In much Metaphysical poetry there is a debate going on, as in a law-court, in which a case is being made for or against somebody or something. The poems can have a considerable intellectual content but this does not mean that they are academic, boring, or without feeling. Most of the Metaphysical poets were also very passionate and very engaged emotionally but they managed to combine intellect and emotion, as good lawyers do in court.
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