Characteristics Of The Metaphysical Poets
This blog is a part of an assignment of Paper 101 : Literature of The Elizabethan and Restoration Periods
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#Table of Content
Personal Information
Assignment Details
Abstract
Key Words
Introduction
Meaning of The Word ‘Metaphysical’
Characteristics of the metaphysical poets
Major Metaphysical Poets
Conclusion
References
Personal Information:
Name:- Khushi Goswami
Batch:- M.A.Sem 1 (2024-2026)
Enrollment no:- 5108240001
E-mail Address:- khushigoswami05317@gmail.com
Roll no:- 9
Assignment Details:
Topic:- Characteristics of The Metaphysical Poets
Paper & Subject Code: 101 Literature of The Elizabethan and Restoration Periods - 22392
Submitted To:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar
Date of Submission:- 20 November, 2024
Abstract:
In the beginning of the 17th century; between 1600 and 1635, a school of poets emerged - whose poetry came to be known as “The Metaphysical Poetry”. The poetry often mixed ordinary speech with paradoxes and puns. The results were strange, comparing unlikely things, such as lovers to a compass or the soul to a drop of dew. These weird comparisons were called conceits.
Keywords:- Characteristics of The Metaphysical Poet
Introduction:
Metaphysical poetry investigates the relation between rational, logical argument on the one hand and intuition or “mysticism” on the other, often depicted with sensuous detail.
Samuel Johnson's use of the term "metaphysical poets" in ‘Lives of the Most Eminent English Poets’ (1779-81) highlights an important shift in English poetry towards the opening of the 17th century. When Johnson wrote, "metaphysical," he was likely invoking the earlier John Dryden, who makes some comments on John Donne; in any case, the word did not yet have the purely philosophical connotation it developed later. Dryden scolded Donne, with his philosophical speculations entering through intricate ideas, into verse that should better address the emotions. He said that Donne's "metaphysical" style complicated love poetry too much and removed romantic expression by interweaving intellectual intricacies.
Dryden's observation, combined with that of William Drummond of Hawthornden, who criticized poets in the 1630s for attempting to turn poetry into "metaphysical ideas and scholastical quiddities," in establishing the origins of the "metaphysical poets" term. The term relates to a style through which poetry was infused with vitality in minds, metaphysical concerns, and witty wordplay-traits all characteristic of Donne and his followers, like Cowley.
Metaphysical Poet: Meaning
Metaphysical centers around the exploration of abstract ideas and philosophical concepts. 'Meta' means beyond, and 'physics' refers to our physical world, so Metaphysics means beyond our world or outside of the ordinary. (“Definition of Metaphysical”)
Metaphysical poets are known for their use of complex ideas and intellectual wit in their poetry. They often use carpe diem Philosophy.
‘A metaphor is a literary feature that describes an object or idea in a way that isn't to be taken literally or truthfully, but instead for the sake of symbolism or comparison.’ (“Definition of Metaphysical”)
The most important metaphysical poet was John Donne as his poems - like 'The Flea' (1633), 'A Valediction, Forbidden Mourning' (1633) and 'The sun Rising' (1633) are defining of the metaphysical genre. The other significant metaphysical poets who share similar characteristics are Henry Vaughan, Andrew Marvell, and George Herbert.
Characteristics of the metaphysical poets:
1)Conscious Attempt:
Deliberty they are trying to write another way that differs in both manner and matter. They want to establish their unique identity in the world of literature.These extended comparisons draw unexpected parallels between seemingly disparate concepts, challenging readers to think beyond the obvious.
2)Display of Scholarship:
All the metaphysical poets graduated from the university. It was a display of their knowledge they tried to differ from other poets. John Donne’ The Sun Rising is a an Example of Beyond science in this work Donne connect Love with Astronomy. It means Science and Emotions/Philosophy.
“Busy old fool, unruly sun,
Why dost thou thus,
Through windows, and through curtains call on us?
Must to thy motions lovers' seasons run?” (Donne et al.)
3) Far-Fetched Images:
whatever they describe in their poetry
It's kind of weird. They yoked together dissimilar
elements. They are masters of fusing the intellectual
with the emotional, using imagery of fields outside traditional poetry to construct complex conceits.
Illustrative examples abound in Donne's biological metaphors, Marvell's geometric and agricultural imagery, and Herbert's engineering metaphors-all striking.
John Donne’s: Biological Metaphors
Donne’s best example of biological imagery is ‘The Flea’. He uses the image of a flea that has bitten both the speaker and his lover as a metaphor for physical and emotional union.
The flea-the para zoological form of a small parasite carrying both their blood-is a clever conceit to mingle their lives and bodies. The speaker argues that because their blood is already mingled in the flea, it is only natural that they should consummate their relationship.
“Mark but this flea, and mark in this,
How little that which thou deniest me is;
It sucked me first, and now sucks thee,
And in this flea our two bloods mingled be.” (Donne)
Andrew Marwell’s: Agriculture Imagery
Andrew Marvell often used geometrical and agricultural imagery to express abstract conceptions. In To His Coy Mistress, he brings the infinite dimension of time and space into his appeal to a beloved. He invokes geometry when envisioning infinite time, their love stretching to encompass "a hundred years" for praising every part of her body. He uses the image of "time's wingèd chariot" drawing nearer, which adds urgency to his argument that they should seize the day.
“But at my back I always hear
Time’s wingèd chariot hurrying near;
And yonder all before us lie
Deserts of vast eternity.” (Marvell)
George Herbert’s : Engineering Imagery
George Herbert often utilized mechanical and architectural imagery, since he posited that spiritual growth could be equated with building or engineering representing his deep religious fervor. God's relationship with man is drawn as an engineering image in The Pulley. God "pours" his blessings upon the latter: strength, beauty, wisdom, and honor. However, he withholds "rest" in it; it is a "pulley" that draws men towards Him. Herbert compares God's deliberate withholding unto a mechanical device suggesting that only by denying rest will humankind seek solace in spirituality.
“Let him be rich and weary, that at least,
If goodness lead him not, yet weariness
May toss him to my breast.” (Herbert)
4)Abstract ideas vs the physical world:
This group of poets put abstract ideas to concrete images, easily describing the interconnectedness of the physical, the spiritual, and the emotional worlds. The idea of using the concept of parallel lines to describe the impossibility of true unity between two lovers is best exemplified in Andrew Marvell's The Definition of Love.
Andrew Marvell in his work, ‘The Definition of Love’ continues a trope that two lovers, perfectly matched, could never really be together. He matched their relationship to parallel lines—two lines that run side by side and in the same direction but in no way actually meet. Using the pretty simple idea of geometry, this metaphor powerfully portrays the impossibility of their union. He compares the parallel lines that cannot touch with their love-it is strong, but it can't be physically together.
Similarly, in ‘A Valediction: Forbidden Mourning’, John Donne employs a clever metaphor to speak of a relationship stretched by physical distance. Comparing the lovers to the two legs of a compass-they are always joined at the top but spread apart-this connection through the compass enables the speaker to claim that even though they have been separated, the lovers remain spiritually united and are always returned to each other.
This means that both poets take an abstract feeling, such as love, and translate it into understandable terms by associating it with a concrete image, like parallel lines or compass. Through this procedure, the readers are granted the possibility of attaining a common understanding of intricate emotional or philosophical ideas by relating them to physical concepts familiar to themselves.
5)Spiritual Exploration:
They were interested in metaphysical considerations of their spiritual and philosophical realms for extending considerations on faith, love of the divinity, and the realms between the physical and spiritual worlds. The metaphysical poetry was not averse to spiritual complexity. it was rather creative in depicting metaphors and imagery that could be of intellectually as well as personally interesting thoughts.
George Herbert is known for his spiritually grounded poetry, where he aims to relate himself to faith and God. In the poem ‘The Collar’, Herbert expresses his frustration and rebellion against the limit that religion sets. As he unravels himself through the poem, the speaker at first expresses despisal towards faith's restraints and its being very much a "collar" in comparison to binding himself in spiritual shackles. But, however, as the poem progresses, he reaches his acceptance that culminates with serenity-the acknowledgment of the presence of God and the one submitting,
“But as I raved and grew more fierce and wild
At every word,
Methought I heard one calling, Child!
And I replied My Lord” (Herbert)
Herbert’s spiritual struggle transforms into an intimate conversation with God, symbolizing the peace found in faith after moments of doubt. The metaphor of the “collar” makes the theme of spiritual surrender more tangible, turning an abstract internal struggle into something physical and relatable.
John Donne, in many of his poems combines spiritual and physical themes to evoke divine love. In Holy Sonnet XIV, Donne dramatically asks God to "batter my heart" using the language of violence and force to describe the purification and transformation he seeks in spirit,
“Batter my heart, three-person'd God, for you
As yet but knock, breathe, shine, and seek to mend;
That I may rise and stand, o'erthrow me, and bend
Your force to break, blow, burn, and make me new.” (Donne)
Here, Donne uses physical imagery to describe his longing for a close relationship with God, treating divine love as something that can powerfully impact and reshape the human soul.
Major Metaphysical Poets:
1)John Donne:-
Donne was permanent Representative of The Metaphysical Poets. His verse is metaphysical in the sense that this goes with depth emotions of pain and even shock while chosen imagery often is complex, hence depended upon science, religion, and the here and now of life to create spectacular conceits, such as comparing lovers to the two legs of a compass or love itself to the flea's bite, a most potent union of head and heart.
‘The Flea’, ‘The Sun Rising’, ‘Death be not proud’ are the best examples of metaphysical poetry.
2)Andrew Marwell:-
Born in Yorkshire in 1621, Marvell studied at Cambridge before becoming a tutor and eventually an influential politician. His poems did not receive much recognition in his lifetime, and it was not until 1681, three years after his death, that his collection of Miscellaneous Poems was published. Some of his most famous works, 'To His Coy Mistress' (1681) , 'The Definition of Love' (1681), and 'The Mower' (1681) include the wit, intricate comparisons and philosophical discussions associated with metaphysical poetry, leading to him being grouped with the likes of Donne, Vaughan and Herbert.
3)George Herbert:-
Born in Wales in 1593, George Herbert was a poet and clergyman in the Church of England. He based most of his poetry on religion, under the belief that the love of God is a better theme for poetry than the love of a woman.
He is famed for his immaculate word choice, and for intensely spiritually reflective poetry, dealing with abstract topics like loss of faith in 'The Collar' (1633) and resurrection in 'Easter Wings' (1633). These poems featured in his most famous collection, 'The Temple' (1633), which has inspired many poets and writers from Henry Vaughan to T.S Elliot.
4)Henry Vaughan:-
Vaughan was born in Wales in 1621, and trained to be a lawyer after a brief stint at Oxford University. After being inspired by the work of George Herbert, Vaughan returned to spirituality and religion, and produced his most famous works of religious poetry, which featured in 'Silex Scintillians' (1650). Like many metaphysical poets, Vaughan's work includes clever use of metaphor and alliteration to create complex, elaborate imagery.
Conclusion:
The metaphysical poets were masters of this art of fusing the intellectual and emotional together, and they were able to use an entirely new field of pursuits, one lying outside the strictly poetical sphere, to erect complex conceits. Examples abound: Donne's biological metaphors, Marvell's geometric and agricultural imagery, Herbert's engineering metaphors are great examples of how the metaphysical poets used striking intellectual conceits to probe apparently profound themes. It is what makes metaphysical poetry intellectually stimulating and uniquely inventive.
References:
DigitalDonne: The Variorum Edition of the Poetry of John Donne, https://donnevariorum.dh.tamu.edu/ . Accessed 14 November 2024.
“Definition of Metaphysical.” StudySmarter, https://www.studysmarter.co.uk/explanations/english-literature/literary-movements/metaphysical-poets/. Accessed 13 November 2024.
Donne, John. “The Flea | The Poetry Foundation.” Poetry Foundation, https://www.poetryfoundation.org/poems/46467/the-flea . Accessed 13 November 2024.
Donne, John. “Holy Sonnets: Batter my heart, three-person'd God.” Poetry Foundation, https://www.poetryfoundation.org/poems/44106/holy-sonnets-batter-my-heart-three-persond-god . Accessed 13 November 2024.
Donne, John, et al. “The Sun Rising | The Poetry Foundation.” Poetry Foundation, 10 December 2017, https://www.poetryfoundation.org/poems/44129/the-sun-rising . Accessed 13 November 2024.
Herbert, George. “The Collar | The Poetry Foundation.” Poetry Foundation, https://www.poetryfoundation.org/poems/44360/the-collar . Accessed 13 November 2024.
Herbert, George. “The Pulley | The Poetry Foundation.” Poetry Foundation, https://www.poetryfoundation.org/poems/44370/the-pulley . Accessed 13 November 2024.
Marvell, Andrew. “To His Coy Mistress | The Poetry Foundation.” Poetry Foundation, https://www.poetryfoundation.org/poems/44688/to-his-coy-mistress . Accessed 13 November 2024.
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