Metaphysical poets - Antonio López PDF

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Antonio López...

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Metaphysical poets “A term used to group together certain 17th-century poets, usually DONNE, MARVELL, VAUGHAN and THRHERNE, though other figures like ABRAHAM COWLEY are sometimes included in the list. Although in no sense a school or movement proper, they share common characteristics of wit, inventiveness, and a love of elaborate stylistic manoeuvres.

Pieter Claesz. Vanitas,1630.

Metaphysical concerns are the common subject of their poetry, which investigates the world by rational discussion of its phenomena rather than by intuition or mysticism. DRYDEN was the first to apply the term to 17th-century poetry when, in 1693, he criticized Donne: 'He affects the Metaphysics... in his amorous verses, where nature only should reign; and perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts.' He disapproved of Donne's stylistic excesses, particularly his extravagant conceits (or witty comparisons) and his tendency towards hyperbolic abstractions. JOHNSON consolidated the argument in THE LIVES OF THE POETS, where he noted (with reference to Cowley) that 'about the beginning of the seventeenth century appeared a race of writers that may be termed the metaphysical poets'. He went on to describe the far-fetched nature of their comparisons as 'a kind of discordia concors; a combination of dissimilar images, or discovery of occult resemblances in things apparently unlike'. Examples of the practice Johnson condemned would include the extended comparison of love with astrology (by Donne) and of the soul with a drop of dew (by Marvell).

Frans Hals. Young man with a Skull. c.1626

Reacting against the deliberately smooth and sweet tones of much 16th-century verse, the metaphysical poets adopted a style that is energetic, uneven, and rigorous. (Johnson decried its roughness and violation of decorum, the deliberate mixture of different styles.) It has also been labelled the 'poetry of strong lines'. In his important essay, 'The Metaphysical Poets' (1921), which helped bring the poetry of Donne and his contemporaries back into favour, T. S. ELIOT argued that their work fuses reason with

passion; it shows a unification of thought and feeling which later became separated into a 'dissociation of sensibility'.” (Text excerpted from: The Cambridge Guide to Literature in English. Ian Ousby, Ed. Cambridge, Cup, 1998. 623.)

The most important metaphysical poets are John Donne, George Herbert, Henry Vaughan, Thomas Traherne, Abraham Cowley, Richard Crashaw, and Andrew Marvell.

Remarks about metaphysical poetry We are thought wits, when 'tis understood. Jasper Mayne (part-time metaphysical poet) He [Donne] affects the metaphysics, not only in his satires, but in his amorous verses, where nature only should reign; and perplexes the minds of the fair sex with nice speculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love. John Dryden (1693) About the beginning of the seventeenth century appeared a race of writers that may be termed the metaphysical poets. Samuel Johnson (C18) With Donne, whose Muse on dromedary trots, Wreathe iron pokers into true-love knots; Rhyme's sturdy cripple, fancy's maze and clue, Wit's forge and fire-blast, meaning's press and screw. Samuel Taylor Coleridge (C19) A 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. T.S. Eliot (1921) "Brain-sick fancies, twaddle upon twaddle..." giving us a sense of difficulty overcome when at last we arrive at "a passionate outcry". J.E.V. Crofts (1930s) Argument and persuasion, and the use of the conceit as their instrument, are the elements or body of a metaphysical poem. Its quintessence or soul is the vivid imagining of a moment of experience or a situation out of which the need to argue, or persuade, or define arises. Helen Gardner (1957)....