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  • Metaphysical Poetry The Metaphysical poets were a loose group of similarly-minded poets working in the 16th and 17th

    centuries. They rebelled against the strict, structured nature of the sonnet form and began working

    in their own ways, expressing novel ideas in inventive poetic forms. These poets also aimed at a less

    polite, more colloquial and playful, entertaining style of writing. Some of them wrote in a distinctly

    secular manner, focussing on love, sex and relationships. Other poets considered religious life and

    love in great detail.

    “Metaphysical” is drawn from two Greek words: “Meta”, meaning beyond and “Physika”, meaning

    of the physical. This form of poetry aims to think and speak beyond the physical world. Most of

    these poems therefore begin in the very real, visceral, physical world and then extend beyond this to

    deal with life, love, morals, religion, time and existence. The poetry is very often compact in its ideas

    and images; it employs analogy and has been described, over the years, as being very difficult and

    dense in its content, images and ideas. Indeed, Jonson complained that many of Donne’s poems are

    excessively difficult to understand. Jonson felt that Donne’s poems, some written to women, are too

    difficult for women to understand!

    Metaphysical poetry has several important features:

    1] the conceit--"farfetched," "combination of dissimilar images," "heterogeneous ideas yoked by

    violence together"—the conceits show far greater intellectuality than Petrarchan conceit.

    2] complexity & obscurity:

    3] paradox:

    4] exaggeration, hyperbole:

    5] rebellion against Petrarchan and Elizabethan poetic conventions:

    6] colloquial language:

    7] natural speech rhythms or extreme distortions of metrical patterns--"modulation so imperfect

    that they were only found to be verses by counting the syllables":

    8] irregular lines and stanzas:

    9] argumentative form and content:

    10] persona & situation--like dramatic monologue in many cases.

    (http://post.queensu.ca/~cjf1/10_Metaphysical_Characteristics.pdf)

    http://post.queensu.ca/~cjf1/10_Metaphysical_Characteristics.pdf

  • Metaphors are a popular way of compacting ideas in Metaphysical poetry. These poets drew

    heavily from their time and built comparisons based on geography, exploration, new worlds

    and ideas and conquering both new worlds and potential lovers. The metaphors created are

    known for being unusual and interesting. These poets often yoked together strikingly

    different images or ideas in metaphors. This unusual conceit is a hallmark of Metaphysical

    poetry.

    http://41.media.tumblr.com/294645b111784af844df2ee204396d34/tumblr_nmcrz8XD7G1uqg4zmo1_1280.jpg

  • John Donne 1572-1631

    John Donne was one of the leading metaphysical poets of the Renaissance, with a hugely

    varied body of work ranging from sermons to sonnets, and elegies to pamphlets. A

    contemporary of Shakespeare, he is known for both his love poetry and religious verse,

    and often used complex conceits, such as extended

    metaphors, with startling impact.

    Donne was born in London in 1572 into a Catholic family at a

    time when Catholicism was illegal. He studied at both Oxford

    and Cambridge but could not graduate because of his faith.

    After university he became a soldier and fought on the

    continent and then returned to a promising civil service

    career. But Donne effectively stalled his own career when he

    secretly married his employer's teenage niece, Anne More.

    Her uncle was furious and had him arrested. Though he was

    later released from prison, he found it hard to find

    employment, and over the coming years he would be unable

    to support his increasingly large family without charitable

    help.

    When King James I came to power, Donne converted to the

    Church of England and moved towards religious poetry,

    writing prose attacking the Catholic faith. In 1615, in a final change of fortune, Donne

    took holy orders and rose quickly in his profession to become the Dean of St Paul's

    Cathedral in London. Towards the end of his life he wrote the famous Holy Sonnet X

    (Death be not Proud). He died in 1631, and his work was never published in his lifetime.

    http://www.bbc.co.uk/poetryseason/poets/john_donne.shtml

    http://www.bbc.co.uk/poetryseason/poems/death.shtml http://www.britannica.com/art/Metaphysical-poets/images-videos/John-Donne-detail-of-an-oil-painting-by-an-unknown/10110

  •  No Man Is An Island

    No man is an island,

    Entire of itself,

    Every man is a piece of the continent,

    A part of the main.

    If a clod be washed away by the sea,

    Europe is the less.

    As well as if a promontory were.

    As well as if a manor of thy friend's

    Or of thine own were:

    Any man's death diminishes me,

    Because I am involved in mankind,

    And therefore never send to know for whom the bell tolls;

    It tolls for thee.

  • George Herbert 1593–1633

    Nestled somewhere within the Age of Shakespeare and the Age of Milton is George

    Herbert. There is no Age of Herbert: he did not consciously fashion an expansive literary

    career for himself, and his characteristic gestures, insofar as these can be gleaned from

    his poems and other writings, tend to be careful self-scrutiny rather than rhetorical

    pronouncement; local involvement rather than broad social engagement; and complex,

    ever-qualified lyric contemplation rather than epic or dramatic mythmaking. This is the

    stuff of humility and integrity, not celebrity. But even if Herbert does not appear to be

    one of the larger-than-life cultural monuments of seventeenth-century England—a

    position that virtually requires the qualities of irrepressible ambition and boldness, if not

    self-regarding arrogance, that he attempted to flee—he is in some ways a pivotal figure:

    enormously popular, deeply and broadly influential, and arguably the most skillful and

    important British devotional lyricist (religious poet) of this or any other time.

    Herbert is also important, especially in the seventeenth century, not only as a poet but

    as a cultural icon, an image of religious and political stability held up for emulation

    during tumultuous times. Much of his early popularity owes something to the carefully

    crafted persona of "holy Mr Herbert" put forth by the custodians of his literary works and

    reputation. Herbert is sketched as one who exchanged the advantages of noble birth and

    worldly preferment for the strains of serving at "Gods Altar," one whose "obedience and

    conformitie to the Church and the discipline thereof was singularly remarkable," and

    whose "faithfull discharge" of the holy duties to which he was called "make him justly a

    companion to the primitive Saints, and a pattern or more for the age he lived in."

    Herbert becomes a model of harmonious, orderly, non-controversial devotion for whom

    faith brought answers and commitment to the social establishment, not divisive

    questions and social fragmentation.

    http://www.poetryfoundation.org/uploads/authors/george-herbert/448x/george-herbert.jpg

    http://www.poetryfoundation.org/uploa ds/authors/george- herbert/448x/george-herbert.jpg

    http://www.poetryfoundation.org/uploads/authors/george-herbert/448x/george-herbert.jpg http://www.poetryfoundation.org/uploads/authors/george-herbert/448x/george-herbert.jpg http://www.poetryfoundation.org/uploads/authors/george-herbert/448x/george-herbert.jpg http://www.poetryfoundation.org/uploads/authors/george-herbert/448x/george-herbert.jpg

  • THE AGONY

    Philosophers have measured mountains,

    Fathom'd the depths of seas, of states, and kings,

    Walk'd with a staff to heaven, and traced fountains

    But there are two vast, spacious things,

    The which to measure it doth more behove:

    Yet few there are that sound them; Sin and Love.

    Who would know Sin, let him repair

    Unto Mount Olivet; there shall he see

    A man, so wrung with pains, that all his hair,

    His skin, his garments, bloody be.

    Sin is that Press and Vice, which forceth pain

    To hunt his cruel food through every vein.

    Who knows not Love, let him assay,

    And taste that juice, which on the cross a pike

    Did set again abroach; then let him say

    If ever he did taste the like.

    Love is that liquor sweet and most divine,

    Which my God feels as blood; but I, as wine.

    http://3.bp.blogspot.com/-

    9LGCdJGtYEk/Uw9qlp0MgoI/AAAAAAAABh4/2olFGx1T

    fdE/s1600/George+Herbert.jpg

  • Andrew Marvell 1621-1678

    http://factfile.org/wp-content/uploads/2015/02/Andrew-Marvell-Facts.jpg

    Andrew Marvell was an English metaphysical poet, Parliamentarian, and the son of a

    Church of England clergyman (also named Andrew Marvell). As a metaphysical poet, he

    is associated with Joh

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