Metaphysical Poetry
Metaphysical Poetry
Written by BunPeiris
Metaphysical poetry possesses its typical themes and techniques which depict the contemporary issues of the era. Discuss
As everything under the sun, moon and stars are do change with time, throughout the literary periods, especially in poetic ages, themes and techniques too kept changing. The age of metaphysical poetry was no exception. As such metaphysical poetry too possesses its typical themes and techniques which depict the contemporary issues of the era.
The term “metaphysical poetry” was first coined by the literary critic and poet Samuel Johnson [1709 -1784] in his book titled “Lives of the Most Eminent English Poets” [1781]. Therein began the study of poems composed by a group of 17th-century British poets that included John Donne, George Herbert, Richard Crashaw, Andrew Marvell and Henry Vaughan. Johnson found their poems feature some distinctive characteristics, yet common to all of them: wit and elaborate style. However, during their times, these poets had not thought of them belonging to a movement, now called metaphysical poetry. Neither had they ever enjoyed an opportunity to work together for a common cause giving birth to a literary movement as such. Such thoughts were galaxies away from them: they simply penned what each one felt in his own world. As all good thing should come to an end, the age of metaphysical poetry too saw the curtain falls. In the 18th and 19th century romantic poets eclipsed these 17th century metaphysical poets. But then, they would not be forgotten in their entirety. They were revived mainly by the twentieth-century readers and scholars. The revival was initiated by no less a person than Nobel laureate T. S. Eliot’s [1709 -1784] in his essay titled “The Metaphysical Poets.”
The period of metaphysical poetry in the 17th Century, 1600’s, in one end, meets the Age of Shakespeare [1564-1616], who centered plot more on the character of man, making a paradigm shift from Greek tragedies, of which plot seems to be preprogrammed or preordained or eclipsed with the Buddhist doctrine of Karma, by the prophecies and oracles. As if that wouldn’t do, in the other end, metaphysical age falls into the era of John Milton [1608-1674], the foremost poet who attempted to integrate Christian theology with classical modes of epic poetry in the footsteps of Homer. Given the intellectual vigor of their era, no wonder, these British poets too delved into highly complex issues in the form of some aspects of human condition such as human love, much believed divine love, life, death and rebirth.
Furthermore, metaphysical poets lived in an age of transition: the world had shifted into a continuous state of exploration and expansion, geographically as well as spiritually. The “golden age”of Queen Elizabeth [1558–1603] had already seen English Renaissance and the flowering of poetry, music and literature. Englishmen were leading the world. Sir Francis Drake’s [1540 –1596] circumnaviagation. John Napier’s [1550-1617] invention of logarithm, Sir Isaac Newton [1663-1727] theories on science, the French mathematician Ren Descartes [1596-1650] development of analytical geometry and calculus helped the astronomers. In 1604, King James I authorized Bible be translated from Latin into English by forty-seven learned men resulting in the completed work of beauty and power in 1911. Its influence on the writers too, among others, has been of cosmic proportions. The first English dictionary “Table Alphabetical” [1604] by English school teacher Robert Cawdrey containing also the words borrowed from Hebrew, Greek, Latin and French helped the wide spectrum of populace. The expansion of knowledge resulted in with emergence of new questions. The Christian theology too was probed in. The new issues of the era called for new answers from all fields and aspects of life. Art too became bustling in search of answers. Metaphysical poetry of the era too depicts the contemporary issues of the era.
Eliza Binte Elahi in her journal article tiltled “The Use of Metaphysical Elements and Conceits in Andrew Marvell’s Poetry” sums up core questions pondered by metaphysical poets.
- Does God exist?
- Is there a difference between the way things appear to us and the way they really are?
- Essentially, what is the difference between reality and perception? Is everything that happens already predetermined?
- If so, then is free choice non-existent?
- Is consciousness limited to the brain? (Elahi)
With such inquiries, it can be seen that metaphysical poets focused upon extracting a grain of truth from the world of spiritual ignorance. That was a worthy attempt then; that would be a worth attempt anytime in the future. Metaphysical poetry may spread over broad range of topics from religious to consciousness; however, all the questions seem pondering the nature of reality. All being entitled their own perspectives, all works are open to contemplation and interpretation. Metaphysical poetry consists of Love poetry & religious poetry. The habit of writing both types of poetry, amorous and religious verses, began with John Donne [1573-1631].
“He started off as ‘Jack Donne’, the soldier, lover, drinker, writer of passionate and amorous verses. He ended as Doctor John Donne, Dean of St. Paul’s, great preacher of sermons, devoutest of men. And yet the two extremes were in him all his life. As the passionate lover he was always analytic, thoughtful, trying to dissect and explain his passion almost scientifically. As the divine, he approached God with the passion he had formerly shown to women; he addresses Christ with the fierceness of a lover. Just as his character seems made up of opposites, so does his verse. When he is deepest in love with living flesh it is then that he sees the skeleton beneath it. When his passion is most physical he express it most intellectually. Even when dying he cannot help comparing his body to a map over which the physicians, like cosmographers, discuss the ‘North-west passage’ to death. He reflects that, in all flat maps, east becomes west, and so the sinking of the sun becomes its rising: thus death comes is only another term for life; after death comes the resurrection.” (Burgess)
The devotional schools of metaphysical poets, Herbert, Crashaw and Vaughan dedicated their poetic gifts to the service of Christian religion. George Herbert, (1593-1633) described his poems as “a picture of the many spiritual conflicts that have passed between God and my soul, before I could subject mine to the will of Jesus, my Master, in whose service I have now found perfect freedom.” (The Editors of Encyclopædia Britannica) In his poem titled “Love iii,” George Herbert pours out his love of God, his religious thoughts and fears. He says he has committed sins as such he deserves hell: “Truth Lord, but I have marred them: let my shame Go where it doth deserve” Then again, he put forgiving words into the might of almighty God: “who bore the blame? My dear, then I will serve.” God replies it was his failure that Herbert had sinned. Divine love. Taken in whole, a couple of Latin aphorism [a pithy observation that contains a general truth] could be distilled from Elahi’s core questions. These twins of the concepts with respect of existence and death have origin in Greek literature.
Carpe diem coined by Horace‘s in Book 1 of his Odes (23 BC) is generally translated to mean “Seize the day.” If that is still too metaphorical, it is possible to have a more literal translation in [“pluck the day [as it is ripe]”—that is, enjoy the moment and live the life to the fullest. But then, notwithstanding the spiritual aspects of the argument of the metaphysical poets, pithy observation that contains a general truth is a far cry from Buddhist doctrine that preaches to make use of time for the spiritual upliftment: ‘Appamadoamatapadam or “doing good without delay” or mindfulness is the path to the deathless(Nibbana); Andrew Marvel in his “To his Coy Mistress” mixes no words and invite a maid to the enjoy the pleasures of flesh outside of the marriage: “sport us while we may.” He insists she should not waste her time when she is young and blooming, must not hesitate to lose her virginity or else she may end with worms as her only bedfellows. Marvel is a man-in-a-hurry expressing his lust point blank. However, Robert Herrick, adhering to the commandment, “thou shalt not covet thy neighbour’s wife,” would not encourage sex outside of marriage. He seems to encourage the virgins to get married when they are young and enjoy life: “Then be not coy but use your time, And while ye may, go marry” He simply reminds the damsels that they are in marriageable age. Herrick seems to have love for all since he is willing to let them go and marry.
The other side to “carpe diem” is “Memento mori.” ( Latin: “remember that you have to die”). This Latin aphorism suggest all to do good and earn merits since one day you would die and will have to face the consequences of your misdeeds and resulting demerits in the line of action and reaction, cause and result. Carpe diem rings a bell: Buddhist doctrine of Karma, the cycles with merits and demerits coupled to virtues and vices. John Donne too professes on the day your merits and demerits are accounted: the day of the judgment. Those who remembered that “you have to die,” having earned merits, says Donne, in his “Death, be not proud”, would be resurrected on the day of the judgment: “One short sleep past, we wake eternally And death shall be no more.” Donne suggests, following their death, those who have been immersed in virtue and gained merits will have eternal peace.
These themes are held aloft and their meanings are heightened, in addition to the regular literary devices, by following distinctive literary techniques.
- Medias Res or “In the middle Of Things” as seen in the plots of Homer’s Iliad and the Odyssey (7th century BC), Mahrishi Vyasa’s Mahabarata ( 8th century BC), Virgil’s [70-19BC], Dante’s Divine Comedy, Shakespeare’s Hamlet and Cymbeline:
Although medias res technique is used effectively in narrative literature inclusive of epic poems, it has not been made use in the traditions of English poetry that preceded metaphysical poetry. As such, it seems distinctive in metaphysical poetry. - Mockery of idealized romantic poetry through crude or shocking imagery, pun and paradox, obvious use of sexual innuendos resulting in violation of decorum:
Although the movements of poetry prior to metaphysical poetry refrained from direct invitations to sex, metaphysical movement refused to be restrained by such inhibitions. As such, it seems distinctive in metaphysical poetry. - Unification of thought and feeling:
Metaphysical poetry is not simply outpouring of emotions but an application of intellect. These syllogistic arguments are found thorough the age of metaphysical poetry as rarely seen in preceding eras of poetry. As such, it seems distinctive in metaphysical poetry.
Medias Res or “In the middle Of
Things”
‘The Good Morrow’ begins with Medias Res
or “In the middle Of Things” The poet, following the consummation of love,
that had to await long days, questions his lover of wasted days and wasted
nights:”I wonder by my troth, what thou and I/
Did, till we loved. Were we not wean’d till then?/
But sucked on country pleasures, childishly?/
Or snorted we in the ’seven sleepers’ den?/
Mockery of idealized romantic poetry
Marvell tries to persuade his mistress by reminding her of the death: “And your quaint honour turns to dust.” Herein in the word quaint cut both ways, decent and vulgar-pun: i.e., old fashioned and female genitalia. Then again his profusions of adoration runs into impossibility in our planet: “hundred to adore each breast” One would wonder how long was her each breast. Still more, marvel is at his best with violation of decorum associated with the regular poetry of the preceding era, in his persuasive efforts: “then worms shall try/That long preserved virginity” Marvell’s use of hyperbole is such, he runs to extreme crags to let fun and flirt fly. Such is the extent of his outrageous mockery, he would allude to Genesis flood narrative-God’s decision to return the Earth to its pre-creation state of watery Chaos to a insignificantly brief time of love:”I would love you ten years before the flood”
Unification of thought and feeling: reason promotes passion
In his ‘To his Coy Mistress” Marvell promotes an argument: “now therefore,
while the youthful hue/Sits on thy skin like morning dew.” Marvell says in no
uncertain terms that his mistress should not be too coy but give into her
passions.
In courtship, waste not decades
Now you are young and luscious, let your love flow
Make haste, enjoy the pleasures
Lest time takes a wing off, makes your loins mellow [bun]
Furthermore, Marvell argues: “Had we but world enough, and time/This coyness,
Lady, were no more crime.” Herein Marvell reminds his mistress that life is short
and man is not immortal. As such they do not have enough time to love and should
not waste time in a prolonged display of coyness.
Further to above three techniques, the metaphysical poets seem to be keen on what was came to be known as “metaphysical conceit” Encyclopedia Britannica on-line version defines metaphysical conceit as follows: “Conceit, figure of speech , usually a simile or metaphor,that forms an extremely ingenious or fanciful parallel between apparently dissimilar or incongruous objects or situations.” (The Editors of Encyclopædia Britannica) In his “To His coy Mistress” Marvel compares growth of his love to the growth of vegetables: “My vegetable love should grow Vaster than empires, and more slow”
Moreover Marvell brings in an image of time, another metaphysical conceit in a form of four wheeled carriage chariot spearheading towards the lovers: “Time’s wingèd chariot hurrying near; And yonder all before us lie Deserts of vast eternity”
Donne in his ‘Good-Morrow compares his one sided love days [his love is not reciprocated] to “The Seven Sleepers’ Den” wherein a group of youths who hide inside a cave outside the city of Ephesus around 250 AD to escape a religious persecution and emerge 200 years later. The metaphysical conceit therein in reveals the tension of tormented love in its anxious and long days till the love is reciprocated.
Metaphysical poetry finds its themes in the contemporary issues in the form of some aspects of human condition: human love, love of god and good; death and rebirth. Then again, all those themes were elaborated not only with the regular literary devices but also with the literary techniques distinctive to metaphysical age: Mockery of idealized romantic poetry and Unification of thought and feeling, i.e. not merely emotions and passions but an application of intellect to the contemporary issues. Therein lie the value and appeal of metaphysical poetry.
Works Cited
Burgess, Anthony. “Tudor Poetry and Prose.” Burgess, Anthony. English Literature. Essex: Longman Group UK Limited, 1995. 100.
Elahi, Eliza Binte. The Use of Metaphysical Elements and Conceits in Andrew Marvell’s Poetry. December 2014. 15 September 2017 <https://www.arcjournals.org/pdfs/ijsell/v2-i12/8.pdf>.
The Editors of Encyclopædia Britannica. Encyclopedia Britannica. 2017. 15 September 2017 <https://www.britannica.com/art/conceit#ref288176>.
