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Metaphysical Poetry -- in
Depth
Metaphysical
Poetry
The term metaphysical was applied to a style of 17th Century
poetry first by John Dryden and later by Dr. Samuel Johnson because
of the highly intellectual and often abstruse imagery involved. Chief
among the metaphysical poets are John Donne, George Herbert, Richard
Crashaw, Andrew Marvell, and Henry Vaughan. While their poetry is widely
varied (the metaphysicals are not a thematic or even a structural school),
there are some common characteristics:
- 1. Argumentative
structure. The poem often engages in a debate or persuasive presentation;
the poem is an intellectual exercise as well as or instead of an emotional
effusion.
- 2. Dramatic
and colloquial mode of utterance. The poem often describes a dramatic
event rather than being a reverie, a thought, or contemplation. Diction
is simple and usually direct, inversion is limited. The verse is occasionally
rough, like speech, rather than written in perfect meter, resulting
in a dominance of thought over form.
- 3. Acute
realism. The poem often reveals a psychological analysis; images
advance the argument rather than being ornamental. There is a learned
style of thinking and writing; the poetry is often highly intellectual.
- 4. Metaphysical
wit. The poem contains unexpected, even striking or shocking analogies,
offering elaborate parallels between apparently dissimilar things.
The analogies are drawn from widely varied fields of knowledge, not
limited to traditional sources in nature or art. Analogies from science,
mechanics, housekeeping, business, philosophy, astronomy, etc. are
common. These "conceits" reveal a play of intellect, often
resulting in puns, paradoxes, and humorous comparisons. Unlike other
poetry where the metaphors usually remain in the background, here
the metaphors sometimes take over the poem and control it.
Metaphysical poetry
represents a revolt against the conventions of Elizabethan love poetry
and especially the typical Petrarchan conceits (like rosy cheeks, eyes
like stars, etc.).
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