Saturday, August 9, 2008

Metaphysical Poetry

“About the beginning of the seventeenth century appeared a race of writers that may be termed metaphysical poets.”
Samuel Johnson first used the term “metaphysical poets” in a disparaging way in his Lives of the Poets in 1744. He faulted these writers for using their wit to construct false conceits, tying dissimilar ideas together in a violent fashion. He acknowledged that many of these poets were “men of learning” and that they occasionally hit on truth, saying “their learning instructs, and their subtlety surprises; but the reader commonly thinks his improvement dearly bought, and, though he sometimes admires, is seldom pleased.”
By the end of the seventeenth century the poetry studied in this guide had fallen out of favor and was largely ignored for nearly two centuries. Poets like T.S. Eliot recovered the genius of the metaphysical poets and stated that the metaphysical poets were merely “engaged in the task of trying to find the verbal equivalent for states of mind and feeling. And this means both that they are more mature, and that they wear better, than later poets of certainly not less literary ability.” He noted that English poetry changed significantly after John Milton (1608-1674) and John Dryden (1631-1700) and that poets lost the technique of feeling the experiences that create poetry. In Eliot’s opinion, it is a lost art to convert heterogeneous experiences into poetry, and this is what the metaphysical poets did.
The poets that are generally labeled “metaphysical” are men like John Donne, Andrew Marvell, George Herbert, Henry Vaughan, Abraham Crowley, Edward Herbert, Richard Crashaw and a host of other poets generally living during the seventeenth century (1600’s). From time-to-time sonnets of men like William Shakespeare will be slipped in. As Eliot noted, it was an organic transition from the dramatists of the sixteenth century that gave rise to the conceits of the seventeenth century poets. What makes a poem “metaphysical”? The poets we are concerned with wrote about a broad range of topics, both secular and sacred. However, their poetry is very much characterized by wit. Wit is different from humor, which is what we generally associate the word with today. Humor is more-or-less immediately funny. Wit requires a second glance or reconsideration before it is realized. Wit “suggests intellectual brilliance and ingenuity, verbal deftness, as in an epigram.”
An epigram is a short poem with a witty twist at the end. The form of the epigram comes from Rome, but has been well-developed by English-speaking authors as well. It may be the best way to illustrate the use of wit that is central to metaphysical poetry. Consider the epigrams reproduced below:
Little strokes
Fell great oaks.— Benjamin Franklin

Here lies my wife: here let her lie!
Now she's at rest — and so am I.— John Dryden

Another major characteristic of metaphysical poetry is use of the conceit. A conceit is a “fairly elaborate figurative device of a fanciful kind which often incorporates metaphor, simile, hyperbole or oxymoron and which is intended to surprise and delight by its wit and ingenuity.To put it more simply, a conceit is a comparison of two things which are really nothing alike. Probably one of the best examples comes from John Donne’s poem “A Valediction: forbidding Mourning.” In this poem Donne compares the love he shares with his wife to a drafter’s compass:
Our two souls therefore, which are one,
Though I must go, endure not yet
A breach, but an expansion,
Like gold to aery thinness beat.
If they be two, they are two so
As stiff twin compasses are two ;
Thy soul, the fix'd foot, makes no show
To move, but doth, if th' other do.

Using this conceit, Donne explains that his going will do nothing more than expand the circumference of their unified love. It cannot diminish the love they share, for their souls are joined as the compass is joined. One leg of the compass provides a footing, an anchor; while the other moves away if needs be, but always they are connected at the center.



[1] Samuel Johnson, “Life of Cowley,” in Lives of the Poets, 1744.

[2] Ibid.

[3] T.S. Eliot, “The Metaphysical Poets”

[4] J.A. Cuddon, “Wit,” in The Penguin Dictionary of Literary Terms and Literary Theory, ed. J.A. Cuddon (New York: Penguin, 1999), 985-986.

[5] Ibid., 165.

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