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The Metaphysical Poets - study guide (Part 1)

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Post by Admin on Sun Dec 09, 2007 11:24 pm

The Metaphysical Poets - study guide
What is a metaphysical poem?
Love in the poems
The poems' arguments
Comparing the poets
Themes and subjects
Stanzas and poetic form
Preparing for exams
The poems classified by subject
Poems to compare

This study guide has been written for students taking GCE Advanced level English literature. It is suitable for undergraduates and the general reader who is interested in the study of poetry. This guide was originally written to cover a selection of poems prescribed as a set text for exam, but can be used as a way in to the study of metaphysical poetry generally. The poems considered explicitly here are these:
• by John Donne, The Good-Morrow, The Sunne Rising, The Anniversarie, The Canonization, A Valediction Forbidding Mourning and A Nocturnall upon S. Lucies Day
• by George Herbert, Jordan (I), The Pearl, The Collar, Discipline and Love (III)
• by Andrew Marvell, The Coronet, Bermudas, To His Coy Mistress, The Definition of Love and The Garden
• by Henry Vaughan, The Retreate, The World, Man and “They Are All Gone into the World of Light”
On an Advanced level course you should study your chosen text (here a range of poems) in very close detail. In preparing for an exam you need to learn to see the whole wood, rather than look at individual trees. Detailed “notes” on poems or line-by-line “cribs” will not be given here. If you want such commentaries they can be found in,for example, John Donne and Eight Metaphysical Poets (both published by Heinemann) and in A Reader's Guide to the Metaphysical Poets by George Williamson (Thames and Hudson).
If you want a close reading of the work of one of these poets, then try my guide to the George Herbert. Click on the link below to open this.
• Go to guide on George Herbert's poetry

What is a metaphysical poem?
The term "metaphysical" when applied to poetry has a long and interesting history. You should know this, but the information in Helen Gardner's Introduction to The Metaphysical Poets (Penguin)is more than adequate. Luckily, you have no time in an exam for a lengthy discussion. The examiner wants to see you discuss the text.
Metaphysical poetry is concerned with the whole experience of man, but the intelligence, learning and seriousness of the poets means that the poetry is about the profound areas of experience especially - about love, romantic and sensual; about man's relationship with God - the eternal perspective, and, to a less extent, about pleasure, learning and art.
Metaphysical poems are lyric poems. They are brief but intense meditations, characterized by striking use of wit, irony and wordplay. Beneath the formal structure (of rhyme, metre and stanza) is the underlying (and often hardly less formal) structure of the poem's argument. Note that there may be two (or more) kinds of argument in a poem. In To His Coy Mistress the explicit argument (Marvell's request that the coy lady yield to his passion) is a stalking horse for the more serious argument about the transitoriness of pleasure. The outward levity conceals (barely) a deep seriousness of intent. You would be able to show how this theme of carpe diem (“seize the day”) is made clear in the third section of the poem.
Reflections on love or God should not be too hard for you. Writing about a poet's technique is more challenging but will please any examiner. Giving some time to each (where the task invites this), while ending on technique would be ideal.
Here are some suggestions as to how to look at the detail of individual poems under a very broad heading.

Love in the poems
In Marvell we find the pretence of passion (in To His Coy Mistress) used as a peg on which to hang serious reflections on the brevity of happiness. The Definition of Love is an ironic game - more a love of definition let loose; the poem is cool, lucid and dispassionate, if gently self-mocking. So you can move on to Donne, in whom passionate sexual love is examined with vigour and intensity. There are far too many suitable poems to consider all in detail, but The Good-Morrow, The Sunne Rising and The Anniversarie belong together, while A Nocturnall, upon S. Lucie's Day gives the other side of the coin. There is positive celebration of life in The Good Morrow and the others, while in the Nocturnall we have the examination of complex negativity.
In A Valediction, Forbidding Mourning the argument is not logically persuasive, but the cleverness and subtlety of Donne's method are diverting - an intelligent woman might be comforted. She cannot change the fact of the lover's going, but the poem is evidence of the integrity of the love he has professed hitherto.
Both Herbert and Vaughan address man's love of God, while Herbert, and Marvell (Bermudas), consider God's love of man. Herbert considers man's duty to God in The Collar and The Pearl as does Marvell in The Coronet.
Eternity and man's life in the context of this, is the explicit subject of all of Vaughan's poems in the selection, but is considered by Herbert in The Flower and, in a wholly secular manner, by Marvell in To His Coy Mistress.
In terms of the whole poetry of these four, this small selection accurately reflects the arguably narrow preoccupation of Herbert and Vaughan with religious questions, and the great variety of Marvell.
The selection only of love poems is partly misleading in Donne's case. He wrote a great deal of devotional verse, much of it very good, but his most striking achievements are in the Songs and Sonets. Herbert, of course, is not narrow - he is concerned with man's whole life in relation to God. Vaughan is more problematic - his preoccupation with his own salvation and his conviction that most of mankind is damned are less attractive qualities. He is fanatical where Herbert is tolerant.

The poems' arguments
Looking at the poets' technique should, perhaps, begin with a consideration of argument. In a way all of the poems have an argument, but it is interesting or striking in some more than others.
To His Coy Mistress - the light and the serious arguments in one; the structure "Had we ..." "But ..." "Now therefore ...";
A Valediction Forbidding Mourning - the structure "As ... so" "But ... But" "Therefore" "Such wilt thou be to me ..." and the similarity to this of The Definition of Love (but there are big differences, too);
The World - various follies depicted, with the solution to the supposed puzzle in the final stanza;
Bermudas and The Collar - both use a dramatic form: the puritan sailors' song or the outburst of the rebellious Christian;
The Flower is dramatic, too, but embodies a kind of parable: Herbert sustains both the metaphor and the idea of the speaker as the Christian “Everyman”, examining his relationship with God;
Discipline - the severity of God's wrath is mirrored in the taut, cramped lines - compare this with the “disordered” lines of The Collar.

You can also consider the imagery used by the poets. Do NOT become bogged down in discussion of single images, such as the notorious “twin compasses” in A Valediction Forbidding Mourning.
Consider, rather, the whole range of sources of imagery each uses. Broadly speaking, Donne is eclectic (wide-ranging) and apparently obscure. He did not write for publication, but showed poems to friends whom he supposed to be well-read enough to understand these references. Donne's imagery draws on the new (in the late 16th century) learning of the English renaissance and on topical discoveries and exploration. We find references to alchemy, sea-voyages, mythology and religion (among many other things). Certain images or ideas recur so often as to seem typical: kingship and rule; subjectivism ("one little room an everywhere" "nothing else is"); alchemy - especially the mystical beliefs associated with elixir and quintessence - and cosmology, both ancient and modern (references both to spheres and to the world of "sea-discoverers").
Herbert's imagery, by way of contrast, draws on the everyday and familiar; reason is like "a good huswife", spirit is measured in "drammes" and God's grace is a "silk twist", suffering is a harvest of thorns or blood-letting, Paradise is a garden where winter never comes, severity is a rod and love is God's bow or the host at a banquet. It will be seen, however, that many of these images are found in Christ's teaching, while others (or the same ones) may have acquired religious connotations. The reference to "thorn" and "bloud" in The Collar ironically seem to ignore the conventional religious symbolism of these terms.

Vaughan uses imagery almost exclusively from the natural world which is apprehended with a delight notably absent from his perception of most other people. The clue to this lies in The Retreate where Vaughan notes that "shadows of eternity" were seen by him in natural phenomena such as clouds or flowers. These images are readily understood and beautiful as with the flown bird and the star liberated from the Tomb. With Marvell, imagery is more problematic. Unlike Donne who scatters metaphors freely, Marvell is more selective and sparing. Very often the image is more memorable and striking than the idea it expresses, as with the "deserts of vast eternity", while frequently one finds an idea which cannot be understood except as the image in which Marvell expresses it, as with the "green thought in a green shade". In any case, with all of these poets, the use of metaphor serves, and is subordinate to, the total argument.
You should not leave the subject of technique without considering two poems (Jordan I and The Coronet) in which poetry is itself discussed. Herbert argues for plain-speaking, truth (man's real relationship with God, not a pastoral fiction) and simplicity in a poem in which only the final two lines are simple. Herbert cannot help the cleverness of his verse but time and again concludes poems with praise of simplicity and deprecation of the wit he has just displayed. In The Coronet, Marvell considers whether the poetic skill which has formerly (and culpably) served to praise his "shepherdess" can "redress that Wrong", by weaving a "Chaplet" for Christ.

But, the poet concludes, this is self-deception and vanity, and he ends with a prayer that God will act to remove the "Serpent" (the pursuit, in writing, of the poet's own "Fame" or (self) "Interest" - even if this requires the destruction of Marvell's own ingenious verse - "my curious frame"). In the skilful development of the central metaphor of the garland or "coronet" (appropriate both to the pastoral context and with biblical connotations, especially in associating the temptation to evil with the Serpent lurking in the greenery, Marvell exhibits the complexity, the riddling quality which this poem calls into question, perhaps best shown in the tortuous syntax of the first sentence with its succession of subordinate clauses separating the introductory "When" from the subject and main verb "I seek".

Comparing the poets
All the poets, though they occasionally display erudition (learning) write with fairly colloquial voices. The best-known (and, so, frequently-quoted) examples are Donne's pretended outbursts: “I wonder by my troth ...”; “Busy old foole” and “For God's sake hold your tongue ...” However the simple intimate address to the reader - “'Tis the year's midnight” is no less characteristic of speech.
In Herbert we find equally pregnant openings. There are simple introductory statements which turn out not to be so simple: “Love bade me welcome ”(but what is this love, or who?), “I know the wayes of learning ...”; there are questions: “Who sayes that fictions onely ... become a verse?” and tranquil recollections of far from tranquil outbursts: “I struck the board, and cry'd, No more”. And, finally, as Donne addresses his mistress directly, so Herbert speaks, in the second person, to God: “Throw away thy rod” and “How fresh, O Lord ... Are thy returns ... These are thy wonders, Lord of love”.
As in other respects, Marvell exhibits more variety here. We find the second person in To His Coy Mistress. When Donne does this, we can believe, even though his own thoughts are what we learn, that an intimate address to a real woman is intended (in, say, The Good-Morrow, The Anniversarie and, even, A Valediction Forbidding Mourning). But the “Coy Mistress” is conspicuously absent - a mere pretext for Marvell to examine his real subjects - time and the brevity of human happiness.

Themes and subjects
As Donne and Herbert do, Marvell writes much about his own ideas, but with less consistency. There is variety and superficial contradiction in the Songs and Sonets but Donne's preoccupation with love is not in doubt. Herbert's devout manner appears consistently in the poems in The Temple, but To His Coy Mistress is not easily reconciled with Bermudas or The Coronet. Marvell in all of these poems writes with lucidity and wit yet there is often an element of detachment - perhaps best shown in the dispassionate clarity and wordplay of The Definition of Love. It is interesting to note that the simplicity of much of Bermudas (essentially a list of God's gifts to the settlers of the islands, though individual lines contain the usual wit - as in the description of the [pine]apples) is explained by the device of making most of the poem a hymn of gratitude, sung by the English sailors.
Though Vaughan's exclusive religious views may repel us, we cannot ignore the clarity and directness of his style. The syntax is easy to the modern ear and unusual vocabulary is rare. He may open with an exclamation: “Happy those early dayes!” or “They are all gone into the world of light!” The simple understatement employed by Herbert is more than matched in The World which has one of the most striking openings of any English poem:
I saw Eternity the other night.
It could be fairly argued that the poem does not wholly succeed in the account, in detail (no poem could!) of the vision of Eternity which follows, but we can see how Vaughan works in the tradition established for poetry by Donne and for devotional verse by Herbert.

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The Metaphysical Poets - study guide (Part 1) Graduation


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