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Metaphysical features in john donne's poetry
Metaphysical features in john donne's poetry
Metaphysical features in john donne's poetry
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Donne is Innocent
As William Wordsworth so rightly said, “Poetry is the first and last of all knowledge-it is as immortal as the heart of man”. Its themes are the simplest experiences of life: sorrow and joy, love and hate, peace and war. Yet they are equally the boldest formations, the most complex classifications and studies of reason if the poet is able to carry sensation into these poems, forming them into passionate experiences through vivid and moving imagery. For uncertain or inexperienced readers not prepared for understatement and subtleties, Donne’s poetry acts as a vivid recruiting device. Such readers need to be grabbed by the shoulders and shaken by the strenuousness of Donne’s metaphysical conceits in order to truly delight in the style and theme of a poem. Donne’s far-fetched analogies that challenge ordinary logic are enjoyable to readers, much like solving a challenging puzzle. While other poets may charm or touch hearts with their simple pleasure, Donne is a poet who truly teaches and delights through the work he gives his reader. His style thrills readers who solve his puzzle and are inducted into a secret society of theme and meaning. Though his dazzle and extravagance are not for the uncommitted, as his work requires some research (cosmology, cartography, contemporary politics, law, logic, physiology, etc.), his poetry is united by a sense of urgency of mind and spirit. Though Ben Johnson predicted Donne’s poetry would perish for want of “being understood”, it is this very want that results from his use of the metaphysical that allows him to effectively teach and delight his audiences.
In T.S. Eliot’s support of metaphysical poets, he pointed out that, “Our civilization comprehends great variety and comple...
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...ecurrent and startling as those of phrasing. Donne experiments with rhythmical effect a he does with conceits and words. The thought in his poetry is not the primary concern but the feeling. It is this very feeling , a delight in his conceits, and a new understanding of what the conceit is expressing and teaching, that he successfully imparts in his readers. The central theme of his poetry is his own intense personal dispositions, as a lover, a friend, a psychoanalyst of his own experiences, worldly and religious. Classical poetry cannot unify these experiences; it is John Donne’s use of the metaphysical that allows him to present his poetry as a whole experience, and to show feelings as they are. This technique proves him not only successful in teaching and delighting audience, but achieving both so effectively that they have the ability to affect readers deeply.
In order to better understand Philip's critique of Donne within the lines of her poetry, a reading
Williamson, George. A Reader's Guide to T.S. Eliot; a Poem by Poem Analysis. New York:
Spurr, David. Conflicts in Consciousness: T.S. Eliot’s Poetry & Criticism. Urbana: U of Illinois P. 1984.
The metaphysical era in poetry started in the 17th century when a number of poets extended the content of their poems to a more elaborate one which investigated the principles of nature and thought. John Donne was part of this literary movement and he explored the themes of love, death, and religion to such an extent, that he instilled his own beliefs and theories into his poems. His earlier works, such as The Flea and The Sunne Rising, exhibit his sexist views of women as he wrote more about the physical pleasures of being in a relationship with women. However, John Donne displays maturity and adulthood in his later works, The Canonization and A Valediction: Forbidding Mourning, in which his attitude transcends to a more grown up one. The content of his earlier works focused on pursuing women for his sexual desires, which contrasts heavily with his latter work. John Donne’s desire for physical pleasure subsides and he seeks to gain an emotional bond with women, as expressed in his later poetry.
iv[iv] Helen Gandner, ed., John Donne: A Collection of Critical Essays. (Englewood Cliffs: Prentice Hall, 1962) 47.
Because Donne describes the connection between the body and union with God in the form of a poem, Donne is able to evoke his readers. Unlike Augustine 's readers who just read of Augustine’s anguish and experience, those who read Donne 's poems actually experience anguish, frustration, and ultimately the unavoidable reliance one has on God, which most Christian followers eventually experience on the road to redemption. Furthermore, writing in a Petrarchan sonnet form, Donne provides an alternate meaning to Augustine’s medieval concept of the souls’ journey to unity with God. In the examination of Donne’s language, which is permeated with many emotions, Donne introduces the new idea that the journey to redemption involves not only a movement away from loving sin but a movement towards loving oneself so that one is not afraid to be loved. In other words, Donne introduces—through his diction—that the process of redemption involves self-love, which will, in turn, allow one to accept God’s already existing
In both ‘The Sun Rising’ and ‘The Good Morrow’ Donne presents the experience of love, in a typical Metaphysical style, to engage his reader through sharing his own experiences. These poems show distinctive characteristics of Metaphysical poems which involve colloquial diction, drawing inventive imagery from unconventional sources, passionately analysing relationships and examining feelings. Donne presents the experience of love through conceits, Metaphysical wit, language techniques and imagery, in a confident tone using logical argument. The impact of Donne’s use of direct and idiomatic language shows the reader how he feels about a woman and ultimately love.
John Donne’s poems are similar in their content. They usually point out at same topics like love, lust, sex and religion; only they are dissimilar in the feelings they express. These subjects reflect the different stages of his life: the lust of his youth, the love of his married middle age, and the piety of the latter part of his life. His poem,’ The Flea’ represents the restless feeling of lust during his youthful days but it comes together with a true respect for women through the metaphysical conceit of the flea as a church in the rhythm of the sexual act.
John Donne will not accept death as the finale, his religious conviction supports in the belief of eternal life proceeding death. Throughout the poem Donne’s main purpose was the personification of death, his use of figurative language gave death humanistic characteristics and made death vulnerable and unintimidating. The structure of three quatrains and a couplet for the poem allowed for easier understanding of the context because the layout and rhyme scheme helped the poem flow and also revealed the tones. The imagery of death described by Donne breaks down death’s pride and bravado, as well as shine an encouraging light past the process of dying, on to the hope of delivery to eternal life. Each element played a significant role in the interpretation of the paradox of the poem, that ultimately death is not the universal destroyer of life.
John Donne delivered, like all of the other great poets of the renaissance era, an invaluable contribution to English literature. However, it is the uniqueness of this contribution that sets him apart from the rest. This statement seems somewhat ironic when one analyses the context of his life and the nature of his writing, for Donne is clearly the rebel in English poetry. He is the one poet that deliberately turned his back to the customs and trends of the time to deliver something so different to the reader that he will be remembered forever as a radical and unconventional genius. This is most probably the way that he would have liked to be remembered.
John Donne's use of deep religious themes, unique poetic devices, and vivid imagery create a stunning and convicting poem. Donne's talents are on full display as he moves through each line with such beauty and simplicity. One can easily imagine his sorrow and pain as he penned the words of this poem and poured his heart into it. Donne's work reminds readers of the sorrow of sin, the necessity of forgiveness, and the hope of restoration. Although he focuses on anguish and sorrow, his message is truly one of joy and hope. All who take his words to heart find internal peace and rejoice in the mercy of their
Donne’s approach to the topic plays an important role in the result in which the poem ended. Instead of being utterly romantic and persuading his lover in a kind and tender way, he is straightforward and not afraid to ask of her what he wants. To a certain extent the metaphor of a flea can be deemed as logical in the sense that if a flea bit them both their blood would have already been shared. In this poem Donne breaks the barriers of Petrarchan poetry when using metaphysical wit and conceit to portray his feelings making metaphysical poetry much more interesting and challenging.
"My name engraved herein/Doth contribute its firmness to this glass" (1-2). It is a small but exquisitely considered act - a man carefully etches his name into a window, hoping to preserve his identity for future generations. Immediately, sensory details flow into my mind at the thought of such a momentous event. The precise scratch of the tool, the small flakes of glass that chip away, the beams of sunlight backlighting my own name in blinding pinpoints of sharp white light - all ignite a visceral feeling in the depths of my consciousness. By basing "A Valediction of my Name, In the Window" around the instinct for self-preservation, John Donne forces me to immediately sympathize with the struggle for remembrance. Just as my interpretation of the poem shifts outward from a simple physical act to a battle for posterity that has consumed humanity through all generations, Donne's description of this single-man struggle quickly moves from the physical to the metaphysical- he believes that he "contribute[s] his firmness" (2) to the glass by scrawling his name, hopes that his lover's eye will see a glimmer from her beloved's name more impressive and stunning than the myriad reflections of precious stones, and suggests that in the carving "you see me, and I am you" (12). Now once again I must force myself to take a leap of faith off the precipice of poetical interpretation, by accepting that one can find deeper meaning in the carefully scratched letters of a name in a window. Or, is it the instinct for preservation that Donne holds to be a pool of deeper meaning? After two stanzas, the author's well-formed conceit has already wrestled my mind into conf...
Granted that Donne's personification of God reduces the deity from an almighty force to a human archetype, divinity is not undermined. The metaphoric figures of inventor, ruler, and lover, each retain specific skills and purpose, but can not compare to the Christian suggestion of God's role and strength. However, the presentation of striking, violent imagery charges the poem with a sense of power and complete domination, and allows the image of God to transcend his designated human forms. Through the projection of life's frailty, powerlessness in captivity, and sexual
The metaphysical poets have immense power and capability to wonder the reader and cajole inventive perspective through paradoxical images, subtle argument, innovative syntax and imagery from art, philosophy and religion implying an extended metaphor known as conceit. The term “metaphysical” broadly applied to English and European poets of the seventeenth century was used by Augustan poets John Dryden and Samuel Johnson to reprove those poets for their “unnaturalness”. John Dryden was the first to use the term metaphysical in association with John Donne as he “affects the metaphysics.” Goethe, likewise, wrote, “the unnatural, that too is natural” and metaphysical poets are studied for their intricacy and originality. It will not be irrelevant and absurd to say, “Metaphysics in poetry is the fruit of the Renaissance tree, becoming over-ripe and approaching putrescence” (C. S. Lewis). Scholars described the characteristics of metaphysical poetry from different point of view. They, in fact, lay out the essence of metaphysical poem, as does R.S. Hillyer to call “ Loosely, it has taken such meanings as these--metaphysical poetry as difficult, philosophical, obscure, ethereal, involved, supercilious, ingenious, fantastic and incongruous.”