JOHN DONNE AND OTHERS METAPHYSICAL POETS OF 17TH CENTURY
JOHN DONNE
John Donne was
born in 1575, he started writing in 1590’s through the Jacobean age and died in
1631.Thus he is a conceiting link between the Elizabethan age and Puritan Age.
The age of Donne comprising the last decade of 16th century and
early decades of 17th century is therefore, an age of transition. By
this time the Renaissance impulse has exhausted itself, the Elizabethan zest
for life is gone, and the Elizabethan exuberance and optimism has been
succeeded by a mood of apprehension, disillusionment and defeat.
The poetry of John Donne may be
divided into two groups-(1) Secular poems and (2) Divine poems. The secular
poems comprise:
SONG AND SONNETS
- The Elegies
- The Satires
- Verse Letters
- Epithalamiums
- The progress of Soul
- Epicedes and Obsequies
- The Anniversaries
DONNE RELIGIOUS POETRY
- The Divine Poems
- Holly Sonnets
- Miscellaneous Divine poems
DONNE’S PROSE WORK
- Paradox and Problem
- Biathanatos
- Pseudo-martyr
- Ignatius His Conclave
- Essays in Divinity
- Devotions
- Sermons
GEORGE HERBERT
The age of Herbert’s
poetry is limited; he wrote only on religious themes and nearly all his poems
are comparatively short lyrics. Their quality, however, both in content and
techniques, invites the adjective ‘great’. Herbert was not troubled by
doctrinal doubts, for he accepted whole-heartedly the tenets of Church of
England; nor is there any mysticism in his poems. His own words, in his
last message to Nicholas Farrar, clearly
describe their subject matter. “ A picture of the many spiritual conflicts that
have past betwixt (God and my soul, before I could submit mine to the will of
Jesus, my master, in whose service I
have now found perfect freedom. “ He writes of the problem of resignation and
of his sense of his unworthiness; he explores and analyses as subtly as Donne
his own emotional relationship with God, constantly striving towards the closer
knowledge of God and of himself.
One aspect of
Herbert’s poems, which is likely to strike the reader at once, is that many of
them are direct colloquies with God, expressed in a conversational tone of
remarkable intimacy, which ,however, is controlled with such tact that it never
degenerates into sentimentality. The effect is completely natural because of
Herbert’s ability to suggest the speaking voice. This he does with ease and
range- from the courtly to the vigorously colloquial- that give his verse a
dramatic quality which his fondness for dialogue makes particularly noticeable.
Herbert’s poetry
expresses the combination of intellect and sensibility and the flexibility of
attitude characteristic of metaphysical wit; but his use of imagery and conceit
differs considerably from that of Donne. He does not draw his images from
scientific or scholastic learning, as Donne often does, but from familiar
everyday sources.
Despite his intellectual vigour
and subtlety of Herbert’s poems, they are always graceful and usually lucid,
Moreover, they are expressed in language of a purity which drew from Coleridge
the comment; nothing can be more fine, manly and unaffected.
THOMAS CAREW
Like that of his
greater successor, Marvell, Carew’s poetry combines the influences of Donne and
Jonson and he was fully aware of his debt. His Elegie upon the death of the
Deane of Paul’s , Dr. John Donne, is not only a fine poem but a remarkable demonstration
of critical insight; and his poem to Ben Jonson records the awareness of the
value of careful artistry which the Cavaliers learnt from him.
Carew has neither the
intellectual range and profundity nor the intensity of passion of Donne, and he
does not use Donne’s dramatically forceful, broken rhythms, Though he praises
Donne in Elegie for doing away with the classical impediment, his own work is
strewn with classical references.
Though Carew was a rake and a
frivolous courtier, it must not be assumed that his work is superficial and
merely charming.
RICHARD CRASHAW
The main body
of Crashw’s poetry appeared in steps to
the Temple
(1646), a collection of religious poems to which a section of secular poems.
The Delight of Muses, was attached. The title Steps to the Temple recalls Herbert, but Crashaw was
utterly unlike Herbert as a poet.
Crashaw is a uneven poet, lacking
in discipline and critical sensibility. His feeling is expressed in verse of
great work.
HENRY VAUGHAN
The poems of Silex Scintillants
show that a great development has taken place. The influence of George Herbert,
which Vaughan
acknowledged, is obvious enough in the abundant borrowings of theme, titles,
metrical forms and phrases from the temple.
ANDREW MARVELL
Marvell was not a great
originator such as Donne, or even technically inventive as Herbert was, though
his handling of verse is masterly, Rather, his work reveals the successful
assimilation and fusion of two great
poetic influence of the early 17th
century. It combines the passionate , probing intellectuality of Donne with the
clarity and poise of Jonson.
But Marvall is now admired for
others characteristics as well; characteristics that T.S Eliot had in mind when
he wrote that the special quality of Marvell’s verse is ‘ Quality of
civilization’ of a traditional habit of
life.
ABRAHM COWLEY
Cowley’s great
reputation after the Restoration was due to the fact that though he wrote in
the metaphysical manner so far as he used conceits, puns, argument and so on,
his mind was radically different from Donne’s. He lacked intensity of passion and depth of insight. His wit is a
matter of ingenuity, and his images are usually decorative and fanciful rather
than a means of exploring experience or resolving conflict. He lacks the fusion
of thought and feeling which produces the characteristic metaphysical
intensity, and the experiences he conveys are less complex.
It is in fact, the Augustan
tendency in Cowley which made him so popular in his own time and well into the
eighteen century. He wrote in the metaphysical manner and his work could be
enjoyed as ‘fanciful’ or ‘quaint’ but it
made no demands on Augustan readers such as are made by the poetry of Donne.