The Art of Metaphysical Poetry

Lect. Zena Dhia Mohammed

    Metaphysical poetry, a term coined by Samuel Johnson in the 18th century, is a body of work by a school of English poets of the 17th century. The poets wrote about intricate and intellectual themes, frequently centered on issues of love, religion, death, and the meaning of life. This poetic form is known for its elaborate metaphors, sharp satire, and clever argumentation, all of which address profound philosophical and theological questions. Some of the most famous poets of this school are John Donne, George Herbert, Andrew Marvell, and Henry Vaughan, each of whom had a unique voice in the creation of metaphysical poetics.

   One of the most characteristic qualities of metaphysical poetry is the employment of the “metaphysical conceit,” a striking and often paradoxical metaphor that links seemingly unrelated objects or ideas to make larger insights into the human condition. In Donne’s “A Valediction: Forbidding Mourning,” for example, he likens the love between two individuals to a compass, an image that stretches the traditional symbolic representations of love to new dimensions. The poem’s conceit creates a connection between the physical and the spiritual, implying that love’s true nature is not physical closeness but the intense connection of souls with one another. This is a metaphysical conceit employed as an intellectual device that is added to intensify the theme of the poem, leading the readers to a better understanding of the feelings or ideas conveyed. 

   Moreover, the Metaphysical poets were renowned for their intellectual involvement with the scientific and philosophical discussions of their era. In poems such as Andrew Marvell’s “To His Coy Mistress,” the poet employs the tools of reason and logic to present a compelling argument that ultimately argues in favor of living life in the present moment. Marvell harnesses the notion of time as an intellectual force that constrains human existence, underscoring the importance of grasping the moment before it eludes our grasp. The poem strikes a delicate balance between the reasoned nature of its argument and the fervent intensity of its language, presenting a critique of both life’s ephemeral quality and the limitations imposed on human longing. In these arguments, metaphysical poets reveal the conflict that exists between human reason and human passion, exploring how they coexist and define each other.

   Metaphysical poetry also struggles with issues of religion and spirituality, often using theological conceits to examine the relationship between the individual and God. George Herbert’s religious poems, such as “The Collar” and “Easter,” exhibit a profound personal struggle with faith. In “The Collar,” the speaker struggles with deep-rooted feelings of frustration and a desire to revolt against God, yet the poem ultimately concludes on a moving note of reconciliation and acceptance. With its language that resembles a conversation with God, the poem exquisitely encapsulates the metaphysical poets’ interests in the complex subtleties of belief and piety. The tension between inner turmoil and religious answers reflects the greater intellectual struggle of humans in an age increasingly torn by the dawn of scientific thought and rationalism, much at odds with established religious thinking.

    Also significant in metaphysical poetry is its exploration of the nature of the human condition and the inevitability of death. The exploration of death and the afterlife is a topic that is often present within the poetry of these authors, employing their poetry to interrogate what exists outside of the natural world. Donne’s “Death Be Not Proud” is certainly the most well-known example of how metaphysical poetry grapples with the subject of death. In this poem, the traditional understanding of death as an unavoidable and mighty force is cleverly undermined as it is rewritten as a lowly “slave” to fate. By tackling death with argumentative and assertive strength, Donne is able to take an ominous and inscrutable topic and make it accessible and, ultimately, triumphally by virtue of the mind and belief of the speaker. 

   For all their intellectual sophistication, metaphysical poets were frequently on the receiving end of criticism for their tone and style, particularly from those who favored the more direct, lyrical poetry of their contemporaries. Critics argued that the metaphysical poets’ love of elaborate metaphors and clever wordplay sometimes resulted in poems that seemed overly complicated or even obscure. Yet the richness and originality of their work have come to be increasingly appreciated in recent literary scholarship as many scholars have come to acknowledge the immense influence of the metaphysical poets on the course of English poetry. 

   Lastly, Metaphysical poetry is a fertile strand in the English literary heritage, a dense and intricate exploration of the human condition. Through their innovative employment of metaphysical conceits, their thoughtful engagement with the philosophical and scientific ideas of their time, and their intense examination of spiritual and existential questions, the metaphysical poets forged a unique corpus of poetry that still engages readers today. Their pioneering style in both form and content ensure that their poems are not only a monumental chapter in the history of literature, but also a testament to the enduring power of language to probe the depths of human consciousness.