Introduction
The term ‘Metaphysical’ as applied to
poetry, was first used by Dr. Johnson. He borrowed it from Dryden’s phrase
about Donne, “He affects the Metaphysics.” It denotes, in Sainsbury’s words, “the
habit, common to this School of poets, of always seeking to express something
after, something Behind, the simple, obvious first sense and suggestion of a
subject.” Dr. Johnson’s account of the school is well worth quoting: “About the
beginning of The seventeenth century appeared a race of writers that may be
termed the Metaphysical poets…..The Metaphysical poets were men of learning,
and to Show their learning was their whole endeavor.” It is rightly quoted, “They
Neither copied nature nor life. Their thoughts are often new but seldom
natural. Their wish was only to say what they hoped had been never said before.”
The Metaphysical Poets
The Metaphysical style was established
by John Donne early in the 17th century.Dr. Johnson, who declared him “the
first poet in the world in some things.” He inspired a host of followers,
notable among them were Sir John Suckling, George Herbert, Richard Crashaw, Henry
Vaughan, and Abraham Cowley. Dr.Johnson described the last named as “almost the
last of his race, and
undoubtedly the best.”
Characteristics of the Metaphysical School
(1) Delight in novel
thought and expression
The Metaphysical poets, in Johnson’s
words, desired, “to say what they hoped had been never said before. They endeavored
to be singular in their thoughts and were careless of their diction.” They had
their own thoughts and they worked out their own manner of expressing them. Sir
Walter Scott rightly said, “They played with thoughts as the Elizabethans had
played with words.”
(2) Far-fetched
Images
The Metaphysical poet ransacks all
fields of knowledge, science as well as nature, for comparisons. The purpose of
the technique is not merely to show how seemingly contradictory things can be
yoked together. The true function of the metaphysical conceit, therefore, is to
join the parts of a fractured world.
(3) Affectation and
Hyperbole
Hyperbole has always been a favourite
device of Metaphysical poets. We must, however, remember that in good
metaphysical poetry, the hyperbole is never superficial. It is used
purposively.
(4) Obscurity
The charge of obscurity is somewhat
ambiguous. As Joan Bennett rightly points out, “It is impossible to generalise
how far the reader or the poet is to blame.” The real obstacle to understanding
Metaphysical poetry is its novelty.
(5) Dramatic Realism
While detractors of the metaphysical
style often fault it for its obscurity, its admirers rightly note that it can
just as often be praised for its clarity. The most striking features of
Metaphysical poetry, apart from its brilliant conceits, are the use of direct
speech and dramatic realism.
(6) Learning
Metaphysical work is laden with the
scholarship of its authors. A whole book of knowledge might be compiled from
the scholarly allusions in Donne and Cowley alone.
Conclusion
The fashion of Metaphysical poetry did
not last long after the end of 17th century. For 200 years, it was
almost forgotten. In the beginning of this century, the interest in
Metaphysical poetry is revived. It marks an important movement in English
literature.
