The term “Metaphysical Poet” was first used by John Dryden and later coined by Samuel Johnson in the 20th century. The term was used for the poets of the 17th century, it was a period of intense ferment in all areas of life — religion, science, politics, domestic relations, culture. Metaphysical literally means to transcend above or beyond the physical world in order to gain perspective. The term permanently got associated to poets like John Donne, Andrew Marvel, Henry Vaughan, Richard Crashaw, and George Herbert. Their writings were a deliberate reaction against the 16th century verses which were smooth and had a sweet tone. The Metaphysical Poets, therefore, adopted an uneven, rigorous and energetic tone and were concerned with man’s experience; …show more content…
Metaphysical conceit as defined by Helen Gardner is “heterogeneous ideas yoked by violence together”. They used rather strange imagery, frequent paradoxes and extremely complicated thought. The poets exploited all knowledge to find “dissimilar images”. It was a response to Petrarchan conceit, which was type of conceit used in love poems. The metaphysical were tired of clichéd comparison of eyes to sun or cheeks to apples, and therefore, developed a much more subtle and intellectual metaphysical …show more content…
They used very vivid imagery in the poems, besides being richly sensuous. For example in “The Bermudas” the poet uses the images of the bright oranges that shine in the shade of trees “like golden lamps in a green night”. The pomegranates are described richer than the jewels. The islands are imagined as “riding the ocean’s bosom”. “The listening winds” receive the song being sung by the pilgrims. The phrase, “the watery maze” is by itself admirably as conveying the idea that the pilgrims could have been lost on the sea, not knowing the direction in which to sail. One of the most vivid images is that of the whales which seem to carry the ocean upon their backs but which can be destroyed by the power of God: “He the huge sea-monsters wracks,/ That lift the deep upon their backs.”
The imagery in “The Garden” is very pastoral, it could be a reference to the garden of Eden. Unlike other metaphysical poets, Marvell derives some of it from classical reference, such as the myths of Apollo and Pan. The speaker then presents an image of his soul detaching from his body, but remaining in the garden. The image suggests that during the soul’s time on Earth, it is possible for it to transcend some of the physical body's limitations, as we see in the speaker's previous contemplation of a “green thought in a green
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One of Andrew Marvell’s techniques was metaphysical poetry, e.g. ‘vegetable love should grow’ and things contrasting between the physical and spiritual.
The garden is the vehicle in which the narrator reveals her reluctance to leave behind the imaginary world of childhood and see the realities of the adult world. The evidence supporting this interpretation is the imagery of hiding. The narrator uses the garden to hide from reality and the
“The Sound of the Sea” is a sonnet by Henry Wadsworth Longfellow, describing the sounds of the sea and relating it to human inspiration. Through only auditory images of the sea and other powerful natural forces, Longfellow effectively alludes to the nature of human inspiration. Through detailed and sensory imagery, Longfellow communicates the subtle details of the human soul and how inspiration functions.
To elaborate, the reader can not truly hear what is taking place in the poem, but does get a sense of being able to hear what they are reading. For instance when the speaker says “While his gills were breathing in” (22), the reader can almost hear the fish breathing. The speaker again stimulates the auditory senses when she says “and a fine black thread, / still crimped from the strain and snap” (58-59). Again the reader can virtually hear the sound of the line snapping. The next aspect of imagery that needs to be examined is the sensory imagery. An excellent example of sensory imagery is found when reading the lines “It was more like the tipping, / of an object toward light” (43-44). These lines can give an almost unbalanced feeling to the reader as they conceptualize these words. Imagery is not the only important element used in this poem. As stated earlier, irony is an important component involved in “The Fish”.
19. This quote is referring to “the Garden” often mentioned throughout the text, whereby it was set up by Wills’ mother in order to fulfil the previous aspirations of creating a veggie patch created by Will’s Deceased Father and herself. However, this initial idea gradually transforms into a setting which serves as a connection between Will and his Mother. In correlation strengthening their relationship and also creating a source of relief when dealing with grief, in order to better bond with their selves. Therefore, the Author symbolises “the Garden” as a place of healing and growth which can also be correlated to the idea of growth in a plants life seen in the Veggie
This is to give a vivid imagination to the reader. At the end of the story the narrator makes some vivid similes such as “The third wave moved forward, huge, furious, implacable. It fairly swallowed the dinghy, and almost simultaneously the men tumbled into the sea”(212). Here he is speaking of the waves as if they were human by stating they are “furious” and “fairly swallowed the dinghy”. Once rescued the narrator describes the night as follows: “When it came night, the white waves paced to and fro in the moonlight, and the wind brought the sound of the great sea’s voice to the men on the shore, and they felt that they could then be interpreters.”
The author’s metaphysical format brings together philosophical and religious issues, which are brought out by the use of paradoxes and conceits. For instance, death is compared to as a “slave” that brings the “soul’s
Metaphysical poets use a lot of elaborate and extended comparisons. They wrote energetic and vigorous poems that went against the common literature of the time. There are
It’s easy to tell that the ocean is a mysterious and isolating place from all of the tragic tales we hear from sailors both real and fictional. Samuel Taylor Coleridge’s “The Rime of the Ancient Mariner” and an anonymous author’s “The Seafarer” are quite similar in that they both revolve around said tragic tales told by sailors. However, there seem to be more commonalities between their themes, tones, and messages rather than their seaward-bound settings. But before we can discuss these similar settings and deeper themes, we have to tackle their origins.
The speaker feels that faith has disappeared and has separated her or him from the "ebb and flow" of life. This lost faith is compared to a sea that is very similar to the sea described in the first stanza. Words of lightness and beauty are used once more. The shore "lays like the folds of a bright girdle furl'd." There is a sense of encompassing joy in this phrase. This bright and joyful image is then contrasted by the last five lines of the stanza. "The Sea of Faith" has now retreated, like a tide withdraws from the shore. It is interesting to note the similarities and differences between the words of these five lines and the words from the first stanza. The sweet "night-air"becomes "the night-wind," and the cliffs that were once "glimmering and vast" are still vast, but only dreary edges. The sea that was "round" and "full" has now left the world empty and exposed. Similarly, the speaker has lost his faith and feels alone and vulnerable.
Unlike the wandering narrator, the seafaring narrator focuses his descriptions of the community that is present in nature. The seafarer the utterly rejects the notion that a “sheltering family / could bring consolation for his desolate soul” (25-26). This “sheltering family” (25) that the seafaring narrator alludes to in this line is the exact form of close-knit family that the narrator in “The Wanderer” laments for desperately. While the seafaring narrator offers striking similar descriptions of the landscape being “bound by ice” (9), he does not focus on these descriptions to dwell on the loss of an earthly community. Instead, the narrator in “The Seafarer” finds the landscape that he inhabits wonderfully abundant with natural — even spiritual — elements that are commonly associated with an earthly community. In the barren landscape, the seafaring narrator discovers “the wild swan’s song / sometimes served for music” (19-20) and “the curlew’s cry for the laugher of men” (20-21). These vibrant and vivid descriptions of the natural world that the narrator discovers in the harsh,
The style of writing is quite repetitive; this is a typical trait of Ernest Hemmingway. It gives sense of rhythm to the text. “Anyway, I want a cat,’ she said, ‘I want a cat. I want a cat now,” or, “The sea broke in a long line in the rain and slipped back down the beach to come up and break again in a long line in the rain.” The last quote is beautiful. It is simple and minimalistic. Hemmingway could easily have used many adjectives to describe the sea, but he chooses to use verbs and repetition, to emphasize the style of