Features Of Metaphysical Poetry

One of Andrew Marvell’s techniques was metaphysical poetry, e.g. ‘vegetable love should grow’ and things contrasting between the physical and spiritual.

The purpose of this essay is to inspect Lewis Carroll’s poem, Jabberwocky, therefore having a deeper understanding of its meaning and style. The idea is to find the lifting rhythm behind this soul grabbing poetry. The methodology of this

By connecting, considering and concluding the response gained from literary works, the reader can obtain a deeper, analytical understanding of these techniques and tools used by the authors of the various literature forms. For this assignment, I have chosen to compare and contrast two separate literary works from “Journey into Literature” (Clugston, 2010), with similar themes. . The poems I will discuss are “The

An attempt will be made in this paper to look into the different aspects of her poetry

“From the sphere of my own experience I can bring to my recollection three persons of no every-day powers and acquirements, who had read the poems of others with more and more unallayed pleasure, and had thought more highly of their authors, as poets; who yet have confessed to me, that from no modern work had so many passages started up anew in their minds at different times, and as different occasions had awakened a meditative mood.” (2) (paragraph 31).

Within many poems in “Experience” images of religion are juxtaposed to those of “dew” which represents materialism. This is used to show the corruptness of the images of the Church and religion as being simple and ever-present. Throughout the “songs of Innocence” there are not many ongoing themes, there is only one on-going theme, that of the Church being ever-present. In “Experience” many other themes are present, such as materialism, giving a more complex image.

Poets from the nineteenth century vary widely in subject, tone, and form. To remark that poets prior to 1865 are all the same is short-sighted, as it denies the recurring themes and unique individual styles of the poets. Readers can differentiate poets such as Anne Bradstreet, Phillis Wheatley, Edgar Allan Poe, Walt Whitman, and Emily Dickinson through the poetic devices that they use and the recurring themes or interests they have.

After reading some of the poems through our anthology and watching the clips of the movie “Dead Poet’s Society” it validates my thought that poetry allows people aboard and express ordinary things, feelings or thoughts in many different dimensions and perspectives. Often tend people to forget to think outside of the box and by the effect of reading or writing poetry, the person doing the action can have a deeper relation about the subject that he or she is writing or reading, as professor Keating said, “sometime most beautiful poetry can be about simple things like a cat, or flower, or rain”.

To this effect, I shall explore this text’s connections to Nietzsche's key intellectual influences. First, I shall address the impact of the Schopenhauerian view of the world on The Birth of Tragedy, in particular as regards the opposition between Apollo and Dionysus and the nature and goal of tragic art. Subsequently, I shall refer to the influence of Richard Wagner's thought in order to explore the relationship between metaphysics and art as humanity's "true metaphysical

The poetry of T.S Elliot portrays the nature of human conditions through the use of experiences such as alienation and how this leads to spiritual vacancy and paralysis which allow his poems to retain an enduring value. In Both the ‘The Love song of J.Alfred Prufrock’ (Prufrock, 1915) and Prelude (1917), poetic language convey the loneliness of humankind in a physical and moral way. Through a study of Eliot’s poetic forms, features and critical reception, we can better understand the message portrayed.

“The relationship between the energies of the inquiring mind that an intelligent reader brings to the poem and the poem’s refusal to yield a single comprehensive interpretation enacts vividly the everlasting intercourse between the human mind, with its instinct to organise and harmonise, and the baffling powers of the universe about it.”

Poetry is literary work in which the expression of feelings and ideas is given intensity by the use of distinctive style and rhythm, poems collectively or as a genre of literature. It is also a quality of beauty and intensity of emotion regarded as characteristic of poems. Poetry (poem) is something that follows a particular flow of rhythm and meter. Compare to prose, where there is no such restriction, and the content of the piece flows according to the story, a poem may or may not have a story, but definitely has structured method of writing.

Metaphysical poets use startling juxtapositions in their poetry to create a greater significance in their arguments and intended meanings throughout the poem. John Donne is said to be the unsurpassed metaphysical poet, metaphysical poetry being poetry relating to a group of 17-century English poets whose verse is typified by an intellectually arduous style, admitting extended metaphors and comparing very disparate things. In 17th century England new discoveries were being made and social customs such as men being the dominant over women still applied. Through Donne’s poetry we can see that he is goaded and confused by the new discoveries and the social customs avert him from reaching his desires. This is incalculably recognized in his

All words, phrases and sentences (or just simply images) which make up this poem seem to, in Levi-Strauss’ words, “be a valeur symbolique zero [and the signifier] can take on any value required ”, meaning that the images Eliot uses do not have one fixed signification and consequently conjure up thought-provoking ideas that need to be studied (qtd. in

When reading T.S. Eliot’s critical comment, “It is to be observed that the language of these poets is as a rule simple and pure,” one might assume that he was referring to the Romantics (Eliot 2328). Specifically, we could apply this statement to poets the ilk of Wordsworth, who eschewed poetic affectations and “tricked out” language for sentiments that originated and flowed naturally (Wordsworth 270). Yet Eliot hadn’t focused his critical eye there, this time. Rather, he squinted a century back to a lesser-referenced literary group, the Metaphysical poets (Eliot 2328). That the Metaphysical poets and the Romantics share a characteristically simple/natural diction is important. While they are undoubtedly