Wait a second!
More handpicked essays just for you.
More handpicked essays just for you.
An essay on metaphysical poetry
Don’t take our word for it - see why 10 million students trust us with their essay needs.
Recommended: An essay on metaphysical poetry
Herbert's Metaphysical Poems
In the first portion of The Temple, specifically Perirrhanterium, Herbert prescribes the didactics necessary for the instruction of the catechumen in a simple, straightforward manner. As the reader moves into the main section of The Church, the author’s poetic wit becomes more complex in both its style and depth of topic. Although the starkness of the messages in Herbert’s metaphysical poems is not as palpable as those of the Church Porch, their ability to teach both abstractly and visually affords them a didactic nature much like the parables of Christ.
In basic parabolic structure, the speaker conveys a heavenly message through the simpler and more easily digestible use of an earthly comparison, such as the parable of the sower in Matthew 13, which compares the productivity of seeds to the growth of Christians. Christ presents a divine truth in the basic analogy of a parable, as the OED describes it: “A fictitious narrative (usually of something that might naturally occur), by which moral or spiritual relations are typically set forth, as the parables of the New Testament.” Herbert utilizes a similar strategy in his poetic comparisons, often taking the process a step further by including visual cues to aid the reader in his understanding of the message; as Bloch points out, “his larger purpose…was to teach like the prophets in a nondiscursive way, to present symbols that the reader could experience in all their constrictions and expansions” (206). Three examples of Herbert’s use of the parabolic structure in his metaphysical poems include “Easter Wings,” “Paradise,” and “Heaven.”
The author’s mastery of the metaphysical conceit is evident in each work as he leads the re...
... middle of paper ...
...s. ed. John Tobin. London: Penguin Group, 2004. 38.
---. "Heaven." George Herbert: The Complete English Poems. ed. John Tobin. London: Penguin Group, 2004. 177.
---. "Paradise." George Herbert: The Complete English Poems. ed. John Tobin. London: Penguin Group, 2004. 124.
King James Bible, 1611. New York: Oxford U.P., 1996.
Rickey, Mary. Utmost Art. Kentucky: U. of Kentucky P., 1966. 35-181.
Singleton, Marion. God's Courtier. Cambridge: Cambridge U. P., 1987. 100-02.
Stein, Arnold. George Herbert's Lyrics. Baltimore: Johns Hopkins P., 1968. 248-51
Stewart, Stanley. George Herbert. Boston: Twayne Publishers, 1986. 104-6
Toliver, Harold. George Herbert's Christian Narrative. University Park: Pennsylvania State U., 1993. 61-239.
Vendler, Helen. The Poetry of George Herbert. Cambridge: Harvard U.P., 1975. 222-28.
... Works Cited Everett, Nicholas. From The Oxford Companion to Twentieth-century Poetry in English. Ed. Ian Hamilton.
Doloff, Steven. "Aspects of Milton's 'Paradise Lost' in James Joyce's 'Araby'.," James Joyce Quarterly, vol. 33, (1995) : Fall, pp. 113(3).
Robinson, Edward Arlington. "Richard Cory." The Pocket Book of Modern Verse. New York: Washington Square Press, 1954. 153.
Sund, Judy. "The Sower and the Sheaf: Biblical Metaphor in the Art of Vincent van
Edward Taylor’s Upon Wedlock, and Death of Children and Upon a Wasp Chilled with Cold are similar in their approach with the illustration of how beautiful and magnificent God’s creations are to humankind. However, each poem presents tragic misfortune, such as the death of his own children in Upon Wedlock, and Death of Children and the cold, enigmatic nature of human soul in Upon a Wasp Chilled with Cold. Taylor’s poems create an element of how cruel reality can be, as well as manifest an errant correlation between earthly life and spiritual salvation, which is how you react to the problems you face on earth determines the salvation that God has in store for you.
..., but still pleads for God to "take me in" (ll. 41), and promises to "pay...in happiness" for mercy. Once again, the speaker demonstrates the same desires for physical treasures that he expresses in the first stanza as he asks God to "give mine eye / A peephole there to see bright glory's chases" (ll. 39-40). Even in the God's kingdom, the speaker reveals his humanity as he focuses on ornamentation which starkly contrasts with God's divinity as He has the ability to show love even for sinners.
Waggoner, Hyatt H. "A Writer of Poems: The Life and Work of Robert Frost," The Times Literary Supplement. April 16, 1971, 433-34.
Meinke, Peter. “Untitled” Poetry: An Introduction. Ed. Michael Meyer. 6th ed. Boston: Bedford/ St. Martin’s 2010. 89. Print
Lahiri, Jhumpa. “Hell-Heaven.” The Bedford Introduction to Literature. Ed. Michael Meyer. 9th ed. Boston: Bedford/St. Martin’s, 2011. 638-651. Print.
We have spent a good deal of this semester concentrating on the sublime. We have asked what (in nature) is sublime, how is the sublime described and how do different writers interpret the sublime. A sublime experience is recognizable by key words such as 'awe', 'astonishment' and 'terror', feelings of insignificance, fractured syntax and the general inability to describe what is being experienced. Perception and interpretation of the sublime are directly linked to personal circumstance and suffering, to spiritual beliefs and even expectation (consider Wordsworth's disappointment at Mont Blanc). It has become evident that there is a transition space between what a traveler experiences and what he writes; a place wherein words often fail but the experience is intensified, even understood by the traveler. This space, as I have understood it, is the imagination. In his quest for spiritual identity Thomas Merton offers the above quotation to illustrate what he calls 'interpenetration' between the self and the world. As travel writers engage nature through their imagination, Merton's description of the 'inner ground' is an appropriate one for the Romantic conception of the imagination. ...
While we possess thee, thy changes ever lovely, thy vernal airs or majestic storms, thy vast creation spread at our feet, above, around us, how can we call ourselves unhappy? There is a brotherhood in the growing, opening flowers, love in the soft winds, repose in the verdant expanse, and a quick spirit of happy life throughout, with which our souls hold glad communion; but the poor prisoner was barred from these: how cumbrous the body felt, how alien to the inner spirit of man, the fleshy bars that allowed it to become slave of his fellows
4) Marshall, William. From A Review of the Landscape, a Didactic Poem, 1795. in The Sublime: A Reader in British 18th Century Aesthetic Theory. Ed. Ashfield, Andrew and de Bolla, Peter. Cambridge: Cambridge University Press, 1996.
...t, Stephen, gen. ed. “Paradise Lost.” The Norton Anthology of English Literature. 9th ed. Vol. 1. New York: Norton, 2012. Print. 36-39.
Throughout the text of Milton’s Paradise Lost, we can see many instances of binary relationships connecting separate conceptual ideas. The construction of "authorship" in the poem exists as a good example of just such a relationship. This theme incorporates two very different ideas in the poem, and is central to the understanding of issues concerning the creation and use of power.
For this reader, Hopkins has chosen the favorable mode of expression. The poetics of "The Windhover" reverberate with the resonance of the fundamental principle of the gospel: "The Windhover" represents "what oft was thought, but ne'er so well expressed."