The blending of witty and subtle remarks with emotion and feeling exposes John Donne’s scholasticism as a Metaphysical poets and brings the whole of experience into his poetry in which profound interest of experience can be analyzed to meet up the psychological curiosity of writing love and religious poetry. Actually Metaphysical poets wanted to do something unique that’s why they separated themselves from Spenser and Elizabethans poets. In his poem “A Valediction: Forbidding Mourning”, Donne deals with conjugal love. While consoling his wife, the speaker argues that the parting can’t harm their love because their love is the love of souls. Similarly “Batter my Heart” is full of paradoxical statements.
Abstract This paper describes the poetry of a well-known poet JOHN DONNE, in respect to his combination of love and religious poetry in the context of his metaphysical poems. The main themes of his poetry always aroused from the thought of ecstasy. In his poetry we can find a definite link between human love and divine love. He truly describes how the two souls in love depart from their bodies during their physical union and spiritually join together before returning to their actual bodies. This union purifies them and grants them spiritual satisfaction and fulfillment.
“Ars Poetica” directly contradicts this Imagist principle, yet manages to teach it at the same time. McLeish opens his poem with the phrase “a poem should be”, and continues to repeat the phrase in lines 7, 9, 15, and 17. The repetition of the word “be” evokes the image of life, emphasizing the idea that a poem is indeed a being; however, repetition, according to McLeish’s principle and the meaning of “Ars Poetica” is a conflicting literacy device within a poem. The most obvious contradiction appears in line 5, “A poem should be wordless”. If a poem “should be wordless” why repeat the phrase “a poem should be” in that very line, or at all?
William Blake and William Wordsworth encounter concepts of innocence throughout their poetic experiences., but from different points of view. From Wordsworth’s “Tintern Abbey” to Blake’s “Songs of Innocence”, they portray different realisations with the concept of innocence. “Tintern Abbey” produced a literary revolution as great poets such as Plath, Boland and Yeats were influenced to write because of “Tintern Abbey”. Wordsworth kick started the beginning of what we know as modern poetry. Wordsworth discusses the alienation of the struggles associated with childhood, however Blake uses pastoralism to reverse the oppression which he believes the Bible portrays.
Twentieth-century American poet Wallace Stevens has been a great challenge for the many critics that studied his work. Stevens is not an easy poet to understand and his poems are complex and tangled. Stevens’ poetry can be referred to as “meta poetry” since it involves an investigation into its own rules, its potential uses, how it works, what it does and what it is capable of. His poems are often aware of their own existence and discuss the idea of poetry as well as the process of writing poetry. In his book Wallace Stevens’ Supreme Fiction: a New Romanticism, Joseph Carroll closely studies Stevens’ poetry and prose in relation to Romanticism.
The Spiritual Passion of Emily Dickinson Witnessed in Her Life and Poetry D. Ans Angel Dr.M.Natarajan PhD Research Scholar Assistant Professor Department of English and Foreign Languages Department of English and Foreign Languages Alagappa University Alagappa University Karaikudi Karaikudi Emily Dickinson, who always viewed as a rebel against religion orthodoxy by critics, too wrote on spiritual life. The outside world condemns her to be unconventional; her inner experience with the word of God shows her true love for Almighty. She is a practicing spiritualist. Most of her poems talks of the union of human soul with God and the eternal life. The objective of
Blake’s theory about imagination and vision, are the main center of his aesthetics, religious value and the inspiration to his poetry. His insistence on considering imagination as the inwardness of his literary creation and the motive force of human life that’s unprecedented had put him in the position of forerunner in the English Romantic period. “The Poetic genius is the true man.” (Blake 9) In All Religions Are One and There Is No Natural Religion Blake had claimed that the drive of eternity and the fountain of vitality in ordinary life is - imagination. The faculty of imagination in Blake had already transcended the limitation of perception and percipience, and it allows him to bring his own poetics, mythology and religion into coalescence. Later in Jerusalem, Blake had again claimed the significance of imagination.
The word ‘metaphysics’ was first used by John Dryden in his Discourse on Satire (1693). Instead of paying tribute to Donne, Dryden criticizes that Donne “affects the metaphysics, not only in his satires, but in his amorous verses, where nature only should reign” (Dryden). The way Donne employed to argue and persuade in his love poems is perhaps what Dryden deems inappropriate. Samuel Johnson, a poet and literary critic, also took on the term and extended Dryden’s charge in his his book Lives of the English Poets. Johnson criticizes metaphysical
According to the British biography, Crashaw reflected little of the contemporary English metaphysical poets, adhering, rather, to the flamboyant imagery of the continental Baroque poets. Crashaw used conceits to draw analogies between the physical beauties of nature and the spiritual significance of existence. Crashaw’s verse is marked by loose trains of association, sensuous imagery, and eager religious emotion. The selection I have chosen for the essay assignment is “On the Wounds of Our Crucified Lord” by Richard Crashaw. I think this poem contributes to our understanding of 17th century poetry by first expanding on the metaphysical conceits that seventeenth century poetry is prominent for.
He devoted solely to the development of his unique spiritual reality. His persuasive and appealing essay on spirituality, ‘The Renaissance’ stands the test of the time as it embraces all humanity transcending caste, creed, and nationality and its uniqueness lies in its applicability to all mankind. The primary determinant of the choice of the subject in his poetry is the spirituality. It is the master key of the divine spark. He magnifies the great Indian spirit for its analytical frame of mind, its treatise towards spiritual poles of life.