Metaphysical and Cavalier 17th century poetry - Essay Example

Comparison and Contrast of Metaphysical and Cavalier 17th Century Poetry Elizabethan age (1558-1603) is unanimously regarded as one of the most productive eras in the history of English Literature, which gave birth to outstanding urge to knowledge and learning in the fields of science, arts, philosophy and others. It is also the case with literary growth that observed unabated progress by the end of 16th and beginning of 17th century, during which the divergent schools of thought appeared on the horizon of literary developments and left indelible imprints of their intellect and creativity on the future generations to come. On the one side, the great William Shakespeare was there to engrave the most magnificent works of his life, and on the other side, different new schools of thought rose to the occasion to introduce innovative dimensions of creativity by dint of their superb observation, distinctive imagination and illustrious talent; the Cavalier and Metaphysical poets are the most prominent ones in this regards. The title Cavalier school was first suggested to the poets belonging to early 17th century, which either had rendered services in support of the Crown (i.e. King Charles I) during the civil war, or had been attached to the royal court in one way or the other. Hence, these poets, with the exception of Herrick, had unflinching allegiance, fidelity and dedication to the royalty, and appeared to be ready to offer services and sacrifices in the Crown’s name. Thus, expressing of unconditional admiration and dedication to the British Crown, in the form of verses, was one of the most distinguished characteristics of the Cavalier group of poets. On account of their leaning towards the King or the court party as against the Puritans or Roundheads, these lyricists-cum-courtiers have come to be classed as Cavalier lyricists. (Singh, 2003) Ben Jonson is considered to be the father of Cavalier school, as almost all the poets of this small group, consciously or unconsciously, idealized his poetic mannerism while producing their works. However, the latter critics and analysts do not see eye to eye with the label of royalists endorsed upon these poets belonging to early seventeenth century. They are 'cavalier' in the sense, not only of being Royalists, but in the sense that they distrust the over-earnest, the too intense. (Skelton, 1960) Like the ‘metaphysical’, the title ‘cavalier’ does not look apposite, for all the followers of Ben Jonson were not the royalists in the true sense of the word; nor were all of these poets the followers of Jonson only. Rather, some of them also imitated Donne’s poetic style and followed them while depicting their imagination in the form of poetry. (Mullik, 2002) Though the critics aptly include Herrick, Carew, Suckling, Townshend, Cartwright, Randolph, Habington, Fanshawe, Waller and Lovelace in the list of Cavalier poets, as all the poets belonging to this school appear to seek inspiration from Jonson and imitated the same characteristics and style while creating their verses, yet they exclude the most important figure i.e. Ben Jonson from the category of Cavalier. It is partly due to the very fact that Jonson had died before the Civil War broke out in 1642, yet he had vehemently admired and supported James I and the royal cause through his services, plays and poems at large. Somehow, affiliation with royalty was not the distinguished feature associated with the Cavaliers. On the contrary, the common factor that binds the cavaliers together is their use of direct and colloquial language, expressive of a highly individual personality, and their enjoyment of the casual, the amateur, the affectionate poem written by the way. (Skelton, 1960) Thus, the Cavaliers broke away with the tradition of abstemiousness by replacing it with ostentation while creating the poetry. Not only had this that they promoted informal style in literature, but also applied the philosophical mode attributed to their contemporary metaphysical poets. The Cavaliers adopted the application of straightforward and informal language of everyday usage , though they did not make any compromise with the sublimity of thought and depth of imagination. In the period between Jonson and Dryden, Herrick is among the most important English lyric poets. By obstinately writing his brisk lyrics even during the bloody and finally cataclysmic war, Herrick preserved the intricacy, wit and wordplay of English Renaissance poetry. (Crofts, 1996) Similarly, Carew is particularly considered to be more metaphysical than cavalier, not only because he observed metaphysical attributes of John Donne in his verses, but also due to the very reality that Cavaliers and Metaphysical share one and the same features while creating various pieces of literature. Led by John Donne, the metaphysical school serves as a revolt against the contemporary literary techniques prevailing in the Renaissance Age, where the authors deviated from the established patterns of sticking to religious traditions and portraying them in their poetry with great religious enthusiasm and fervor. Somehow, metaphysical poets retained the same spiritualism that had been in vogue in the English society, though they intellectualized the religious enthusiasm attributed to the Renaissance authors, and revolted against the unnecessary concentration on apparent warmth and delicacy of words and diction while giving vent to their ideas. Consequently, Platonic and Arcadian mannerism witnessed an imperative decline, and mysticism and supernaturalism got their certain way in art and literature of 17th century. Donne’s poetic diction is certainly distinguished one in theme, style and diction than his predecessors; consequently, a small group of his contemporary poets adopted the same features. He appeared to be well-knitting the imaginative ideas in such a manner that the verses look more supernatural than natural ones in elocution and diction. He has astounding command over exhibiting the similarities between the objects carrying most opposite characteristics. Thus, he pays particular concentration to philosophic portrayal of imaginative scenes that fantasizes the reader by taking him to the region where there exists mysticism in the supernatural environment far from real life. For instance, his Song depicts imagination in such a superb and metaphorical way that the reader explores existence of simile in divergent objects created by nature, as the following lines articulate: Go and catch a falling star, Get with child a mandrake root Tell me where all past years are, Or who cleft the Devil’s foot, Teach me to hear mermaids singing, Or to keep off envy's stinging,… (Lines 1-6) Metaphysical conceit is a unique element applied by Donne in his poems. It is actually making metaphoric comparison between the objects, which had never been in vogue before Donne. Since catching the falling star as well as producing child through the tree mandrake serves as impossible phenomena, Donne has inter-related both these impossibilities along with comparing them with the quite opposite unfeasibility of the return of past years have been spent in one way or the other. This distinguished literary characteristic has frequently been imitated by both the cavalier and metaphysical poets of 17th century. Herrick and Carew particularly observed the same, which can be explored in Carew’s Upon a Riband. The same features of poetry can also be explored in Jonson’s work, as his A Celebration of Charis: I. His Excuse for Loving also makes comparison between quite different objects, commonalities between which appear to be a bit weird: Poets, though divine, are men, Some have lov’d as old again. And it is not always face, Clothes, or fortune, gives the grace; Or the feature, or the youth. But the language and the truth, With the ardour and the passion, Gives the lover weight and fashion. (Lines 5-11) The same depiction of dissimilar objects can be found in the following lines of his Epigram: Thou shouldst be bold, licentious, full of gall, Wormwood, and sulphur, sharp, and tooth'd withal ; Become a petulent thing, hurl ink, and wit, As madmen stones ;  not caring whom they hit. (Lines 3-6) Donne’s metaphysical poetry is aptly compared to the philosophic diction of Dante and Goethe, both of which produced their works in an allegorical manner within the narrow boundaries of their religious beliefs as well as the resolute imagination extracted from the tales narrated in their religious Scriptures. Since Donne also looks imitating his religious beliefs while creating poetry, environment and existence of his supernatural objects belong to the same world he lives in rather than the promised world of Hereinafter, as he draws out in his The Dreame (1633): (For thou lovest truth) an angel, at first sight; But when I saw thou sawest my heart, And knew'st my thoughts, beyond an angel's art, When thou knew'st what I dreamt, when thou knew'st when Excess of joy would wake me, and cam'st then, I must confess, it could not choose but be Profane, to think thee any thing but thee. (Lines 14-20) Another similarity between Donne and Jonson is this that poetry of both these 17th century literary giants is largely lyrical in nature. Though the same characteristic can be found in almost all the poets belonging to both the literary groups under examination, yet it is particularly the case with the leaders of Cavalier and metaphysical schools. Lyrical style in not confined to religious poetry only; on the contrary, amorous verses produced by both the poets are also lyrical in nature. Actually, both these poets were not only highly educated, civilized and cultured, but also had enjoyed high offices in life. Consequently, they aimed to expose their knowledge and dexterity over producing such a refined poesy with the help of their gifted talent and vast experiences of individual and collective life. Metaphysical poets were men of learning and exposure of this proficiency was their whole endeavor. (Dr. Johnson: quoted in Daiches, 1999) Being the true representative and reflection of its era, seventeenth century literature also contains self-centeredness in its fold. Both Jonson and Donne exercised the same self anxieties by fashioning innovative mode of expressions out of their own. It is therefore, Carew’s poems exhibit an incisive awareness of the literary trends initiated by Donne and Jonson during the first quarter of seventeenth century, and reveal something of the aesthetic aims and prejudice of Carew’s contemporaries. (Hannaford 1987) The same can be found while going through Donne’s The Sunne Rising, in which he condemns the sunbeams for entering into his bedroom and eventually disturbing him and his beloved in the morning. Thus, instead of welcoming the red Phoebus, Donne presents a unique idea of censuring the sun for disturbing the lovers. Hence, Donne expresses coarseness and rudeness contrary to the sophistication and politeness strictly observed by his 16th century predecessors. Reacting against the deliberately smooth and sweet tones of much 16th-century verse, the metaphysical poets adopted a style that is energetic, uneven, and rigorous. (Ousby, 1998) However, such kind of so called poetic justice has no association with Jonson, as he never goes against the beautiful and stupendous objects of nature that bestow warmth, light, beauty and energy in life. Consequently, his coarseness remains confined to self criticism rather than rebuking the natural objects. It is therefore Carew presents him tribute in these words: Thy labour'd works shall live, when Time devours Th' abortive offspring of their hasty hours. Thou are not of their rank, the quarrel lies Within thine own verge: (Lines 45-48)   Furthermore, the poems written by Donne serve as the gorgeous blend of passion and feelings, which not only capture the mind and heart simultaneously, but also skillfully illumine the personal consciousness of emotions by elaborating the most trivial experiences of life in a sonorous mode, which can be seen by examining his Aire and Angels as well as The Funeral, in both of which Donne appears to be the most astounding rebel of the religious and social and traditions. On the other hand, this kind of revolt is not the poetic trait of his contemporary Jonson. Though Jonson also applies coarse language like Donne, his style is seldom nagging or complaining as can be traced in his Farewell to the World, where he looks condemning his social and natural environment with his unabated malice and disgust. Thus, the poem endorses the very reality that Jonson has also bid farewell to the traditional sophistication as it was the norm and convention of his predecessor poets and writers. To conclude, it becomes crystal clear that a refined piece of literature is always the true representative of the era in which it has been produced, and vehemently depicts the prevailing norms, values, mores, customs and conventions in a sonorous tone. The same is applied with the poets under investigation. Even belonging to divergent school of thought, and maintaining quite different socio-political environment and religious background as well, Donne and Jonson contain many things in common. Producing of logical and rational lyrics, applying of pageant imagery and admirable intellect, strong and frequent use of conceit and adopting of lyrical style for expressing their thoughts are the common areas of the interests for the poets under investigation. Additionally, description and citing of different objects of nature, including the sun, moon, night, trees, brooks and pastures etc are also a prominent and distinguished feature of their poetry. Somehow, Donne appears to be far more delicate and imaginative while giving vent to his ideas in the poems, which is certainly rare in the Cavalier poet, which is more resourceful and bold in creating the poems while admiring the royalty. Moreover, Jonson is more conscious in displaying mannerism in poetry, which does not match with the free and rebel nature of the Metaphysical poetry giant John Donne. List of References Carew, Thomas. “To Ben Jonson: upon Occasion of His Ode of Defiance Annexed to his Play of the new Inn.” Vincent, Arthur, ed. ‘The Poems of Thomas Carew” London: George Routledge & Sons, Ltd., nd. 90-91. Retrieved from http://www.luminarium.org/sevenlit/carew/jonson.htm Crofts, Thomas. “The Cavalier Poets: An Anthology.” Courier Dover Publications 1996 1-5 Daiches, David. “A Critical History of English Literature” Volumes II & III Ronald Press Company 5th Edition 1999 187-495 Hannaford, Renee. “Expressed by Mee: Carew on Donne and Jonson” The University of North Carolina Press 1987 61 Mullik, Dr. B.R. “A Critical History of English Literature” Urdu Bazaar New Delhi 2002 191 Ousby, Ian. “The Cambridge Guide to Literature in English” Cambridge University Press 1998 623 Skelton, Robin. “The Cavalier Poets.” London: Longmans, Green & Co., 1960. 9-10 Singh, T. “History of English Literature.” Chand publishers New Delhi 2002 98-232 Read More