Analysis on the Metaphysical Conceit in John Donne's Poems

Total Page:16

File Type:pdf, Size:1020Kb

Analysis on the Metaphysical Conceit in John Donne's Poems SSRG International Journal of Humanities and Social Science (SSRG-IJHSS) – Volume 6 Issue 5 – Sep – Oct 2019 Analysis on the Metaphysical Conceit in John Donne‟s Poems Zhang Li#1, Wang Ce*2 #English Department, North China Electric Power University 689 Huadian Road, Baoding City, Hebei Province, People's Republic of China. Abstract conceit. However, the man who first put forward the In 17th century, Metaphysical poetry came “Metaphysical poetry” is not John Donne, is John into existence which adopted the unconventional and Dryden. John Dryden pointed that “He affects the subversive means. John Donne’s poems were Metaphysics in his amorous verses, where nature featured with exquisite conceit, profound meaning only should reign, and perplexes the minds of the fair and unconventionality. The conceits were not in the sex with nice speculations of philosophy, when he stone-cold speculative and philosophical perspective, should engage their hearts that is the origin of but the flowing of inner emotions in peoples’ hearts. Metaphysical poetry[1]. The conceit is an elaborate This thesis explores the inner spiritual meaning by poetic image or a far-fetched comparison of very learning the conceit skills of Donne. I dissimilar things, a witty or ingenious way. The poets blended the images with conceit, allusions, and Keywords — Metaphysical poetry, conceit, thoughts become one. The conceit can present people defamiliarization a new appearance. The conceit is different from the traditional ones. What makes Metaphysical poetry I. INTRODUCTION different is the special conceit. The conceit gives As the representative figure of Metaphysical people totally different feelings while reading the poetry, John Donne played an important role in the poetry. Metaphysical poets regarded that ordinary Metaphysical poetry. Through analyzing the theme and stale can not express the rich connotation and and image of the poetry of John Donne, people can real feeling of life. Metaphysical poets broke the understand the special emotions of John Donne. form and pattern, using unconventional images to Because of the unconventional conceits and manifest the rationality, setting people thinking overstatement, John Donne’s works were castigated deeply and taste the aroma. by many critics. At the beginning of 20th century, the metaphysical poetry received the reassessment. The III. THE METAPHYSICAL CONCEIT IN JOHN poetry of John Donne contain the specific and DONNE’S POETRY disorganized rhythm, colloquial without mincing The conceit in John Donne‟s poetry is words, it makes his poetry full of strongly emotions peculiar and unconventional, so the paper divided the and direct effects. For it is his intelligence, which conceit into following parts: special meaning of the combined sophism and sentiment integrated that ordinary images in John Donne‟s poetry and the made conceits the significant symbol of Metaphysical distortion of the traditional images in John Donne‟s poetry. The Poetry of John Donne is the treasure of poetry. literature of Human. This thesis aims to find another perspective to A. The Special Images in John Donne’s Poetry study the conceits of poetry of John Donne. Through There are many images in John Donne‟s analyzing the skills of expression, people can get a poetry; the images are ordinary and common. comprehensive understanding of novel conceits. However, in John Donne‟s poetry, the images are covered with the mysterious color. It makes the II. METAPHYSICAL CONCITE special meaning of the poetry distinguish from the Metaphysical school is a special poetry school in ordinary meaning. John Donne find a new path to the 17th century in UK. The poets have a strong endow the novel meaning which lifting the inherent rebellious spirit and tended to apart from the meaning. That is the ingenious skill of the traditional love poetry during the Elizabethan period. Metaphysical poets owned. Metaphysical school is not an organized literary group, only the poets have the common point in a) The Mystery of Geometric Circle literary style. Metaphysical poetry characterized by In the poetry of John Donne, geometric unconventional conceits, peculiar rhyme, speculative circle is the important image. Geometric figure have philosophy and frequent use of paradoxes. the mystique associated with the philosophy. It is not Conceit is the main feature of Metaphysical poetry. difficult to find out mysterious figures in his poetry. Most of John Donne‟s poetry has the wit and the The shape of circle gives people a feeling of smooth. ISSN: 2394 - 2703 www.internationaljournalssrg.org Page 95 SSRG International Journal of Humanities and Social Science (SSRG-IJHSS) – Volume 6 Issue 5 – Sep – Oct 2019 In western, geometric circle means perfection, —Death Be Not Proud (lines: 5-8) integrity. No matter where to start, it will come back In this poem, John Donne describe death to its end. So circle also have the endlessness and with the “rest and sleep”, it shows his dauntless spirit loop. In John Donne‟s poetry, he usually link circle on death. John Donne regard death as a short period with compass in his love poems. In A Valediction: of rest and sleep, it shows that death is just a moment, Forbidding Mourning [2], he writes: while the joy after the death is eternal. Death is just a If they be two, they are two so short time for flesh to rest, but the spirit can be free. As stiff twin compasses are two; Death can take away everything, but we need not fear Thy soul, the fixed foot, makes no show that. The dynamic words “rest and sleep”, skillfully To move, but doth, if th‟ other do. modified the death and the poet‟s attitude. In the —A Valediction: Forbidding Mourning (lines: 25-28) poetry Holy Sonnet ⅹⅶ: Since She Whom I Loved In this poem, John Donne compares the feet [2], John Donne showed his contradictory feeling of compass with the relationship of a couple. That is towards death and life. In the former stanzas, he held the ingenious conceit. The feet of the compass is just the optimistic feeling to death, but in latter stanzas he like the wife and husband. The wife is the fixed foot, held the opposite feeling. only the wife fixed in the center, can the circle be Since she whom I loved hath paid her last perfect. The circle shows the perfection and happy debt ending. The feet show the souls of the couple. John To Nature, and to hers, and my good is dead, Donne eulogizes the faithfulness and spiritual love. And her soul early into heaven ravished, Because of the perfection of circle, it was covered Wholly on heavenly things my mind is set. with the color of holiness. In A Valediction of — Holy Sonnet ⅹⅶ: Since She Whom I Loved [2] Weeping , John Donne blended many circle images. (lines: 1-4) On a round ball John Donne showed his optimistic feeling to A workman that hath copies by, can lay his wife‟s death without too mush sorrow. After An Europe, Afric, and an Asia, death, his wife could get rid of the affairs of human And quickly make that, which was nothing, life. John Donne used the phrase “paid her last debt” all; to describe the death, it gave people a feeling of ease So doth each tear and novel. However, John Donne did not ignore the —A Valediction of Weeping (lines: 10-14) death of his wife completely, so the following stanza In this poem, John Donne used a series is: images of circles blended and fused. From round ball But why should I beg more love, whenas to global, from tear to the world, it showed a perfect thou world, a perfect state. Through these images, it also Dost woo my soul, for hers offering all thine: showed the ideal love. The blended images of circles And dost not only fear lest I allow such as a round ball, tear and the globe; these show My love to saints and angels, things divine. the images of circles naturally. A workman pasted the — Holy Sonnet ⅹⅶ: Since She Whom I Loved picture of the earth to a round ball; the ball then from (lines: 9-12) empty became the globe. The image of the circle John Donne could not put all his love for his implied that the mystery and wonder from emptiness wife to God, so he burst into bitter grumble to the to fullness. These images leave people a vast divinity. It shows the contradictory feelings of John imaginary space and profound meaning. Donne to death. In Song [2], John Donne described the death as following: b) The Dynamic Images of Death But think that we More than half of the Songs and Sonnets Are but turn‟d aside to sleep; written by John Donne, are related with the theme of [3] They who one another keep “Death” . Unlike other poets, John Donne‟ attitude Alive, ne’er parted be. towards to death is quite optimistic. John Donne —Song (lines:37-40) regards death as a new birth; people can get immortal Sleep was used by John Donne to describe through experiencing death. That is his attitude the death. John Donne told his lover that regarded his towards to death; the images have the dynamic state. ’ In John Donne‟s poetry, the death has the dynamic death as turning aside to sleep. In John Donne s state and the static state. In this section, the author of poetry, death is often shown by dynamic state, not a static state. In Devotions upon Emergent Occasions the thesis emphasized the dynamic state of the death. [2] In Death Be Not Proud [2], John Donne writes: , John Donne treated death as another state of life. From rest and sleep, which but thy pictures He regarded human beings as the book that created be, by the God.
Recommended publications
  • The Use of Geometric Conceits in Exposition of Love in Metaphysical Poetry *
    IIUC STUDIES ISSN 1813-7733 Vol. – 3, December 2006 (p 45-54) The Use of Geometric Conceits in Exposition of Love in Metaphysical Poetry ∗ Md. Eftekhar Uddin Abstract: The language, used by Metaphysical poets is highly evocative and infused with multi-dimensional meaning. It demands comprehension and sensitivity on the part of the reader to grasp out the inner aspect of a poem. Love, being a universal feeling gets expression through the hands of different poets in different ways. The exposition of love in Metaphysical poems has shaped up in a unique way because of the juxtaposition of geometry in it. Straight line and circular line are the two components of geometry. Straight line being regarded as imperfect one as it has no limit and end is used as a vehicle to convey the imperfection of love in Metaphysical poems. On the other hand, circular line, being treated as a perfect one is used to express a harmonious union of love between human beings and also between God and human being. The article aims at exploring such conflation of love with geometry in the poetic works of John Donne, Henry Vaughn, Andrew Marvell and George Herbert, the four major Metaphysical Poets. Since the origins of time, luminaries of the philosophical, theological and literary worlds have been inspired by two of the most elementary geometric figures, the circle and the straight line, to formulate and express original abstractions on arguably life’s most prevalent and powerful emotion, love. Through the poetic verse of John Donne’s ‘A Valediction: Forbidding Mourning’1and Henry Vaughan’s ‘The World’2 an examination of circular conceits will demonstrate the nature and perceptions of love in the context of the Renaissance.
    [Show full text]
  • American Dante Bibliography for 1959.Pdf
    American Dante Bibliography for 1959 Anthony L. Pellegrini This bibliography is intended to include the Dante translations published in this country in 1959, and all Dante studies and reviews published in 1959 that are in any sense American. The latter criterion is construed to include foreign reviews of Dante publications by Americans. Translations Dante Alighieri. The Divine Comedy. Illustrated by Umberto Romano. Garden City, N.Y.: Garden City Books/ Doubleday and Company, 1959. Essentially a re-issue, omitting the color plates, of the original edition published in 1946 under the imprint of Doubleday and Company. The illustrations retained are line drawings. There is a section of notes to the text, which, though not actually identified, is the translation by Henry F. Cary. Dante Alighieri. The Divine Comedy of Dante Alighieri. I. Inferno. With translation and comment by John D. Sinclair. New York: Oxford University Press, 1959. This is a paperback edition identical to the hard-cover edition of 1948. The translation, in prose, with the original Italian on opposite pages, is based on the critical text of the Società Dantesca Italiana; “the few departures . from that text are limited to readings adopted either in Moore’s or Casella’s texts.” Each canto is very briefly annotated and followed by a “Note,” or commentary. In a preface, Mr. Sinclair acknowledges his indebtedness to major recent commentaries and studies, from Scartazzini to Croce, from which he has quoted freely. There is a short note on Dante’s Hell and a diagram of the punitive system. Dante Alighieri. “The Purgatorio: Canto II, by Dante Alighieri.” Translated by John Ciardi.
    [Show full text]
  • The Metaphysical Poet: John Donne and His Religious Experience in Poetry
    ORIGINAL ARTICLE © UIJIR | ISSN (O) - 2582-6417 June 2020 | Vol. 1 Issue.1 www.uijir.com THE METAPHYSICAL POET: JOHN DONNE AND HIS RELIGIOUS EXPERIENCE IN POETRY DR. MUNA SHRESTHA Assistant Professor of Tribhuvan University, Nepal Mahendra Multiple Campus, Nepalgun, Nepal E-Mail:[email protected] ABSTRACT This paper tries to interpret John Donne’s as a religious poet. His works are better understood through the optic of Biblical knowledge, the backdrop of God’s revelation of Himself. A poet’s heart is filled with sympathy by the Spirit of his Maker and mind is illumined by His Word recognizes a much deeper sense of inspiring reality. In his poems, Donne uses the most effective and intimate of words to express his relation with God. The metaphysical poetry not only explains the existence of earthly things, but also reveals the religious significance of unnoticed or hitherto unappreciated aspects of temporal things. He also portrays satire in his poetry that deal the problem of true religion and it is a matter of great importance to Donne. He argues that it is better to examine carefully one's religious beliefs than blindly to follow any established tradition. Key words: John Donne, metaphysical poetry, religious, God. 1. INTRODUCTION English metaphysical poetry is the richest and most widely ranging in the language. Its style was most enthusiastic in the seventeenth century and it not only brought the best devotional poetry but also the finest lyrics, satires, pastorals and visionary meditations of that era (Edwin Honig). The poets gave the signal to the readers to enter into a new empire of poetry with a sense of attachment and belonging between different objects of nature and human sentiments, feeling and passion.
    [Show full text]
  • John Donne's Art of Conceit
    Journal of Literature and Art Studies, December 2020, Vol. 10, No. 12, 1087-1096 doi: 10.17265/2159-5836/2020.12.001 D DAVID PUBLISHING John Donne’s Art of Conceit LI Zheng-shuan LI Yun-hua School of Foreign Languages, Hebei Normal University, School of Languages and Cultures, Hebei GEO University, Shijiazhuang, 050016, China Shijiazhuang, 050031, China John Donne’s poetry is noted for its use of conceit. The reason why his poems have special charm is not only that he is able to master this rhetorical device skillfully, but also that he has made conceit into a mode of thinking. Therefore, conceit carries his philosophical speculation, love oath and religious piety, and this unique expression produces novel effect of defamiliarization and strengthens the emotional tension of his poetry. Keywords: John Donne’s poetry, defamiliarization Introduction Conceit, which has attracted the attention of many critics, is the most prominent artistic feature of John Donne (1572-1631). T.S. Eliot regarded conceit as a figure of speech. According to him, conceit was the refinement and deepening of a figure of speech which could only be realized by creative thinking (Li, 2001, pp. 24-25). Conceit, being novel, aims to attract readers as a mixture of similes, metaphors, analogies and other rhetorical methods with unique imagery and mysterious thinking. Donne’s conceit is an innovation. He abandoned the traditional rhetorical methods and boldly introduced philosophical reasoning and unique images into metaphor and analogy, thus forming his own unique rhetorical art. The special charm of Donne’s poetry lies not only in his mastery of this rhetorical device, but also in his elevation of conceits to a mode of thinking.
    [Show full text]
  • An Appendix on Criticism of Donne's Writings
    An Appendix on Criticism of Donne's Writings I RESPONSES BEFORE THE TWENTIETH CENTURY The fullest accessible collection of such responses is A. J. Smith's volume John Donne: The Critical Heritage (1975). A slighter selection may be found in F. Kermode (ed.) Discussions of John Donne (Boston, 1962). The 'Elegies on the Authors Death' printed with Miles Flesher's Poems by J.D. (1633) and reprinted by H. Grierson in Donne's Poetical Works (1912) provide an interesting illustration of the 'image' of Donne by the time of his death. R. Granqvist's The Reputation of John Donne 1779-1873 is a useful discussion of the reception of Donne's work in the nineteenth century. Such items allow a reader to chart movemen~s in Donne's reputation from the seventeenth century to the end of the nine­ teenth. They also provide insights into what aspects of Donne's work were of most interest and thereby illustrate both features of taste in earlier centuries and some of the ways in which texts are conditional rather than transcendental. Finally, taken together, such items subvert the once-common view that Donne was essen­ tially re-invented by the twentieth century, which is not to deny that Donne in our time is a rather different figure from the Donnes of earlier periods. II. DISCUSSIONS OF THE EARLY TWENTIETH CENTURY Some useful material is to be found in Kermode' s Discussions (above) and in J. Lovelock (ed.) Donne: Songs and Sonets (Casebook series, 1973). Two documents are particularly important in the history of Donne criticism: Grierson's introduction to his edition of the poems (above) and T.
    [Show full text]
  • The Pennsylvania State University Schreyer Honors College Department of English the Anatomy Of
    THE PENNSYLVANIA STATE UNIVERSITY SCHREYER HONORS COLLEGE DEPARTMENT OF ENGLISH THE ANATOMY OF WIT: COGNITION AND EMBODIMENT IN JOHN DONNE’S POETRY LAURA ELIZABETH DIETRICH Spring 2011 A thesis submitted in partial fulfillment of the requirements for baccalaureate degrees in Premedicine and Economics with honors in English Reviewed and approved* by the following: Garrett Sullivan Professor of English Thesis Supervisor Janet Lyon Associate Professor of English Honors Adviser Nicholas Joukovsky Professor of English Second Reader * Signatures are on file in the Schreyer Honors College. i ABSTRACT The definition of wit that is used in the 21st century is lacking, because it does not consider the richness of meaning inherent in definitions from Renaissance English. This thesis provides an in-depth presentation of the varied meanings of wit, and an exploration of theories surrounding the brain and body in the Renaissance. Overall, the thesis shows that the range of wit is extensive, stretching from a bodily sense to an apt expression. In order to illustrate more fully the ways in which wit functions within poetry, this work examines John Donne, a poet from the Renaissance noted for his wit. Donne uses both conventional definitions of wit and invents new meanings, which enrich the definition of wit in his time period. ii TABLE OF CONTENTS Chapter 1: The Anatomy of Wit in the Renaissance 1 Chapter 2: John Donne’s Famous Wit 11 Part 1: Donne’s Conventional Use of Wit 13 “To Sir Henry Wotton” 13 “The Sun Rising” 15 “Elegy 10: The Anagram” 17 “Holy Sonnet 10” 18 “Meditation 17” 19 Part 2: Distinctively Donnean Wit: Expansions of OED’s Definitions 20 “The Cross” 20 “The Triple Fool” 22 “A Valediction Forbidding Mourning” 24 “The Good Morrow” 27 “The Flea” 29 Conclusion 32 References 34 1 Chapter 1: The Anatomy of Wit in the Renaissance In his essay on the metaphysical poets, Samuel Johnson writes, “wit, like all other things subject by their nature to the choice of man, has its changes and fashions, and at different times takes different forms” (193).
    [Show full text]
  • The Songs and Sonets of John Donne: an Essay on Mutability
    Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1967 The onS gs and Sonets of John Donne: an Essay on Mutability. Barbara Ann Maynard Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Maynard, Barbara Ann, "The onS gs and Sonets of John Donne: an Essay on Mutability." (1967). LSU Historical Dissertations and Theses. 1304. https://digitalcommons.lsu.edu/gradschool_disstheses/1304 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. This dissertation has been microfilmed exactly as received ^ 13,999 MAYNARD, Barbara Ann, 1935- THE SONGS AND SONETS OF JOHN DONNE: AN ESSAY ON MUTABILITY. Louisiana State University and Agricultural and Mechanical College, Ph.D., 1967 Language and Literature, general Please note: Name in vita is Barbara Kehoe Maynard. University Microfilms, Inc., Ann Arbor, Michigan THE SONGS AND SONETS OF JOHN DONNE: AN ESSAY ON MUTABILITY A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of English by Barbara Ann Maynard M.A., Louisiana State University, 1959 May, 1967 FOREWORD The number of poems included in the Songs and Sonets varies from editor to editor; accurate dating of the poems is impossible.
    [Show full text]
  • Metaliteracy & Theatricality in French & Italian Pastoral
    THE SHEPHERD‘S SONG: METALITERACY & THEATRICALITY IN FRENCH & ITALIAN PASTORAL by MELINDA A. CRO (Under the Direction of Francis Assaf) ABSTRACT From its inception, pastoral literature has maintained a theatrical quality and an artificiality that not only resonate the escapist nature of the mode but underscore the metaliterary awareness of the author. A popular mode of writing in antiquity and the middle ages, pastoral reached its apex in the sixteenth and seventeenth centuries with works like Sannazaro‘s Arcadia, Tasso‘s Aminta, and Honoré d‘Urfé‘s Astrée. This study seeks to examine and elucidate the performative qualities of the pastoral imagination in Italian and French literature during its most popular period of expression, from the thirteenth to the seventeenth century. Selecting representative works including the pastourelles of Jehan Erart and Guiraut Riquier, the two vernacular pastoral works of Boccaccio, Sannazaro‘s Arcadia, Tasso‘s Aminta, and D‘Urfé‘s Astrée, I offer a comparative analysis of pastoral vernacular literature in France and Italy from the medieval period through the seventeenth century. Additionally, I examine the relationship between the theatricality of the works and their setting. Arcadia serves as a space of freedom of expression for the author. I posit that the pastoral realm of Arcadia is directly inspired not by the Greek mountainous region but by the Italian peninsula, thus facilitating the transposition of Arcadia into the author‘s own geographical area. A secondary concern is the motif of death and loss in the pastoral as a repeated commonplace within the mode. Each of these factors contributes to an understanding of the implicit contract that the author endeavors to forge with the reader, exhorting the latter to be active in the reading process.
    [Show full text]
  • Strategies of Persuasion and Argument in John Donne's Poetry Nazreen Laffir Pace University
    Pace University DigitalCommons@Pace Honors College Theses Pforzheimer Honors College 8-25-2005 "Mark in this": Strategies of Persuasion and Argument in John Donne's Poetry Nazreen Laffir Pace University Follow this and additional works at: http://digitalcommons.pace.edu/honorscollege_theses Part of the Literature in English, British Isles Commons Recommended Citation Laffir, Nazreen, ""Mark in this": Strategies of Persuasion and Argument in John Donne's Poetry" (2005). Honors College Theses. Paper 17. http://digitalcommons.pace.edu/honorscollege_theses/17 This Article is brought to you for free and open access by the Pforzheimer Honors College at DigitalCommons@Pace. It has been accepted for inclusion in Honors College Theses by an authorized administrator of DigitalCommons@Pace. For more information, please contact [email protected]. Laffir 1 Nazreen Laffir Honors Thesis Dr. Pender 17 May 2005 “Mark in this”: Strategies of Persuasion and Argument in John Donne’s Poetry Whether he is writing an erotic lyric, a mutual love poem or a holy sonnet, John Donne’s poems employ a similar argumentative structure. Although "The Flea," an erotic lyric, "The Canonization," a mutual love poem, and "Batter My Heart," a holy sonnet portray different types of love, Donne’s argumentative structure in these poems is similar to each other. In "The Flea," "The Canonization," and "Batter My Heart," Donne's speakers present a claim or command which they defend throughout the rest of the poem. The speakers use persuasive strategies to defend and validate their assertions. As the poems conclude, the speakers remain confident that their propositions will triumph. In “The Flea,” the speaker tries to seduce a lady by arguing that the lady’s blood and his blood are combined in a flea.
    [Show full text]
  • 1 John Donne from Songs and Sonnets John Donne (1572-1631) Was an English Poet and Anglican Cleric, Becoming Dean of Saint Paul
    1 John Donne From Songs and Sonnets John Donne (1572-1631) was an English poet and Anglican cleric, becoming Dean of Saint Paul’s Cathedral in London in 1621. He is known for his early poetry, written in what has become known as the “metaphysical” style. His poetry marks a change from the Elizabethan fluidity and classical reference of Spenser and Shakespeare to a more rugged and colloquial style of poetry that would have its followers through the next several centuries. Donne’s early love poetry was collected in Songs and Sonnets (1633), from which the following poems are taken. The Flea Mark but this flea, and mark in this, How little that which thou deniest me is; It suck'd me first, and now sucks thee, And in this flea our two bloods mingled be. Thou know'st that this cannot be said 5 A sin, nor shame, nor loss of maidenhead; Yet this enjoys before it woo, And pamper'd swells with one blood made of two; And this, alas ! is more than we would do. O stay, three lives in one flea spare, 10 Where we almost, yea, more than married are. This flea is you and I, and this Our marriage bed, and marriage temple is. Though parents grudge, and you, we're met, And cloister'd in these living walls of jet. 15 Though use make you apt to kill me, Let not to that self-murder added be, And sacrilege, three sins in killing three. Cruel and sudden, hast thou since Purpled thy nail in blood of innocence? 20 Wherein could this flea guilty be, Except in that drop which it suck'd from thee? Yet thou triumph'st, and say'st that thou Find'st not thyself nor me the weaker now.
    [Show full text]
  • Arrogance and Metaphysical Conceits in Donne's Holy Sonnets Michael Hall Course: English 301 Instructor: Joan Faust Essay Type
    Arrogance and Metaphysical Conceits in Donne's Holy Sonnets Michael Hall Course: English 301 Instructor: Joan Faust Essay Type: Poetry Analysis The typical relationship between God and man is one of helpless supplication. For example, in George Herbert's "The Altar," the speaker's stance is humbly suppliant, submitting himself to God at the altar in the hopes "... That, if I chance to hold my peace, / These stones to praise thee may not cease" (13-14). The speaker succumbs entirely to God and offers himself as a servant. John Donne in his Holy Sonnets offers an interesting contrast. In his Holy Sonnets "Thou hast made me" and "Batter my heart," although Donne's speaker acknowledges being feeble and reliant on God to help him refrain from temptation and abstain from sin, the speaker employs a commanding and authoritative tone with God in an attempt to convince God to assist him, an approach that is seemingly contradictory to the meek and humble image of a child of God. In making his appeal to God, the speaker implements metaphysical conceits in order to describe the relationship between God, man, and sin and to command God to save him from sin through the use of force. Both sonnets illustrate the speaker's weakness and dependency on God's aid in order to resist temptation and to abstain from sinful indulgences, yet Donne's speaker immediately as- sumes a commanding tone. In "Thou hast made me," for example, the speaker tells God to "Repair me now" (2) - to correct his flaws-for fear "my feeble flesh doth waste / By sin in it, which it towards hell doth weigh" (7-8).
    [Show full text]
  • Metaphysical Conceit / Donne’S Use of Conceit
    METAPHYSICAL CONCEIT / DONNE’S USE OF CONCEIT The term ‘conceit’ in English literature is generally associated with the metaphysical poets of the 17th century. In the metaphysical conceit, metaphors have a conceptual, and thus a tenuous, relationship between the things compared. Helen Gardner observed that ‘a conceit is a comparison whose ingenuity is more striking than its justness’ and that ‘a comparison becomes a conceit when we are made to concede likeness while being strongly conscious of unlikeness.’ The use of conceits is all pervasive in the metaphysical poems, especially in those of John Donne. In many of his poems, conceits seem to form the crux of metaphysical poetry. There is in fact nothing new about the use of conceits in English poetry. Elizabethan poetry also abounds in rich conceits. But, the metaphysical conceits were so startling, so subtle, and so pervasive as to demand the supreme attention in any metaphysical poem. In general, the metaphysical conceit is a shocking, far-fetched metaphor feeding on the erudition of the poet. But, when it works, it reveals an amazing sense of appropriateness that makes us look at something in an entirely new light. A classic example of the metaphysical conceit is Donne's comparison of the union between two lovers to the two pointers of a compass in the poem ‘A Valediction Forbidding Mourning’. In his song ‘Sweetest Love, I do not go’, again, Donne makes a superb use of some metaphysical conceits. In this poem, he undertakes a personal trip to a foreign country. It is only quite natural that his wife would be anxious to know of it.
    [Show full text]