DRYDEN was the first to apply the term to 17th-century poetry when, in 1693, he criticized Donne: He affects the Metaphysics... in his amorous verses, where nature only should reign; and perplexes the minds of the fairish sex with nice speculations of philosophy, when he should engage their hearts. Â He disapproved of Donnes rhetorical excesses, particularly his extravagant conceits (or witty comparisons) and his tendency towards hyperbolic abstractions.
Metaphysical Poetry- a type of poetry that stresses the intellectual over the turned on(p); it is marked by irony, paradox, and striking comparisons of dissimilar things, the latter ofttimes being far-fetched to the point of eccentricity.
Their style was characterized by wit and metaphysical conceitsâ€"far-fetched or unusual similes or metaphors, such as in Andrew Marvells comparison of the soul with a drop of dew; in an expanded epigram format, with the use of simple verse forms, octosyllabic couplets, quatrains or stanzas in which length of line and rhyme organisation enforce the sense.[3] The specific definition of wit which Johnson applied to the tutor was: ...
a kind of discordia concours; a combination of dissimilar images, or breakthrough of occult resemblances in things apparently unlike. [4
Their poetry diverged from the style of their times, containing uncomplete images of nature nor allusions to classical mythology, as were common
Several metaphysical poets, especially John Donne, were influenced by Neo-Platonism. One of the primary Platonic concepts anchor in metaphysical poetry is the idea that the meliorateion of violator in the beloved acted as a remembrance of perfect beauty in the eternal realm. In a famous definition Georg Lukács, the Hungarian Marxist critic, described the schools common trait of looking beyond the palpable and...If you want to get a full essay, order it on our website: Orderessay
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