' Donne's love-poetry is
often classical in spirit; his conceits are the 'concetti metafisici'
of mediaeval poetry given a character due to his own individuality and
the scientific interests of his age.
often classical in spirit; his conceits are the 'concetti metafisici'
of mediaeval poetry given a character due to his own individuality and
the scientific interests of his age.
John Donne
This must be
the later collection. See II. p. cxiv. ]
[Footnote 18: _Absence_ is printed, again unsigned, in _Wit
Restored in severall Select Poems not formerly published_.
(1658. )]
* * * * *
COMMENTARY.
[Sidenote: _Metaphysical Poetry. _]
Donne is a 'metaphysical' poet. The term was perhaps first applied
by Dryden, from whom Johnson borrowed it: 'He' (Donne) 'affects the
metaphysics, not only in his satires, but in his amorous verses, where
nature only should reign; and perplexes the minds of the fair sex with
the speculations of philosophy, where he should engage their hearts,
and entertain them with the softness of love. ' _Essay on Satire_. 'The
metaphysical poets were men of learning, and to show their learning
was their whole endeavour. ' Johnson, _Life of Cowley_. The parade of
learning, and a philosophical or abstract treatment of love had been
a strain in mediaeval poetry from the outset, manifesting itself
most fully in the Tuscan poets of the 'dolce stil nuovo', but never
altogether absent from mediaeval love-poetry. The Italian poet Testi
(1593-1646), describing his choice of classical in preference to
Italian models (he is thinking specially of Marino), says: 'poiche
lasciando quei concetti metafisici ed ideali di cui sono piene le
poesie italiane, mi sono provato di spiegare cose piu domestiche, e
di maneggiarle con effetti piu famigliari a imitazione d'Ovidio, di
Tibullo, di Properzio, e degli altri migliori.
' Donne's love-poetry is
often classical in spirit; his conceits are the 'concetti metafisici'
of mediaeval poetry given a character due to his own individuality and
the scientific interests of his age.
A metaphysical poet in the full sense of the word is a poet who finds
his inspiration in learning; not in the world as his own and common
sense reveal it, but in the world as science and philosophy report of
it. The two greatest metaphysical poets of Europe are Lucretius and
Dante. What the philosophy of Epicurus was to Lucretius, that of
Thomas Aquinas was to Dante. Their poetry is the product of their
learning, transfigured by the imagination, and it is not to be
understood without some study of their thought and knowledge.
Donne is not a metaphysical poet of the compass of Lucretius and
Dante. He sets forth in his poetry no ordered system of the universe.
The ordered system which Dante had set forth was breaking in pieces
while Donne lived, under the criticism of Copernicus, Galileo, and
others, and no poet was so conscious as Donne of the effect on
the imagination of that disintegration. In the two _Anniversaries_
mystical religion is made an escape from scientific scepticism.
Moreover, Donne's use of metaphysics is often frivolous and flippant,
at best simply poetical. But he is a learned poet, and he is a
philosophical poet, and without some attention to the philosophy
and science underlying his conceits and his graver thought it is
impossible to understand or appreciate either aright. Failure to do so
has led occasionally to the corruption of his text.
[Sidenote: _Donne's Learning. _]
Walton tells us that Donne's learning, in his eleventh year when he
went to Oxford, 'made one then give this censure of him, "That this
age had brought forth another Picus Mirandula; of whom story says that
he was rather born than made wise by study. "' 'In the most unsettled
days of his youth', the same authority reports, 'his bed was not able
to detain him beyond the hour of four in the morning; and it was no
common business that drew him out of his chamber till past ten; all
which time was employed in study; though he took great liberty after
it. ' 'He left the resultances of 1,400 authors, most of them abridged
and analysed with his own hand.
the later collection. See II. p. cxiv. ]
[Footnote 18: _Absence_ is printed, again unsigned, in _Wit
Restored in severall Select Poems not formerly published_.
(1658. )]
* * * * *
COMMENTARY.
[Sidenote: _Metaphysical Poetry. _]
Donne is a 'metaphysical' poet. The term was perhaps first applied
by Dryden, from whom Johnson borrowed it: 'He' (Donne) 'affects the
metaphysics, not only in his satires, but in his amorous verses, where
nature only should reign; and perplexes the minds of the fair sex with
the speculations of philosophy, where he should engage their hearts,
and entertain them with the softness of love. ' _Essay on Satire_. 'The
metaphysical poets were men of learning, and to show their learning
was their whole endeavour. ' Johnson, _Life of Cowley_. The parade of
learning, and a philosophical or abstract treatment of love had been
a strain in mediaeval poetry from the outset, manifesting itself
most fully in the Tuscan poets of the 'dolce stil nuovo', but never
altogether absent from mediaeval love-poetry. The Italian poet Testi
(1593-1646), describing his choice of classical in preference to
Italian models (he is thinking specially of Marino), says: 'poiche
lasciando quei concetti metafisici ed ideali di cui sono piene le
poesie italiane, mi sono provato di spiegare cose piu domestiche, e
di maneggiarle con effetti piu famigliari a imitazione d'Ovidio, di
Tibullo, di Properzio, e degli altri migliori.
' Donne's love-poetry is
often classical in spirit; his conceits are the 'concetti metafisici'
of mediaeval poetry given a character due to his own individuality and
the scientific interests of his age.
A metaphysical poet in the full sense of the word is a poet who finds
his inspiration in learning; not in the world as his own and common
sense reveal it, but in the world as science and philosophy report of
it. The two greatest metaphysical poets of Europe are Lucretius and
Dante. What the philosophy of Epicurus was to Lucretius, that of
Thomas Aquinas was to Dante. Their poetry is the product of their
learning, transfigured by the imagination, and it is not to be
understood without some study of their thought and knowledge.
Donne is not a metaphysical poet of the compass of Lucretius and
Dante. He sets forth in his poetry no ordered system of the universe.
The ordered system which Dante had set forth was breaking in pieces
while Donne lived, under the criticism of Copernicus, Galileo, and
others, and no poet was so conscious as Donne of the effect on
the imagination of that disintegration. In the two _Anniversaries_
mystical religion is made an escape from scientific scepticism.
Moreover, Donne's use of metaphysics is often frivolous and flippant,
at best simply poetical. But he is a learned poet, and he is a
philosophical poet, and without some attention to the philosophy
and science underlying his conceits and his graver thought it is
impossible to understand or appreciate either aright. Failure to do so
has led occasionally to the corruption of his text.
[Sidenote: _Donne's Learning. _]
Walton tells us that Donne's learning, in his eleventh year when he
went to Oxford, 'made one then give this censure of him, "That this
age had brought forth another Picus Mirandula; of whom story says that
he was rather born than made wise by study. "' 'In the most unsettled
days of his youth', the same authority reports, 'his bed was not able
to detain him beyond the hour of four in the morning; and it was no
common business that drew him out of his chamber till past ten; all
which time was employed in study; though he took great liberty after
it. ' 'He left the resultances of 1,400 authors, most of them abridged
and analysed with his own hand.
