601:'s link with Donne's circle was more tangential. He had friends within the Great Tew Circle but at the time of his elegy was working as a researcher for Henry Wotton, who intended writing a life of the poet. This project Walton inherited after his death, publishing it under his own name in 1640; it was followed by a life of Wotton himself that prefaced the collection of Wotton's works in 1651. A life of George Herbert followed them in 1670. The links between Donne's elegists were thus of a different order from those between Donne and his circle of friends, often no more than professional acquaintanceship. And once the poetic style had been launched, its tone and approach remained available as a model for later writers who might not necessarily commit themselves so wholly to it.
531:'s comment that for the fellow readers of his work, "Wee are thought wits, when 'tis understood". Coupled with it went a vigorous sense of the speaking voice. It begins with the rough versification of the satires written by Donne and others in his circle such as Everard Gilpin and John Roe. Later it modulates into the thoughtful religious poems of the next generation with their exclamatory or conversational openings and their sense of the mind playing over the subject and examining it from all sides. Helen Gardner too had noted the dramatic quality of this poetry as a personal address of argument and persuasion, whether talking to a physical lover, to God, to Christ's mother Mary, or to a congregation of believers.
113:
384:, is that the term 'Metaphysical poets' still retains some value. For one thing, Donne's poetry had considerable influence on subsequent poets, who emulated his style. And there are several instances in which 17th-century poets used the word 'metaphysical' in their work, meaning that Samuel Johnson's description has some foundation in the usage of the previous century. However, the term does isolate the English poets from those who shared similar stylistic traits in Europe and America. Since the 1960s, therefore, it has been argued that gathering all of these under the heading of
824:" (1717) while still young, introducing into it a string of Metaphysical conceits in the lines beginning "Most souls, 'tis true, but peep out once an age" which in part echo a passage from Donne's "Second Anniversary". By the time Pope wrote this, the vogue for the Metaphysical style was over and a new orthodoxy had taken its place, of which the rewriting of Donne's satires was one expression. Nevertheless, Johnson's dismissal of the 'school' was still in the future and at the start of the 18th century allusions to their work struck an answering chord in readers.
699:, where the key contrast is between 'black' and 'bright'; by Shakespeare, contrasting 'black' and various meanings of 'fair'; and by Edward Herbert, where black, dark and night contrast with light, bright and spark. Black hair and eyes are the subject in the English examples, while generally it is the colour of the skin with which Romance poets deal in much the same paradoxical style. Examples include Edward Herbert's "La Gialletta Gallante or The sun-burn'd exotic Beauty" and Marino's "La Bella Schiave" (The Beautiful Slave). Still more dramatically,
22:
544:. Here, however, though Cowley acknowledges Crashaw briefly as a writer ("Poet and saint"), his governing focus is on how Crashaw's goodness transcended his change of religion. The elegy is as much an exercise in a special application of logic as was Edward Herbert's on Donne. Henry Wotton, on the other hand, is not remembered as a writer at all, but instead for his public career. The conjunction of his learning and role as ambassador becomes the extended metaphor on which the poem's tribute turns.
495:. This was to look at the practice and self-definition of the circle of friends about Donne, who were the recipients of many of his verse letters. They were a group of some fifteen young professionals with an interest in poetry, many of them poets themselves although, like Donne for much of his life, few of them published their work. Instead, copies were circulated in manuscript among them. Uncertain ascriptions resulted in some poems from their fraternity being ascribed to Donne by later editors.
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was so imperfect, that they were only found to be verses by counting the syllables... The most heterogeneous ideas are yoked by violence together; nature and art are ransacked for illustrations, comparisons, and allusions; their learning instructs, and their subtilty surprises; but the reader commonly thinks his improvement dearly bought, and, though he sometimes admires, is seldom pleased.
799:(1649). It is typified by astronomical imagery, paradox, Baroque hyperbole, play with learned vocabulary ("an universal metampsychosis"), and irregular versification which includes frequent enjambment. The poem has been cited as manifesting "the extremes of the metaphysical style", but in this it sits well with others there that are like it:
87:, who in an undated letter from the 1630s made the charge that "some men of late, transformers of everything, consulted upon her reformation, and endeavoured to abstract her to metaphysical ideas and scholastical quiddities, denuding her of her own habits, and those ornaments with which she hath amused the world some thousand years".
655:, including such elegists of Donne as Carew and Godolphin. As an example of the rhetorical way in which various forms of repetition accumulate in creating a tension, only relieved by their resolution at the end of the poem, Segel instances the English work of Henry King as well as Ernst Christoph Homburg's in German and
66:(1779–81), Samuel Johnson refers to the beginning of the 17th century in which there "appeared a race of writers that may be termed the metaphysical poets". This does not necessarily imply that he intended "metaphysical" to be used in its true sense, in that he was probably referring to a witticism of
326:
The metaphysical poets were men of learning, and, to show their learning was their whole endeavour; but, unluckily resolving to show it in rhyme, instead of writing poetry, they only wrote verses, and, very often, such verses as stood the trial of the finger better than of the ear; for the modulation
526:
What all had in common, according to
Alvarez, was esteem, not for metaphysics but for intelligence. Johnson's remark that "To write on their plan it was at least necessary to read and think" only echoed its recognition a century and a half before in the many tributes paid to Donne on his death. For
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and his brother George, whose mother
Magdalen was another recipient of verse letters by Donne. Eventually George Herbert, Henry Vaughan and Richard Crashaw, all of whom knew each other, took up the religious life and extended their formerly secular approach into this new area. A later generation of
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In Milton's case, there is an understandable difference in the way he matched his style to his subjects. For the 'Nativity Ode' and commendatory poem on
Shakespeare he deployed Baroque conceits, while his two poems on the carrier Thomas Hobson were a succession of high-spirited paradoxes. What was
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Another characteristic singled out by
Grierson is the Baroque European dimension of the poetry, its "fantastic conceits and hyperboles which was the fashion throughout Europe". Again Johnson had been partly before him in describing the style as "borrowed from Marino and his followers". It was from
78:
He 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 nice speculations of philosophy, when he should engage their hearts, and entertain them with the softnesses of love. In this...Mr. Cowley has
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Much of this display of wit hinges upon enduring literary conventions and is only distinguished as belonging to this or that school by the mode of treatment. But
English writing goes further by employing ideas and images derived from contemporary scientific or geographical discoveries to examine
614:
Grierson attempted to characterise the main traits of
Metaphysical poetry in the introduction to his anthology. For him it begins with a break with the formerly artificial style of their antecedents to one free from poetic diction or conventions. Johnson acknowledged as much in pointing out that
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A different approach to defining the community of readers is to survey who speaks of whom, and in what manner, in their poetry. On the death of Donne, it is natural that his friend Edward
Herbert should write him an elegy full of high-flown and exaggerated Metaphysical logic. In a similar way,
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The
European dimension of the Catholic poets Crashaw and Southwell has been commented on by others. In the opinion of one critic of the 1960s, defining the extent of the Baroque style in 17th-century English poetry "may even be said to have taken the place of the earlier discussion of the
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A further two decades later, a hostile view was expressed that emphasis on their importance had been an attempt by Eliot and his followers to impose a "high
Anglican and royalist literary history" on 17th-century English poetry. But Colin Burrow's dissenting opinion, in the
772:(1629) and "On Shakespear" (1630) appear in Grierson's anthology; the latter poem and "On the University Carrier" (1631) appear in Gardner's too. It may be remembered also that at the time Milton composed these, the slightly younger John Cleveland was a fellow student at
551:(1633), and were reprinted in subsequent editions over the course of the next two centuries. Though the poems were often cast in a suitably Metaphysical style, half were written by fellow clergymen, few of whom are remembered for their poetry. Among those who are, were
780:
then titled "An
Epitaph on the Admirable Dramaticke Poet, W. Shakespeare" was included anonymously among the poems prefacing the second folio publication of Shakespeare's plays in 1632. The poems on Thomas Hobson were anthologised in collections titled
795:'s writing career coincided with the period when Cleveland, Cowley and Marvell were first breaking into publication. He had yet to enter university when he contributed a poem on the death of Henry Lord Hastings to the many other tributes published in
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metaphysical". Southwell counts as a notable pioneer of the style, in part because his formative years were spent outside England. And the circumstance that Crashaw's later life was also spent outside England contributed to making him, in the eyes of
803:'s "Elegy on the death of Henry Lord Hastings", for example, or Marvell's rather smoother "Upon the death of the Lord Hastings". The several correspondences among the poems there are sometimes explained as the result of the book's making a covert
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Long before it was so-named, the Metaphysical poetic approach was an available model for others outside the interlinking networks of 17th century writers, especially young men who had yet to settle for a particular voice. The poems written by
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The choice of style by the young Milton and the young Dryden can therefore be explained in part as contextual. Both went on to develop radically different ways of writing; neither could be counted as potentially Metaphysical poets. Nor could
687:(Sunday) with its verbal variations on the word 'sun'. Wordplay on this scale was not confined to Metaphysical poets, moreover, but can be found in the multiple meanings of 'will' that occur in Shakespeare's "Sonnet 135". and of 'sense' in
651:, but he goes on to compare the work of several other Metaphysical poets to their counterparts in both Western and Eastern Europe. The use of conceits was common not only across the Continent, but also elsewhere in England among the
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statement. In the political circumstances following the recent beheading of the king, it was wise to dissemble grief for him while mourning another under the obscure and closely wrought arguments typical of the Metaphysical style.
490:
Johnson's definition of the Metaphysical poets was that of a hostile critic looking back at the style of the previous century. In 1958 Alvarez proposed an alternative approach in a series of lectures eventually published as
719:. Bringing greater depth and a more thoughtful quality to their poetry, such features distinguish the work of the Metaphysical poets from the more playful and decorative use of the Baroque style among their contemporaries.
694:
Another striking example occurs in Baroque poems celebrating "black beauty", built on the opposition between the norm of feminine beauty and instances that challenge that commonplace. There are examples in sonnets by
373:
was commenting that "it may perhaps be a little late in the day to be writing about the Metaphysicals. The great vogue for Donne passed with the passing of the Anglo-American experimental movement in modern poetry."
41:, and by a greater emphasis on the spoken rather than lyrical quality of their verse. These poets were not formally affiliated and few were highly regarded until 20th century attention established their importance.
691:’ "That the Soul is more than a Perfection or Reflection of the Sense". Such rhetorical devices are common in Baroque writing and frequently used by poets not generally identified with the Metaphysical style.
48:
poets after their era might be more useful. Once the Metaphysical style was established, however, it was occasionally adopted by other and especially younger poets to fit appropriate circumstances.
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A younger second generation was a close-knit group of courtiers, some of them with family or professional ties to Donne's circle, who initially borrowed Donne's manner to cultivate
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concepts played an important part and contributed to some striking poems dealing with the soul's remembrance of perfect beauty in the eternal realm and its spiritual influence.
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567:'s poetry writing was also nearly over by now and he contributed only a humorous squib. Other churchmen included Henry Valentine (fl 1600–1650), Edward Hyde (1607–1659) and
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There is no scholarly consensus regarding which English poets or poems fit within the Metaphysical genre. In his initial use of the term, Johnson quoted just three poets:
335:, for though Johnson may have given the Metaphysical "school" the name by which it is now known, he was far from being the first to condemn 17th-century poetic usage of
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appear imitations of Cowley. As a young man he began work on adapting Donne's second satire, to which he had added the fourth satire too by 1735. Pope also wrote his "
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their style was not to be achieved "by descriptions copied from descriptions, by imitations borrowed from imitations, by traditional imagery and hereditary similes".
523:, became increasingly more formulaic and lacking in vitality. These included Cleveland and his imitators as well as such transitional figures as Cowley and Marvell.
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1312:
Nick Jones, "Cosmetic Ontologies, Cosmetic Subversions: Articulating Black Beauty and Humanity in Luis de GĂłngora's "En la fiesta del SantĂsimo Sacramento",
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did much to establish the importance of the Metaphysical school, both through his critical writing and by applying their method in his own work. By 1961
636:(who is included in Gardner's anthology as a precursor), had learned from the antithetical, conceited style of Italian poetry and knew Spanish as well.
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had earlier played their part in the love poetry of others, often to be ridiculed there, although Edward Herbert and Abraham Cowley took the theme of "
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467:. While comprehensive, her selection, as Burrow remarks, so dilutes the style as to make it "virtually coextensive with seventeenth-century poetry".
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The way George Herbert and other English poets "torture one poor word ten thousand ways", in Dryden's phrase, finds its counterpart in a poem like "
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while still at university are a case in point and include some that were among his earliest published work, well before their inclusion in his
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Late additions to the Metaphysical canon have included sacred poets of both England and America who had been virtually unknown for centuries.
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in Spanish. In fact Crashaw had made several translations from Marino. Grierson noted in addition that the slightly older poet,
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Colin Burrow, "Metaphysical poets (act. c. 1600–c. 1690)", Oxford Dictionary of National Biography, Oxford University Press.
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as 'central figures', while naming many more, all or part of whose work has been identified as sharing its characteristics.
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to describe a loose group of 17th-century English poets whose work was characterised by the inventive use of
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The poet Abraham Cowley, in whose biography Samuel Johnson first named and described Metaphysical poetry
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Abraham Cowley marks the deaths of Crashaw and of another member of Donne's literary circle,
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Metaphysical Poetry – Timeline, Context, Biographies of Various Poets, Critical Analysis
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Johnson was repeating the disapproval of earlier critics who upheld the rival canons of
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Probably the only writer before Dryden to speak of the new style of poetry was
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common to many other Metaphysical poets and typical of the Baroque style too.
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Term used to describe a loose group of British lyric poets of the 17th century
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Johnson's assessment of "metaphysical poetry" was not at all flattering:
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dialogue between two black women concerning the nature of their beauty.
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Alvarez, ch. 6, "The game of wit and the corruption of the style"
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Literary circles and cultural communities in Renaissance England
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595:. In addition, Carew had been in the service of Edward Herbert.
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The Rhetoric of the Conscience in Donne, Herbert, and Vaughan
675:"Europe supported by Africa and America", William Blake, 1796
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1959:
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Metaphysical Lyrics & Poems of the Seventeenth Century
947:, New York 1974, particularly the "Introduction", pp. 3–14
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Sarah Hutton, "Platonism in some Metaphysical Poets", in
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Alexander Pope and the Traditions of Formal Verse Satire
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religious and moral questions, often with an element of
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Metaphysical Lyrics and Poems of the Seventeenth Century
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had already satirised the Baroque taste for them in his
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European Baroque influences, including use of conceits
707:(At the Feast of the Blessed Sacrament) introduces a
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447:(1957) included 'proto-metaphysical' writers such as
1402:, "The making of a 17th century religious poet", in
1566:17th Century English Literature Metaphysical Poets
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121:Title page of the Operis de religione (1625) from
1064:Poems, by J.D. VVith elegies on the authors death
735:" more seriously in their poems with that title.
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1516:Poems by J.D. with elegies of the author’s death
1230:The original nature, and immortality of the soul
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549:Poems by J.D. with elegies of the author’s death
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1314:The Journal for Early Modern Cultural Studies
1084:. University of Missouri Press. p. 178.
474:was better known as a Platonist philosopher.
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353:, in quoting him, singled out the poetry of
1487:Maynard Mack, "Wit and Poetry and Pope" in
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822:Elegy to the Memory of an Unfortunate Lady
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579:, who were joined in the 1635 edition by
388:poets would be more helpfully inclusive.
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886:Lives of the Most Eminent English Poets
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519:Metaphysical poets, writing during the
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381:Oxford Dictionary of National Biography
63:Lives of the Most Eminent English Poets
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1553:The Baroque Poem: a comparative survey
945:The Baroque Poem: a comparative survey
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559:, who was soon to quit authorship for
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1582:The Metaphysical Poets, by T.S. Eliot
1343:Platonism and the English Imagination
1332:(Oxford University Press, 2008), p. 5
1168:"Southwell: Metaphysical and Baroque"
984:Alvarez, "Donne’s Circle", pp. 187–95
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705:En la fiesta del SantĂsimo Sacramento
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1261:"Shakespeare's Sonnets – Sonnet 127"
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846:. Oxford University Press, London.
769:On the Morning of Christ's Nativity
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2294:17th-century literature of England
1429:Text from the Adelaide University
610:Free from former artificial styles
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573:Lucius Cary, 2nd Viscount Falkland
502:The title page of Henry Vaughan's
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1371:Introduction to the poems at the
408:. Colin Burrow later singled out
357:as providing a flagrant example.
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1526:. (Harmondsworth: Penguin, 1957)
365:During the course of the 1920s,
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1491:, University of Delaware 1982,
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1457:Alexander Pope: A Literary Life
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591:, as did another contributor,
205:Reactions within Christianity
1:
1513:"Elegies upon the Author" in
1475:, Princeton University 1982,
1406:, Cambridge University 1973,
1345:, Cambridge University 1994,
244:Reactions within philosophy
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7:
1443:The Poems of Andrew Marvell
1078:Ted-Larry Pebworth (2000).
784:(1640, reprinted 1657) and
774:Christ's College, Cambridge
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10:
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2314:English literary movements
1404:John Milton: Introductions
1020:"Elegy for Doctor Donne",
224:against orthodox Lutherans
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2195:San Francisco Renaissance
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33:was coined by the critic
1529:Grierson, Herbert J.C.,
1445:, Pearson Education 2003
1385:The Poems of John Dryden
1373:John Milton Reading Room
1274:"Sonnet of Black Beauty"
1047:The Life of Henry Wotton
516:Lord Herbert of Cherbury
455:and, extending into the
361:20th-century recognition
261:against Dutch Calvinists
2289:17th-century literature
1358:Encyclopedia Britannica
1217:"Shakespeare's Sonnets"
840:Gardner, Helen (1957).
85:Drummond of Hawthornden
2025:Generation of the '30s
1900:British Poetry Revival
1524:The Metaphysical Poets
1146:Cite journal requires
970:The Metaphysical Poets
900:no. 58 (11 May 1711),
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587:. They also served as
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177:Lutheran scholasticism
138:Protestant Reformation
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79:copied him to a fault.
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2075:Informationist poetry
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99:Part of the series on
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24:
2200:Scottish Renaissance
1895:Black Mountain poets
1540:"The Life of Cowley"
1489:Collected in Himself
1471:Howard D. Weinbrot,
1245:Astrophel and Stella
1205:Hull University site
828:Notes and references
657:Jan Andrzej Morsztyn
486:A sense of community
276:Bishop Stillingfleet
211:The Jesuits against
169:Second scholasticism
104:Modern scholasticism
2140:New American Poetry
1890:Black Arts Movement
1870:Akhmatova's Orphans
1618:Metaphysical poetry
1508:The School of Donne
1493:Volume 1, pp. 38–40
1419:Text at Poem Hunter
1375:, Dartmouth College
1203:Scroll down at the
1133:. Oxford Reference.
972:, Routledge, 2014,
930:accessed 7 May 2012
681:Constantijn Huygens
493:The School of Donne
449:William Shakespeare
237:against the Ramists
219:against the Jesuits
173:School of Salamanca
162:Modern scholastics
142:Counter-Reformation
2284:Metaphysical poets
2215:Southern Agrarians
2110:Metaphysical poets
2050:Harlem Renaissance
1578:– Crossref-it.info
1551:Segel, Harold B.,
1545:Lives of the Poets
1455:Felicity Rosslyn,
1111:Grierson, p. xxxi)
843:Metaphysical Poets
782:A Banquet of Jests
723:Platonic influence
677:
514:. Among them were
508:
453:Sir Walter Raleigh
445:Metaphysical Poets
392:Defining the canon
193:Metaphysical poets
189:Reformed orthodoxy
181:Lutheran orthodoxy
56:In the chapter on
52:Origin of the name
31:Metaphysical poets
27:
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2264:Poetry portal
2060:Hungry generation
2055:Harvard Aesthetes
2030:Generation of '98
2020:Generation of '27
1995:The poets of Elan
1816:
1815:
1773:Sir John Suckling
1765:Katherine Philips
1572:website anthology
1538:Johnson, Samuel:
1459:, New York 1990,
1300:"Palabra Virtual"
1194:Segel, pp. 102–16
1011:Gardner pp. 22–24
797:Lachrymae Musarum
504:Silex Scintillans
315:
314:
227:Nadere Reformatie
197:Church of England
100:
2321:
2262:
2261:
2175:Parnassian poets
2145:New Apocalyptics
2120:Modernist poetry
1935:Confessionalists
1925:Churchyard poets
1843:
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1683:(1636/1637–1674)
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1665:Robert Southwell
1660:
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1522:Gardner, Helen,
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1173:Modern Philology
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895:
889:
884:Samuel Johnson,
882:
876:
871:
865:
864:
862:
860:
837:
750:Stylistic echoes
667:Wordplay and wit
649:The Baroque Poem
634:Robert Southwell
585:Great Tew Circle
581:Sidney Godolphin
433:Herbert Grierson
307:
300:
293:
287:
123:Francisco Suárez
115:
106:
98:
95:
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2320:
2319:
2318:
2299:Baroque writers
2274:
2273:
2272:
2267:
2256:
2249:
2220:Spasmodic poets
2205:Sicilian School
2155:New York School
1975:Dolce Stil Novo
1856:
1847:
1817:
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1805:
1798:
1787:
1779:
1771:
1763:
1755:
1747:
1739:
1731:
1723:
1717:Anne Bradstreet
1715:
1704:
1700:
1695:
1687:
1681:Thomas Traherne
1679:
1673:Richard Crashaw
1671:
1663:
1655:
1647:
1639:
1631:
1620:
1615:
1562:
1555:, New York 1974
1542:extracted from
1503:
1498:
1486:
1482:
1470:
1466:
1454:
1450:
1440:
1436:
1428:
1424:
1417:
1413:
1398:
1394:
1389:Vol. 3, pp. 5–8
1383:
1379:
1370:
1366:
1356:
1352:
1340:
1336:
1328:Ceri Sullivan,
1327:
1323:
1311:
1307:
1298:
1297:
1293:
1288:. 22 July 2014.
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1189:
1184:
1180:
1165:White, Helen C.
1163:
1159:
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1022:Poetry Explorer
1019:
1015:
1010:
1006:
1002:Elegies, p. 393
1001:
997:
992:
988:
983:
979:
967:
963:
956:See Grierson's
955:
951:
941:Harold B. Segel
939:
935:
927:
916:
911:
907:
896:
892:
888:, vol. 1 (1779)
883:
879:
872:
868:
858:
856:
854:
838:
834:
830:
752:
740:Thomas Traherne
725:
701:Luis de GĂłngora
669:
621:
612:
607:
605:Characteristics
593:Endymion Porter
563:orders. Bishop
537:
488:
476:Thomas Traherne
426:Richard Crashaw
394:
363:
339:and word-play.
333:Augustan poetry
320:
311:
285:
278:
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199:
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146:Aristotelianism
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102:
101:
93:
54:
17:
12:
11:
5:
2327:
2317:
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2306:
2304:British poetry
2301:
2296:
2291:
2286:
2269:
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2250:
2248:
2247:
2242:
2240:Uranian poetry
2237:
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2222:
2217:
2212:
2207:
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2197:
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2105:Martian poetry
2102:
2097:
2095:Language poets
2092:
2087:
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2077:
2072:
2067:
2062:
2057:
2052:
2047:
2042:
2037:
2035:Georgian poets
2032:
2027:
2022:
2017:
2012:
2007:
2002:
1997:
1992:
1987:
1982:
1977:
1972:
1970:Della Cruscans
1967:
1962:
1957:
1952:
1947:
1942:
1937:
1932:
1927:
1922:
1917:
1915:Cavalier poets
1912:
1910:Castalian Band
1907:
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1897:
1892:
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1877:
1875:Angry Penguins
1872:
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1814:
1813:
1811:
1810:
1803:
1800:Samuel Johnson
1795:
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1786:
1785:
1783:(c. 1642–1729)
1777:
1769:
1761:
1753:
1749:Edward Herbert
1745:
1743:(c. 1627–1656)
1737:
1735:(c. 1559–1634)
1733:George Chapman
1729:
1721:
1719:(c. 1612–1672)
1712:
1710:
1706:
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1675:(c. 1613–1649)
1669:
1667:(c. 1561–1595)
1661:
1657:Abraham Cowley
1653:
1649:Andrew Marvell
1645:
1641:George Herbert
1637:
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1561:
1560:External links
1558:
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1535:, Oxford, 1921
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1187:
1185:Alvarez, p. 92
1178:
1157:
1148:|journal=
1122:
1120:Grierson p. xx
1113:
1104:
1091:978-0826213174
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1045:Izaac Walton,
1038:
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912:Alvarez, p. 11
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853:978-0140420388
852:
831:
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814:Alexander Pope
751:
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653:Cavalier poets
620:
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565:Richard Corbet
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422:Andrew Marvell
414:George Herbert
406:John Cleveland
398:Abraham Cowley
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351:Joseph Addison
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70:, who said of
58:Abraham Cowley
53:
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35:Samuel Johnson
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1131:"Concettismo"
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791:The start of
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571:. Two poets,
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569:Richard Busby
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480:Edward Taylor
477:
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461:Edmund Waller
459:, brought in
458:
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441:Helen Gardner
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418:Henry Vaughan
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229:within Dutch
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150:Scholasticism
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36:
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2255:
2165:Objectivists
2125:The Movement
2109:
1990:Ego-Futurism
1980:Dymock poets
1955:Cyclic Poets
1950:Culteranismo
1725:Thomas Carew
1569:
1552:
1543:
1530:
1523:
1515:
1507:
1506:A. Alvarez,
1501:Bibliography
1488:
1483:
1472:
1467:
1456:
1451:
1442:
1437:
1425:
1414:
1403:
1395:
1384:
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1367:
1357:
1353:
1342:
1337:
1329:
1324:
1316:15.1, 2015,
1313:
1308:
1294:
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1229:
1225:
1211:
1199:
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1181:
1171:
1160:
1139:cite journal
1125:
1116:
1107:
1095:. Retrieved
1080:
1073:
1063:
1057:
1046:
1041:
1028:
1016:
1007:
998:
989:
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969:
968:David Reid,
964:
958:introduction
952:
944:
936:
908:
897:
893:
885:
880:
869:
857:. Retrieved
842:
835:
810:
796:
790:
786:Wit Restor’d
785:
781:
778:
767:
761:
753:
744:Neo-Platonic
737:
726:
713:
704:
693:
684:
678:
648:
646:
638:
629:
628:in Italian,
625:
622:
613:
599:Isaac Walton
597:
577:Thomas Carew
557:Jasper Mayne
548:
546:
542:Henry Wotton
538:
529:Jasper Mayne
525:
521:Commonwealth
509:
503:
492:
489:
469:
444:
436:
430:
395:
379:
376:
364:
346:Mac Flecknoe
344:
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321:
249:
210:
192:
167:
136:
120:
103:
82:
77:
61:
55:
43:
30:
28:
18:
2225:Sung poetry
2210:Sons of Ben
2135:Neotericism
2115:Misty Poets
2080:Ä°kinci Yeni
1930:Conceptismo
1905:Cairo poets
1880:Auden Group
1807:T. S. Eliot
1775:(1609–1642)
1767:(1632–1664)
1759:(1649-1728)
1751:(1583–1648)
1727:(1595–1640)
1709:Minor poets
1691:(1622–1695)
1659:(1618–1667)
1651:(1621–1678)
1643:(1593–1633)
1635:(1572–1631)
1625:Major poets
1477:pp. 299–307
801:John Denham
793:John Dryden
757:John Milton
689:John Davies
630:Conceptismo
626:Concettismo
472:John Norris
457:Restoration
341:John Dryden
286:This box:
268:Anglicanism
131:Background
68:John Dryden
2278:Categories
2230:Surrealism
2185:Précieuses
2180:La Pléiade
2090:Lake Poets
1965:Deep image
1920:Chhayavaad
1633:John Donne
1570:Luminarium
1347:pp. 163–78
1051:pp. 161–62
642:Mario Praz
553:Henry King
410:John Donne
402:John Donne
371:A. Alvarez
367:T.S. Eliot
272:John Locke
259:Spinozists
251:Neologists
187:among the
154:Patristics
72:John Donne
2235:Symbolism
2130:NĂ©gritude
2065:Imaginism
2045:The Group
2015:Gay Saber
2005:Fugitives
1985:Ecopoetry
1885:The Beats
1741:John Hall
1461:pp. 17–20
1234:section 2
859:15 August
818:juvenilia
727:Ideas of
717:casuistry
661:hyperbole
589:courtiers
527:example,
465:Rochester
255:Lutherans
231:Calvinism
217:Labadists
213:Jansenism
91:Criticism
29:The term
2100:Marinism
1940:Créolité
1318:abstract
1249:Sonnet 7
1097:25 March
874:Bartleby
805:Royalist
561:clerical
535:Elegists
274:against
266:against
253:against
39:conceits
2245:Zutiste
2070:Imagism
2040:Goliard
1865:Acmeism
1850:Schools
1792:Critics
764:of 1645
685:Sondagh
386:Baroque
337:conceit
222:Pietism
195:in the
179:during
171:of the
60:in his
46:Baroque
2170:Others
2160:Oberiu
1854:poetry
1431:e-book
1361:online
1088:
974:p. 269
850:
766:. His
709:creole
506:, 1650
424:, and
404:, and
264:Deists
185:Ramism
2010:Garip
2000:Flarf
1408:p. 93
902:p. 69
762:Poems
1960:Dada
1152:help
1099:2012
1086:ISBN
861:2014
848:ISBN
575:and
555:and
463:and
451:and
349:and
306:edit
299:talk
292:view
1852:of
703:'s
512:wit
443:'s
435:'s
2280::
1568:–
1387:,
1247:,
1232:,
1170:,
1143::
1141:}}
1137:{{
1049:,
943:,
917:^
742:,
683:’
420:,
416:,
412:,
400:,
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1842:e
1835:t
1828:v
1610:e
1603:t
1596:v
1302:.
1263:.
1219:.
1154:)
1150:(
1101:.
1067:.
863:.
125:.
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