Poetry, I am of the opinion is a soulful artistic expression. The creation of poetic appearance is a journey wherein your body and spirit of the poet or rather literary imaginative transcends from his immediate actuality in to a world wherein limitations of thought and expressions cease to exist liberating the designer from the shackles of logic which permanently are recognized to limit his thoughts, goal and manifestation. Poets have since age ranges penned out rhythmic verses which have enriched not only their lives during the process of penning their poetic thoughts but that of their readers too especially the ones who dwell in admiration of poetic works.
The outstanding elements of poetic compositions are the fact that they by and large break free from the monotony of presenting life in every practicality but create an aura of world combined with enigma around man, mother nature or anything abstract which the poet really wants to convey. Poetry does also serve the purpose of drawing man out of his self-created obsessive materialistic world he needs pleasure and pain dwelling together with the assumption that, that is the very purpose or rather bane of his lifestyle.
The aspect of poetry which captures my inert attention is the varied compositions of metaphysical poet. The metaphysical conceit utilized by metaphysical poets could be comprehended as a terminology found to maintain relationship with poets of the 17th century. Metaphysical conceit is identified and realized as metaphors which have a conceptual romantic relationship between differing aspects in comparison. The beauty of this aspect is a conceit is a comparison wherein were with an approval of likeness being highly aware of its unlikeness. Well, metaphysical conceit defines poetry in its greatest way as poetry naturally and classification defies generally accepted truth and logic which building a truth of your poetic differing kind.
"a conceit is a comparison whose ingenuity is more attractive than its justness"
A quite typical exemplification of metaphysical conceit is that of "The Flea" by John Donne. The poem is penned about a flea which includes bitten the speaker and his lover and a disagreement of sorts is established wherein the fan essentially seems that his enthusiast has no reason to refuse him sexual pleasure although they aren't bound in matrimony.
"Oh stay! three lives in one flea spare
Where we almost, yea more than committed are.
This flea is you and I, and this
Our marriage-bed and marriage-temple is. "
The imagery has great quantity of realm and hence this work of John Donne has immortalized itself in the wonderful world of poetic fine art, an industry dwelled in by the likes of Emily Dickinson, Andrew Marvell and George Herbert.
When I stumbled after one of the works of Emily Dickenson, I found myself kept spellbound. My research further led me to the uncover the undeniable fact that she conceptually drew enthusiasm from metaphysical poets like John Donne, Andrew Marvel and many others who have been 17th century poets. Emily Dickinson, in the nineteenth century admired and got influenced by seventeenth century poets. I further gathered that she integrated her stylization, thoughts and values by using metaphysical conceit, a style primarily implemented by metaphysical poets. Thus my research led me to hook up Emily Dickinson to metaphysical poetry.
Emily Dickenson was imagination personified! Her name spells splendor. She by stature is characterized as being one of very best American poets of the 19th century. Certainly a poet of the highest caliber led a life of austerity but offered the entire world poetic imagination of the highest order. She gained her motivation from the English metaphysical poets of 17th century. Her Puritan upbringing could also be credited on her behalf works which acquired an enormous content of metaphysical conceit. She was in awe of the works of poets such as John Keats, Robert and Elizabeth Browning. She led a life devoid of matrimonial bliss as she discovered true bliss and tranquility in her imaginative expressions of poetry, gardening and friendships.
"Being unsure of when the dawn should come, I open every door"
This manifestation of Emily Dickinson gives us an information which is in all clarity concerning this poetess who searched for a multitude of avenues to quench her artistic or alternatively poetic thirst. She was an evangelist seeking glory not for her worldly do it yourself but her heart and soul which continued to be famished on a regular basis for literary beauty which she could combine in her works. An important aspect of this poet which needs to be known is the actual fact that she never released her works. Poetry was her path to attain salvation, her path of spirituality or liberation of the spirit. During her life time, around ten of her poems were printed without her consent and after her fatality 1700 poems were learned which startled the planet. This lays focus on the actual fact that she never searched for popularity or glory which she may have attained with ease by posting her works or revealing it to the world. All she looked after was enriching her life through her poems. Penning poems was her way of living life, undoubtedly to the fullest!
Emily Dickinson could connect and understand works of metaphysical poets. She found meaning and goal in metaphysical poetry. This resulted in her being inspired consciously and sub-consciously into penning poems which were highly metaphysical in content.
As a subject of any habitual creative process, Emily's brain led her to make a dual world or "double house" as termed by critics on similar lines compared to that of George Herbert wherein the world was considered to be "furnished with the infinite" and "God was her old neighbor" and loss of life, pain, agony and elegance were interpreted as fleshy neighbors. A majority of Emily's poems were dominated with a metaphysical ideology of a "compound vision". This made provision for display and keeping the eternal with the transient, facts thrown light after by puzzle and the foreign being discussed by familiar.
She to a higher magnitude presumed in metaphysical experience creating a feeling of serene unity incorporating them in her belief of life and her content of poetic verses. She would term the march of the cavalry as an "infinite march" and the "diagram of rapture" stemming out from her procedures of metaphysical unity. She experienced her own belief or description of man's relationship with God and this of God with characteristics. Being raised in a stern Dickinson home she developed a solid religious base maintain mainly on Connecticut lines being after that by source. She indulged in meditative activities since a very early age wanting to understand man's purpose and meaning of life.
"I think of the grave frequently"
A high level of awareness prompted the above mentioned remark of the then 21 years old yr old Emily who maturity surfaced in the shape of witty double consciousness similar to that of Vaughan
"Through all of this fleshy dress/Shiny shootes of everlastingnesse"
Emily, being mainly concerned with the seventeenth century believed keen in the microcosm of the personal. This enthusiasm was believed to have provided thoughts and eventually material for imaginative creation which are actually considered a novelty hardly common and observant in the current day and age. Emily found herself to maintain poise or issue between skepticism and faith, desire and renunciation, optimism and pessimism and hence she found an psychological release like Donne through her poems of paradox, metaphysical conceit:
"Much Madness is Divinest Sense"- "I cannot live with youIt would be life"
For the sake of exemplification, "Because I could not stop for loss of life" penned by Emily Dickinson and John Donne's "Death be not pleased" present the conceptual ideology of death of these to individualistic poets who possessed differing perceptions yet bore certain similarities. The dual poets present fatality much less an abstract idea or a finality of life but as a person in doing so making a personification of types. Emily Dickinson talks of fatality in the 3rd person while Donne figuratively utilizes Apostrophe while handling it. Donne, during his time which been the seventeenth century perceived fatality of its relativity constantly in place and context to eternity while Emily penning her poems in the nineteenth century being inspired by Donne and the likes of him especially the ones with metaphysical mindsets and imagination presented fatality with a perspective of time.
Structurally poems of Dickinson are brief and stanzas are quick. There's a high degree of inconsistency in the rhyme plans numerous stanzas adorning an ABCB design while some failing to rhyme at all. The sound of the poetic expressions is affected by the framework of the stanzas. Her poems were penned by her in iambic pentameter. There is certainly accentuation of the second syllable of each foot. The short lines create an impact of the verses being sing-song especially the rhyming lines. "Because I could not stop for fatality" is an ode to loss of life. It does not have a traditional format having twenty lines instead of fourteen. Her sonnets are observed to check out Shakespearean, Italian or French styles.
Differences and similarities could be also observed in Emily Dickinson's and George Herbert's work. The similarity is based on the fact that both of these commenced as metaphysical poets but Emily Dickinson remained one for the others of her life but George Herbert turned from metaphysical poetry to simpler and extensive form of poetry. Herbert initially produced one after the other poetry made up of metaphysical conceit comprehensive but later the realization dawned upon him that as a Religious poet being metaphysical in poetry was in ways being contrived and self-regarding but the need of the day was to become more simplistic and practice self-effacement. Herbert's Jordan I and Jordan II are poems which would present his evolvement into a poet moving from one area to another. In Jordan I, Herbert pens about the art of penning poems while Jordan II is more autobiographical in character. As opposed to this, Emily Dickinson's poetry is self-reflective if not autobiographical of her thoughts. Herbert presumed in Christianity and considered Jesus Christ as God whereas Emily Dickinson refused to accept God in Christian form but personified God. Her thoughts and ideologies contradicted the conventional idea and acceptance of God.
Hence, though Emily Dickinson and George Herbert carry similarity so far as being metaphysical poets, the latter's drift from poems filled with metaphysical conceit to the people projecting a simplistic form of narrative results in the line of demarcation. Simple poetry does not imply simple minded poetry. Emily's poems have observed sometimes to be structurally and phrased simple however the meaning many at times ends up being hermetic and intricate.
In Jordan I, Herbert conveys simplistic ideas in a complicated way intertwining them with extreme metaphysical conceit. His second stanza is approximately the glorification of "Christ": "to clothe sunlight". He means Son of God as the Sun has its own glory. The absurdity place visible. In the same way, John employs such kind of term play in "The Coronet".
Herbert indulges in figurative Apostrophe unlike Emily Dickinson. This approach of his is mentioned in his poem "The Collar". Herbert professes through this poem that he hears the words of God which voice instructs him that everything around is a pretense. He's specifically asked by God to pen poetry about love to attain God's popularity. Herbert penned such kind of poetry to add realm to his work and he too was persuaded a great deal about his literary produce which was more of his beliefs than thoughts. Emily's thoughts grew to this scope that she appeared to dwell in a parallel world.
Another point of research could be further noted in Emily Dickinson poems. Several Emily Dickinson's poems, "Because I POSSIBLY COULD Not Stop For Loss of life" and "I Been told A Take flight Buzz-When I Died, " are both about one of life's facts and few certainties: the component of loss of life. But, that is where the commonness ceases. Though the dual poems were penned significantly less than a year apart by the same poet, their principles and ideologies about what lies after death vary. The first one, there is apparently life post loss of life, however in the other you can find nothing. Several amounts of clues in each one of the pieces assist the viewers to ascertain which poem feels in what.
In the piece, "Because I Could Not Stop For Death, " were being told the tale of a female who is being taken away by Death. This is our first sign that this poem believes in an afterlife. In most religions, where there is a grim reaper like specter, this entity will deliver someone's soul to some other place, usually a heaven or a hell.
"Yet dearly I love you, and would be loved fain,
But am betrothed unto Your enemy;
Divorce me, untie or break that knot again;
Take me to You, imprison me, for I,
Except You enthrall me, never will be free, "
Donne's Batter my Center jobs the view point of the sinner wherein the protagonist of the poem, who may have sinned is stating is insufficient control over his activities as he is without control over his body and begs God to purify his heart. The titular concept has dept and depicts man desiring to be preserved. The imagery used is extremely high and the reader can with ease visualize the imagery designed by Donne. This content is hard reaching and the poetic phrasing is strong. Comparatively Emily Dickinson's phrasing is light however the content or idea she needs to mention is deep invisible to the magnitude of being abstract compelling the reader into repetitive reading in order to comprehend and create a feeling of visible imagery which necessitates complete comprehension. Another point of difference is the fact that Donne through Batter my Center has his protagonist speaking with God; thus Apostrophe is employed figuratively and in Emily Dickinson's After a great pain, a formal sense comes, she is extremely verbose and descriptive and the pain is borne by the protagonist would you not seek divine treatment but endures it to this extent that after the pain is gone there can be an amount of numbness. This poem of her is normally different than her regular styling and structuring. There lacks order in composition, rhyme system and format. Probably the content of the poem, she noticed demanded such irregularities. The aspect to be known here is the fact that if "After having a great pain, a formal feeling comes" were to be likened analytically with Donne's "Batter my Heart", one would observe the similarity regarding sufferance of pain in the dual poems however the noted facet of differentiation is the fact that Donne has his protagonist pleading with God, our creator to relieve him of his misery whereas Emily never mentions God straight or indirectly as she didn't have the conventional idea of God and hence her protagonist dwells in his agony without seeking divine involvement. This poem specifically works towards creating a higher sense of imagery. An imagery of your funeral is established by her. The "Wooden Way", as quoted by her provides us the image of a real wood casket and the phrase "like a rock" give us the aesthetic of any headstone. An element to be duly mentioned is the fact that every area of the body is objectively fragmented like "the stiff heart", "your toes, mechanical".
Emily Dickinson's "You kept me" could be very well weighed against Andrew Marvell's "To His Coy Mistress". Without an element of question both poem by the individual poets could be characterized as metaphysical poetry. Thematically love is pre-dominant. The component binding both poems alongside one another is the actual fact that the dwell inertly and deeply in to the fact of love. The point of demarcation is the actual fact the stylization differs and importantly the imagery has differing differences thereby bringing out the distinctive characteristics of both the poets. "To His Coy Mistress is without a doubt a metaphysical poem which has a disagreement which is explicit together with the speaker is pleading with the lady to accede to his plea for passion. It really is a whimsical declaration with funny hyperbolic intent bringing out a serious concern about the doubt of life and our limited time on earth and the actual fact that pleasure of life spread quickly and are gone before we even realize the same. Carpe diem is the thematic approach or in order words primarily this means seize the day and make the best of the available opportunities.
Marvel's poem fluctuate essentially content sensible from that of Emily Dickinson due to the intimate content he will present in a variety of his poem. This is the primary reason for his poetic works not failing woefully to have addition in the textbooks of secondary university students. His works distinction with his family background and upbringing. Marvel was a Puritan and the son of a Calvinist Anglican Preacher.
"Had we but world enough and time. "
"To His Coy Mistress" is a poem intended to be seductive but presented in a non-romantic form with deliberation and objective.
The imagery it creates is that of lust but at exactly the same time the poet makes a conceited effort to bring out his idea that life is too short and you need to enjoy the pleasure of life without guilt for the same.
"You kept me" by Emily Dickinson reveals melodrama on a larger canvas. The poem as her personal style is is brief precise and break up in two verse. I verse presents a differing notion. Within the first verse she identifies love in context of the Heavenly electric power, Lord Almighty, God and in the next verse she confronts and lay blame on her enthusiast for the agony he's causing her for having left her to bear the pain till eternity. It had been rumored that Emily never acquired wedded but was in a relationship twice. Failing of both the relationship induced her sorrow and creation of such tragic love poems such as "You remaining me" was to depict her pain. The imagery in this poem is easy to the level of being non-existent. Inside the first verse, she refers to God and God being abstract, the audience is presenting the liberty to generate or have his own sense of imagery and in the next stanza component of nature including the sea is useful to portray her level of sorrow. Here the imagery of sea is perfectly created to affiliate it with the level of pain.
On a conclusive word, Emily Dickinson achieved popularity on account of her brilliance and energy of diamond-hard linguistic display. She often penned her thoughts aphoristically, which in every essence recommended compressing plenty of substance in hardly any variety of dialects. The type of imagery she created through her structure was unique leaving the reader spellbound. Her poem, at the beginning illustration or reading might leave the reader perplexed as the facet of understanding of her poems at the first reading is very little. In order to go into the world or your brain of Emily Dickinson, the reader must appreciate her perception of life and every part of computer from a metaphysical stance as she greatly adored metaphysical poets such as John Donne, George Herbert, Henry Vaughan and Andrew Marvel. Her way to obtain inspiration didn't imply or signify replication of these works but way of comprehending their ideologies and creating a perception of her own which sometimes ran parallel or otherwise with their concepts and understanding. Her poems doubtlessly display her extraordinary skills of observation and the art work of being ornate and verbose. Her thoughts led her many times into territories that have been never tread upon. A few of her poetic works include bizarre fatality- fantasies and thought demonstrating metaphorical conceits but at the same time she published about nature that was in total distinction to her poems relating to death.
A subject of question often does occur when works of Emily Dickinson and the rest of the poets such as John Donne, George Herbert, Henry Vaughan and Andrew who were characterized as being metaphysical poets. All these poets handled the phenomenon of fatality by indulging in personification of the same whereas mainly and universally death is understood to be abstract. We as visitors and admirers of fine art often present the question whether such personification are created to make fatality more acceptable. Does personification glorify fatality or present it as an invisible enemy meant to struggle with and gain control over? Do poets as many look like are in total comprehension of fatality thus giving them the right to project death just how they think it is and be in expectance of the world to simply accept and appreciate their perception which undoubtedly affect many and everything.