As Samuel Johnson wrote in Life of Lowley,” about the beginig of the seventeenth century appeared a race of writers tha may be termed the metaphysucal poets”. He found the intricate conceits and self-concious learning of these poets incompatible with poetic beauty and sincerity.
This term is realted to prose as well as verse it´s being known for expressing nicespeculationsof philosophy in the most unusual context. This group of poets complaints about the established manner in prose and verse.
The speed, frequency and variety of the images of John Donne one of the “metaphysics”,suggest a compulsion to define and communicate which is something more internally urgent that the stylized pressures of the Elizabethan lyricist.While Elizabethan lyric at largemakes heavy use of small of forms, Donne , by contrast offers a variety of formsand the unpredictable play of stress,producing the impression that the formal properties of each lyric are unique to the particular experience. “More matter and less words”, or the conception that poetry, like prose,should not aim at clarity, should be leuse with meaning (“ difficulty is a merit”),will be some oftheir ideas.For them, poetry
will not give up its secrets on the first reading.
The metaphysical style achieved by our elliptical syntax accompained by a stallato rhytm in prose and “roughness” in versification linked with the admiration for difficulty in the thought,as Gardner said:”It does not attempt to attract the lazy and its lovers have always certain sense of being a privileged class, able toenjoy what its beyond the reach of vulgar wits”.Troughtout this statements we can realize how importan is for the metaphysical poets the subversion of conventions, the reinventation and reinterpretation of poetry (prose).And how the application of Two news characteristics made this change possible. This kinf of poetry is distinguished by ingenuity , intellectually and even obscurity; it also hasstrong dependence on irony and paradox. As Preminger
&Brogan support , “in its earliest manifestatons metaphysical poetry was further distinguished but highly original attitudes toward sexual love.Donne rejected not only Petrarchan rethoric but also the pose of object workship of the misstress which 16th century poets had inherited. A new sexual realism, together by introspective psycologicalanalysis thus became an element in the metaphysical fashion”.
We could understand the concentration of content as a quality of the metaphysical poetry in which the reader is held to an idea or a line of argument, he needn´t pause upon a passage. This kind of poems demands that he pays attention and read on, it tends to be brief. Concentration and strength of style is the work of Donne who in oneof his sermons stresses the same elements of the deliberate art, economy of language: “such a form as his both curious, an required diligence in the marking and then when it is made, can have nothing, to syllable taken from it, nor added to it”.
By contrast with Elizabethan, a stanza of Donne is not an ideal mould , it´s more like a “limiting frame in which word an thought are compressed”. Itappears in the “fondness” for a line of eight syllables rather than a line of ten. He defends very simple verse forms, octosyllabic, couplets or quatrains in which length of line and rhyme scheme artfully enforced the sense. The triple Foole suggest these conceptions of the function of rhyme and meter: “I thought ,if I could draw my pains through rhymes vexation ,I should them allay Griefe brought tonumbers cannot be so fierce, for, he tames it, that fetters it in verse”.
The second quality or characteristic of the metaphysical poetry is its fondness for conceits. A conceit is a comparison that discover likeness in things unlike; The first impression a conceit makes
is of ingenuity rather than of justice. This is because its aim is making as concede justness while admiring ingenuity.”...