Andrew Marvell as a METAPHYSICAL POET of love. | BRITISH POETRY | MEG-1 | BLOCK - 3

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Andrew Marvel as a METAPHYSICAL POET of love. | BRITISH POETRY | MEG-1 | BLOCK - 3

                   

                      Andrew Marvell (1621-1678) was an English poet, satirist, and politician who sat in the House of Commons at various times between 1659 and 1678. During the Commonwealth period, he was a colleague and friend of John Milton (1608-1674). His poetry shows many of the qualities that are associated with what has come to be known as metaphysical poetry.

 

                    At the heart of Marvell’s poetry lies a deep fascination with the intricacies of human emotion, particularly in the realm of love. His works often grapple with the tension between physical desire and spiritual longing, juxtaposing earthly passions with metaphysical speculation. Marvell’s poetry frequently employs metaphysical conceits—complex and often elaborate comparisons or analogies—to explore the depths of love's mysteries. These conceits serve as vehicles for Marvell to probe the complexities of human relationships and to convey the intensity of emotional experience.

    Marvell's Metaphysical Inquiry

                    Metaphysical poetry deals with abstract ideas such as religion, faith, love, etc. His poems are highly philosophical and reflective. Much of his poetry deals with love, the nature of the human soul, and religion. To His Coy Mistress is a love poem in which the poet has applied the 'carpe diem' theory.

Andrew Marvell as a METAPHYSICAL POET
Works of Andrew Marvell

 

    To His Coy Mistress

                    In one of his poems called To His Coy Mistress, he tries to convince the person he loves to be with him now instead of waiting. He uses strong words and exaggerations to show how important it is to act quickly, because time is always moving forward and they might miss their chance to be together if they wait too long. The poem unfolds as a persuasive argument, wherein the speaker employs hyperbolic imagery to emphasize the urgency of their love. Lines such as

"Had we but world enough, and time,

This coyness, Lady, were no crime"

encapsulate the speaker’s plea for seizing the fleeting opportunities afforded by existence. Marvell’s adept use of metaphysical conceits, such as the imagery of time as an adversary and the lovers as agents defying its grasp, underscores his portrayal of love as a force that transcends temporal limitations.

 

                    The picture of Time’s a four wheeled carriage chariot hurrying and coming closer and closer to overtake the lovers vividly brings before another remarkable metaphysical conceit. The picture of the women lying in her grave and the worms attacking her long preserved virginity and her honour turning to dust are also wonderful conceits showing the poets wit.

Time’s wingèd chariot hurrying near;

And yonder all before us lie

Deserts of vast eternity.

(Line 21-23) ―To His Coy Mistress

 

                    In the poem To His Coy Mistress, unified sensibility is paramount that is why T.S. Eliot in his critical essay "The Metaphysical Poets" has appreciated Marvell as the 

perfect successor of John Donne. 

The passion of this poem has been connected with "if, but and therefore". The speaker persuades his shy beloved in such a way that we cannot but accept it as the vehement expression of passion mixed with convincing thought. Overall, the lover means to say that human beings have been given a limited and short duration of life span and they are all forced to utilize their time. So, this shyness may not have any objection if the time were unlimited.

 

    The Garden

                    Similarly, The Garden by Andrew Marvell is a poem that shows how much he liked thinking about love and nature together. It's set in a beautiful garden, and Marvell uses it to talk about being alone and thinking deeply. Marvell employs rich, evocative imagery to depict the making it seem peaceful and full of nice feelings. In the poem, the garden becomes a special place where two people in love can escape from the busy world and enjoy each other's company. Marvell uses the garden as a symbol for the love between the two people, showing how it's a safe and happy place where they can be themselves without worrying about what others think. This poem is all about celebrating the magic of love and how wonderful it feels to be close to someone special.

 

    Horatian Ode                                

 

                    In Horatian Ode, Marvell’s exploration of love takes on a more introspective tone, as he reflects on the transience of human existence and the immutable power of love to defy the ravages of time. Drawing inspiration from the Roman poet Horace, Marvell crafts a poem that is both a homage to his literary predecessor and a profound meditation on the nature of love. The ode unfolds as a dialogue between the speaker and his beloved, wherein they contemplate the fleeting nature of mortal life and the enduring legacy of their love. Through his evocative imagery and lyrical language, Marvell imbues the poem with a sense of timeless beauty, casting love as an eternal flame that illuminates even the darkest corners of existence.

 

    The Definition of Love

                     In the poem "The Definition of Love", the speaker is an anonymous lover who contemplates the nature and definition of love. Passionate thinking abounds in the poem The Definition of Love too. The speaker of the poem emphasizes the pure passion for love which almost does not exist in the lovers because of just physical attraction.

The fusion of thought and emotion in poetry is called the unification of sensibility. The term 'unified sensibility' applied by Marvell is unique because he is just like John Donne (1572-1631) in this case.

 

Major Works

Horatian Ode 1650

To His Coy Mistress 1652

Upon The Appleton House 1652

Last Instructions to a Painter

 

Conclusion

                  From the above analysis we find Marvell as a perfect metaphysical poet in all sense. His poems are more searching and intellectual, and it is more worldly wise and witty than most romantic poetry. From the poems that are discussed here it should be clear that Marvell is a true metaphysical poet, not confronting to any tradition but making use of all the metaphysical qualities to write poems that are unmistakably new and his own.


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