Beyond the Physical: The World of Metaphysical Poetry

In the 18th century, Samuel Johnson coined a term called “Metaphysical Poetry.” Poets use unconventional comparisons known as conceits, which juxtapose seemingly unrelated ideas. The aim is to challenge the readers’ perceptions of reality and they use themes such as love, mortality and spirituality. Pioneers of this genre are John Donne, Andrew Marvell and George Herbert. Also, this genre is characterized by its use of intricate metaphors, colloquial diction, and a blending of philosophical inquiry with personal reflection.

John Donne’s “The Flea” is the most known metaphysical poem. The speaker of the poem uses the image of a flea and this flea has bitten both him and his lover to argue for intimacy. Metaphorically, flea mingles the blood of him and his lover to tie their souls which exemplifies the genre’s hallmark of linking the physical and the abstract. The poem’s tone is playful yet earnest along with its clever use of argumentation. This genre can intertwine emotional appeal that the use of persuasive rhetoric by the poem’s speaker and the combination of the poem’s unexpected imagery shows it with cerebral exploration.

Mark but this flea, and mark in this,

How little that which thou deniest me is;

It sucked me first, and now sucks thee,

And in this flea our two bloods mingled be;

Thou know’st that this cannot be said

A sin, nor shame, nor loss of maidenhead,

Yet this enjoys before it woo,

And pampered swells with one blood made of two,

And this, alas, is more than we would do.

Metaphysical poets defy the rigid structures and conventional rules of earlier forms and they refuse to use these rules. They usually employed a flexible meter and utilized a range of literary devices. The use of paradoxes and vivid imagery aimed to create a sense of immediacy and intimacy. This genre’s poets' logic is based on its dual focus on thought and feeling. Also, they seek to engage the reader’s intellect while simultaneously evoking deep emotional responses.