Metaphysical poetry was at its peak during the seventeenth century in England and continental Europe. The movement explored everything from irony to philosophy and conceits. It is for its complex and original conceits that most metaphysical poems are noted. During this period, poets relaxed their previously strict use of meter and explored new ideas. John Donne is the best-known of the metaphysical poets.
Metaphysical Poetry Metaphysical Poetry
History of Metaphysical Poetry
The word “metaphysical” was used by writers such as John Dryden and Samuel Johnson in regards to the 17th-century poets. These poets are noted for their “unnaturalness”. Johnson wrote in Lives of the Most Eminent English Poets in the late 1700s, that a “race of writers” had appeared that might be termed “metaphysical poets”. The term was likely taken from Dryden who had described John Donne as affecting “metaphysics” in his “satires” and his “amorous verses”. It was not until the twentieth century that many of these poets were adequately recognized for their talent and originality.
T.S. Eliot is one of the many twentieth-century literary critics who helped to establish the well-deserved reputation that writers such as John Donne and Andrew Marvell now hold. He applied many of their techniques to his own writing.
Who Were the Metaphysical Poets?
The best known of the metaphysical poets is John Donne. He is followed by others such as:
- Henry Vaughan
- Andrew Marvell
- George Herbert
- Richard Crashaw
- John Milton
Donne is most often cited as the best of this shortlist of writers and the originator of the basic tenants of the genre. It is because of his writing that many writers who came after took on some or all of the features of metaphysical writing.
Characteristics of Metaphysical Poetry
Metaphysical poetry is known for its unique style, which often breaks away from the more structured and formal poetry of its time. Here are some of the most defining and common characteristics:
- Spoken Quality: These poems have a conversational tone, making them feel more personal and direct. This was quite different from the highly formal poetry that many poets of the time favored.
- Colloquial Diction: The use of everyday language helps convey complex ideas in a relatable way.
- Philosophical Exploration: Poets often tackle big questions, such as:
- Does God exist?
- What is the nature of reality?
- Do humans have free will?
- Metaphysical Conceits: These are elaborate, often surprising comparisons between very different things, like love and religion or physical and spiritual experiences.
- Use of Paradoxes and Contradictions: Metaphysical poetry frequently presents ideas that challenge the reader’s understanding, creating tension between seemingly opposite concepts.
- Irony and Puns: The poets often used wit to engage the reader, playing with words and ideas to reveal deeper meanings.
- Strange Metaphors and Hyperbole: Unusual and exaggerated imagery is common, often pushing boundaries to make readers think beyond the obvious.
- Relaxed Meter: The poems generally don’t follow a strict rhythm, giving them a more natural, conversational flow.
Whilst the common themes in metaphysical poetry include:
- Love and Spirituality: Many poems explore the connection between human love and divine experience.
- Fate and Free Will: Questions about the control (or lack thereof) humans have over their destiny are central.
- Mourning and Sin: The poets frequently reflect on life’s challenges and the spiritual consequences of human actions.
Metaphysical poetry combines intellectual wit with emotional depth, using logical arguments and complicated thought to explore life’s biggest mysteries in a way that is both challenging and deeply engaging.
Examples of Metaphysical Poems
‘The Flea‘ by John Donne
‘The Flea’ is one of the most commonly cited examples of a metaphysical poem, it is also one of Donne’s best poems. The poem makes a familiar argument in a very original way.
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; […]
In this poem, Donne’s speaker cleverly suggests to a woman that the mingling of their blood inside a flea is analogous to the act of physical union that she resists. By focusing on something as trivial as a flea, Donne employs a conceit, a hallmark of metaphysical poetry, to compare something profound (intimacy) with something seemingly insignificant. This use of an elaborate, extended metaphor to convey complex ideas, along with the speaker’s paradoxical reasoning—such as minimizing the importance of sex while making it central to his argument—exemplifies the intellectual rigor and wit that characterize metaphysical poetry.
Moreover, Donne’s use of paradox and hyperbole (for instance, when the flea becomes a symbol of life and death) elevates a simple argument into a philosophical reflection, playing on themes of desire, morality, and the blending of physical and spiritual realms. These features—intellectual ingenuity, paradox, and imaginative conceits—are what make ‘The Flea‘ a quintessential metaphysical poem.
Explore more John Donne poems.
‘The Collar‘ by George Herbert
‘The Collar’ is one of Herbert’s best-known poems. In this poem, the poet speaks about the “collar” that a Christian priest is recognized by. (It’s interesting to note that Herbert was a priest himself.) He depicts the collar as something that restricts one’s freedom in an intolerable way.
[…] But as I raved and grew more fierce and wild
At every word,
Methought I heard one calling, Child!
And I replied My Lord.
In this dramatic monologue, the speaker—initially rebellious and raging—voices his frustration with the perceived constraints of faith, railing against the limitations imposed by his devotion. The tone is fierce, desperate, almost violent, as the speaker imagines casting off the “collar” of responsibility. Yet, in true metaphysical fashion, Herbert presents a sudden, paradoxical turn at the poem’s conclusion: the voice of God, quiet but undeniable, calling the speaker back into submission with a single word, “Child.” This moment, simple yet profound, encapsulates the tension between human will and divine authority that defines metaphysical poetry.
Herbert’s use of paradox is sharp and arresting—the speaker seeks freedom, but true freedom, the poem suggests, lies in surrendering to divine will. The interplay of violent emotional outburst followed by calm, spiritual resolution creates an unexpected contrast that invites readers to reflect on the nature of faith, authority, and inner turmoil. The poem’s intricate balance of rage and resignation, rebellion and reconciliation, embodies the core of metaphysical poetry, which thrives on complexity, contradiction, and the intellectual exploration of spiritual dilemmas.
‘The Retreat‘ by Henry Vaughan
‘The Retreat’ is a quintessential metaphysical poem, laced with spiritual yearning and a deep sense of nostalgia for lost innocence. Vaughan’s speaker laments the inevitable journey from purity to corruption, from celestial clarity to the murky waters of adulthood—a journey that leads one ever further from the divine.
Happy those early days! when I
Shined in my angel infancy.
Before I understood this place
Appointed for my second race,
Or taught my soul to fancy aught
But a white, celestial thought; […]
In ‘The Retreat,’ Vaughan reflects on the soul’s fall from grace, remembering a time of “angel infancy” when the speaker was free from worldly concerns. He longs for the purity of childhood, when the divine felt close and clear. As the poem continues, the speaker accepts the reality of adulthood, where the soul, once pure, becomes tangled in earthly distractions that distance it from heaven.
Vaughan’s use of spiritual paradox—the idea that we move further from God as we grow older—highlights a key theme in metaphysical poetry: the tension between innocence and experience. The poem expresses a deep desire to return to a state of divine purity, exploring the spiritual journey from childhood to adulthood.
Discover more Henry Vaughan poems.
‘To His Coy Mistress‘ by Andrew Marvell
This poem is second only to the ‘The Flea’ as commonly cited examples of metaphysical poetry go.
Had we but world enough and time,
This coyness, lady, were no crime.
We would sit down, and think which way
To walk, and pass our long love’s day.[…]
The speaker presents an argument based on time’s fleeting nature, stressing that while he would gladly spend eternity courting her, life is too short to delay physical pleasure. Marvell’s use of conceit—the elaborate metaphor comparing time to a rushing force—typifies the metaphysical style, blending intellectual argument with passion. The poem explores themes of urgency, mortality, and the carpe diem (seize the day) philosophy, making a case that they should enjoy life’s pleasures while they can, before time takes them away.
Read more poetry by Andrew Marvell.
FAQs
Metaphysical poetry is defined by the exploration of philosophical topics, wit, and a looser use of meter. These poems often touched on contemporary scientific advancements as well.
The best-known metaphysical poem is perhaps ‘The Flea‘ by John Donne. It was published after Donne’s death, appearing in 1633. The speaker uses a flea and how it sucks blood as a way of attempting to convince a woman to sleep with him.
The word metaphysical is used to describe a concept in literature in which things are defined by something non-physical. Metaphysical writing is concerned with intangible experiences and feelings
In this kind of poetry, authors often used allusions, metaphors, conceits, imagery, and colloquial diction. It’s also possible to find a wide range of other poetic devices.
The themes that are most common to metaphysical poetry are love/lust, religion, and morality. Some of the authors who explored these themes were John Donne, George Herbert, Andrew Marvell, and Henry Vaughan.
Related Literary Terms
- Conceit: refers to two different kinds of comparisons: the metaphysical, made famous by John Donne, and the Petrarchan.
- Extended Metaphor: a literary term that refers to a long metaphorical comparison that can last an entire poem.
- External Conflict: a type of conflict, problem, or struggle that takes place in a novel, narrative poem, play, or other literary work.
- Implied Metaphor: a literary device that’s used in everything from short stories to novels and poems.
- Innuendo: an indirect observation of an event, person, thing, or idea. It is not stated clearly or obviously.
- Intertextuality: a feature of a text that references another text. It reflects upon the latter and uses it as a reference for the new written work.
Other Resources
- Watch: The Life Story of John Donne
- Listen: Metaphysical Poetry Lecture
