By Harold Bloom
The poetry of John Donne, Andrew Marvell, George Herbert, Robert Herrick, and Richard Crashaw has involved critics for hundreds of years. Ambivalently acquired yet inescapably influential, their culture should be traced via the very best poets of our time. This new quantity from the "Bloom's vintage severe perspectives" sequence positive aspects insightful essays from the seventeenth and early twentieth centuries that provide scholars of literature historic insights into those major poets.
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Extra resources for John Donne and the Metaphysical Poets (Bloom's Classic Critical Views)
S. 3 The Carews, Crashaws, and Cowleys begin at least thirty years later, and, be their imitations of Donne’s characteristics what they may, Donne himself is an Elizabethan in the strictest possible acceptation of that term, and far in fact as in time from the representative of a degenerate and false taste. It is somewhat disconcerting to find an author whom, like Savage Landor in our own century, the critic cannot glibly classify as the founder of a school or the product of a perfectly obvious series of literary influences.
The pedant and the seer possess him by turns, and in reading no other divine are our transitions from yawning to rapture so swift and unexpected. He has passages of transcendent merit, passages which evince a spiritual vision so piercing, and a feeling of divine things so intense, that for the time we seem to be communing with a religious genius of the most exalted and exalting order; but soon he involves us in a maze of quotations and references, and our minds are hustled by what Hallam calls “the rabble of bad authors” that this saint and sage has always at his skirts, even when he ascends to the highest heaven of contemplation.
13, eds. Scott, Saintsbury, p. 109 Nathan Drake (1798) Nathan Drake (1766 –1836) was an English physician and literary scholar most noted for his comprehensive, two-volume work on William Shakespeare. QQQ If it be true that the purport of poetry should be to please, no author has written with such utter neglect of the rule. It is scarce possible for a human ear to endure the dissonance and discord of his couplets, and even when his thoughts are clothed in the melody of Pope, they appear to me hardly worth the decoration.