Sonfrontation betw ler Years of the Parliamentarians, were spasmodic Charles I by his were the execution of The end of monarchy y le Commonwealth, under the authong ai the supreme command thefary and cultural. ‘There was the abrupt end of te roma ition of the Elizabethan age and the imposition of Puritan austerity was inevitable. ie the establish u ment of thority of Cromwell. The Purivne on all matters, religious as w I. METAPHYSICAL POETRY { Mea /, (The Concise Oxford Dictionary defines ‘metaphy ‘theoretical philosophy of being and knowing’ and ‘metaphysi as based ‘on abstract general reasoning : overs — special features — some metaphysical poets and their a rents | ied more or less incorporeal.’ The term ‘metaphysical’ was applied more i ally designate a particular group 0! et a ae ey alel in John Donne, mentioned the on Dryden, while writing on smetaphysics’ —‘He affects the metaphysics el Joh D [AFTERMATH OF THE REFORMATION 135 sntly employed the word to attach it to ‘a race of writers, termed as the metaphysical poets.’ Since then a nay poets, who wrote under the influence of John Donne, has p00 OF fog as metaphysical poets. \ etaphysical poetry has, thus, come to mean a specifi type Mety, with certain characteristic features, common to the of Porte poets, following Donne. Of course, it is very often gr0uP Of ened as something fantastic, abstruse, or vague. But ely erue account, and this poetry does not denote any queer this se trend, but rather bears, as noted already, a number of of wag eatures which give ita distinctive merit and become the speci ofits originality. In metaphysical love poetry as well as relied, and they. may well be illustrated with reference t@ indlentguch masters, 8s Donne, Vaughan, Herbert, Crashaw and Marvell. Zyoin Donne is generally acclaimed as the founder of the ‘enysical school of poetry, although his lumping with other ta menysical poets, who succeeded him, is hardly appropriate maa ogicaly.,1n Fac, he came nearly a generation before other Getaphysical poets of whom Robert Herrick, Thomas Carew, Richard Crashaw, George Herbert, Henry Vaughan and Andrew Marvell were prominent. Of course, those poets came in different phases, and there was a gap of nearly fifty years between the emergence of Donne and that of Marvell. ‘The metaphysical poets are, thus, generally grouped together not because they lived in a particular age, but because they seem to have some common features. Their poetry is often characterised as fantastic, but fantastic poetry is witnessed int the works of a good many poets who are not at all metaphysical. Indeed, the essence of metaphysical poetry is found embedded in anumber of special qualities which are seldom noticed in other poets. What stands out prominently in them is a blend of emotional and intellectual qualities, of a sensitively alert heart and a vigorously active mind, ‘Asa matter of fact, metaphysical poetry does not denote any * Particularly fantastic trend, but bears several special features, which constitute its originality as well as popularity. ‘The important metaphysical poets —Donne, Herbert, Vaughan,137 croRMATION jerenniaTt OF THE REFORMA evident stent pooury 15 evident spaapect of mevapnysical PIE Sic are intellect are else nits eer A kes. a O ute with occasional mi idly a re serailect ea ay \d they exhibit ™ cathe oe 1s are reflective an Sanne Pit sion < oft heir concelts are often the exe of human mind. Their poetry Mt cover a wide range crea, and ere they COVER AE et aly tical 3S of thoughts ct is not (0 js and fashions. see agege in varied mone’ Tey Hig genuine but (0 CTY e if tiwith intellectual arguments. Sify reflective aspect of metaphysical Poetry: ee is is seen particularly i ee Feeristics. THIS 18 SC tary 1 re characrr cal poetry. OF course, the eee etapa Tr che metaphysical poets, althoush MO hed CUA metaphysical religious verses: THEM Aer ort absent Cer eful wit even in the sacred poems of Donne, Herber™ some delightful vr Sharpness of metaphysical wit is well Dor and vane apncluding line of Donne's religious verse out in Cy . " made me va thou like adament draw my iron heart’ it carries occasi light sling ‘taphysical wit carries occasionally a sl fant use of of satiresem To His Coy Mistress, on the ultimate effect of the in ts Ponfort of the ladylove to preserve her virginity in & ensitory world, is witty as well as sharply sarcastic — their consi extra-ordinary more of incon by to completely unlike stones, ‘at forms much of the no technique. Donne comparison between that eruity than of likeness, “thie And your quaint Honour turn to dust; i ‘And into ashes all my lust. sical poetic the . fiahe tie tone Lastly, the analytical habit of the metaphysical poets is the es hemispheres, “without SaepINSe ‘thou very cause of the peculiarity of their imagery, diction and Vaughane Men aiGtaphysieal poetry, as evident in Do versification. ‘Their imagery appears often extravagant and far- Poem abounds in such flashes, fetched. They are found to employ only those words that strike Beyond the con omparisons which invive the the mind with thoughts. In fact, the metaphysical poets evoke beyond the cor semblance and thereby offer, poetical moods and feelings, not with conventional phrases and images, but rather with intellectual or common-place matters, with geographical and scientific facts or terms. Again, the very pattern of the ir rhythm is the pattern of thought, analytical, pene Their rhythm, in fact, appeals through the ear to make lect play, and this is the conspicuous element in metaphysical poetry. The pre-eminence of conceits has given an intellectual bias to metaphysical poetry. In fact, intellectualism forms a distinct feature of metaphysical poetry. This is well per metaphysical secular verses and in metaphysHis principal ne are found fri ction and versification AY poets, U Herriek 7 es Robert Herrick is a close Poetry stands far 1 Carew } Herrick's contemporary Carew is found to bear, in large Measures, Donne's influence. He is primarily a lyric poet, and, in the matter of fine workmanship, he is not an incompetent follower of his mighty master, Donne. There is mu accomplishment, rather than depth, in his poetry, wi characterised as the poetry of disengagement, of 139 AFTERMATH OF THE REFORMATION x i 1 poetry, is nee ¢, a notable name in metaphysical pe oetry, Is 1 Geot8e ee eT the essence of his oxticcrenion is ly a religion mailing devotion and piety lis poe gt, as mafelved in his untae if are dedicated to o's ony an is ie the exception d oem, ot fact, wit i is a kine dealing biography. Of the metaph raeeeine jsitwal 2 t to common readers. i spirit the easiest and cleares n here is no Ny cel intellectual diversity in cern ey flailing of the int him, "His z ieee i ing, so common in lashing, t the twisting and turning, 1 ne. Sea i it and brightness. ea rked with simplicity, w r vel { veseban J another great name in metaphysical poetry, See is poet Herberes|iufiaanceten nuaei? well » Borcelved. Yet, his poetry, unlike Herbert's, is mystical, and ‘his.> Pepeeits are all in keeping with the typical metaphysical fashion. His poetry sufficiently testifies to his creative vigour, intellectual potency and profound piety. Vaughan's poetic vein has a deeply rooted mystical note, but its spiritualism is intimately personal. ‘An interesting’ element in Vaughan's poetry is his spiritual vision about the world of nature. He is found to approach, like Wordsworth, to a spiritual visualization through nature and childhood and here he is distinctly different from other Mougnysical poets. He resembles Wordsworth, in his natture mysticism, while in lyricism he surpasses mo poets, st of his fellow, UTraherne Thomas Traherne, like Vau; x ; ghan, dwells on nature aay quldhood innocence and insight in his poetry. He appedre and Tooke atian In his delight in God's creation ag wanes love md looKS upon both chil ature 's deli Bis and crear” Childhood and nature as God's deliehonsui aMATION 1 THE REFOI ERMATH OF ner or impulsiveness 15 Ie syste as. nals as ell comprise mmpulse is cond ‘ ional Prehe abstract with the to blend the 4! stra mon velty of the $- aor rather than tre power oni the near, the carr ms remo snstitutes, in the main, is aid that, ‘to write on i 7 to read ts, it is at least necessary tO TEAC Ah physical Po img, in no narrow sense, are *¢ nts “meta a etry n Dor » cand sMpctaphysical pcery. 10) Donne, conser eqn and otner metaphysical Poets Sg costrat hysical gifts o! .d the metaphy : sc together and harmonised absolutely. sroud! as not meaninglessly’ ster, whose {yp nd 7 a well ; aphysical poetry is the influence of metap i a ‘Tne extent OF English poetry. The concise approach and cernible Maal bias of metaphysical poetry are | nag une intecermuch of modern English poetry, including Pious characterise Me significance of the metaphysical poets i ety: mae 1, Metaphysical Lyrics and Elizabethan Lyrics play of humour, iy { Birabothan lyrics and metaphysical Iyries — similarity — differences | UGS Its quality. Lyricism is found pre-ponderant in English poetry. Blizabethan poetry, in particular, is rich in lyrical gifts as. manifested in sonnets, songs, elegies and other specific forms. Ast great nam 4 philosophical’ poet admirable for its Iyrical fervour plane, he comes closer to Donne Merbert and Vaughan, As a metaph @s an intellectual poet, who plays with wit an same ease and exhibits a rare logical sir syllogism, is mainly. The lyric proper is a kind of personal poetry. the poet's intensely intimate experiences, feeling: ‘This is the keynote of the conspicuous lyrical poems of the great vabethan masters, such as Shakespeare, Spenser, Sidney, Surrey, Daniel and many others. It contains s and ideas. ‘This lyrical note is he Poetry, Eminent metaph: Cowley and Marvell, 'n lyrical poems, s ~The originality of metaphysical poets is found their theme but in their way of expressing very pattern of their presentation. and analytical in their imagery and po ‘ard no less intense in metaphysical ysical poets, like Donne, Vaughan, efiave demonstrated their poetic efficiency ecular as well as sacred,there ical Elizabeth; AS a mater Of fact, the di Of lyrics actually lies not : t a Presentation, notin wag very technique of imagery and versification Elizabethan lyrics are primarity all through them and animates then Emotion runs and hope or wrath and despair, ic mood of joy bearing. After all lyticism reposes on impulsiveness. Yer metaphysical poets are less impulsive than their Elizabethan predecseons e and Marvell are definitely not as impulsive and overflowing as Spenser or Shakespeare. In fact, in metaphysical lyrics, emotion and intellect are found perfectly balanced and inter-mingled. Intellectualism 8oes close to impulsiveness and even controls iti Poetry. An emotive element is treated int metaphysical poetry, and this is where it dil izabethan poetry. - This difference is well witnessed in 1s REFORMATION Ht OF THE APTERMA jethod of is images. The los ical pete alucea particular conctasion, Near eeatment of aT ee in the Elizabethan lyric, i. Whereas the Elizabethan steered a coits as wel cat ey of reasoning (0 i a form of Teall, Such @ jon is quite unknow remot oet speaks ‘ “onally inspired, th micy and Logicality etween other potential differences betw: er, : jogies and nome, In Elizabethan lyrics, analogies and wo (Pes OF onal, natural to the poetical re convent Iyries ical Winer rare, extraordinary a ii a jes or imag- 1 ventional analogies or : a a dlial ind even unpoetical. i iffer 2 tan me oe in in metal 7 Ce mer Dota ot hare tere much restrain’motjonal. All this bears out decisively the rathe! al restrainc of the metaphysical Iyric as opposed to the Lastly, METAPHYSICAL POETS — LEADERS The leading metaphysical poets include Donne, Herbert, Vaughan and Marvell. Their poetical characteristics are briefly assessed below. {yAohn Donne ‘The name of John Donne, although not much celebrated in his own days, has become a quite important one in English poetry in jecent times. “To-day he is well-known as the founder of the Nawaphysical School of English poetry. He is recognized now as a rvpaitt wit and serious intellectualist. His poetry: hae variety fy ecular as well as religious —sonnets, songs ‘and elegies —and Auad with a good deal of interest by a modern lover of English Poetyy, in its dramatic as well as subjective Donne belonged actuals lon; to th faders, however, “nl izabethan age. Many of his ure amy Unwilling to associate him with ‘ake him primarily as ad al laphysical s4y1 ies, allusions sion, appears imatetve “approach, the ative day Marlowe and ey and Shakespeare, Infact, he IIB the poet in Donne ig tutionary y and Shakespe nceptions of the poets of his ious, he steered a new path in his technique. secular verses, no ai But his’ approa ; PPFoach to ‘and 1 cmaionall theme is somewhat exceptional and di ly subjective, but there is also mu i s octry expresses his peron dramatic detachment, “ ‘ idealistic to the most grossly im, witlt an interesting dramat etry bears out a strangs assortment of diverse moods, as given out in diverse themes and feelings. At the same time, the uni missed. In the poem, The Good-Morrow, his declarat of attachment to his love is emphatic, not least swayed diversity of his moods and expe "If ever any beauty I did se: Which | desired, and got, ‘twas but a dream of thee ‘There is also seen in his love poetry a successful fus the flash of wit and the depth of /ove as in the poem The Sunn "She is all States, Nothing else is. are expressed wonder! pasen nastics rrvnn THE of conventona | of the monotony On nade His snc eet Damp and Jee if esting dives pone is found a revolullone “too. The other i theme, 100. devottont Ngreat emphasis 01 rp ve Jad es themes. But in Don have [aiid religious themes agai, be free, wfake mee to you, im) ish me.” -nthrall mee, HCV Except you, enthra vs Nor ever chast, except you Fa a se theme is religious, but the poet's mode of app! Buch of secular sensuousmess- roach has the wards God As in his and nne's feeling (0 thly beloved. ' found to harmonise f stimulant. retry, Do In fact, in his religious poetry, to his feeling towards the earl motion and intellect are ses as a sort of Donne's poetry is also revolutionary in its technique. a contemporaries followed a conventional way to describe love . But, with Donne, came an intellectual fervour in the poetic world of the Elizabethans. None before him could dare to frame and express amorous feelings by means of logical reasoning and witty imagery. None before him could dare ‘compare the parted lovers to the legs of a compass._None before him could bring geographical facts in the field of love. None before him could express the feelings of love in such a manner — "This flea is you and I, and this Our marriage bed and marriaj is akin Slur poet, € seca i gethr in his sacred Ve temple is." Donne's technique is really revolutionary for his age. Hi: ir, tamework of his poetry is logical and intellectual, rather sr aanciful or emotional. The easy or emotionally exciting The pi Of the Elizabethans are hardly found in Donne's poetry. it has ig andtoncelts are bold and seldom found excelled by e's chief works include The Pseudo Martyr, Misw/E/Lit. — 10 (P.I)was drawn to the and death, and of seventeenth cen with Herbere Donne and Hi tury, : ec conception 7 ane per ant hamper ce His poetry contains a sudden i tion, a glit : ‘rancis Thompson, as a spiritual mystic. : ‘Vaughan's mysticism has given his religious poetry a tone of ~ utter simplicity. The intimate contact between God and Man is sought with a genuine earnestness, and the poet even yearns for the final reconciliation in heaven to come. There is, however, much novelty in his entire approach to Heaven and faith in His verses do not seek Him through dogmatic religious d or rigorous Christian rituals, but through faith and the simple vision of His sublime presence in Natu in the world, animate as well as inanimate, ‘This note of mysticism is found continued in Va treatment of nature, In his mystical mood, malate herself, not asa museum of spiritual analogies, a Ard religious simples, but,as a creature, simpler (ha man, yeti que of its simplicity and innocence, irmony 1 oF THE REFORMATION AFTERMATH | is potty ind represe God yand variety. ei ne same mystical mood The Sto childhood. 1m his perfe perc Vaughan's gnequivocally ‘The Retreat is ihe celestial Wen et strom my HESLIONG Rite of ose ac hore) A ths 8 cay reminds one of Blake and Words is essential by lyrical. n ‘intensity of feeling are echoed in his vers And imaginative range, even in his SI f the spirit of the romantic poets of the 1 visio! 4 childhood It brings out eat roman- ‘a romantic vaughai His own spiritual aughan FA experience and impulsiveness themes, he bears much o} nineteenth century. Vaughan's poetry is metaphysical, both in its fervour and in its frame. His indebtedness to Donne is remarkable in this respect. His conceits and imagery belong essentially to metaphysical poetry and bespeak particularly the influence of Donne. The conceit, that serves to indicate the likeness between two utterly unlike elements, is a remarkable presence in Vaughan's poetry, as in Donne's. Bat the poet, whose influence is most ; potent on Vaughan, is George Herbert. Vaughan’s religious povtry bears a close analog) to oan In fact, Herbert's influence is remarkably traceable in him. He is found to rehandle Herbert's th his phrases and to copy even his metrical structui neit tr Of Donne and nee Ny of a good pe masters scarcely possess excels the usu; 1 al i ne ima Vaughan has a gift of Herbert and even in Donne. enlivened with spontan, rhyth jstress, reveal the mit 3 e conclusion is horouhly metaphysical (vas orfgna a Donn Tn g, in which We re outburst of to the readers who fogism, a form o| ne isnot ae syllogi ferent proposit at determines sympathy for his age. important works ing of deduced from differ fay of intellect that 4 Scinulans, Sacred Poems and Private Faculations Oleg tl any Das oe oS . sins ad ic features of a great poct. possesses the characteristi : arvell ceriseGellence and emotional IY Andrew Marvell itis teawry has, both imaginative es ten versifi: tion, botn In fnrew Marvell is found a poet of an age of trans profi both 180) MAP tect aoe porte ces and intellectual restraint ot be aa equal to his great contemporary Milton. But he chm very clove toh in ns pregnant and, scholarly creat wit and subtlety, which is absent in Miltonic verses. ‘affeTsatso the just descendant of Donne as a metaphysical poet iid dlaplays, like him, a rare” combination of wit and Seriousness, poetry and intellect. Some of Marvell's remarkable jade Horatian Ode upon Cromwell's Return {rom whose conspicuous gifts have secured for m a place next to Milton among the poets of his age. Hlis poetry boas yar Puritan patriotism, broad humanism, metaphysical commendable technique, withthe no ture in poetry. majestic utterai poets, altho marked in him. He is certainly one poems Foland. The Garden, Dialogue Between the Soul and! the ods, lyric who flourished in the middle of Bei The Garden. Dialog: 5 and Maris preaeyie can e nc wn ae fst mors tgood many other IyricseQvinat tay comenperatics and bear fa to be foted that all Mis poems clearly bear See tha jyrical poetry. In the poems, eg Dea Marvel is a true poet who does not conform to 3 > appr y tradition but150 MODERN ENGLIsi (iv) George Herbert Dting a f the or vitae Htobiograpns Physical thoughts any ¥) man's rel and mental serenity. Herbert's notable Virtue, Man, The exhibit, ina’ great tble_ poems Temper, The C ‘er or lesser measui Ea firm justification of 0 ON. All of them, deep Christian con. with men. In fae ing note is God's way tian poetry, the most stri n ardent faith in God and after. ‘© Principal clement in Herbert's poo en's poetry, ty is all through re " Metaphysical relig z ous poetry is not objectiv subjective, inten: intimate and personal, ahd here essence of I poetry. In Herbert's rel Personal note is found predominant, Som contain his spiritual confession as also ardour. Indeed, there is much purely perso ly subjective, in Herbert's poetry, that is, as already asserted, almost auto-biographical, Herbert's. poetry despite consider Profound thoughtfulness and ardent faith unsophisticated, spontaneous appeal spiritually inspired prose, His spi expressed in an extremely natural has a straightforward approach, a TION - qt REFORM! ur of erermatit OF TE yigious MPO K religions er ou the 10 BIVe peat poems embody Process His bes the SIMPY jdeals- ed appeals HE ignily tae Sean parely pointes century a ne aspiratio’ when-he W345 ch Intricate truths ption in 163 ple verses 0 sum 1 of Si ied of conse jod deal caving for, I on. christ 1LTON is poetic yueness J v. Ml 2 — his 386 — See ks his unial cond aton’s greatness MO i prose is surely n° 5! f cbuons —bis er 's poetry, there is majesty © cr eauness of MIICOD! s Pofowght and a of imagina- of the g Pifeeling and the ran: His opinion. f feel ne als of English Poesy with expression, jeer in the in English poe’ Gan he has hardly any D peayname that must ev jestic poet who Shakespeare ilton is found a pure and. write great poems Indeed, in dent idealist. His nistes — are remains, above all gadise Regained and Samson Ago ify to his Tparadise Lost, Paradis ‘and sufficiently testify world literature, g with his lofty the classics gf ond poetic magnitude, along with creative geni Christian faith and fervour. ne ime, when il ame in no quiet age. He was active at a i ne hectic political activities much spoilt the spontaneity of literary in England. Milton himself was actively Se scveute of Parliament against the King and his rouone ra the defence of democracy and freedom. The King was executed in 1649. Milton was appointed the Latin Secretary to the Commonwealth — the government of Cromwell. He had to study and write constantly to defend his government against the attack of the royalists from the continent. In fact, the great poet worked. hard and even lost his weak eyes for the cause of the defenc of erty. But even then Milton's. cause was ultimately: delened, and the royal power returned to the throne 1660. There began then a gloomy phase in the life of the dauntless. blind poet. But + blindness and isolation from the political sue Proved a blessing in dispuise for him, and one ater anther, hs inns ft there came out,f Christ ist, fies of Samant artificiality is no false Paradise Lost, Paradise those poems Regained and San Poeris — Simplicig, ne Xl demonstrate. re S20" Agonistes. Ai DUCHY, sensuousness and impulsirenae Ts combat of sreat poetry, Milton's significance in the hi hardly be assessed within a brict Poetical creations is quite vast and L'Allegro and II Penserso (1632-: (1635), Lycidas (1637), and so on. contribution of his creative art to Engl epics — Paradise Lost and Paradise ft and 1671 respectively. He stands here sing other poets in his language as the maker of the subject-matter, chosen by him, are grand, u in prose and verse before.’ His arguments are hi idealistic —*to justify the ways of God to men’ and redemption of humanity throu: Milton, indeed, has shown toh Lory of English compass, rature nh "found inspired with suc! 153 ains the first and he remain ib cs are poss! at epl es sre test modern and great re Milton's contribution i There were Englis BET rand simple an er Mg wigour and simple 2nd a religious poet, in his as as tif ites how sublime tho! its ave manner. ilustraes, gc simple and straight1o profoun aso a2 peer Pesrarch, do not follow the beater of ot love Serie more t jiltonic sonnets. si a Along with Shakespeare, Milton pied love for liber ne seen innovator in the treatment of iy deserves the place of an innovate finferent subjects, other than love, in sonnets. but the most remarkable quality of Milton's poetry is dived by many in his poetic art —in his masterly style. TE consummate mastery over all the rich aspects of technique "that has made Milton so remarkable a figure in English poetry. ‘The charms of a gracious style are abundantly manifested in his “earlier poems. The spectacular imagery and the sonorous melody of L' Allegro and I] Penserso, of Lycidas and Comus_ can hardly be excelled. But, itis in his later poems —in his monumental Paradise Lost, Paradise Regained and Samson Agonistes —, that Milton's style reaches the Olympian height and secures for him a sure place among the great masters of Muses —Homer, Dante and Shakespeare. In imagery and music, in force and cadence, those Tater, works illustrate Milton's unique genius and assert h Position as one of the greatest poets in the English language, Milton's grand ste, which is almost proverbial, is a unique asset for English literature, and constitutes one of the write elements in English for all times. ao AS a prose author in En; @ high commendation. As i ish literature, Milton also deserves his poctry, he is found to possess inu ss. theme and 3 UmPertant trace Work is Areopayh WOT is fou wtSPokEN defence Petit. Qu fence of the ANd writings WCC OF Milton” fesPiting Tenure MiPS prose are Teens MS other 5 (L649) el Kings and ay l2e Divorce Tra | The Ri strates (1649), 9), wealth (164 0), and many other, "3 € Establish 4 (a3, Eikononne) Free Co; Klaste: mmon Lostis a bi ig and ambiti Bol Femains an o1 OUS Project to w English and has secured an erage ed an e €pics Of the classical masters: like nee ye an epi ‘rary creation in modern side of the and others, Milton's chief sourc ; in Paradise Lostis The Book of Genes oh the Hols Bible. The original Biblical story is si ne mdenie is all about the creation of Man, his wansgresson ofthe commandment and his conseq pt he Garden rent expulsion fro a sion from U This simple Biblical theme is turned into world epic by Milton's poetic gei already implied, an outstanding ye materials such a unique subject for literatu Milton has chosen ‘a subject mightier than the liad or. ‘Aenied, greater than the story of a destruction of a city or the foundation of an Empire.” a Milton's literary source of inspiration he reat classical poets — Homer, Virgil and Ovid. le is coriainl {ndebted to them for his conception of the epic pattern, his ws ee \d majestic m le an imagination an ein " Ss ch, it has an ints a fc aeuprehensive> and the paradise Lost is an an quite ¢ ty different ating vic is ‘composed of twelve Books, de holo fed aapcts of sublime theme vl moral purpose consistent Pree f God to men fave a high however, has a 7 us nature ani is to ‘Justify the ways of GO ‘n, Paradise Lost must red Christian objective. Milton's epic his 0” wn deeply rel mis he himself states» jous literature in Enj its grand, inspit pitious ise Lost is truly a very ambitious area No other English poem cal a enius. lereended Milton's conception of a ver, ct Wr ils "s disobedience and fall ané P i 2 an oe tne “Greater Man’. There is " 1e sacrifice of one viemption through the sacrifice rede english poet to attain his moral no osyuman sin and suffering and to represent of traits of Heaven and Hell and of Adam and Eve in th of Eden. elucidation of the cause resent his poetical ie Garden “the inspiration of Paradise Lost for subsequent literary men ts found not least. Both in its theme and in its technique, the Gpie depicts a splendour of literary achievement which has femained the much desired goal for many a literary aspirant, — (ii) Samson Agonistes Milton's fame, no doubt, is secured by his great cpi Paradise Lost. But his poetic tragedy Samson Agonistes ha added no less to his literary genius. ‘The exact time of the composition of the play is not know but it was possibly written after Paradise Lost, and came forth after the publication of that famous epic. Milton's source in Samson Agonistes is the Kook of Judges of the Old Testament. He has chosen here the old celebrated HebrewThis Bibi ical story i Poetic tragedy. wih oS Nell Fepres ly, with wt sented by Mitt a es mos! lity. ton senboedes and situations are mosey te, reverence criptural materi More oF less conceived {. Is. avail sacrifice hav. lable. Samson's gr rom the Hebreg «nave the right sort of represented ea and great Spirit. This is truly ‘tation in Milton Milton's drama Je ith Sanson a erg sulfering, profound faith and wivnrhen his faithless foes. ema is concern In Samson Agonistes, no dout ¥ scripture, but his dramatic at belsngs the oat Greece. ‘The play Is written on the hovel nia tragedy. “It is, perhaps, the most poviec ti model of the classical tragedies of Greece. the chorus and the messenger, Ul unities, the portraiture of the hero, the structural d play by means of different choric odes and Eatastrophe outside the stage are the eset Greek character. Milton has successfull nin with the grandeur ofthe great Greek misters, Sophocles. Of course, there may be certain 0 structure or quality of the play. But its poctry’ is Its choric odes are the rich gems of English poetry. fervour is trul or ita hi lyric. AS a versi testifies to his genius as a maje: his raged wylus and ~ above EFORMATION ARTERMATH OF THE RE fon is mo: Jr x 5 also M : vat poet. Yet, he ; “a itton is mostly celebrated 3s 3 #70 port spect grea ivmaster of English prose nd in this: reste his nae ren ia is airing theme and 2 © sieerengthened with an inspirh fs found 5 = reedom press, is a ities Je freedom of the Pre on cal . ne hess against monarchiah OF clarion call for the liberty of Se Pr mona or ‘addresses here 4 definitely jpotic auchoritari His theme is i marks son's high theme is expressed in a language DAY TAIT tats igh re impulsiveness. is igh thoughts o°e equally his Prim his powerfully chosen words, and his “oie Ns found echo ming, as in the following instance — "GING AE Aca co argue freely, according to my con Le all liberties." Indeed, Areopagitica bears out M Hone H Heres ful impulsive prose-style, and the wor ans fice in the powerful, profound prose com! yemains a monumental & Iiterature of the Puritan Age. Milton's prose-style, as marked in Areopagitica, is animated with grace and force. It is possessed of a poetic ardour, and Seems to bear all the distinctive qualities that make his poctical Style so grand and majestic. There is not the least of doubt that Milton's prose-style in Areopagitica is of immense importanc the growth of English prose literature. VI ENGLISH PROSE IN THE PURITAN AGE : JACOBEAN PROSE Growth of English prose — character of Jacobean prose — important prose writers ofthe age | ish prose, despite its late, loose and unimpressive beginning, with th AngioSwon Chronicte, foun Wr apPy Impetus under the leadership of the great English. Kink Alfred. The foundation, laid firmly by: him, appears to have beer nnuch strengthened by’ the prose-writers of subseq The history of English prose literature marks times. steadyERA ntury and. sist in the Jacobean period Prose titerat tinal charac Elizabethan, © and orig of the Ei no liter element 3 ideas, both pollcal sna ; conflict. is ana ther didaetie. Wis inp red with sm. AU the same ti and resents, tative and ey oer their argumey scholasticism, intel this prose - Titeratur C tion, F Thomas Browne } Among the Prose-wri is, perhaps, the first not ers of the per table nam: fad specifically an aptitude for natura scence fet aside the popular matters of interest of his 3g ste for miracles and a bright sense of humour. Among the great masters of English prose, Thomas Browne is lebrated name. scepticism. Bro commonly to be iy and mortality. The entire he discovery of certa s quite novel. Brow a quite enjoyable u ellectual probe into popular s lactic work on Christian Garden Cyrus, Errors, an Christian Morals, a did | Account of the important men of Ein thinker style which ous style i” ie Int ignificant Pa ter Browne's: [ Jeremy Taylor IF sme need be mentioned Jas ois, and ylor's name ne ased (0 Purl 501 Jeremy oc Fone sed 10 seven imprisoned He was an The Royalist cause wounded ardendy cher, and él 1d for was an eloquent preacher, smembere’ ray was.an logue’ Pej ie Bet Te Ei his Holy Living 20 “part of English rel sore eeielate sensibility and a rich imagination, ''s author, wi eeusvand forceful, with stately and sonorous dleton i ere rightly auributed a lofty position among the ‘ilar and masters Of English prose. [ Thomas Fuller J ‘Among the pulpit-authors of the age may be mentioned ‘Thomas Fuller, known specifically for his historical works on religion. iis The History of the Holy War deals with the Crusades, while The Church History of Britain traces the history of Christianity in England. The Holy State and the Profane is his a record of different ristianity. The work is nother notable work. ICs historical examples relating to dict, emphasing what examples ae tobe fllowe and wht, 3¢ avoided. Fuller's most popular work is The Worthies England, published posthumous!; ere Good Thoughts in Bad Times and. An England and Wales. ‘Alecia to160 ruse ur, atises, troduction o is sense of thang s hard tre; straight snot: His style i PPeal is not rich Most widely read aoe? Teasers ke Taylor's, but ( Mitton } a Prose, Milton's most celeb rated prose work is Areo tshed in 1644. The work is cason «al orth press by one who remained ever a great defende Feligious, political, or civil. The work is cast in the f Adress to Parliament for the liberty of unlicenced printing, Milton's passion for liberty is deep and warm, and Ting powerfully in his demand —"Give me the Rega aed anata argue freely according to my cons nnd s really a monumental sp igitica, pub. berty of of ‘Aword must be said in this connection about the pros of Milton. Areopagitica is enlivened with a flowing and po style, and possesses all those qualities which distinc! his poetry. Milton remains ‘a master of English prose, and significance in Engl ish literature is truly great in this respect, n has other prose works, incluging Of course, Miltoi thought provoking tracts. 161 a highly SP of Bunyan's OF astyle. oc ” unyan was a prolific prose Writer, Besides his masterpiece ‘the Pilgrim's Progress, he wrote several other works — The Holy roe ie Lifeand Death of Mr. Badman, Grace abounding, eX. of the as the greatest English prose writer & in hii seventesnth century. This is no exaggerated honor Sevtmng is found almost the Shakespearean artistry te combine witwith serious subjects. His phrases have a happy knack and ve wits jnation Is rich, indeed. Along with Milton, he constitutes ai evar iterary glory of the Puritan age, Milton is the aurhor or he singular modern epics, while Bunyan gives a great modern allegory. . Bunyan is claimed ‘The history of the prose literature of the age is rich in variety, Different literary forms are found in this respect. ‘There is the famous work of Edward Hyde, Earl of Clarendon, on the political history of the time, entitled The History of the Hist /E/Lit. — 11 (PU)| Works on sociology and polities — Thomas is , conta * ing shor 's Familiar Let 4 ‘ ters may : ‘uritans who had bee Tmoalist Fewime. Yet, it was againee then monarchial authority that some x aa eS shone, John Bunyan, along with j. mE 9 leters, who had to bear inne the restoration of Kingshi ‘i iii N consistently zeal in the reign of Charles Il. But, like M talent came out in adversity, and he rema remembered name in the history of Eng does not enjoy the eminence is illustri contemporary. It was during the hard days of his and persecution that Bunyan devoted himselt ardently terature, and could produce some literary works 0 outstanding originality and a lasting fame. ins today a we lobbes and John able social and cng it ts, effet nad epetences AP journey ie van presents the journey, ni ene BESS ‘Alan rset he ae of Human, the through the SloUgD ote Death and the Vanity Fair. Al) inet | Bunyan presents here, allegorically the progress of | e jones ftian a i i gles, its desponder f wu with its aspirations, its struggles, its desponde nd it ee are tne path of life. This pilgeim's progress is | eventually’ accomplished with the aid of nobler forces and the strength of character and Christian piety. Bunyan's The Pilgrim's Progress is truly a great endeavour. tis a sort of religious literature itself. Written in an extremely simpleand straight-forward manner, it remains a hand-book for all devout Christians. ‘The work is also taken as a fo! + and may be characterised, ith; Of course, the essential features twaced in The Pilgrim's Progress, force of narration, the-drammtte-en introspection thata ood Bunyan has a telling well as instructs,164 MODERN ENGLISH LITERATURE [ Other Works ] Bunyan's other remarkable works include The Life and Death of Mr Badman (1680) and The Holy Wars (1682). These works, too, much better than other contemporary writings, well bear out the author's deeply Christian conviction and genuinely Puritan enthusiasm. In the former work, The Life and Death of Mr Badman, Bunyan gives out, in the form of a dialogue between Mr Wiseman and Mr Attentive, a good deal of plain preaching, with incidental anecdotes. There’ are much variety, -fictional attraction and dramatic novelty in the writing, yet, above all this, the Puritan tone is strikingly heard. [Significance and contribution ] Bunyan, as a man of literature, is not a grand figure, but a sound one. The works, he produced, have not certainly grandeur or splendour, but they are all sufficiently purposive, convincing and impressive. This is where his literary activity has both soundness and depth. x In fact, Bunyan's contribution to English literature is discerned in more than one way. -It is to him that simple, devotional prose literature in English owes its origin. Again, among the makers of allegorical /iterature in English, his position is surely very high. Although Langland's influence may be readily traced on him, he is found much simpler and more convincing than his great preceptor in the allegorical treatment of divine subjects. Lastly, Bunyan's prose is simple, pointed, yet picturesque and free from all sorts of scholasticism and ornamentation, with which religious literature is found often burdened. | Biblical faith and homiletic fervour go with colloquial sturdiness in his writing, and, as a result, his style is at once vital, vigorous, yet plain and effective, equally in narratives and in dialogue. Indeed, Bunyan has a secured place among the makers of a strong and simple prose style in English.