0:03 hello everyone I hope you're all doing
0:07 well this is just a very short uh video
0:09 on the key points that I want you to
0:12 study in the article that TS Elliot
0:14 wrote on the metaphysical
0:17 poets um we discussed a lot of points
0:20 during the sessions but I thought this
0:23 will be very um precise and
0:26 straightforward um and will help you
0:28 when um you want to study this part for
0:31 the final exam right now of course these
0:32 are not all the points that TS you
0:35 discussed but I'm only going to focus on
0:37 the most important ideas the key points
0:40 that I want you to know right that
0:42 you're going to get your questions on in
0:44 the final
0:48 exam um so first of all um TS Eliot
0:51 tries to explain the phrase metaphysical
0:54 poetry and he says that the phrase
0:57 metaphysical poetry has long done Duty
1:00 as a term of abuse or as the label of a
1:02 quaint and pleasant taste there are a
1:05 lot of views on metaphysical poetry and
1:08 that is why he finds himself in a quary
1:11 more or less um and this is how he
1:13 begins his own essay on the metaphysical
1:16 Poes the question he asks is to what
1:20 extent the so-called metaphysicals uh
1:22 formed the school and how far this
1:24 so-called school or movement is a
1:26 digression from the main current and I
1:28 think we also discussed this in the
1:31 sessions when we try to figure out
1:33 whether the metaphysical poets and what
1:37 they represented was influenced by the
1:41 17th century or was a DI agression from
1:44 what was happening in the 17th century
1:47 uh I think some of you agreed that um
1:49 everything they talked about um
1:51 specifically with reference to the
1:55 Scientific Revolution and similar ideas
1:58 does really put them in the middle of
2:00 the 17th century does really
2:06 uh represent them as um more or less um
2:08 poets who are so much engrossed in the
2:12 age and influenced and were influenced
2:17 by the 17th century um he adds not only
2:19 is it extremely difficult to define
2:21 metaphysical poetry but difficult to
2:24 decide what poets practice it and in
2:26 which of their
2:29 verses um he then elaborates that the
2:32 poetry of Jean Don for example is late
2:34 Elizabethan it's feeling often very
2:36 close to the of Chapman we also talked
2:39 about the poetry written by John Don
2:42 during the um you mean during the the
2:44 Elizabethan period and that was it was
2:47 more or less courtly love uh a bit
2:49 different from the Poetry that he
2:51 published during the 17th century and he
2:54 says it is difficult to find any precise
2:58 use of metaphor simile or other conceit
3:00 which is common to all the poets as
3:04 a he talks about John Don for example he
3:08 says that Don employs a device which is
3:11 sometimes considered characteristically
3:13 metaphysical he says the elaboration
3:16 contrasted with the condensation of a
3:19 figure of speech to the furthest stage
3:21 to which Ingenuity can carry it and of
3:23 course he refers here to the
3:25 metaphysical conceit and he gives the
3:27 example of the compass conceit in a
3:29 valediction for Bing morning the
3:34 comparison of two lovers to a pair of
3:38 compes he then talks about Samu Johnson
3:40 who was the the one who coined the term
3:43 metaphysical poetry in the first place
3:46 and he says that Samuel Johnson claims
3:49 that in metaphysical writing the most
3:51 heterogenous ideas are yolked by
3:54 violence together and to such statement
3:57 OT response that all poets do that even
4:01 Johnson himself and I guess we had quite
4:04 a conversation and a discussion about
4:07 what he means by you know having these
4:10 ideas yoked by violence I ask you about
4:12 what you think about it now as you know
4:14 this is not a video wherein I am going
4:17 to explain everything that we explained
4:19 in class but it's rather you know a
4:22 recap of the key ideas you know more or
4:25 less me trying to help you figure out
4:28 the main ideas in uh the article before
4:32 day EX right then T Elliot um talks
4:35 about George Herbert this is George
4:38 Herbert here he says that George Herbert
4:41 wrote in simple and elegant language his
4:44 syntax or sentence structure was often
4:46 more complex in demanding some of you
4:48 agreed with him some of you
4:51 disagreed he adds that in his poetry
4:55 Herbert showcases a fedility to thought
4:57 and feeling I.E the union of thought and
5:00 feeling and I think um this this is how
5:03 he began to explore his own theory of
5:05 the dissociation of
5:08 sensibility because actually this is one
5:11 of the main ideas discussed in this um
5:14 in this article now as you know
5:17 dissociation um um it means separation
5:19 all right the separation between thought
5:22 and feeling and according to TS Elliot
5:25 that during the 17th century or the
5:27 writers of the 17th century managed to
5:30 create a unification of sensibility in
5:32 contrast to the dissociation of
5:35 sensibility which actually continued
5:38 after the 17th century so he says
5:41 according to iiot Tennison and Browning
5:45 are poets and they think but they do not
5:48 feel the thought as immediately as the
5:53 odor of a rose he then says a thought to
5:58 Da was an experience it modified his
6:01 sensibility when when a poet's mind is
6:03 perfectly equipped for its work it is
6:06 constantly amalgamating the parate
6:09 experience the ordinary man's experience
6:12 is chaotic irregular and
6:14 fragmentary the latter falls in love or
6:17 read Spinosa and these two experiences
6:19 have nothing to do with each other or
6:21 with the noise of the typewriter or the
6:23 smell of cooking in the mind of the poet
6:27 these experiences are always forming new
6:30 holes we may Express the difference by
6:32 the following Theory The Poets of the
6:35 17th century possessed a mechanism of
6:37 sensibility which could devour any kind
6:40 of experience they are simple artificial
6:43 difficult or fantastic now again we
6:46 explain this in great detail right
6:48 according to TS Eliot one of the major
6:51 elements of the Romantic uh sorry of the
6:53 metaphysical writers is that they manage
6:57 you know to to to make a fusion between
7:00 thought and feeling right and he
7:03 believes that this did not take place
7:06 after the metaphysical writers so in
7:08 other words the dissociation of
7:10 sensibility was a result of the natural
7:12 development of poetry after the
7:14 metaphysical poets who had felt their
7:16 thought as immediately as the order of
7:19 herose this phenomenon I.E the direct
7:21 sensuous apprehension of thought or the
7:24 fusion of thought and feeling which iiot
7:27 called a mechanism of sensibility was
7:32 lost by later poets I.E in metaphysical
7:34 poetry there is
7:36 unification right in contrast to the
7:38 dissociation of
7:42 sensibility which underwent you know um
7:46 during uh the periods following the 17th
7:50 century so to conclude the metaphysical
7:52 writers could bring together abstract
7:55 ideas and intense emotions creating
7:57 harmonious Fusion of thought and feeling
8:00 in their work and as an example people
8:02 in Don's work there is an intellectual
8:05 analysis of emotion everything arises
8:07 out of some emotional situation but the
8:10 emotion is not merely expressed it is
8:13 analyzed now again uh we discussed this
8:15 in great detail I just thought that it
8:17 would be helpful if you have all of
8:22 these ideas you know um concentrated in
8:25 a very short video like this and I do
8:28 trust that you have a clear
8:31 understanding of these ideas because as
8:33 we agree together um not only are you
8:35 going to get two of the multiple choice
8:39 questions um from this material but I
8:44 may be um you know um in need um to use
8:48 some of these ideas in the main question
8:51 if the main question uh will ask about
8:53 the metaphysical writers all right so
8:57 thank you so much and happy studying
