Summary of poem quickness by henry vaughan
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The Poetry of Vaughan ▾search
Henry Vaughan is best known as a religious poet, a follower of the metaphysical tradition of John Donne and George Herbert, and a precursor of William Wordsworth in his interest in the ideas of the seventeenth century Platonists. The Platonist philosophers emphasized humanity’s innate good, the innocent wisdom of childhood, and the possibility of mystical union with God. Like Donne, Vaughan turned to religious poetry relatively late in his career; he was a law student in London, and his first volume of verse, Poems, reveals his close reading of the popular court poets of the age of Charles I.
A number of Vaughan’s early poems are love lyrics addressed to Amoret, probably an imaginary lady. They show little originality, though they are competent, pleasant, polished works. Even at this stage in his development Vaughan was a skillful metrist, able to create many different effects through a variety of verse forms. His sentiments and images are typical of the age; his passion is strictly “platonic.” It is the lady’s soul he loves, though he complains that she is as heartless and unyielding as the ladies addressed by the other Cavalier poets. Cupid, the cruel god of love, plays a major part in many of Vaughan’s lyrics, as he does in the works of writers like Ben Jonson and Thomas Randolph, to whom the poet acknowledges his debt.
There are, among the imitative and undistinguished lines of these poems, flashes of that gift of language that makes some of Vaughan’s later lyrics rank high among the verses of his century.
If, Amoret, that glorious Eye, In the first birth of light, And death of Night,Had with those elder fires you spy Scatter’d so high Received form, and sight;We might suspect in the vast Ring, Amidst these golden glories, And fierie stories;Whether the Sun had been the King, And guide of Day, Or your brighter eye should sway.
The comparison of the lady’s brightness to that of the sun is commonplace, but the poet’s vision of the night sky is his own.
Poems included, in addition to the typically Carolinian love lyrics, an amusing description of London night life that ended with a drinking song and a translation of Juvenal’s tenth satire. Vaughan’s translation reads smoothly, but it suffers greatly by comparison with Samuel Johnson’s “The Vanity of Human Wishes,” an adaptation of the same Latin poem. Though both English poets used iambic pentameter rhyming couplets, Vaughan’s extended verse paragraphs have little of the pointed conciseness that the eighteenth century poet gave to the form. Satire was, in any case, quite foreign to Vaughan’s temperament, and he wisely turned his attention to other subjects in his later works.
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here is ur ans..
The Poetry of Vaughan ▾search
Henry Vaughan is best known as a religious poet, a follower of the metaphysical tradition of John Donne and George Herbert, and a precursor of William Wordsworth in his interest in the ideas of the seventeenth century Platonists. The Platonist philosophers emphasized humanity’s innate good, the innocent wisdom of childhood, and the possibility of mystical union with God. Like Donne, Vaughan turned to religious poetry relatively late in his career; he was a law student in London, and his first volume of verse, Poems, reveals his close reading of the popular court poets of the age of Charles I.
A number of Vaughan’s early poems are love lyrics addressed to Amoret, probably an imaginary lady. They show little originality, though they are competent, pleasant, polished works. Even at this stage in his development Vaughan was a skillful metrist, able to create many different effects through a variety of verse forms. His sentiments and images are typical of the age; his passion is strictly “platonic.” It is the lady’s soul he loves, though he complains that she is as heartless and unyielding as the ladies addressed by the other Cavalier poets. Cupid, the cruel god of love, plays a major part in many of Vaughan’s lyrics, as he does in the works of writers like Ben Jonson and Thomas Randolph, to whom the poet acknowledges his debt.
There are, among the imitative and undistinguished lines of these poems, flashes of that gift of language that makes some of Vaughan’s later lyrics rank high among the verses of his century.
If, Amoret, that glorious Eye, In the first birth of light, And death of Night,Had with those elder fires you spy Scatter’d so high Received form, and sight;We might suspect in the vast Ring, Amidst these golden glories, And fierie stories;Whether the Sun had been the King, And guide of Day, Or your brighter eye should sway.
The comparison of the lady’s brightness to that of the sun is commonplace, but the poet’s vision of the night sky is his own.
Poems included, in addition to the typically Carolinian love lyrics, an amusing description of London night life that ended with a drinking song and a translation of Juvenal’s tenth satire. Vaughan’s translation reads smoothly, but it suffers greatly by comparison with Samuel Johnson’s “The Vanity of Human Wishes,” an adaptation of the same Latin poem. Though both English poets used iambic pentameter rhyming couplets, Vaughan’s extended verse paragraphs have little of the pointed conciseness that the eighteenth century poet gave to the form. Satire was, in any case, quite foreign to Vaughan’s temperament, and he wisely turned his attention to other subjects in his later works.
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