Metaphysical poets, selected poems Contents
- Social / political context
- Religious / philosophical context
- Literary context: ideas and innovations
- Aire and Angels
- A Hymn to God the Father
- A Hymn to God, my God, in my Sicknesse
- A Nocturnall upon St. Lucies day
- At the Round Earth's Imagin'd Corners
- A Valediction: Forbidding Mourning
- Synopsis of Valediction: Forbidding Mourning
- Commentary on Valediction: Forbidding Mourning
- Language and tone in Valediction: Forbidding Mourning
- Structure and versification in Valediction: Forbidding Mourning
- Imagery and symbolism in Valediction: Forbidding Mourning
- Themes in Valediction: Forbidding Mourning
- A Valediction: of Weeping
- Batter my heart
- Death be not Proud
- Elegie XIX: Going to Bed
- Elegie XVI: On his Mistris
- Good Friday, 1613. Riding Westward
- Lovers' Infiniteness
- Oh my blacke Soule!
- Satyre III: 'On Religion'
- Show me Deare Christ
- Since She Whom I Lov'd
- Song: Goe, and catche a falling starre
- The Anniversarie
- The Dreame
- The Extasie
- The Flea
- The Good-morrow
- The Sunne Rising
- This is my playes last scene
- Twicknam Garden
- What if this present
- Aaron
- Affliction I
- Death
- Discipline
- Easter Wings
- Jordan I
- Jordan II
- Life
- Love II
- Man
- Prayer I
- Redemption
- The Church-floore
- The Collar
- Vertue
- Hymn in Adoration of the Blessed Sacrament
- Hymn to St Teresa
- St Mary Magdalene, or the Weeper
- To the Countesse of Denbigh
- Ascension - Hymn
- Man
- Regeneration
- The Night
- The Retreate
- The Water-fall
- A Dialogue between Soul and Body
- On a Drop of Dew
- The Coronet
- The Definition of Love
- The Garden
- The Mower Against Gardens
- The Mower to the Glo-Worms
- The Mower's Song
- The Nymph Complaining for the Death of her Faun
- The Picture of Little T.C. in a Prospect of Flowers
- To his Coy Mistress
- Upon Appleton House, to my Lord Fairfax
- An Elegie upon the Death of the Deane of Paul's Dr John Donne
- To a Lady that Desired I would Love her
The Retreate
Platonic Christianity
This is one of Vaughan's more obviously mystical poems, based on a form of Platonic Christianity which is typical of such mysticism. It can also be found in William Blake's poems. Vaughan's Platonism is quite close to another metaphysical poet, Andrew Marvell, who was writing at the same time. Marvell, however, is not at all mystical but much more defined in his intellectual statements, more in the manner of Donne.
More on Platonism: see Andrew Marvell's The Garden.
Vaughan's Platonism in this poem is expressed in the idea of the soul of the newborn child coming straight out of heaven. It therefore retains memories of heaven for a few years, and there is always a desire to return to that half-remembered state of happiness ever after. In this, the poem anticipates a famous poem by William Wordsworth, Ode. Intimations of Immortality from Recollections of Early Childhood. This is ‘my Angell-infancy'. ‘My second race' means his life on earth after having lived a life already in heaven.
The journey of life
The central image is pilgrimage, the journey of life.
A mile or two from my first love.
The poet is walking away from Heaven, not towards it as envisaged in the traditional image of a journey through life (expressed, for example, in John Bunyan's The Pilgrim's Progress, written some twenty years later). As with the night/light imagery of The Night, Vaughan is taking a common place image from the Christian tradition and reinventing it.Hence, in the second part of the poem, the sense of loss and longing: the further he goes on in life, the more he will forget happiness.
And tread again that ancient track
This ‘is a haunting and poignant couplet. ‘Track' seems such an ordinary word for this journey, yet how much desire is invested in it! The track leads back to a shining plain, and the symbolic geography spreads out before us as it does in Bunyan or even the novels of Thomas Hardy.
‘That shady City of Palme trees' is presumably the heavenly Jerusalem of Revelation 22:2, rather than the city of Jericho which is called by that name in the Bible (2 Chronicles 28:15). The image of drunkenness is one of Vaughan's most vivid, for the rhythm exactly mirrors the drunken motion. The final image echoes the biblical one of ‘dust to dust' (Genesis 3:19), the urn being metonymic of death, since at cremation, ashes are often put into urns.
- Read Vaughan's The Retreate
- Why does Vaughan think souls lose this sense of heavenly origin?
- In what sense is a ‘gilded Cloud' a shadow of eternity?
- What seems to you the most striking feature of the poem?
(see Themes and significant ideas > The Loss of Innocence).
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- King James Version
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