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
Imagery and symbolism in Regeneration
Usually in metaphysical poetry the imagery is the centre of any analysis of the poetry. This is true here but a big difference is the fact that the imagery is being used as a source of symbols rather than as a conceit.
Landscapes and a journey
As we have seen, the source of the imagery is from Nature. It works in an interesting way. For example, in stanza 2, the poet speaks of ‘my spring'. No one can own spring, but figuratively we can talk of our inner weather and our inner seasons. Vaughan has internalised the images. Yet our inner journey produces a landscape which any ‘Pilgrims Eye' will see: there is a degree of universality to it. This parallels the real world: when people hike up a mountain, it is the same mountain for everyone, yet each person will experience it and internalise their memories of it uniquely. It remains a natural process, even if it is being given supernatural meaning as well. This is akin to the idea of the correspondence of microcosm and macrocosm seen in Donne.
A Pilgrim's Eye
Vaughan uses the ‘Pilgrims Eye' as a simile. He seems to be saying: ‘It was like being a pilgrim caught in some featureless place, far from anywhere, looking into this blank sky…' Ironically of course, the poet is a pilgrim, making his spiritual journey: that is the central image of the poem. This provides insight into a mystical use of language in which the categories of the natural, the literal, the figurative and supernatural lose their sharp boundaries and begin to merge into one another. There are moments in Wordsworth's poetry when the same thing happens. With Wordsworth it is a kind of ‘nature mysticism'; with Vaughan, it is still strongly Christian.
God's generosity
Beyond this, there are some metaphors that stand out without having symbolic meaning loaded on to them, such as
A thousand pieces
This is a very effective description of sunlight. ‘Unthrift' means ‘generous', and stands in contrast to the ‘surly winds' of the poet's own inner weather. It points to God's generosity and grace.
- What images stand out for you in Regeneration?
- Are they ‘symbolic' or just descriptive?
- How does Vaughan appeal to our senses in this poem as well as to our mind?
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