Roles of Ben Jonson and Robert Herrick in Poetry Essay Example

carpe diem is another typical feature of early seventeenth-century poetry. The theme of seizing the day and making the most of what you can is often a part of the integral lessons offered in the poetry of the day. In one of the stands in Jonson’s to the immortal memory, and friendship of that noble pair, Sir Lucius Cary and Sir H. Morison he asks “For, what is life, if measur’d by the space/Not by the act?” (21-22).

He is demanding to know why we measure life by time instead of what we do. It is also interesting to note that this poem is actually a Pindaric ode, a classical form of poetry including the stand, turn, and counter turns. Herrick’s “To the Virgins, To Make Much of Time” is also full of this concept of seizing the day. We see it not only in the title of the poem but also in various lines such as “then be not coy, but use your time,” (12) where he is imploring people to use their time on this earth wisely.

The lines are easy to understand and reach out to the nature of all human experience. Poetry of this age was generally simple, and also somewhat lyrical. While various classical themes are referred to in much of the poetry, it is done in a way that the general public could understand. Jonson’s poetry, like his Penshurst, is “not built to envious show” (1).

Neither is Herrick’s, whose audience is clear in his poem to the virgins. Neither poet uses much figurative language, and everything generally has a good sense of clarity to it. The poetry was also fairly easy

to follow in the way of form. Many poems between Jonson and Herrick have a simple, couplet-based end rhyme scheme. This continuity can be seen in the end rhymes of Jonson’s “On My First Son” – “joy/boy/pay/day” (1-4), etc. and Herrick’s “To The Virgins, To Make Much of Time” – “time/marry/prime/tarry” (13-6). The simple rhyme schemes seem to lend a lyrical quality to the poetry and also make it easier to follow, representing the logical approach authors had on their readers. This is evident in Jonson’s approach of sometimes taking prose and converting it to poetry. We also see sprezzatura – the attempt to rid poetry of excess feeling. Jonson’s poetry directly addressed specific audiences most of the time – we see titles such as “On My First Son” and Penshurst. Herrick of course has “To The Virgins, To Make Much of Time.”

However, as we see in “The Argument of His Book,” Herrick also employed a more personal tone – he is talking about how he sees the world, what we write about, etcetera – “I sing of brooks, of blossoms, birds, and bowers” (1). He comes across as very melodious and praises the world. It is interesting to note here that while Utopian concepts were considered old-fashioned at the time, both this poem and Jonson’s to Penshurst embrace Utopian concepts. The utopian concept was abounded throughout pre-renaissance poetry, especially in poems in the pastoral vein, where nature is perfect and god’s touches influence everything. While it may not be the norm for renaissance poetry, it is still quite prominent and lends classical qualities to works of the time. Jonson’s to Penshurst is a humble

piece about an idealized country manor, where life was perfect and all people were happy.

His ruminations on the wall show humility and friendship: And though thy walls are of country stone, They're reared with no man's ruin, no man's groan; There's none, that dwell about them, wish them down; But all come in, the farmer and the clown. (45-8) Herrick’s Corinna’s Going A-Maying implores that Corinna note “How each field turns a street, each street a park/Made green and trimmed with trees” (30-1). This represents a beautiful, idealized world. These idealized settings also lend a lot to the lyrical, melodious qualities mentioned previously, and give the poetry room to embody good values for mankind.

One of the most prominent features of early seventeenth-century poetry was the use of classical values. These values include things such as restraint, moderation, order, friendship, duty, and honor, among others. Jonson’s To Penshurst is a great example of how classical values are embedded in the poetry of this time. This excerpt embodies a sense of order and hierarchy, duty, honor, and friendship, continuing the aforementioned lines: There’s none that dwell about them wish them down; But all come in, the farmer, and the clown And no one empty-handed to salute Thy lord and lady, though they have no suit. (47-9) Anyone on Penshurst is expected to give tribute to the lord and lady, and even the animals perform their duties of providing food and breeding, as we see when Jonson mentions “The painted partridge lies in ev’ry field/And, for thy mess, is willing to be killed” (29-30). Herrick also utilizes many classical values – in Corinna’s Going A-Maying we see lines

such as “see how/ Devotion gives each house a bough,” (31-2) showing devotion as creating happiness.

Here, too, Herrick is putting a sense of order upon his poetry. The season of May cleanses our bodies and makes us pure again, showing that nature has an inherent harmony to itself. This sense of order does not always come from nature, but also from religious and classical throwbacks. The last chief characteristic of the poetry of this age is this allusion to classical myths and concepts. In Jonson’s tribute to Penshurst estate, Pan and Bacchus represent the order in a pastoral, utopian place. They, along with the Muses, provide the fruit of the earth “where Pan and Bacchus their high feasts have made” (11).

There was a tree wherein a nut was set “At his great birth, where all the Muses met” (14). These are very classical ideas. Herrick takes a more fun approach, singing “The court of Mab, and of the fairy king” (12) spreading love and happiness. It is important to note that neither person is denying Christian concepts here. “I write of Hell; I sing (and ever shall)/Of Heaven, and hope to have it after all” (14-5) emotes Herrick shortly after mentioning the fairy king. All in all, one can see a combination of classical ideas and new knowledge in the poetry of the early seventeenth century.

With new knowledge and theories of the time came a more moral stance of poetry, more public rhetoric. The poems were simple, and easy for the common populace to understand. Jonson especially worked on his poetry in a manner that it would teach a lesson to anyone, and indeed influenced

other poets, such as Herrick, to follow in similar veins. One will also find the more classical forms, values, and themes of older times alluded to in much of the poetry. The classical features of this early poetry helped it remain timeless.