Conceit and Metaphysical Conceit
The word ‘conceit’ means ‘a concept or an image’. A conceit in literature is an extended metaphor with a complex logic that governs a poetic passage or an entire poem. A conceit invites the reader into a more sophisticated understanding of a comparison object by juxtaposing, usurping, and manipulating images and ideas in unexpected ways. Extended conceits in English were part of the Mannerism poetic idiom in the late sixteenth and early seventeenth centuries.
In simpler terms, it is a figure of speech that brings out an interesting or striking comparison between two different things, or situations or ideas to create a new concept. The course of development that one comes across in English poetry suggests that there are two kinds of conceit:
(A) Metaphysical Conceit
(B) Petrarchan conceit
Metaphysical Conceit
The term is generally associated with 17th-century metaphysical poets in English literature, which is an extension of contemporary usage. Metaphors have a much more purely conceptual, and thus tenuous, relationship between the things being compared in the metaphysical conceit. According to Helen Gardner, “a conceit is a comparison whose ingenuity is more striking than its justness,” and “a comparison becomes a conceit when we are forced to concede likeness while being acutely aware of unlikeness.” George Herbert’s “Praise” is an example of the latter, in which God’s generosity is compared to a bottle that can hold an infinite amount of the speaker’s tears.
The metaphor from John Donne’s “The Flea,” in which a flea bites both the speaker and his lover, becomes a conceit arguing that his lover has no reason to deny him sexually, despite the conceit that they are not married:
Oh, stay! three lives in one flea spare
Where we almost, yea more than married are.
This flea is you and I, and this
Our marriage-bed and marriage-temple is.
When Sir Philip Sidney begins a sonnet with the conventional idiomatic expression “My true-love hath my heart and I have his,” but then takes the metaphor literally and teases out a variety of literal possibilities and extravagantly playful conceptions in the exchange of hearts, the result is a fully formed conceit.
They highlighted the tension arousing in matters of love by incorporating realism in their poetry. Speaking about the metaphysical writers in his essay, T. S. Eliot opines that the metaphysical poets used the conceit as a prominent tool to challenge the existing imagery used in the contemporary writings ‘in order to stimulate both emotions and intellects’. It is also believed that they tried to express their highly sensitive mind and thought process through their poems. They invariably tried to bring together the human body to understand the notion of completion in their poetry.
Scholars suggest that the metaphysical conceit is a process by which a logical argument is presented in a poetic manner. Critic Baldick suggests that metaphysical poetry ‘… is an unusual or elaborate metaphor or simile presenting a surprisingly apt parallel between two apparently dissimilar things or feelings’. Metaphysical poetry flourished at an age that coincided with the development of the age of reason. It is argued by many that metaphysical poetry was the end product of various movements that were taking place as a consequence of social, political, economic, and religious conditions that ware prevalent in that age.
Petrarchan Conceit
In love poetry, the Petrarchan conceit employs a specific set of images for comparisons between the despairing lover and his unpitying but idolised mistress. For example, the lover could be a ship on a stormy sea, and his mistress a “cloud of dark disdain”; or the lady could be a sun, shining her beauty and virtue on her lover from afar.
The paradoxical pain and pleasure of lovesickness are frequently described through the use of oxymorons, such as combining peace and war, burning and freezing, and so on. However, images that were novel in Petrarch’s sonnets became clichés in subsequent imitators’ poetry. Romeo employs tired Petrarchan conceits when he compares his love for Rosaline to “bright smoke, cold fire, sick health”.
PARTIALLY ANSWERED AND COMBINED ANSWER QUESTIONS
Question 1.
What is a Petrarchan conceit and how was it used in Elizabethan love poems and sonnets?
Sub-Questions
How did Shakespeare use Petrarchan conceits in his sonnets?
Shakespeare employed Petrarchan conceits in his sonnets to satirize their abuse and exaggeration. In one of his sonnets, he compares his mistress’ eyes to “nothing like the sun” and her lips to a shade of red that is less vibrant than coral. These comparisons mock the unrealistic and idealized nature of Petrarchan conceits.
How did Petrarchan conceits evolve in subsequent imitators’ poetry?
Images that were novel in Petrarch’s sonnets became clichés in subsequent imitators’ poetry. The use of Petrarchan conceits became tired and overused, losing their original impact and becoming predictable.
What were some examples of Petrarchan conceits used in Elizabethan love poems and sonnets?
Examples of Petrarchan conceits in Elizabethan love poems and sonnets include comparing the lover to a ship on a stormy sea and the mistress to a “cloud of dark disdain.” Another example is comparing the lady to a sun shining her beauty and virtue on her lover from afar. These comparisons were used to convey the complex emotions of the lover.
How were Petrarchan conceits used in Elizabethan love poems and sonnets?
Petrarchan conceits were widely used in Elizabethan love poems and sonnets. They were employed to create comparisons between the despairing lover and his unpitying but idolized mistress. The conceits often depicted paradoxical pain and pleasure of lovesickness through the use of oxymorons.
What is a Petrarchan conceit?
A Petrarchan conceit is a literary device borrowed from Italian love poetry that compares the subject of the poem to objects such as a rose, the sun, a statue, or other things.
Full Answer Combined
What is a Petrarchan conceit?
“The Petrarchan conceit, a literary device borrowed from Italian love poetry, employs a specific set of images for comparisons between the despairing lover and his unpitying but idolised mistress. These comparisons can take the form of a ship battling through a stormy sea while the mistress is likened to a ‘cloud of dark disdain’, or the mistress may be portrayed as a distant sun, radiating her beauty and virtue onto her adoring lover. The use of paradoxical oxymorons, such as combining peace and war, burning and freezing, further captures the conflicting emotions of lovesickness.
However, it is important to note that while Petrarch’s sonnets introduced these inventive and evocative comparisons, they eventually became clichés in the poetry of subsequent imitators. This overuse and repetition of Petrarchan conceits led to a sense of tiredness and predictability in the portrayal of love and desire. Even Romeo, in his pursuit of Rosaline, succumbs to employing these worn-out conceits when he compares his love for her to ‘bright smoke, cold fire, sick health’.
In Elizabethan love poems and sonnets, the usage of Petrarchan conceits was widespread. These elaborate comparisons allowed poets to express the intense emotions and desires associated with love, often in exaggerated and unrealistic ways. However, as exemplified by William Shakespeare in his sonnets, there was also a satirical undertone present. Shakespeare used conceits to mock the excessive and extravagant nature of these comparisons, as seen in his famous lines: ‘My mistress’ eyes are nothing like the sun; Coral is far more red than her lips’ red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head.’
In conclusion, Petrarchan conceits were a prominent feature in Elizabethan love poems and sonnets, offering a rich tapestry of comparisons to express the complexities of love. While initially innovative, these conceits eventually became clichés that poets like Shakespeare parodied, highlighting the excessive and unrealistic nature of such comparisons.”
Question 2.
What is the definition of conceit in literary terms?
Sub-Questions
How do conceits invite the reader into a more sophisticated understanding?
Conceits invite the reader into a more sophisticated understanding by juxtaposing, usurping, and manipulating images and ideas in unexpected ways. This allows the reader to explore and perceive the comparison object in a deeper and more nuanced manner.
What does the word ‘conceit’ mean in literature?
In literature, the word ‘conceit’ means ‘a concept or an image’. It refers to an extended metaphor with a complex logic that governs a poetic passage or an entire poem.
What is the historical context of conceits in English literature?
Petrarchan conceits were widely used in Elizabethan love poems and sonnets. Metaphysical conceits, on the other hand, were a common feature of seventeenth-century metaphysical poetry.
What are the two types of conceits?
The two types of conceits are Petrarchan conceits and metaphysical conceits. Petrarchan conceits compare the subject of the poem to objects like a rose, the sun, or a statue, while metaphysical conceits are more startling, ingenious, and intellectual, sometimes carried to the point of absurdity.
What are the characteristics of conceits in literature?
Conceits in literature can be startling, farfetched, fanciful, or highly intellectual. They may develop an analogy or metaphor to its logical limits and beyond.
COMBINED ANSWER
Meaning of Conceit Detailed Answer
“The word ‘conceit’ means ‘a concept or an image’. A conceit in literature is an extended metaphor with a complex logic that governs a poetic passage or an entire poem. A conceit invites the reader into a more sophisticated understanding of a comparison object by juxtaposing, usurping, and manipulating images and ideas in unexpected ways. Extended conceits in English were part of the Mannerism poetic idiom in the late sixteenth and early seventeenth centuries.
To delve further into the definition of conceit in literary terms, it is important to understand the range and intricacy of this literary device. Conceits can be striking, imaginative, whimsical, or highly intellectual, often pushing the boundaries of logic and reason. They allow the poet to explore the depths of a comparison, taking it beyond the obvious and familiar.
There are two distinct types of conceits that have emerged in different literary periods. The first is Petrarchan conceit, which finds its roots in Italian love poetry and was widely used in Elizabethan love poems and sonnets. Petrarchan conceits draw comparisons between the subject of the poem and objects like roses, the sun, or statues. Through this type of conceit, the poet uses elaborate imagery to elevate the subject and evoke emotions in the reader. Skin becomes alabaster, teeth transform into pearls, and so on.
The second type is metaphysical conceit, which gained prominence in the metaphysical poetry of the seventeenth century. Metaphysical conceits are characterized by their startling, ingenious, and intellectual nature, often pushing the boundaries of conventional comparisons to the point of absurdity. These conceits challenge the reader’s perception, inviting them to explore the intricate connections between seemingly unrelated ideas.
In summary, conceit in literary terms refers to an extended metaphor that employs complex logic to create comparisons between dissimilar objects or ideas. It elevates the reader’s understanding by juxtaposing and manipulating images and concepts in unexpected ways. While Petrarchan conceits borrow from Italian love poetry and compare the subject to objects like roses or statues, metaphysical conceits of the seventeenth century are known for their intellectual and sometimes absurd nature. Together, these types of conceits showcase the range and creativity inherent in this literary device.”
