Poetry
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Raleigh's poetry is written in the relatively straightforward, unornamented mode known as the plain style. C. S. Lewis considered Raleigh one of the era's "silver poets", a group of writers who resisted the Italian Renaissance influence of dense classical reference and elaborate poetic devices.
In poems such as "What is Our Life" and "The Lie", Raleigh expresses a contemptus mundi (contempt of the world) attitude more characteristic of the Middle Ages than of the dawning era of humanistic optimism. But, his lesser-known long poem "The Ocean to Cynthia" combines this vein with the more elaborate conceits associated with his contemporaries Edmund Spenser and John Donne, expressing a melancholy sense of history.
Raleigh wrote a poetic response to Christopher Marlowe's "The Passionate Shepherd to His Love" of 1592, entitled "The Nymph's Reply to the Shepherd". Both were written in the style of traditional pastoral poetry and follow the structure of six four-line stanzas employing a rhyme scheme of AABB, with Raleigh's an almost line-for-line refutation of Marlowe's sentiments. Years later the 20th century poet William Carlos Williams would join the poetic "argument" with his "Raleigh was Right."
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Famous quotes containing the word poetry:
“Poetry, whose material is language, is perhaps the most human and least worldly of the arts, the one in which the end product remains closest to the thought that inspired it.... Of all things of thought, poetry is the closest to thought, and a poem is less a thing than any other work of art ...”
—Hannah Arendt (1906–1975)
“Poetry is the most direct and simple means of expressing oneself in words: the most primitive nations have poetry, but only quite well developed civilizations can produce good prose. So don’t think of poetry as a perverse and unnatural way of distorting ordinary prose statements: prose is a much less natural way of speaking than poetry is. If you listen to small children, and to the amount of chanting and singsong in their speech, you’ll see what I mean.”
—Northrop Frye (1912–1991)
“The man Shelley, in very truth, is not entirely sane, and Shelley’s poetry is not entirely sane either. The Shelley of actual life is a vision of beauty and radiance, indeed, but availing nothing, effecting nothing. And in poetry, no less than in life, he is “a beautiful and ineffectual angel, beating in the void his luminous wings in vain.””
—Matthew Arnold (1822–1888)