MINOR POETS OF THE SEVENTEENTH CENTURYEDITED BY R. G. HOWATHProfessor of English Literature in the University of Cape TownINTRODUCTION THE poets of the seventeenth century, excluding Milton, may be broadly divided into three groups: those who cling to the ideals of a past age, those who are influenced by modern, revolutionary example, and those who look forward to the poetry of the future. They are the Spenserians, the followers of Jonson and Donne, and the transitional or early Augustan poets. Of the first class the chief representatives are Giles and Phineas Fletcher, William Browne, and George Wither. The second group may be subdivided into Cavalier lyrists and sacred poets, the former holding mainly from Jonson, the latter deriving from, Donne. Hernck, Carew, Suckling, and Lovelace are the bestknown Cavaliers, and George Herbert, Vaughan, Crashaw, and Traherne the leading divine poets. Among the first consistent users of the heroic couplet, the writers of smooth verse, Waller must be counted foremost, with Cowley, Denham, and DAvenant as the other prominent members of his group. One class does not necessarily exclude another, but the divisions are at least historical, and form a better means of distinguishing the poets than by reckoning all, or almost all, as Metaphysicals. The truth is that the term metaphysical does not sufficiently and finally characterize the poets of the time: the metaphysical style, established if not introduced by Donne, is more a potent influence, to which most in varying degrees succumb, than the elite guiding principle and source of their art. Plainly, the distinctive character of the century in poetry must be looked for in the work o tjxe second group, who are neither retrospective nor futurist., Here it is possible to see the religious poetry and the courtly poetry of love as merely two sides of the sarafe Ajrtfeical nature. strains are not sharply divided afhey intermingle, or Alternately hold sway, in the same man and the same volume. One half of Donnes poetry is expression of the love of woman, the other of the love of God. Ben Jonson, whose best lyrics are of love, is also the author of a series of divine poems. Henick, Carew, Waller, Herbert of Cherbury, Habington, and John Hall again pay their dues to the two compelling powers. Then among the devotional poems of Crashaw, Vaughan, and Her bert are to be found lyrics of love. Yet there was more than mere interweaving. Love poetry and poetry of religion sprang often from a common basis of inspiration. Thus from The Song of Solomon is derived not only the imagery of one of Carews most voluptuous poems, The Complement, but also that of one of Vaughans most sublime religious lyrics, The Night. Donnes questings in love are powerfully illuminated by reference to the divine learning of his time. In the Platonism which runs through English poetry from Spenser to Henry More this harmonizing of apparently different elements, the reconciliation of religion and earthly love, is supremely accomplished....