Carpe diem (an attitude of seize the day)
Metaphysical poems are lyric poems. They are brief but intense meditations, characterized by striking use of wit, irony and wordplay. Beneath the formal structure (of rhyme, metre and stanza) is the underlying (and often hardly less formal) structure of the poem's argument. Note that there may be two (or more) kinds of argument in a poem. In To His Coy Mistress the explicit argument (Marvell's request that the coy lady yield to his passion) is a stalking horse for the more serious argument about the transitoriness of pleasure. The outward levity conceals (barely) a deep seriousness of intent. You would be able to show how this theme of carpe diem ("seize the day") is made clear in the third section of the poem.
Reflections on love or God should not be too hard for you. Writing about a poet's technique is more challenging but will please any examiner. Giving some time to each (where the task invites this), while ending on technique would be ideal.
In Marvell we find the pretence of passion (in To His Coy Mistress) used as a peg on which to hang serious reflections on the brevity of happiness
Eternity and man's life in the context of this, is the explicit subject of all of Vaughan's poems in the selection, but is considered by Herbert in The Flower and, in a wholly secular manner, by Marvell in To His Coy Mistress
To His Coy Mistress - the light and the serious arguments in one; the structure "Had we ..." "But ..." "Now therefore
Vaughan uses imagery almost exclusively from the natural world which is apprehended with a delight notably absent from his perception of most other people. The clue to this lies in The Retreate where Vaughan notes that "shadows of eternity" were seen by him in natural phenomena such as clouds or flowers. These images are readily understood and beautiful as with the flown bird and the star liberated from the Tomb. With Marvell, imagery is more problematic. Unlike Donne who scatters metaphors freely, Marvell is more selective and sparing. Very often the image is more memorable and striking than the idea it expresses, as with the "deserts of vast eternity", while frequently one finds an idea which cannot be understood except as the image in which Marvell expresses it, as with the "green thought in a green shade". In any case, with all of these poets, the use of metaphor serves, and is subordinate to, the total argument.
As in other respects, Marvell exhibits more variety here. We find the second person in To His Coy Mistress. When Donne does this, we can believe, even though his own thoughts are what we learn, that an intimate address to a real woman is intended (in, say, The Good-Morrow, The Anniversarie and, even, A Valediction Forbidding Mourning). But the “Coy Mistress” is conspicuously absent - a mere pretext for Marvell to examine his real subjects - time and the brevity of human happiness.
Marvell in all of these poems writes with lucidity and wit yet there is often an element of detachment –
In many of Marvell's poems we find the same eight-syllable iambic line, yet its effect can vary remarkably. In To His Coy Mistress the vigorousness of the argument appears in the breathless lines - few are end-stopped, and the lines have the rough power of speech.
