The 17th century English literature is categorized into the Jacobean period (1603-1625), the Late Renaissance (1625-1660), and Restoration Age (1660-1700). William Shakespeare and Ben Jonson were prominent poets of the Jacobean period.
‘The Old Pond’ is one of the best-known Japanese haiku of all time. This haiku consists of three phrases that contain the syllable count of 5-7-5.
Matsuo Bashō lived during the 17th century, a time when Japan was undergoing significant cultural and social changes. Despite this, poetry remained an important part of Japanese culture, and many of the most celebrated poets in Japanese history lived during this time. Bashō's work reflects the aesthetic and cultural values of 17th-century Japan, and 'The Old Pond' is a testament to the enduring power of this era's poetry. To this day, this beautiful poem is still read and studied around the world.
‘Sonnet 131,’ also known as ‘Thou art as tyrannous, so as thou art,’ is a poem about how the Dark Lady’s beauty moves the speaker. He knows she’s untraditionally beautiful but he doesn’t care!
‘Sonnet 131’ was probably written in the last decade of the 16th century but it was first published in the Quarto of 1609 entitled Shake-speare’s Sonnets. This sonnet deals with the conventional 17th-century perception of beauty and how society viewed women. According to the speaker of this sonnet, the Dark Lady may not be beautiful as per the accepted checklist of the period, but she is beautiful in her own way.
‘The shallows’ by Matsuo Bashō is a beautiful, traditional haiku about a crane landing in cool, shallow water and the ripples it makes.
This poem is a classic example of 17th-century Japanese poetry, specifically haiku, which is celebrated for its brevity, simplicity, and focus on nature. Bashō, a master of the form, elevated haiku to an art form and helped to establish its enduring popularity and influence in Japanese literature and culture.
‘First winter rain’ by Matsuo Basho speaks about the related experiences between humans and animals in the form of a haiku poem.
This poem exemplifies the artistry of 17th-century poetry, showcasing the concise and contemplative nature of the haiku form. During this period, poetry often emphasized simplicity and understatement, conveying profound meaning with minimal words. Bashō's haiku reflects this style, employing economy of language to capture a specific moment.
‘In Kyoto’ by Matsuo Bashō expresses a deep sense of longing and nostalgia for the city of Kyoto through a 3-line haiku.
The 17th century was a time of cultural and artistic change in Japan, with a shift towards a simpler, more natural style that celebrated the beauty and transience of life. Basho's haiku poems were a reflection of this movement, and 'In Kyoto' captures this sense of impermanence and the fleeting nature of human experience.
‘The cry of the cicada’ by Matsuo Bashō is a thoughtful poem that evokes images of summer and reminds readers about the inevitability of death.
The 17th century was a time of great literary flourishing for Japanese poets, and Matsuo Bashō emerged as a luminary in this era. His works, including 'The cry of the cicada' showcased the poetic sensibilities of the time. Reflecting the cultural and social milieu of Japan during this period, this poem should be considered among the best of the period.
In ‘Sonnet 129,’ William Shakespeare describes the nature of lust and its effect on an individual’s mind and spirit.
This sonnet was first published in the 1609 Quarto of William Shakespeare. This conventional sonnet contains a fixed rhyming pattern and a set meter with a few interesting variations.
‘No one travels’ by Matsuo Basho is stripped of any superfluous language and transports readers into a realm of solitude. There, the poet stands alone against the backdrop of an autumn evening.
This poem exemplifies the aesthetics and values prevalent in 17th century Japanese poetry. This era witnessed a shift towards brevity, simplicity, and capturing the essence of a moment. Bashō's poetry, deeply influenced by Zen philosophy, embodied these qualities and made a profound impact on the evolution of haiku and Japanese poetic tradition.
Donne’s ‘Death, be not proud,’ rooted in the Christian idea of the afterlife, challenges the personified death, exposing its illusory power.
Donne wrote the 'Holy Sonnets' around 1609-1610, published posthumously in 1633. The sequencing of this sonnet as the tenth is according to the Westmoreland Manuscript (c. 1620), i.e., the most complete arrangement of his 'Holy Sonnets,' discovered in the late nineteenth century. This poem reflects Donne's conversion to Anglicanism and England's broader religious turmoil. The reference to death's association with kings and wars resonates with the monarchs ordering executions and the ongoing Anglo-Spanish War, in which Donne is rumored to have fought.
‘The Willing Mistress’ by Aphra Behn is an erotic poem wherein the speaker recounts her intimate moments with her lover in a grove.
This poem first appeared in a different version, entitled 'Song' in the 'Covent Garden drolery,' a popular collection of poems, prologues, and epilogues published in 1672. It was published as 'The Willing Mistress' in 1684 in Aphra Behn's collection, 'Poems Upon Several Occasions.' It resonates aptly with the Restoration era's libertine culture with its sensuality and playfulness, while its eroticism, idealized passion, seduction, and pastoral setting align with the continued though reformed courtly love poetry tradition of the late 17th century. Notably, Behn subverted both the stereotypical shy female and the libertine's whore by allowing the female speaker to own her passion and sexuality.
‘Autumn moonlight’ by Matsuo Bashō is a traditional haiku that’s beautiful written about the seasons. This translation was done by Robert Hass.
The 17th century was a time of great artistic and literary development, and Matsuo Basho's poetry is a testament to this. Basho's haiku form, which he developed in the 17th century, has since become a defining characteristic of Japanese poetry. In this specific poem, he shows off his ability to capture the essence of the changing seasons and the beauty of the natural world.
In ‘Lycidas,’ Milton employs the pastoral elegy to memorialize the death of his friend, Edward King. As he transforms King’s life into an allegory, Milton interrogates Christian ideology and the form of epic poetry.
Since 'Lycidas' is often considered one of the best and most influential poems in the English language, it is a very notable example of 17th-century verse. At the time, it was highly acclaimed and foreshadowed Milton's later fame with 'Paradise Lost.'
‘The Spring’ by Thomas Carew is a poem about unrequited love in spring. The poet mourns the fact that no matter the season, his beloved does not love him.
This 17th-century lyric explores one lover’s frustration with his loved one who could not reciprocate his feelings. It was published in 1940 in Carew’s collection of poetry, Poems.
‘A Hymn to God the Father’ by John Donne is the speaker’s prayer to God that he be forgiven for all his wretched sins.
This is indeed a notable representation of 17th-century poetry. It exhibits key characteristics of metaphysical poetry, a style prominent during that era, with its intellectual wit, complex imagery, and exploration of religious themes. The poem's introspective tone, use of paradoxes, and intricate structure align it with the works of other metaphysical poets like George Herbert and Andrew Marvell. However, what sets Donne's ‘A Hymn to God the Father’ apart is its deeply personal and confessional nature, as the speaker grapples with his own sins and seeks forgiveness from God, making it a unique and introspective piece within the broader context of 17th-century poetry.
‘Portrait of Zimri’ by John Dryden is a political satire that showcases how people in power can be consumed by hollow and pretentious self interest.
John Dryden and Alexander Pope were two of the doyens of the 17th-century literary scene whose works are classic examples of Neo-classical poetry. This satire is John Dryden's most famous work.
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