Comparing Donne's Philosophies to His Lover and Corrina Going A-Maying by Herrick Seventeenth-century England produced two different schools of poetic philosophy which included that metaphysical and contemptuous. While metaphysical poets, including artists who followed John Donne's use of metaphysical conceit, tended to reinforce traditional forms of love and devotion, contemptuous poets, led by Ben Johnson, intellectualized the themes of their poetry. Both metaphysical and derogatory poets such as John Donne and Robert Herrick experimented with the poetry of seduction, dramatic verse of a male lover attempting to persuade his beloved. Although both poets attempt to incite their mistresses, the methods of persuasion in Donne's "To His Mistress Going to Bed" and Herrick's "Corrina's Going A-Maying" differ depending on their different schools of poetic thought. Whereas Donne employs a lustful attitude, derogatory diction, and metaphysical conceits to harshly command sexual activity; Herrick uses a more intellectual and sensitive topic with its religious overtones, persuasive and playful diction, and personification of nature. The variation between metaphysical and contemptuous poetry can be seen through the differences in Donne's and Herrick's attitudes towards their lovers represented by different structures, diction, imagery, and religious language. Although both "To His Mistress Going to Bed" and "Corrina's Going A-Maying" contain many imperative sentences, their structural differences reflect Donne's feeling of superiority despite Herrick's admiration for his mistress. Donne's simple aabb rhyme scheme indicates his feeling that his lover cannot understand or does not describe...... middle of paper ...... gently chiding Corrina for her inactivity. Although both Donne and Herrick use imperative structures, sensual imagery, religious language, and innuendo to persuade their respective lovers, Donne's superiority complex demeans his lover while Herrick's reverent attitude persuades her. Donne cares very little for his lover, evidenced by the lack of her name throughout the poem, which is reminiscent of an urgent appeal. In contrast, Herrick's five stanzas and elaborate metrical structure indicate a planned appeal. Donne's lustful and exclusively physical approach contrasts sharply with Herrick's intellectual ploy in a way of complimenting and gently scolding. The variation in the poets' approaches is characteristic of their respective schools of poetic thought and illustrates the differences in the approach to poems of seduction by metaphysical and dismissive writers..