Poems List

Affliction (IV)

Affliction (IV)

Broken in pieces all asunder,
Lord, hunt me not,
A thing forgot,
Once a poor creature, now a wonder,
A wonder tortur'd in the space
Betwixt this world and that of grace.


My thoughts are all a case of knives,
Wounding my heart
With scatter'd smart,
As wat'ring pots give flowers their lives.
Nothing their fury can control,
While they do wound and prick my soul.


All my attendants are at strife,
Quitting their place
Unto my face:
Nothing performs the task of life:
The elements are let loose to fight,
And while I live, try out their right.


Oh help, my God! let not their plot
Kill them and me,
And also thee,
Who art my life: dissolve the knot,
As the sun scatters by his light
All the rebellions of the night.


Then shall those powers, which work for grief,
Enter thy pay,
And day by day
Labour thy praise, and my relief;
With care and courage building me,
Till I reach heav'n, and much more, thee.
234

Artillery

Artillery


As I one ev'ning sat before my cell,
Me thoughts a star did shoot into my lap.
I rose, and shook my clothes, as knowing well,
That from small fires comes oft no small mishap.
When suddenly I heard one say,
-Do as thou usest, disobey,
Expell good motions from thy breast,
Which have the face of fire, but end in rest-.


I, who had heard of music in the spheres,
But not of speech in stars, began to muse:
But turning to my God, whose ministers
The stars and all things are; if I refuse,
Dread Lord, said I , so oft my good;
Then I refuse not ev'n with blood
To wash away my stubborn thought:
For I will do, or suffer what I ought.


But I have also stars and shooters too,
Born where thy servants both artilleries use.
My tears and prayers night and day do woo,
And work up to thee; yet thou dost refuse.
Not but that I am (I must say still)
Much more oblig'd to do thy will,
Than thou to grant mine: but because
Thy promise now hath ev'n set thee thy laws.


Then we are shooters both, and thou dost deign
To enter combat with us, and contest
With thine own clay. But I would parley fain:
Shun not my arrows, and behold my breast.
Yet if thou shunnest, I am thine:
I must be so, if I am mine.
There is no articling with thee:
I am but finite, yet thine infinitely.
326

Affliction (II)

Affliction (II)

Kill me not ev'ry day,
Thou Lord of life, since thy one death for me
Is more than all my deaths can be,
Though I in broken pay
Die over each hour of Methusalem's stay.


If all men's tears were let
Into one common sewer, sea, and brine;
What were they all, compar'd to thine?
Wherein if they were set,
They would discolour thy most bloody sweat.


Thou art my grief alone,
Thou Lord conceal it not: and as thou art
All my delight, so all my smart:
Thy cross took up in one,
By way of imprest, all my future moan.
211

Aaron

Aaron


Holiness on the head,
Light and perfection on the breast,
Harmonious bells below, raising the dead
To led them unto life and rest.
Thus are true Aarons dressed.


Profaneness in my head,
Defects and darkness in my breast,
A noise of passions ringing me for dead
Unto a place where is no rest.
Poor priest thus am I dressed.


Only another head
I have, another heart and breast,
another music, making live not dead,
without whom I could have no rest:
In him I am well dressed.


Christ is my only head,
My alone only heart and breast,
My only music, striking me even dead;
That to the old man I may rest,
And be in him new dressed.


So holy in my head,
Perfect and light in my dear breast,
My doctrine tuned by Christ, (who is not dead,
But lives in me while I do rest)
Come people; Aaron's dressed.
332

A Dialogue-Anthem

A Dialogue-Anthem

Alas, poor Death! Where is thy glory?
Where is thy famous force, thy ancient sting?


Alas, poor mortal, void of story!
Go spell and read how I have killed thy King.


Poor Death! And who was hurt thereby?
Thy curse being laid on Him makes thee accurst.


Let losers talk, yet thou shalt die;
These arms shall crush thee.


Spare not, do thy worst.
I shall be one day better than before;
Thou so much worse, that thou shalt be no more.
241

A Dialogue

A Dialogue

Man. SWEETEST Saviour, if my soul
Were but worth the having,
Quickly should I then control

Any thought of waving.
But when all my care and pains
Cannot give the name of gains
To Thy wretch so full of stains,
What delight or hope remains?

Saviour. What, child, is the balance thine,
Thine the poise and measure?
If I say, 'Thou shalt be Mine,'

Finger not My treasure.
What the gains in having thee
Do amount to, only He
Who for man was sold can see;
That transferr'd th' accounts to Me.

Man. But as I can see no merit
Leading to this favour,
So the way to fit me for it

Is beyond my savour.
As the reason, then, is Thine,
So the way is none of mine;
I disclaim the whole design;
Sin disclaims and I resign.

Saviour. That is all: if that I could
Get without repining;
And My clay, My creature, would

Follow My resigning;
That as I did freely part
With My glory and desert,
Left all joys to feel all smart----

Man. Ah, no more! Thou break'st my heart!
247

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Identification and basic context

George Herbert was a Welsh poet, rhetorician, and Anglican priest. He is best known for his religious poetry, which was published posthumously. His work is considered a significant part of the metaphysical poetry tradition. He wrote in English.

Childhood and education

Born into a prominent and wealthy family in Montgomeryshire, Wales, George Herbert received an excellent education. He attended Westminster School in London and later studied at Trinity College, Cambridge, where he earned degrees in Greek and Hebrew. At Cambridge, he developed a reputation for his intellectual prowess and poetic talent, becoming a Fellow of the college.

Literary trajectory

While Herbert composed poetry throughout his life, much of it was not published until after his death. His earliest poems showed promise, but his later devotional works reflect a deep engagement with his faith and his priestly duties. His close friend, Nicholas Ferrar, was instrumental in collecting and publishing Herbert's poems.

Works, style, and literary characteristics

Hermet's major work is "The Temple, Sacred Poems and Private Ejaculations," published in 1633. This collection explores the relationship between God and the soul through a wide range of poetic forms and ingenious metaphors. His style is characterized by its "wit" – in the Renaissance sense of intellectual ingenuity and cleverness – alongside profound emotional sincerity. He frequently uses "shape poems" or "carpentered poems," where the typography of the poem visually represents its subject matter (e.g., a poem about an altar shaped like an altar). Themes include the struggles of faith, the beauty of divine love, the nature of prayer, and the redemption of the soul.

Cultural and historical context

Herbert lived during a period of significant religious and political upheaval in England, the early 17th century. As a priest in the Church of England, his work engaged with the theological debates and spiritual concerns of his time. He was part of the broader metaphysical poets movement, alongside contemporaries like John Donne and Andrew Marvell, though his focus was primarily devotional.

Personal life

Hermet was born into a noble family and had connections to the English court. However, he eventually renounced worldly ambitions to pursue a life of religious service. He was ordained as a priest in the Church of England and served as rector of Bemerton, Wiltshire, for the last three years of his life. His personal spirituality and dedication to his pastoral duties are central to his poetry.

Recognition and reception

Hermet's poetry gained considerable popularity shortly after its publication and has remained influential ever since. His work is admired for its technical skill, its spiritual depth, and its unique blend of intellectualism and heartfelt devotion. He is considered one of the foremost English devotional poets.

Influences and legacy

Hermet was influenced by classical literature and the Bible. His own influence on subsequent religious poetry is profound. Poets like John Keats and Samuel Taylor Coleridge admired his work. His legacy endures through "The Temple," which continues to be read and studied for its spiritual insights and poetic artistry.

Interpretation and critical analysis

Critical analysis of Herbert's work often focuses on his use of religious imagery, his exploration of spiritual conflict and resolution, and his innovative poetic forms. His poems are seen as profound meditations on faith, doubt, and the divine.

Curiosities and lesser-known aspects

Herbert was known for his musicality and was skilled in playing the lute and viol. His decision to pursue a humble clerical life over a potentially more prestigious courtly career is often highlighted as a testament to his spiritual convictions.

Death and memory

George Herbert died of consumption (tuberculosis) in 1633 at the age of 39. His memory is preserved through his enduring poetic works, particularly "The Temple."