Music at Midnight: The Life and Poetry of George Herbert

by John Drury

George Herbert wrote, but never published, some of the very greatest English poetry, recording in an astonishing variety of forms his inner experiences of grief, recovery, hope, despair, anger, fulfilment and - above all else - love.He was born in 1593 and died at the age of 39 in 1633, before the clouds of civil war gathered, his family aristocratic and his upbringing privileged. He showed worldly ambition and seemed sure of high public office and a career at court, but then for a time 'lost himself in a humble way', devoting himself to the restoration of the church at Leighton Bromswold in Buckinghamshire and then to his parish of Bemerton, three miles from Salisbury, whose cathedral music he called 'my heaven on earth'. When in the year of his death his friend Nicholas Ferrar, leader of the quasi-monastic community at Little Gidding, published Herbert's poems under the title The Temple, his fame was quickly established.Because he published no English poems during his lifetime, and dating most of them exactly is impossible, writing Herbert's biography is an unusual challenge. In this book John Drury sets the poetry in the whole context of the poet's life and times, so that the reader can understand the frame of mind and kind of society which produced it, and depth can be added to the narrative of Herbert's life. (T.S. 'What we can confidently believe is that every poem in the book [The Temple] is in tune to the poet's experience.') His Herbert is not the saintly figure who has come down to us from John Aubrey, but a man torn for much of his life between worldly ambition and the spiritual life shown to us so clearly through his writings. The result is the most satisfying biography of this exceptional English poet yet written.

Genres: Biography, Poetry, Nonfiction, History, Biography Memoir, British Literature, Literature

395 pages, Kindle Edition

First published January 1, 2013

About the author

The Very Reverend John Henry Drury (born 23 May 1936), DD is an Anglican priest and author, Chaplain of All Souls College, Oxford since 2003.

Reviews

[L · Rating 4 out of 5]

’Timeless in quality […] well written in verse […] honourable style of weightiness’


Equally, the hauntingly beautiful poetry of George Herbert and John Donne, retains lasting impaction and infinite spatiotemporal relevance. The beauty of poetry (beheld by reader and poet), is found within ’the poetic forms and fashionings’ of the words on paper. The lexis and subjective perspective is one aspect that creates semblance, simultaneously as the simplicity and language attaches the work to the poet –a melodic communication of ’rhyme and tuneable concord’.

As in Herbert’s world and perspective, when regarding poetry that is so poignant, he bears in mind that we all ‘see’ and express (thoughts, feelings and illustrative connotations) in words –differently. Hence, when something is translated it may ‘look’ the same or a copy [say for instance into Latin or from Old English] –it inherently remains both the same (in part; such as the framework and ‘root’) yet it is always different (as the artist/ writer has naturally put his own interpretation into the work).
Thus, when one regards ‘The Temple; the 23rd psalm’ as translated by Donne alongside the translation of Herbert’s; there remains those (a). Replicated aspects, which could be found within a mere mimesis of parallel words or metaphorical meaning and (b). Intent to draw facets from the former work [of the three] and that which binds, as it separates both renditions. For, our singular interpretation will nevertheless always remain unique albeit a ‘fitting tribute’ one could say, to the former.

Poetry is indeed powerful, as so articulately enunciated by Herbert in respect of Sidney’s writing; ‘[…] poetry could be used with the fruit of comfort for some, when, in sorrowful pangs of their death-dealing sins, they find the consolation of the never-leaving goodness.’ In regards to Herbert, these words only reinforced his resolution to devote his talents exclusively to religious poetry. He answered the *cliché warning ‘call’ by writing two of the most arresting, memorable poems –the first being ‘The Quiddity’ [queer in is essence of something untold], then secondly ‘Jordan (II)’ [which is the most curious, enigmatical ‘key’ I’ve certainly read about]. The first Jacobean poem, for me, epitomises ‘the self’ in words.

Not only does Herbert place his very spirit or one could say soul within the poem, it is the transcendent value of the simple privacy present within the words ’I am with thee’? [In reference to himself being in the company of ‘the other’ who is everything to him; as in God] –that crafts such redolent relevance to the present, in our own reading and interpretation.

What Herbert sought above all else was simplicity, so as to allow the words to speak for themselves. In his second poem, it is that simplicity of thought onto paper which truly makes those words (and all meaning behind them, for him and the reader) so beautiful. When the poet writes they are in a state of being known as poetic self-consciousness’ and as such it not only makes that which is written, so personal to the poet but likewise so remarkable for the reader. The slight shadow which falls in the last line, may be a perceptive [presumed mistake] or learning is transmogrified into ‘the business of correction and revision’. As such, surely this is positive, to wind self and sense, poet and his matter, into fusion? In essence, ’poetic self-consciousness makes the process of writing and its inventions and interesting and appealing subject to fellow-poet.’

In Sidney’s ending he turns to ’looking inward’, at his heart so as to write what is unsaid –and in doing so he is looking not only beyond himself whilst paying due consideration to what was already written [with fresh eyes], he is finding that love which he had been seeking.
So, what did Herbert give to Donne? One may assume that due to divergence of style and contrast, it was; simplicity against complexity, modesty against hyperbole and quiet against loud. That is not so, as each aided one another to have the ‘ability to find different voices for the self in its changing states.’ Henceforth I would state how poetry; [essentially is] words which speak in volumes –of truth, even as a whisper.

[Claire · Rating 5 out of 5]

This book was really good, but for some unfathomable reason, it look me 4 years to read! An excellent, thorough biography of Herbert. I might have taken off a star for the last few chapters, which tended to be just detailed analysis dragging on, but the rest of it was so good that I think it deserves 5!

[David Sinck · Rating 5 out of 5]

Is Love (III) one of the best, if not the best, poems of all time? Yes. John Drury tackles that excellent work on page one of this excellent biography, and continues by interweaving Herbert's life story with analyses of some of his best poems. No poem is better than that first one, but most of them are belters. His biographer has done justice to his hero, with criticisms of Herbert ("priggish", for example, at one point)there but outweighed by praise. Any lover of poetry, good literature, or indeed God, should tackle this work. Let me be clear - one of the best books I've ever read. Where is the sixth star>

[Candy Wood]

What a lovely book this is. From beginning to end, Drury includes readings of the poems, bringing out effects of rhyme, meter, and sound as well as diction. An introductory chapter on Herbert's world sets the context while also including familiar poems, beginning with "Love (III)" ("Love bade me welcome: yet my soul drew back"). Poems also inform the biographical chapters, with an "interlude" discussing the manuscript housed in Dr. Williams's Library in London and dated 1623 or earlier. The biography proper ends with the narrative of Herbert's death in 1633, just short of age 40, but 5 more chapters follow, considering the first publication of the poems, their reception then and since, and their meaning today. In his aim "to bring together life and poetry, history and literary criticism as closely as possible," Drury refers to other perceptive readers, particularly Helen Vendler and T. S. Eliot. In the end, it's about music, and love.

[Brian Robbins · Rating 4 out of 5]

Excellent biography of Herbert from the beginning. When he likened Herbert's poetry to chamber music, he had me hooked. It was a perfect comparison, especially if you place Donne's work beside him. Donne uses all the razzmatazz of a full orchestra augmented by a jazz band, which is unmissable. But it's wonderful to retire to the delicacy of Herbert for a while too.

Initially his commentaries on the poems were disappointing for the most part. However, he warmed up and his comments on individual poems really came alive.

Would recommend this to anyone interested in Herbert's poems set into the context of his life & time.

[Domhnall · Rating 5 out of 5]

... his answer was, that the thought of what he had done would prove music to him at midnight ... [p240]

1593 to 1633: George Herbert lived just less than forty years, feeling himself become aged in his thirties, in an era when Drury observes that one endured and accumulated illnesses for which there was no cure and experienced death without analgesics. Born into an aristocratic family, he enjoyed a brilliant early career as a student and academic at Cambridge University, before withdrawing to be the parson of a small congregation near Salisbury. He is remembered for a volume of poetry published after he died, and for a book of advice to other Church of England parsons. “He also writ a folio in Latin, which, because the parson of Hineham could not read, his widow [having remarried to said parson] ... condemned to the uses of good housewifery.” [p309]

There is little enough to be said of this life, there is apparently little direct, contemporary written record of Herbert himself, while some material assembled from witnesses many years after his death is unreliable, but Drury successfully reconstructs a considerable amount by inference from other accounts of the period. While we know little of Herbert’s particular experiences as a student in Cambridge, we do know the syllabus and teaching methods that he would certainly have encountered, and this in turn can be sensibly related to aspects of Herbert’s poetry. What we can infer of Herbert’s religious convictions from his own writings can also be related to our knowledge of the wider religious landscape in this period. In general, it turns out that quite a lot can usefully be said and Drury’s account of Herbert’s life seems very credible and well supported.

The book is ultimately an introduction to Herbert’s poetry, with many poems included in full within the text, and Drury’s celebration of its language and technique is as breathtakingly articulate as his interpretation of its meaning and context. If anything, I found Drury’s commentary a bit intimidating: he is not averse to identifying weaknesses in Herbert’s work; when he turns to lesser imitators late in the book, his commentary becomes brutal. However, much of Herbert’s poetry is sublime, and technically it is of the very highest order, so that Drury draws fully on all his own resources to do justice to Herbert’s achievements.

The phrase ‘My Master’ occurs five times. Herbert loves its sound: the deliciousness of its mumbled ‘m’ opening into the long ‘a’, followed by the dental crash of ‘ster’. It is like biting into a peach. [p215]

‘Words of the right sort to ask about the divine’: Herbert likes them to have the truth of sensual immediacy, rather than the remote abstractness of theology’s vocabulary... To describe the spirituality of prayer, in his dazzling sonnet with that title, he appeals to the senses; to the palate with ‘the Church’s banquet; to the eye with ‘sinner’s tower’ and ‘the bird of paradise’; to the ear with ‘thunder’, ‘church bells’ and ‘a kind of tune’; to the touch with ‘softness’; to the nose with ‘the land of spices’; eventually to the mind in the conclusive ‘something understood’. ... So has

I once more smell the dew and rain,
And relish versing

in ‘The Flower’. [p337]

For those who love language for its own sake, and despair at its slaughter in the age of the internet, the following may bring a smile:
Resignation, like giving up, can mean two very different things. It can be a passive going along with things or an aggressive rejection of them. You can give up complacently or you can give up crossly. It is a matter of ‘how’. As Herbert’s contemporary Bishop Joseph Hall said, “God loveth adverbs.’ [p92]

Herbert’s poetry is deeply religious and Coleridge, for example, argued that only a true Christian was likely to appreciate it. TS Elliot, for a counter example, totally disagreed and, with very little reflection, it is not hard to pull out a list of influential and very great poets who were similarly religious – Gerard Manley Hopkins comes to my mind at once. Drury takes the very reasonable view that many modern readers will not be familiar with the countless biblical references and allusions in Herbert’s poems, and for the poems that Drury examines he supplies a detailed explanation of the Christian beliefs and the specific biblical sources relevant to the poem. Ultimately, he does not consider it unrealistic for non Christians to appreciate and quickly relish what Herbert is saying in his work; certainly Drury has supplied everything we need to undertake the experiment.

It is not surprising to find that Herbert has influenced many subsequent poets, from near contemporaries to the very recent example of Vikram Seth, who even took the opportunity to purchase the Bemerton Rectory which Herbert once occupied; that is nearly as enviable as Seth’s brilliant poem, Lost, which is included and interpreted in this book, modelled on one by Herbert.

[Richard] Crashaw was not so much an imitator of Herbert as a religious poet with his own distinctive voice, for whom Herbert was an inspiration. [Henry] Vaughan was an imitator who, eventually finding his own ecstatic voice, wrote poems of extraordinary beauty. Together they suggest that imitation may be good training, as was commonly believed at the time, but that inspiration consists of an individual voice telling of things which, however hackneyed or unregarded, have not been told quite like this before. There needs to be something new and, even if modestly, startling. [p291]

Herbert ... had done more than anyone to teach Vaughan the trick of the last line which transforms the whole poem and the combination of the quotidian with the sublime. [p304]

Herbert’s poetry turns out to be not only accessible and understandable, but sublime in its philosophy and in its art. John Drury achieves the most important task of any such biography: it makes the reader a fan of the poet.

A Wreath

A wreathed garland of deserved praise,
Of praise deserved, unto thee I give,
I give to thee, who knowest all my ways,
My crooked winding ways, wherein I live,
Wherein I die, not live: for life is straight,
Straight as a line, and ever tends to thee,
To thee, who art more far above deceit,
Than deceit seems above simplicity.
Give me simplicity, that I may live,
So live and like, that I may know, thy ways,
Know them and practise them: then shall I give
For this poor wreath, give thee a crown of praise.

[Brian Willis · Rating 3 out of 5]

While this is entirely more of a 4 or 5 star rating for many readers (it is a superbly written book with in depth analysis of the mechanics, architecture, and syntax of most of Herbert's poetry), Herbert himself left me a little cold. He has long been understood as one of the more important poets of the pre-Civil War 17th century, often anthologized, and I was made to read him as an undergrad English major. But ultimately, I was left with the personal impression that he was just a country parson who had a talent for religious poetry. I far prefer Donne, but I do appreciate the effort Drury put into this book and can understand his passion. If you are a Herbert fan, you will love this book. If a casual fan, the odds are 50-50 that it will turn you on or turn you off. Not a bad book at all, just one that didn't interest me personally as much as it should have so my rating is a little low for a general readership of poetic biographies.

[Josh Nisley · Rating 4 out of 5]

A much-needed contribution to Herbert scholarship (I'm not sure how I missed it back it grad school; it would have been useful). It's a bit dull at points but engaging enough if you're interested in the subject. Drury clearly loves his subject, as good literary critics ought.

It does strike me as odd that Drury, as a chaplain, seeks to accommodate non-theological readings of Herbert to the degree that he does, sometimes even at the expense of theological depth. I’m all for being generous, and my appreciation for Herbert is genuinely enriched by non-religious perspectives. But it seems unnecessary and a bit outmoded, especially considering the revival of interest in religion and theology in literary studies.

[Kris Lundgaard · Rating 5 out of 5]

Glorious.

[Richard · Rating 4 out of 5]

George Herbert has long been one of my favorite poets (along with Gerard Manley Hopkins and Edwin Muir), and now I have a better sense as to why. Drury provides insightful readings of many of Herbert's poems, providing economical glosses on challenging language, and placing them in the context of Herbert's life and era. Although we lack significant details about the events of Herbert's life, Drury's approach in this biography, and his sensitive reading of the poetry, allows the reader to enter into Herbert's understanding of his world and his God, and his attempts to deal with the vicissitudes of his unfortunately short life. One finishes the book feeling a closer acquaintance with Herbert than would have been possible in a more conventional biography, had such a thing even been possible.

One of the most enjoyable chapters of this book was an interlude on the Williams Manuscript, prepared by Herbert around a decade before his death, which shows for many of his poems subsequent revisions. Drury's discussion draws the reader into the poet's creative process and demonstrates the sensibility that marks Herbert as a rare poetic genius.

[Scott Bielinski · Rating 3 out of 5]

As other reviewers have noted, this book is relatively light on the "life" of George Herbert and quite heavy on his poetry. Drury does have an excellent chapter on Herbert's life as a country parson. I really enjoyed the portrait of Herbert offers in this chapter, it being a bit more full and focused, specifically, on Herbert. That being said, Drury's analysis of much of Herbert's poetry is quite good and worth the price of the book. He does a wonderful job capturing the tone and style of these poems.

While Drury tried to position Herbert as a poetical resource for Christians and non-Christians alike (which is, of course, fine), I think Drury, then, downplayed much of the theological task in Herbert's poetry. At points, Herbert simply sounded like a mainline, 20th-century Protestant. For example, Drury explains a poem this way, "The crucial reference [to love] brings in Christianity's belief in the compassionate descent of deity to earth in Christ and asserts the primacy of love over godhead." Christianity does not assert the primacy of love over the godhead. Christianity asserts that the Godhead is Love! Herbert, a convinced Augustinian Calvinist, certainly would not pit these two against one another. Drury goes on to say "The primacy of love over theology and everything else is a major reason for the hold Herbert's Christian poetry has on modern readers . . ." This forced dichotomy, not found in Herbert, is found at various points in the book. It's certainly not found in St. Augustine, one of Herbert's biggest theological influences, an influence largely left to the side of Drury's discussions.

All of that being said, Drury offers very solid readings of Herbert's poetry, even if he doesn't always point toward the theological depths Herbert gently carved out with his pen.

[James Henderson · Rating 5 out of 5]

Widely regarded as an important and perceptive biography, John Drury's "Music at Midnight: The Life and Poetry of George Herbert" provides a thorough and captivating examination of the 17th-century metaphysical poet. Instead of presenting a simple cradle-to-grave account, Drury skillfully combines Herbert's life story with insightful criticism of his poetry, showing how his enduring verse was significantly influenced by his own experiences, spiritual challenges, and the sociopolitical climate of early 17th-century England.

Without compromising academic rigor, Drury does a commendable job of making Herbert and his world understandable to modern readers. Both seasoned Herbert scholars and those unfamiliar with his work will find his prose appealing, often characterized as eloquent and devoid of complex academic jargon. Drury's insightful analysis of Herbert's poems, exploring their formal and stylistic mastery, theological profundity, and emotional resonance, is one of the book's main strengths. The book effectively reveals the "autobiographical implications" of Herbert's poetry, demonstrating how his poems "obviously and confessedly arise from his life experiences."

The main accomplishment of the book is the way it skillfully blends incisive literary criticism with Herbert's biography. By deftly situating readings of the poems within Herbert's life story, Drury enables readers to understand the background from which they were taken. Drury finds a balance between making the content understandable and offering an informed, in-depth account. He breaks down difficult theological concepts in an understandable way, clarifies historical context, and explains archaic language. The end product is an excellent read.

[Toby · Rating 5 out of 5]

This is as good a biography of George Herbert as could be wished for, and will surely be the definitive one for many years to come. Herbert's life was comparatively short (though Drury reminds us that a death at 40 was not that premature in the early seventeenth century where middle age effectively began at 30) and aside from his published poems and treatise on parish ministry, little remains in terms of primary sources (some letters, but not much else). Therefore a straight biography might offer thin fare. Drury spends approximately two-thirds of the book describing Herbert's life, helpfully illustrated through his poetry (though not even approximate dates can be fixed to his poems, they have so little autobiographical content). The remaining third is a study of Herbert's style and legacy. It is well written throughout and Drury does not assume that his readers will already know about iambs, trochees and enjambment.

Having just reread all of Herbert's English poems in a critical edition, this volume still had a lot to teach me. I didn't know that in Herbert's time a banquet was not a feast as we understand it but a smaller repast of sweetmeats. This makes more sense of prayer being the "church's banquet". The church's feast is of course the Eucharist. Drury also makes a case that Easter Wings is not intended as a poetic pictogram of angels ascending but of birds flying east, excusing all those publishers who have been criticised for printing the page at an erroneous 90 degree angle. Love (III) is the companion throughout.

[Andy Dollahite · Rating 4 out of 5]

Deeper and more profitable than most biographies, Drury offers layers of insights on George Herbert’s life and relationships, as well as penetrating analysis of his poetry. You’ll meet several relevant contemporaries, including John Donne, Lancelot Andrewes, Bishop Davenant, and the Danvers family. The pacing is nearly perfect, excepting one profoundly long chapter in the middle third. From my angle, Drury doesn’t share the same affection for Christ as Herbert, or is at least tempered by a modern skepticism. Nevertheless, he’s clearly biblically literate. Gratefully, it clear he counts Herbert a man of profound literary talent and religious devotion, encouraging the reader to grow into a shared delight.

[Ted Kim · Rating 5 out of 5]

I adore the poetry of Herbert!
He could have had a career of some renown as orator and academic, but he ended his life, happily, as country parson.
Drury has given us the definitive biography of Herbert and does a fair bit of exposition of his poetry - as a result, be prepared to read a lot of poems (which I loved!)

“Yet let him keep the rest,
But keep them with repining restlessness:
Let him be reich and weary, that at least,
If goodness lead him not, yet weariness
May toss him to my breast.”

Not just weariness! But the beauty and economy of Herbert’s poetry do as well!

[Elizabeth · Rating 4 out of 5]

I was delighted when Music At Midnight arrived in the Library (Reserved). And the opening words "Herbert's masterpiece 'Love (111)" is saturated in the conditions of life in seventeenth-century England". I soaked up the words. I had to return the book to the library after renewing it three times. For me reading John Drury' s Music At Midnight is an ongoing massive commitment deserving of attention and time. In due course when I have more time and can attend I will buy this book.

[Ben · Rating 5 out of 5]

Exhaustive and insightful biography into the life and times of George Herbert. I’ve been obsessed since first discovering Herbert’s poetry earlier this year and this book helped me to better understand the context in which they were penned. Do yourself a favor and explore the poetry of George Herbert.

[Diane · Rating 4 out of 5]

This biography of George Herbert looks at how his times shaped his writing, and discusses many of his poems in depth. It also compares him with other English poets of the time, which I thought was interesting.

[April · Rating 4 out of 5]

This is a spotty book, some bits are excellent, even enthralling, and some bits are very dry history. It is both and introduction and analysis to the poetry of George Herbert and the history of his life. It is worth reading for the poetry alone.

[Richard Anderson · Rating 5 out of 5]

Highly informative critical biography of the poet.

[Susan · Rating 5 out of 5]

Rewards a slow and careful reading. Includes analysis of the structure of Herbert’s best-loved poems, and some less famous.

[Jonathan Lancashire · Rating 4 out of 5]

This is one of those biographies where the author tells you everything he knows. But he obviously loves Herbert, whose poetry and faith shine like diamonds throughout. Listen to the RVW settings.

[Liam Guilar · Rating 4 out of 5]

I think the subtitle is the wrong way round..it should read The Poetry and Life of George Herbert.

There's not a lot of his life to know, but Herbert the person is absent from most of the book, which is taken up by Drury's readings of the poems. He is a fine and careful reader, though repetitive, and inclined to overstate the obvious. If quoting a poem in full is there really a need for a paragraph summary to introduce it?

For a biographer there's an obvious pit fall in reading the poems, and taking the reading as evidence of the writer's beliefs and values, or even emotional states, especially when some of the value judgements seem so subjective....but with that reservation in mind, the discussion of the poetry is invaluable.

Drury gets at Herbert the poet through a chapter on Herbert's surviving manuscript, comparing originals with revisions both in the manuscript and in the final version of poems published in the Temple.

Since Herbert epitomizes one of the major problems facing readers of modern poetry: ignorance of the bible, Drury does a fine job of explaining the theological background, as well as the biblical allusions in the poems, opening them for the modern reader.

[Scott Graham · Rating 4 out of 5]

Drury's book on Herbert is a beautiful, well-thought out combination of biography and poetic analysis. He is at his best in describing why certain poems work as effectively as they do, and sheds just enough light on the more obscure sections of the works to bring them to light, without bogging down the overall flow or enjoyment of the poetry. Herbert, along with Donne, are the two essential English Christian poets to read, and this is a great introduction to understanding how poetry 'works' within the rules of 16th century verse.
I do believe Drury's own middle-to-the left Anglicanism affects his understanding of Herbert's poetry and piety. While Drury writes as a churchman, he certainly paints Calvinists with a severe brush, and I suspect he frames Herbert's beliefs in a more 'liberal' fashion than the good poet would like. Drury is writing, however, with Christians to Atheists in mind. It is far and away the best introduction to Herbert that I've found, and anyone interested in lasting poetry or piety would be rewarded by reading it.

[Andrew Marr · Rating 5 out of 5]

George Herbert is among my most favorite composers. He shows an amazing ability to invent stanza forms that embody the content of the poem with a perfect fit of hand in glove. The wry and sometimes anguished humor that he uses to express his spiritual and moral crises make him a consolation to many readers, which was his hope if his work should be published. (Nicholas Farrar of Little Gidding, to whom the poems were entrusted made sure they did find their way in print.) Born in an aristocratic and cultured family, Herbert's life intersected with many important persons of his time including Lancelot Andrewes and John Donne. With Herbert being such a favorite, I have read many books about him and this one is the best. A detailed account of his life is interwoven with careful and insightful explications of many of his poems, adding up to a feast of poetic wit and a life conscientiously, of sometimes problematically, lived. Drury's own elegance of style makes this book a delight to read for anyone interested in Herbert's poetry.

[Kate · Rating 3 out of 5]

This book reminded me how cosy I find old-school close reading of poetry. It helps that Drury is probably the ideal Herbert exegete (though I admit to skimming most of the early-modern-english-101 preambles), being of the avuncular species of calm, clear-eyed, erudite Anglican, who knows just how to foster appreciation of the assiduous middling-ness of Herbert's poetry and religion both. Only 3 stars, because I had some beef with: the repetitive structure (this feels quite obviously a not-fully-worked-up version of JD's forthcoming compleat Herbert at times), digs at Sidney and Donne (unnecessary and often with a tendency to backfire), and the fact that I'm just not a biography fan and would've preferred some readings of the poems without the forced shackling to H's life. Still highly recommended as an intro, and I'm looking forward to JD's notes in that Penguin edition of Herbert.

[F · Rating 5 out of 5]

I started this book, got so far, put it down and it took me a year to get back to it. This was not because I was not enjoying it; I found it fascinating and felt it well worthwhile to take time to read it closely and with attention.
The author impressed me with his attention to detail, his clear narration. He had worked out what he wanted to say, and how best to convey his meaning so that the reader could easily follow his argument.I am someone who does not read poetry much, nor often read books about poetry, but I found this an accessible, enjoyable and memorable book and one I will return to again and again.

[Johns · Rating 5 out of 5]

A remarkable biography that not only sketches out the fabric of a notable life and includes signature poems illustrating the poet's genius but significantly, also offers deep analysis of same.

Here is a treasury of wisdom from one cleric's life in 17th century England. If you think you know Anglicanism, prepare to have your stereotypes rattled when you read this biography. George Herbert was a remarkable man with a true heart for God.

Worthy of careful re-reading. In fact, I just bought a copy and will be re-reading it over the next few months.

[Mauberley]

This is a fine piece of work on one of one of England's very greatest poets. The analysis of the poetry owes much to the 'New Criticism' and Drury seeks to locate a number of the poems within Herbert's biography. In my view, Drury is better in reading Herbert's poetry than in giving an account of his life yet for it's having reawakened and refreshed my love for the poet, I judge the book to be a tremendous success. I look forward to Drury's edition of Herbert's collected poems.

[Steve · Rating 5 out of 5]

Excellent. He weaves the poems into the biography beautifully.