In George Herbert (1593-1633), profound religious sensibility is richly allied with a playful wit and with literary and musical gifts of the highest order. Herbert experimented brilliantly with a remarkable variety of forms, from hymns and sonnets to "pattern poems", the shapes of which reveal their subjects. Such technical agility never seems ostentatious, however, for precision of language and expression of genuine feeling were his primary concerns. Herbert is one of the finest religious poets in any language, though even secular readers respond to his quiet intensity and exuberant inventiveness. The poems he made achieve a perfection of form and feeling, a luminosity and a metaphysical grandeur unexcelled in the history of English writing.
Though long overshadowed by Donne and Milton, Herbert has come to be one of the most admired of the metaphysical poets. In this new edition of Herbert's works, the distinguished scholar and translator Ann Pasternak Slater shows through detailed textual notes, a reordering of the poems, and an extensive introduction just how great a writer Herbert is.
George Herbert (1593-1633) was a Welsh-born English poet and orator. Herbert's poetry is associated with the writings of the metaphysical poets, and he is recognized as "a pivotal figure: enormously popular, deeply and broadly influential, and arguably the most skillful and important British devotional lyricist."
Born into an artistic and wealthy family, Herbert received a good education that led to his admission in 1609 as a student at Trinity College, Cambridge, Herbert excelled in languages, rhetoric and music. He went to university with the intention of becoming a priest, but when eventually he became the University's Public Orator he attracted the attention of King James I and may well have seen himself as a future Secretary of State. In 1624 and briefly in 1625 he served in Parliament. Never a healthy man, he died of consumption at the early age of 39.
Based on the recommendation of a number of pastors, I picked this up for some evening reading. Out of the 167 poems in the book, 116 are written with different meters. Why? Because when he used language to craft truth and worship, he felt he was most able to see and enjoy God. After reading the exquisite poetry in the first section, I was surprised to find the next section (his book on pastoral work) so practical and relational. The books ends with a short biography of Herbert's life, which was also very good.
Eighteen years after falling for and doing some minor research on the 17th century poet George Herbert (1593–1633) at university (followed by a chance encounter with him in Bemerton, just outside Salisbury in England in 2000), I can now say I have read every extant thing he wrote (the rest, according to Izaak Walton, was destroyed in a conflagration started by a bunch of rebels ... civil war Roundheads I assume).
This includes all his poems (which are always wonderful), his 'The Country Parson: His Character and Rule of Holy Life' (which concludes with a wonderful prayer, and includes such gems as what herbs to use for what so as to avoid needing to go to the doctor if at all possible), his collection of 1024 sayings and folk proverbs, a random assortment of letters, his will, a translation of 'A Treatise of Temperance and Sobriety' by Luigi Cornaro, some critical notes he wrote about a mate's translation of 'Considerations' by Valdesso (charmingly subtitled, "Brief notes relating to the dubious and offensive places in the following consideration"), an oration he gave while he was the Public Orator of Cambridge University, and Walton's 1670 'Life of Herbert' (which I enjoyed reading back in 1999 and enjoyed just as much this time).
A triumph for completism. But beyond that, all the reading deepened my love for Herbert.
I read and meditated on the portion of this volume of George Herbert's complete english works devoted to his poetry. They are a deep well to draw from and I will be back.
In my Ancient Mentors reading for August, I sat at the feet of George Herbert (1593-1633) and his pastoral work entitled "The Country Parson, His Character, And Rule of Holy Life."
More recognized for his metaphysical poetry, Herbert was also an Anglican priest for the last four years of his life. What's astounding to me is the depth of wisdom Herbert demonstrates in this short collection of reflections on pastoral ministry. Herbert acknowledges the complexities and difficulties of shepherding seemingly ordinary people, and is not short on advice for how to go about this holy calling.
For Herbert, "A pastor is the deputy of Christ, for the reducing of man to the obedience of God." As a deputy of Christ, the pastor's office is one of dignity and duty--the priest may do that which Christ did and the duty is to do that which Christ did. Christ both appoints his vicegerents and gives them the model. Though this calling requires much education, the mere reading of the fathers or schoolmen does not a minister make.
Here are some of my bullet-point meditations on Herbert's pastoral reflections:
1. A pastor is to be neither greedy to get, nor niggardly to keep. He should avoid luxury. He should keep his word.
2. The pastor is to be full of knowledge, chiefly in the Book of books, "There he sucks and lives." The means by which he understands Scripture is: a holy life (Jn 7), prayer, a diligent collation of Scripture with Scripture (basically analogie fidei).
3. Sunday is a work day: "The country parson, as soon as he awakes on Sunday morning, presently falls to work, and seems to himself so as a market man is when the market day comes, or a shopkeeper when customers use to come in."
4. The two primary temptations for a pastor are: spiritual pride and impurity of heart.
5. Pastors should not be stingy; charity is his predominant element.
6. Pastors should reward parishioners for knowing their prayers, the Creed, and the 10 Commandments (this justifies rewarding kids with candy/money for knowing their catechism).
7. The pastor GOES to people; he does not wait for them to come to him. Intentionally intrusive.
8. When the sheep sin, the pastor does not hate them as an officer, but pities them as a father (mind=blown).
9. A Pastor's preaching should inform and inflame.
10. Pastor's deal with people that hold strange teachings by: prayer, loving them, observing what it is they are relying on (e.g. if a "Papist, the Church is the hinge he turns on; if a schismatic, scandal."
11. The most persuasive thing to people who hold strange doctrine is: a strict, religious life and an humble and ingenuous search of truth, being unmoved in arguing and void of all contentiousness.
12. The Parson is generally sad, because he knows nothing but the cross of Christ.
13. Pastors must be despised; but should endeavor that none shall despise by a holy life, courteous carriage, bold & impartial reproof.
14. Pastors should study and know the "diseases of the time." Study and learn culture.
15. Human beings were created to work: given reason in the soul and a hand in the body.
16. Men are called to home improvement (nurturing the growth of the family) and house improvement (caring for their grounds, i.e. changing the oil, mowing the lawn, fixing the leaking faucet).
Well, this was a labor--what a terrible thing to say. I appreciated Herbert's craft, I appreciated it to death, but I couldn't escape some "lipstick on a pig" feeling--Herbert's religion mostly doesn't strike me as an inventive or interesting version of Christianity. (I realize I just said Christianity is a pig. I don't quite mean that, but it's not my thing.) Mostly--because every now and then I do get something more from Herbert, a close relation with his god that is interesting. . . but in general I find his relation to god slavish, and the playful language doesn't go below the surface. I'd like to be missing something here. I like Herbert's tone and his mind. But that basic failing, the failing to question, I can't get past. --If I were feeling psychoanalytic I might say that all the energy Herbert puts into interrogating language is energy deflected from the interrogation of god.
-- (earlier)
Not sure this is my edition, but never you mind--I'm reading some Herbert. Alternately charmed by his language and put off by his relentless Christianity--needless to say I'm not a Christian myself. It is interesting to me what Christianity was for some of these writers/artists: a subject, the subject, content, the thing to wrestle with. I think it's in this sense that certain modern writers are religious--Fanny Howe, for instance. Arguing with god, fighting to maintain an impossible faith, these truly are big subjects.
George Herbert is generally accounted the second-greatest of the Metaphysical Poets, behind only John Donne. I think this is inaccurate; I think that Herbert, for his faithfulness, vividness of imagery, and versatility in the craft of poem-writing, is the greatest.
Herbert was a prolific writer not just of English poetry, but also Latin poetry and essays. His English poetry especially emphasizes how signs of God can be found in daily life. It is beautiful, simple, and well-imagined.
Today, Herbert's most controversial work is The Country Parson, an essay on the pleasures and duties of the life of an English country vicar. For centuries, it has been a sort of standard guide and ideal for Episcopal clergy. The standard critique is that it is an impossible standard. The issue of whether it is in fact an impossible standard, or merely a difficult-to-achieve standard, and its general desirability, is beyond the scope of this review. But the essay The Country Parson is certainly fascinating from a historical standpoint.
I recommend this to anyone of a Christian bent who would enjoy some quiet, pleasant Christian poetry.
Tackled Herbert while boning up on devotional poets. He's a good measuring stick for later devotionals. While Edward Taylor's & Hopkins' languages are more sensual and Donne's conceits more compelling, Herbert succeeds often through sheer simplicity. They're memorable in the sense that, well, it's not hard to remember--the simple diction and solid rhymes lock themselves into yr brain. I can see them in those weird embroidered, puffy fabric frames in old people's houses. Maybe over the toilet or sink. (I will complain, yet praise; / I will bewail, approve: / And all my sour-sweet days / I will lament, and love / etc etc)
Anyway, a collected edition was a bad idea. This is 240+ pages. A good 100 pg collected isn't going to miss much.
A greatly under-appreciated poet because, I suspect, his style is more restrained than say the flashy Donne and because all of his poetry is religious. His great skill was to produce profound and affecting work using a generally simple vocabulary and syntax. It says something for his greatness that I, as a secular humanist, can be overwhelmed by his greatest poems such as Redemption and The Collar.
An old favorite. Iread through quite a bit of it again. It was the clarity of his line combined with an unusual balance between seriousness and structural playfulness that caught my attention this time through. The poems improve with my effort to pay attention to them.
More generally, I think it is redemption, and an interest in it that groups the metaphysical poets as tightly as it does.
This is a pretty good edition with great source materials and references in the back. I never thought I would like a "pure" religious poet so much, but "The Flower" and his concerns with labor and faith are fascinating.
my sophmore year of college, I took a literature class from a professor who wrote his dissertation on Herbert. Naturally, he was passionate about his poetry, which rubbed off on me. He's still the poet I return to most often.
Trying hard to get in to poetry. My biggest struggle is that I don't have the patience for it. I can usually grasp the meaning of prose in a few seconds, but I can't seem to figure out poetry. Some of the poems really caught my attention.