Materiality And Devotion In The Poetry Of George Herbert

This book uses textual and material evidence -- in poetry, prayers, physiologies, sermons, church buildings and monuments, manuscript diaries and notebooks -- to explore how material things held spiritual meaning in George Herbert's poetry, and to reflect on scholarly approaches to matter and form in devotional poetry.

Since 1633, when The Temple was first published, many notable Christians have testified of their love for George Herbert's poetry. The great nineteenth-century preacher C. H. Spurgeon and his wife would sometimes read Herbert's poetry together on Sunday evenings. Richard Baxter wrote, Herbert speaks to God like one that really believeth a God, and whose business in the world is most with God. C. S. Lewis described Herbert as a man who seemed to me to excel all the authors I had ever read in conveying the very quality of life as we actually live it from moment to moment . . . Regrettably, as the years have passed, Herbert's poetry has been increasingly neglected outside the academy. Many who would love Herbert have never even heard of him. Others feel intimidated by his poetry, fearing that they do not have the education necessary to understand what Herbert has written. In this book, Jimmy Scott Orrick has made the poetry of George Herbert accessible even to those who have had no experience reading poetry. In addition to providing thorough notes for each poem, Orrick also gives basic pointers about how to read poetry. Why not follow C. H. Spurgeon's example and have a page or two of good George Herbert on your Sunday evenings? Those who follow this prescription will be deeply enriched for having spent A Year with George Herbert.

George Herbert has always been regarded as a man of singular piety and a poet of uncommon technical ability. Until recent times, however, he was usually thought to have written prosodically ingenious but conceptually thin verse. Mary Ellen Rickey, through a close examination of Herbert's poetry, reveals the high concentration of ideas in his verse and the richness of his imagery.

In tracing George Herbert's revisionary goals as they developed through the two manuscripts of the Church, this book offers a new approach to the interpretation of his poems in showing that Herbert intended to encourage his readers to connect the separate lyrics into larger structures of meaning and also to look beyond his poetry to the Bible.

An entirely new selection of George Herbert's verse, this beautiful volume illustrates Herbert's preeminence as one of the masters of metaphysical verse. Herbert began his career as Fellow and Public Orator at Cambridge, and, after making his way toward ordination as a priest of the Church of England, became rector of the parish of Fuggleston-cum-Bemerton, near Sailsbury, in 1630. His first book of poems, The Temple, was published in 1633, some months after his death, and his prose treatise, The Country Parson, did not appear until 1652. His poems, however, met with immediate favor upon publication, and have remained enduringly popular. These poems of great subtlety and wit continue to enlighten as they have since the seventeenth century.

George Herbert has for centuries been admired by the religious for his piety and by lovers of poetry for his language and his wit. In the present volume, Professor Summers seeks to abolish this dualism of approach: he is concerned throughout to demonstrate Herbert’s religion as it is expressed in his poems, and to interpret the poems in the light of his religion, for they are a “picture” of meticulously observed spiritual experience. He gives us a scholarly, lucid, and integrated study of a much-loved poet, who was at once a good man, a profound Christian thinker, and a most daring experimentalist in the craft of verse. Professor Summers charts the many currents and cross-currents of early seventeenth century religious thought that affected Herbert, traces the stages of the poet’s life, and then proceeds to a thorough examination of the form and content of his work. There are interesting chapters on his metrical “counterpoint,” his dramatic-colloquial style, and the influence of music upon his poetry. This is not only an authoritative study of the poet himself but a notable contribution to the problem, so keenly discussed today, of religious belief in relation to poetry.