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Books : Literature & Fiction : Authors, A-Z : ( H ) : Herbert, George
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George Herbert combined the intellectual and the spiritual, the humble and the divine, to create some of the most moving devotional poetry in the English language. His deceptively simple verse uses the ingenious arguments typical of seventeenth-century metaphysical poets and unusual imagery drawn from musical structures, the natural world, and domestic activity to explore a mosaic of Biblical themes. From the wit and wordplay of “The Puley” and the formal experimentation of “Easter Wings” and “Paradise,” to the intense, highly personal relationship between man and God portrayed in “The Collar” and “Redemption,” the works collected here show the transcendental power of divine love. This vast collection includes all Herbert’s English poems, selections from his Latin poetry with translations, his major prose work A Priest to the Temple, and Izaak Walton’s Life of Herbert.
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(Book Jacket Status: Jacketed)
Introduction by Ann Pasternak Slater
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Dramatic and conversational in rhythm and tone and rich in striking, unusual imagery, metaphysical poetry is represented in this anthology by such masterpieces as "Death, Be Not Proud," by John Donne; Andrew Marvell's "To His Coy Mistress," as well as works by George Herbert, Henry Vaughan, Richard Crashaw, Francis Quarles, Thomas Traherne, and others.
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In 1633, George Herbert published what has become the best-known religious poem in the English language, The Temple. Actually a sequence of poems, The Temple is shaped by the order of church ritual and liturgy. At the heart of The Temple stands "The Church," poems that are patterned on the Church's liturgical calendar and that discuss theological ideas such as death, judgment, and heaven. Herbert's poetry is at once personal and confessional. His poems about the Eucharist and holy baptism are not only general theological explorations of the sacraments but also the poet's expression of the struggles of his own flesh to be reconciled to God. This mildly modernized edition makes the spiritual insight and quiet passion of this great poet available to today's reader.
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Inspiring, comforting, and fillled with profound poems with religious themes and ideals, this volume features the works of more than 60 British and American poets, including "Holy Sonnets" by John Donne, Ben Jonson's "To the Holy Trinity," "On His Blindness" by John Milton, as well as poems by William Blake, Emily Brontë, Emily Dickinson, and many others.
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George Herbert (1593-1633) has come to be one of the most admired of the metaphysical poets. Though he is a profoundly religious poet, even secular readers respond to his quiet intensity and exuberant inventiveness, which are amply showcased in this selection.
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 the primary concerns of this poet, who admonished his readers to “dare to be true.” An Anglican priest who took his calling with deep seriousness, he brought to his work a religious reverence richly allied with a playful wit and with literary and musical gifts of the highest order. His best-loved poems, from “The Collar” and “Jordan” to “The Altar” and “Easter Wings,” achieve a perfection of form and feeling, a rare luminosity, and a timeless metaphysical grandeur.
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Imagine if Billboard compiled a list of the top 100 poems, chosen not by critics or professors but by the people themselves. That's the concept behind The Classic Hundred, and it works brilliantly. William Harmon found the 100 most anthologized poems in English, based on the ninth edition of The Columbia Granger's Index to Poetry—the most objective measurement of greatness available, representing consensus among the editors of some 400 anthologies. Then he put them in order and prefaced each one with concise, erudite, often humorous commentary. The range of poets, subjects, and forms—from Shakespeare to Frost, from love and death to crime and punishment, from sonnets to odes—makes this an entertaining, enlightening, and indispensable aural guide to the finest verse in the English language.
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EVERYMAN'S POETRY LIBRARY: This new series of the world's greatest poetry features the hallmarks of Everyman Classics: top-quality production and reader-friendly design along with helpful notes and critiques. Each edition is also a great value, especially for those readers beginning to explore the work of this remarkable poet.
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This volume presents the work of two poets linked by the tribute of creative imitation gratefully paid by Vaughan to Herbert. Read side by side, as this one volume collection makes possible, the artists' verse fully reveal their individual powers, even as the complex nature of Vaughan's use of Herbert's imaginative example is thrown into greater relief. The book contains the complete English poetry of Herbert, his prose treatise, The Country Parson, the complete text of Vaughan's Silex Scintillans, including all material in both the 1650 and 1655 editions, plus a selection from Vaughan's early secular poetry. Louis Martz's introduction and commentary help bring the religious controversies of the age into focus, and the text also features chronologies of the lives of the two men, and suggestions for further readings.
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This book places George Herbert’s writing and biography within the history of social and economic change in seventeenth-century England. Drawing on the works of Max Weber, Raymond Williams, and the Protestant preachers of the period, the author argues that the doctrine of vocation is the shaping principle of The Temple and the prose manual The Country Parson, which coordinate inward devotion with outward social role like the soul with the body. This form of early modern subjectivity is shown to be significantly at odds with the system of status and yet developed in order to preserve traditional models of community.
The book demonstrates that Herbert’s family shared his Protestant vision of “the common good,” which included innovations in agriculture and mining, colonization of the Americas, and a worldwide trade nexus. William Herbert, patron of Shakespeare and head of the Protestant faction at court and in Parliament, was also George Herbert’s patron, and George’s involvement with this faction is offered as the explanation for his lack of patronage from an increasingly Anglo-Catholic court. His position as a country parson required the renunciation of ambition and a new ideal of the “character” of holiness but in no way decreased his dedication to the Protestant linking of religion and enterprise.
The author explores the poetic coterie out of which Herbert’s lyrics were generated, the remarkable revisions that erased an earlier version of The Temple authorizing social mobility, and the role of class in the poetic collection as well as in modern critical accounts. Herbert’s use of the pastoral is considered in relation to his family’s practice of gardening, which redefined economic innovation as moral reformation. The author argues that Herbert’s works and those of his family make visible the influence of and the resistance to the new capitalist economic system emerging in the early modern period.
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