Metaphysical poets, selected poems Contents
- Donne, John
- John Donne's early life
- John Donne - from Catholic to Protestant
- John Donne's marriage and its aftermath
- John Donne - The Reverend Dean
- Herbert, George
- Crashaw, Richard
- Vaughan, Henry
- Marvell, Andrew
- King, Henry
- Lovelace, Richard
- Cowley, Abraham
- Philips, Katherine
- Cleveland, John
- Social / political context
- Religious / philosophical context
- Literary context: ideas and innovations
- Aire and Angels
- A Hymn to God the Father
- A Hymn to God, my God, in my Sicknesse
- A Nocturnall upon St. Lucies day
- At the Round Earth's Imagin'd Corners
- A Valediction: Forbidding Mourning
- Synopsis of Valediction: Forbidding Mourning
- Commentary on Valediction: Forbidding Mourning
- Language and tone in Valediction: Forbidding Mourning
- Structure and versification in Valediction: Forbidding Mourning
- Imagery and symbolism in Valediction: Forbidding Mourning
- Themes in Valediction: Forbidding Mourning
- A Valediction: of Weeping
- Batter my heart
- Death be not Proud
- Elegie XIX: Going to Bed
- Elegie XVI: On his Mistris
- Good Friday, 1613. Riding Westward
- Lovers' Infiniteness
- Oh my blacke Soule!
- Satyre III: 'On Religion'
- Show me Deare Christ
- Since She Whom I Lov'd
- Song: Goe, and catche a falling starre
- The Anniversarie
- The Dreame
- The Extasie
- The Flea
- The Good-morrow
- The Sunne Rising
- This is my playes last scene
- Twicknam Garden
- What if this present
- Affliction I
- Easter Wings
- Jordan I
- Jordan II
- Love II
- Prayer I
- The Church-floore
- The Collar
- Hymn in Adoration of the Blessed Sacrament
- Hymn to St Teresa
- St Mary Magdalene, or the Weeper
- To the Countesse of Denbigh
- Ascension - Hymn
- The Night
- The Retreate
- The Water-fall
- A Dialogue between Soul and Body
- On a Drop of Dew
- The Coronet
- The Definition of Love
- The Garden
- The Mower Against Gardens
- The Mower to the Glo-Worms
- The Mower's Song
- The Nymph Complaining for the Death of her Faun
- The Picture of Little T.C. in a Prospect of Flowers
- To his Coy Mistress
- Upon Appleton House, to my Lord Fairfax
Language and tone in The Collar
The language, as is typical of Herbert, is simple but elliptical (condensed). For example: ‘To let me blood' or ‘as large as store' don't seem quite to make sense as they stand, even though the words in themselves are perfectly simple. We have to fill them out, to mean something like: ‘thorns are just bleeding me to death. ... I need some restorative fruit to put life back into me'; and ‘as large as the largest storehouse'.
The use of verbal echoes and assonance is strong. We have noted the long i-vowel sounds. ‘Abroad' is another word that gets echoed around in assonances: ‘board', ‘store', ‘restore', ‘corn', ‘law', ‘draw', and so on. ‘Abroad' particularly symbolises freedom, meaning ‘anywhere I choose to go'.
Irregular rhyme scheme
The rhyme scheme is irregular, again echoing the rambling, incoherent questions Herbert is asking. The rhymes have no pattern, any more than his present life has. Yet we are very aware of them. Only at the end, in the resolution, are the rhymes gently and unobtrusively patterned.
- ‘Only at the end … are the rhymes gently and unobtrusively patterned'
- Do you notice any other verbal patterns in The Collar?
- How does Herbert achieve the tone of complaint?
- Does the poet's voice sound as if it ‘Raved and grew more fierce and wild'?
- How does he achieve this effect?
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