Metaphysical poets, selected poems Contents
- 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
- Aaron
- Affliction I
- Death
- Discipline
- Easter Wings
- Jordan I
- Jordan II
- Life
- Love II
- Man
- Prayer I
- Redemption
- The Church-floore
- The Collar
- Vertue
- Hymn in Adoration of the Blessed Sacrament
- Hymn to St Teresa
- St Mary Magdalene, or the Weeper
- To the Countesse of Denbigh
- Ascension - Hymn
- Man
- Regeneration
- 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
- An Elegie upon the Death of the Deane of Paul's Dr John Donne
- To a Lady that Desired I would Love her
Vertue
The transience of life
This poem should be studied alongside another of Herbert's poems, Life. Both deal with what the Elizabethans called mutability, a common theme with them; what we might call the transience of life. A lifespan really was a lot shorter then than now. Herbert's own death at 39 was not uncommon, for example. Old age, as we know it, was not something that most people experienced. In fact, you would be counted old if you made your mid-fifties!
A sweet, sad song
The first three stanzas are a sweet, sad song, but seem to have little to do with the title. Three natural images of transience are used: the day, the rose, and Spring. Each has a mark or emblem of its early death: the day has evening dew as an emblem of mourning; the rose has roots in the ground, signifying our burial; and the Spring, like a song, has to have closure.
The verse is at its simplest and sweetest, seemingly in ironic contrast to the subject matter. How can Herbert be so calm about it? Only at the beginning of stanza two are we jarred by ‘whose hue angrie and brave'. The rose's redness signifies anger rather than, say, a sweet perfume, or a luxurious richness. For a moment, William Blake's poem The Sick Rose comes to mind.
An enigmatic ending
However the last stanza explains all. The calmness is because a ‘vertuous soul ... never gives' (i.e. gives way). The simile is sudden, ‘Like season'd timber'. It doesn't rot, but lasts from season to season. Then the clinching metaphor hits us. It is enigmatic – what does ‘though the whole word turn to coal' mean? ‘Coal' seems so out of keeping with the sweet nature imagery. Does it tie in with ‘timber', coal having derived from wood, a permanent transformation of it? Or does it mean something which burns, thinking either of the fires of final judgement, which was part of the Christian imagination of Herbert's time, or the transience of burning coal? After a series of obvious images, Herbert, perhaps as a true metaphysical poet, leaves us with what seems like an unresolved conceit.
- Read through Vertue
- How do you understand the image of coal?
- When is it that the virtuous soul ‘chiefly lives'?
- How can we tell Herbert meant this to be set to music?
(see Themes and significant ideas > The Transience of Life).
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