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
Imagery and symbolism in The Collar
The whole poem is basically imagistic, and in that sense, seems quite modern. Everything has a symbolic value, either as an emblem or a metonymy. For what an emblem is, look at the analysis of Herbert's The Church-floore.
Fruit and harvest
One of the main clusters of imagery has to do with fruit and harvest:
- ‘store' (l.5)
- ‘harvest' (l.7)
- ‘fruit' (ll.9 & 17)
- ‘wine' (l.10)
- ‘corn' (l.11)
The idea of fruitfulness is an obvious image of fulfilment in life. But Herbert combines this with images of freedom. The similes of ‘free as the road/ Loose as the wind' bring a sense of space as well as plenty waiting out there for him.
Wasted
To make the point, of course, Herbert needs contrasting images. Thus ‘no harvest but a thorn' may echo Jeremiah 12:13, which is about frustration for those who go against God's will. His sighs ‘did dry', and his tears ‘did drown' the wine and corn, which echo in the bread and wine of communion. Wine and corn are also metonymies of plenty and joy, now ‘all blasted/All wasted'. ‘Thy death's head' is an emblem of conscience as well as symbolising deathward thoughts. These thoughts are also imaged by ‘thy cage/Thy rope of sands'.
- Consider the imagery of The Collar
- What do ‘bays' and ‘garlands gay' represent?
- ‘but there is fruit,/ And thou hast hands': what sort of image is this?
- Explain the full significance of the image about the rope in ll.22-25.
- English Standard Version
- King James Version
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