Simple poem(شعر ساده)
Simple poem(شعر ساده)
Summary and analysis
Vertue.
|
Sweet day, so cool, so calm, so bright, The bridall of the earth and skie: The dew shall weep thy fall to night; For thou must die.
Sweet rose, whose hue angrie and brave Bids the rash gazer wipe his eye: Thy root is ever in its grave And thou must die.
Sweet spring, full of sweet dayes and roses, A box where sweets compacted lie; My musick shows ye have your closes,1 And all must die.
Onely a sweet and vertuous soul, Like season’d timber, never gives; But though the whole world turn to coal, Then chiefly lives. |
|
1 closes - The musical ending, the final chord or chords of a piece of music. [Return] Technical music definition - There are 2 kinds of closes: 1. partial closes, a temporary, but unresolved, pause in the music, like a comma in a sentence (tonic chord before dominant), 2. full closes, like a period in a sentence (dominant or sub-dominant chord before tonic) [The sub-dominant chord followed by the tonic is also called the "A-men" ending]. Basic Outline:
Related Interpretations and Criticism: · "Sweet," the word that George Herbert repeats in each stanza of this poem, has often been used to describe the effect of Herbert’s poetry, both for the calm, benevolent character and for the delectable sound of the poems when read aloud. But as the dire, even grim meaning of "Virtue" suggests, Herbert is also a poet who thought deeply and perhaps perpetually of death and resignation. A miniature quality in the images (the rash gazer wiping his eye, the box of sweets, the dew, the coal) heightens, by contrast, the totality of "But though the whole world turn to coal." The mingled finality and sweetness, harmony and destruction evoked by the poem all cohere in the word "closes," which means termination--here doomsday--but also is a technical word in music: The "closes" are the sweet musical phrases. - Robert Pinsky, U.S. Poet Laureate, on "Virtue" · His beauties of thought and diction are so overloaded with far-fetched conceits and quaintnesses; low, and vulgar, and even indelicate imagery, and a pertinacious appropriation of Scripture language and figure, in situations where they make a most unseemly exhibition, that there is now very little probability of his ever regaining the popularity which he has lost. That there was much, however, of the real Poetical temperament in the composition of his mind, the following lines, although not free from his characteristic blemishes, will abundantly prove: "Sweet Day ! so cool, so calm, so bright, " &c. -- Henry Neele, Lectures on English Poetry, 1827. [From Moulton's Library of Criticism.] · At Bemerton he lived, as he wrote, the ideal life of "A Priest to the Temple." While his simple sermons and his life of goodness won his people to a good life, he was writing poems which should catch the hearts of the next generation and enlist men's sentiment and sympathy in the restoration of the Church. Herbert's life was itself the noblest of his poems, and while it had the beauty of his verses it had their quaintnesses as well. Those exquisite lines of his, so characteristic of his age and his style, give a picture suggestive of his own character: |
Virtue" is one of the poems in a collection of verse called The Temple (1633), which George Herbert wrote during the last three years of his life. By then, he had taken holy orders in the Anglican Church and become rector in Bemerton, England, near Salisbury. Herbert's poems are lyrical and harmonious, reflecting the gentle voice of a country parson spreading the Christian message. He appreciates the beauty of creation not only for its own sake but also because he sees it as a mirror of the goodness of the Creator. Yet, despite Herbert's sense of the world's loveliness, his poems often reflect the transience of that beauty and the folly of investing it with any real value. In "Virtue," he presents a vision of an eternal world beyond the one available to sense perception.
Implicit in "Virtue" is a delicately expressed struggle between rebellion and obedience. The understated conflict lies between the desire to experience worldly pleasures and the desire—or as Herbert would insist, the need—to surrender to the will of God. The battle waged between rebellion and obedience can be seen more clearly in one of the best-known poems in The Temple, "The Collar." Therein, the poet "raves" against the yoke of submission that he must bear until he hears the voice of God call him "child"; then, he submissively yields, as the poem ends with the invocation "My Lord!" This conclusion indicates that what the narrator feels about the experience of the natural world is of less authenticity than an inner voice of authority that directs him toward God.
Herbert's poetry displays a conjunction of intellect and emotion. Carefully crafted structures, like the first three quatrains, or four-line stanzas, of "Virtue," all of which are similarly formed, contain sensuously perceived content, like depictions of daytime, nightfall, a rose, and spring. Such a combination of intellect and emotion, in which the two forces, expressed in bold metaphors and colloquial language, struggle with and illuminate each other, is most apparent in the poetry of one of Herbert's contemporaries, John Donne, and is called metaphysical poetry. In "Virtue," an example of this combination of the intellectual and the sensuous can be seen in the second line of the third quatrain, when the spring is compared to a box of compressed sweets.
In "Virtue," which comprises four quatrains altogether, Herbert reflects on the loveliness of the living world but also on the reality of death. Building momentum by moving from the glory of a day to the beauty of a rose to the richness of springtime, while reiterating at the end of each quatrain that everything "must die," Herbert leads the reader to the last, slightly varied quatrain. There, the cherished thing is not a tangible manifestation of nature but the intangible substance of "a sweet and virtuous soul." When all else succumbs to death, the soul "then chiefly lives." Not through argument but through an accumulation of imagery, Herbert contrasts the passing glories of the mortal world with the eternal glory of the immortal soul and thereby distinguishes between momentary and eternal value.
"Virtue" and many other poems from The Temple can be found in Seventeenth-Century Prose and Poetry, edited by Alexander M. Witherspoon and Frank J. Warnke and published by Harcourt, Brace & World, in 1963.
Virtue Summary
Lines 1-4
Herbert begins "Virtue" with an apostrophe, or invocation. That is, here, he starts with a direct rhetorical address to a personified thing: as if speaking to the day, the narrator says, "Sweet day" and then characterizes the day as "cool," "calm," and "bright." Thus, for one noun, "day," he provides four adjectives. The rest of the line is made up of the adverbial "so," signifying intensity, repeated three times. Herbert is presenting a fairly generic image, without any action, as no verb appears among these eight words. Nor can a verb be found in the next line, which is a kind of appositive, or a noun phrase placed beside the noun that it describes. "The bridal of the earth and sky," which describes the "day," indicates no action, instead merely illustrating and amplifying the conditions depicted in the first line. That is, the "sweet day" is the bridal—the marriage, conjunction, or union—of the earth and the sky. In sum, Herbert presents a serene yet invigorating day and locates the reader in the celestial and terrestrial realms simultaneously, for the day in its loveliness brings them together.
Day, however, gives way to night, just as life gives way to death: "The dew shall weep thy fall tonight," the narrator asserts, turning a daily natural event, nightfall, into a metaphor. Beyond death, the line also suggests grief at the loss of paradise on Earth, the Fall, which is the original cause of death in the Judeo-Christian story of the Creation. The evening dew, invested with emotion and made to represent grief, is equated with tears, which are shed at nightfall over the Fall, the sin that brought death into the world.
Lines 5-8
In beginning the second quatrain with the word "sweet," Herbert continues to connect the beauty of nature with impermanence, as any "sweet" thing must, over time, lose its sweetness. Like the day, the rose is an emblem of earthly splendor. It is "sweet" like the day, saturated with color, and graced with magnificence. (Angry and brave are complex words in Herbert's usage, as aspects of their meanings have all but passed from English. Angry, in the