In recent years George Herbert’s poetry has been analyzed by some of our most distinguished literary critics. Offering close readings of central poems, and insights derived from contemporary literary theory, Barbara Leah Harman takes her place in their company.
She begins by surveying the critical tradition on Herbert’s work in our century—from George Herbert Palmer to Stanley Fish. In this penetrating assessment Harman explores the relationship between critical practice and belief.
The impulse toward self-representation is, she argues, a powerful one in Herbert’s work, and it is also an impulse thwarted and redesigned in extraordinary ways. In poems Harman calls fictions of coherence and “chronicles of dissolution,” speakers both protect and dismantle their own narratives, and because they do they raise questions about the values we attach to stories and about the difficulties we undergo when stories fail to represent us in traditional ways.
The transparent beauty and effortless grace of George Herbert's poetry have made it seem almost devoid of art. In this comprehensive reading of Herbert, Helen Vendler reveals the complexity inherent in the apparent simplicity of his lyrics. Herbert appears here, both in introspective and in devotional verse, as a poet of universal feeling whose work can be given a human interpretation independent of any religious conviction.
Very nearly all of Herbert's poems are treated in this finely written, forcefully argued study. By looking at the poet's less successful attempts as well as at his best work, Vendler is able to trace his surest line of development in the various modes and forms in which he worked. Comparisons with the work of his adapters and imitators make apparent the perfection and finish of his lines, their interior intellectual and psychological harmony.
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