“Going
through my books of poetry, I came upon an old favorite, one of the earliest
books I acquired when I began at Stanford in 1944-45. . . . I bought it just at
the end of my second year at Stanford, probably at a bookstore in Palo Alto.
There were quite a few excellent stores at that time. That I spent my
hard-earned money on Herbert tells me that I must have already had contact with
[Yvor] Winters and was exploring his favorite poets.”
Helen
shipped the book to me and it arrived on Wednesday. She left no marginalia but
placed light pencil checks beside the titles of a dozen poems in the table of
contents, “. . .including `Church Monuments,’ which tells me that I was using
the book when I took his finest course, `English Lyric Poetry,’ in my Junior
year.”
Winters
judged “Church Monuments” among the finest poems in the language. In a letter written
April 19, 1958, to Allen Tate (ed. R.L. Barth, The
Selected Letters of Yvor Winters, 2000), he says: “This is the only great poem
that Herbert wrote. In his other poems there is a kind of childish pietism
which is very hard to take. This poem is absolutely serious; it would appear to
come from another hand.”
As
a critic, Winters is careful to judge poems, even individual lines in poems, not
poets. The greatest poets write awful poems, and mediocrities occasionally
write quite good ones. Here is Winters in Forms
of Discovery: Critical and Historical Essays on the Forms of the Short Poem in
English (1967):
“Of
George Herbert's poems, the best, after `Church Monuments,’ is certainly `The Pulley,’ and after this a few other anthology favorites: `Throw Away Thy Rod,’ `Sweet Day,’ and `I got me flowers.’ These poems have grace, but they exhibit a
cloying and almost infantile pietism. This pietism is the characteristic mark
of almost all of the poet's work, and in most of his poems it leads him into
abject clichés. For the reader who shares Herbert's faith, or for the reader
who is merely in search of easy emotion of any kind, these poems are likely to
seem better than they seem to me. For this reason `Church Monuments’ is not
characteristic of Herbert’s work; and because it is not characteristic, or so I
suspect, it has been neglected by critics and anthologists. `Content’ contains
a few lines toward the end which are among Herbert’s best.”
The
final two stanzas of “Content,” in particular the last two lines, are wonderful:
“He
that by seeking hath himself once found,
Hath ever found a happie
fortune.”
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