Christian Art | George Herbert | Sepulchre | The Church | Church-Musick
George Herbert | The Temple | The Church | Church-Musick
Sweetest of sweets, I thank you: when displeasure
Did through my bodie wound my minde,
You took me thence, and in your house of pleasure
And daintie lodging me assign’d.
Now I in you without a bodie move,
Rising and falling with your wings:
We both together sweetly live and love,
Yet say sometimes, God help poore Kings.
Comfort, I’le die; for if you poste from me,
Sure I shall do so, and much more:
But if I travell in your companie,
You know the way to heavens doore
George Herbert | The Temple | The Church | Church-Musick
The poem meditates on a relationship with God, this explored through themes of transcendence, vulnerability, and search for spiritual guidance. Herbert begins with an expression of gratitude, addressing this divine presence as ‘sweetest of sweets’. This epithet evokes an almost sensual intimacy, suggesting a deeply personal connection with God, who offers relief and solace. God’s intervention is characterized as rescuing Herbert from bodily and mental distress and transporting him to a ‘house of pleasure’ and ‘dainty lodging’. These phrases conjure images of refuge and spiritual elevation, positioning God as nurturer and healer who offers sanctuary from life’s tribulations.
In the second stanza, the relationship deepens into a shared, almost symbiotic experience. Herbert claims, ‘Now I in you without a body move,’ portraying a complete surrender to and immersion in this divine force. The verse suggests transcendence of physical constraints, emphasizing the liberating and uplifting nature of divine presence. Imagery of ‘rising and falling with your wings’ introduces a dynamic sense of movement, perhaps symbolizing the interplay between human vulnerability and divine power. Yet, even in this sublime union, Herbert remains mindful of earthly struggles, as seen in the sudden invocation, ‘God help poor Kings.’ This phrase juxtaposes the spiritual with the political and mundane, reminding the reader that human frailty persists, even in the company of the divine.
The final stanza shifts to a tone of supplication, underscoring Herbert’s dependence on divine guidance. ‘Comfort, I’ll die; for if you post from me, / Sure I shall do so, and much more’ expresses an acute fear of abandonment. The term ‘post’ suggests abruptness, highlighting the fragility of Herbert’s state without God’s support. The acknowledgment of mortality here is stark, but it is also tempered by hope: Herbert’s trust in divine companionship as the means to reach ‘heaven’s door’. This closing image merges the temporal and eternal, framing the divine as both a guide in life and a gatekeeper to salvation.
Structurally, the poem mirrors stages of a spiritual journey. The first stanza centers on gratitude for deliverance, the second on reflection and union, and the third on dependence and aspiration. This progression reflects Herbert’s evolving understanding of his relationship with the divine, moving from the immediate comfort of rescue to a longing for eternal communion.
Tension between human weakness and God’s strength is a central motif. Herbert’s acknowledgment of his own insufficiency contrasts with boundless potential of divine support. Yet this dependency is not passive; it invites active participation in the form of trust and faith. Such interplay of tender imagery (‘house of pleasure’, ‘wings’) and sobering acknowledgment of human frailty (‘Comfort, I’ll die’) lends the poem an emotional as theological depth.
The poem is prayer and meditation—a moment of profound self-awareness couched in humble recognition of God as the source of all sustenance, motion, and ultimate purpose. The poem’s brevity amplifies its intensity, leaving the reader with a distilled yet expansive reflection on the human condition and the divine relationship.
Dear Jesus, Thank you for the blessing of family. Help me to appreciate and cherish my family members, both biological and spiritual. Guide me to be a source of love, support, and encouragement to them. Grant us the strength to overcome challenges together and to celebrate our joys with gratitude. May our family be a reflection of your love and grace. Help us to forgive one another, to be patient, and to build each other up. Let your peace reign in our home, and may we always seek to do your will. Amen [ … ]
Jesus once more contrasts the gift of his own body with the manna given to the Israelites to eat during the Exodus, which bread of heaven they ate and yet they still went on to die. Christ is the living bread. He is the bread that has come from heaven. Christ’s origin in heaven is, as John tells us, what sets him apart and enables our redemption. Jesus explains: just as he lives because of the Father, so we live through Christ. We are called to share in his supper and so to have life eternal [ … ]
Office Of Readings | Eastertide Week 3, Tuesday | A Reading From The Sermons Of Saint Augustine | Let Us Sing To The Lord A Song Of Love ‘Let us sing to the Lord a song of love.’ Commentary | ‘Let Us Sing To The Lord A Song Of Love’ By Saint Augustine Saint Augustine’s sermon on Psalm 149, expounding the verse ‘Sing to the Lord a new song’, draws on his deeply theological, philosophical, and pastoral mind to deliver a rich meditation on love, new life in Christ, and the moral integrity of worship. This reading, likely delivered in the context of the Easter season and baptismal catechesis, reflects the tone of joyful renewal that characterizes the liturgical spirit of this time. Singing As The Expression Of Love At the heart of Augustine’s sermon is the identification of song not simply as musical praise, but as a metaphor for love itself. Augustine draws a profound connection: ‘A song is a thing of joy; more profoundly, it is a thing of love.’ In Augustine’s view, everyone loves something, but the challenge of the Christian life lies in rightly ordering that love. This echoes his central theme in the Confessions and De Doctrina Christiana: that disordered love lies at the root of sin, while properly ordered love leads the soul back to God. Augustine’s theology of love is Trinitarian. He cites 1 John 4:19, ‘We love him because he first loved us,’ to emphasize that divine love originates with God and is poured into our hearts through the Holy Spirit (Romans 5:5). Thus, the capacity to love God is itself a gift of grace, not a natural human achievement. This affirms a core teaching of Augustine’s mature theology: human will is insufficient for salvation without divine initiative. The ‘New Song’ And The New Life The idea of the ‘new song’ sung by ‘new men’ belongs to a broader Augustinian anthropology and eschatology. The ‘new song’ corresponds to the ‘new covenant’ and the ‘new man’, who has been reborn through Christ. Baptism, as Augustine suggests, is the gateway into this renewal, aligning this sermon with the mystagogical homilies delivered during the Octave of Easter. It is in the newness of life, rather than in the novelty of melody, that the ‘new song’ truly resides. The liturgical element of the sermon is reinforced by the line ‘his praise is in the assembly of the saints’. Augustine emphasizes that singing praise is a communal act of the Church, the Body of Christ, which is itself the locus of love, truth, and divine indwelling. This is reminiscent of the ecclesiology of the early Church as found in Acts 2:42-47 and carried forward in Augustine’s vision of the City of God. Integration Of Worship And Moral Life Augustine challenges his listeners to ensure that their outward praise is matched by their inner life: ‘Sing with your voices, your hearts, your lips and your lives.’ This insistence on the unity of worship and ethics is characteristic of his pastoral emphasis. It also reflects the prophetic tradition (cf. Amos 5:23-24, Isaiah 1:13-17), where God rejects worship that is not accompanied by justice and righteousness. To sing truly, then, is to live truly. Augustine’s call to his congregation to be the praise of God with their lives mirrors the Pauline exhortation in Romans 12:1, to ‘present your bodies as a living sacrifice’. Thus, the life of the believer is liturgy enacted in the world. Philosophical Underpinnings Underlying this sermon is a distinctly Neo-Platonic structure of thought. Augustine conceives of love as both a participation in the divine and as the means of ascent to God. When he writes, ‘Love me and you will have me, for you would be unable to love me if you did not possess me already,’ he echoes Plotinian ideas of the soul’s return to the One, yet he firmly roots them in a Christian framework where God acts first in love. Practical Exhortation Augustine’s conclusion is a call to moral and spiritual authenticity. He exhorts his listeners, recently baptized or long initiated, to be not only singers of praise but embodiments of it: ‘If you desire to praise him, then live what you express. Live good lives, and you yourselves will be his praise.’ In this, Augustine provides not only doctrinal teaching but a concrete rule of life. This sermon is a microcosm of Augustine’s theological genius: biblical exegesis, Trinitarian theology, pastoral urgency, and philosophical depth converge in his exhortation to sing a new song. In post-Easter joy, Augustine invites all believers to live out their baptismal identity by becoming praise itself. Worship, for him, is not merely what the Church does; it is what the Church is when it lives in love. A Reading From The Sermons Of Saint Augustine | Let Us Sing To The Lord A Song Of Love Sing to the Lord a new song; his praise is in the assembly of the saints. We are urged to sing a new song to the Lord, as new men who have learned a new song. A song is a thing of joy; more profoundly, it is a thing of love. Anyone, therefore, who has learned to love the new life has learned to sing a new song, and the new song reminds us of our new life. The new man, the new song, the new covenant, all belong to the one kingdom of God, and so the new man will sing a new song and will belong to the new covenant. There is not one who does not love something, but the question is, what to love. The psalms do not tell us not to love, but to choose the object of our love. But how can we choose unless we are first chosen? We cannot love unless someone has loved us first. Listen to the apostle John: We love him, because he first loved us. The source of man’s love for God can only be found in the fact that God loved […]
