Christian Art | George Herbert | The Temple | The Church | To All Angels And Saints
George Herbert | The Temple | The Church | To All Angels And Saints
Oh glorious spirits, who after all your bands
See the smooth face of God, without a frown
Or strict commands;
Where ev’ry one is king, and hath his crown,
If not upon his head, yet in his hands:
Not out of envie or maliciousnesse
Do I forbear to crave your speciall aid:I would addresse
My vows to thee most gladly, blessed Maid,
And Mother of my God, in my distresse.
Thou art the holy mine, whence came the gold,
The great restorative for all decayIn young and old;
Thou art the cabinet where the jewell lay:
Chiefly to thee would I my soul unfold:
But now (alas!) I dare not; for our King,
Whom we do all joyntly adore and praise,Bids no such thing:
And where his pleasure no injunction layes,
(’Tis your own case) ye never move a wing.
All worship is prerogative, and a flower
Of his rich crown, from whom lyes no appealAt the last houre:
Therefore we dare not from his garland steal,
To make a posie for inferiour power.
Although then others court you, if ye know
What’s done on earth, we shall not fare the worse,
Who do not so;
Since we are ever ready to disburse,
If any one our Masters hand can show…
George Herbert | The Temple | The Church | To All Angels And Saints
The poem explores themes of worship, reverence, and obedience to divine authority. The poem reflects religious tensions of the legacy Reformation era. It expresses Herbert’s struggle with the practice of venerating saints and Mary, this with an unwavering commitment to Christ’s commands. Herbert knows truth, and yet refrains from seeking angels’ and saints’ intercession, with the thought that all worship belongs solely to God.
The opening stanza sets a tone of admiration for the saints, describing their heavenly state and their direct communion with God. The saints are portrayed as glorified beings, crowned with divine favor, and enjoying eternal peace. Herbert’s reverence is clear, but it is not uncritical. He acknowledges their majesty while carefully maintaining a theological boundary: their glory derives entirely from God, not from themselves.
The poem moves to address Blessed Virgin Mary, whom the speaker honors as the ‘holy mine’ from which Christ’s redemptive presence emerged. This description highlights Mary’s unique role in salvation history, portraying her as both sacred and intimately connected to Christ. Yet Herbert refrains from directing his prayers to Mary. This decision is not rooted in disdain but in theological caution, as Christ has issued no command to venerate Mary or the saints.
Central to the poem is the assertion that worship is a divine prerogative. Herbert describes worship as a ‘flower of his rich crown’, a metaphor emphasizing its sacred exclusivity. To divert any portion of worship to ‘inferior power’ is to diminish God’s glory. This reflects the protestant reformation’s rejection of practices such as and including invocation of saints, which reformers viewed as potentially idolatrous.
The poem’s tone remains respectful rather than polemical. Herbert does not denounce those who seek the intercession of saints; instead, he defends his own restraint by appealing to divine authority. The final stanza underscores this principle, stating that while others may choose differently, he and his community adhere strictly to Christ’s instructions. This decision is framed not as a rejection of the saints but as fidelity to God’s will.
The poem emphasizes sufficiency of Christ as the sole mediator and the centrality of Scripture in guiding worship. The poem also reflects a personal humility, as Herbert seeks to honour God without presuming to know more than what has been revealed. In so doing, the poem presents a nuanced and reverent meditation on faith, obedience, and boundaries of devotion.
Jesus tells us that, from the beginning, a man and a woman joined in marriage would become one flesh. There is this complementarity of man and woman in sexual union. Divorce marks a falling away from God’s intentions for men and women in marriage. It is an aberration, a failure of docility before God. Jesus tells us that Moses’ command (see Deuteronomy 24:1) was because of the hardness of people’s hearts in rejecting God’s initial ordering of male and female sexual relations. Indeed, it can be seen as a liberal command, protective of women, in that it required the husband to write out a certificate of divorce, freeing the woman rather than merely excluding and rejecting her. There is no real trap here for Jesus, as the Pharisees tempt him; God’s creation of man and woman to become one flesh in marriage remains truth [ … ]
This poem is a meditation on gratitude and divine love, exploring relationship between human activity and God’s continuous care. George Herbert reflects on the gifts of life, sight, and the ability to engage in both labour and leisure, attributing them to God’s love. Yet, the central focus is the greater blessing of spiritual vision, symbolized by sight, which God withheld from himself—we may understand reference to Christ’s sacrifice—so that humanity might see its own paths and be redeemed [ … ]
The Passover was the most important religious feast for the Jewish people. It was celebrated on the fourteenth day of the month of Nisan, a spring month whose date, according to our solar calendar, varies following the lunar cycle, just as Easter does. It was followed by the festival week of Azymes, an English word (derived from the Greek ἄζυμος) for unleavened bread in Biblical times [ … ]
