Christian Art | George Herbert | The Temple | The Church | Our Life Is Hid With Christ In God
George Herbert | The Temple | The Church | Our Life Is Hid With Christ In God (Colossians 3:3)
My words and thoughts do both expresse this notion,
That Life hath with the sun a double motion.
The first Is straight, and our diurnall friend,
The other Hid, and doth obliquely bend.
One life is wrapt In flesh, and tends to earth.
The other winds towards Him, whose happie birth
Taught me to live here so, That still one eye
Should aim and shoot at that which Is on high:
Quitting with daily labour all My pleasure,
To gain at harvest an eternall Treasure.
George Herbert | The Temple | The Church | Our Life Is Hid With Christ In God (Colossians 3:3)
George Herbert meditates on dual nature of human life, aligning life’s movements with the sun’s dual motion. This interplay of the physical and spiritual mirrors central theological concerns of the 17th century, particularly the relationship between earthly existence and pursuit of eternal salvation.
The poem opens with an analogy between life and the sun, introducing the idea of ‘double motion’. The sun moves in two ways: directly visible in its daily, diurnal path, and indirectly in its less perceivable, oblique course. Herbert parallels this with human life, which operates on two levels. The first is physical, grounded in earthly existence, while the second is spiritual, aimed toward God. The contrast between the ‘straight’ and ‘hidden’ motions captures the tension between the visible, tangible aspects of life and the invisible, divine purposes that guide the soul.
Herbert uses simple yet precise language to articulate this theological duality. The ‘life…wrapt in flesh’ represents human mortality and material concerns, tethered to earth. In contrast, the spiritual life ‘winds towards Him’, emphasizing the soul’s journey back to God. The verb ‘winds’ suggests a gradual, deliberate ascent, highlighting effort required to align one’s life with divine will. This juxtaposition of two lives emphasizes their coexistence and mutual influence.
Reference to Christ’s ‘happie birth’ situates the poem within the Christian narrative of redemption. The incarnation, Christ taking on human form, provides the model for how to navigate this dual existence. Herbert suggests that Christ’s life teaches believers to keep ‘one eye’ fixed on heavenly goals, even while engaging in the labour of daily life. This imagery of aiming and shooting evokes both precision and intention, reflecting Herbert’s view that spiritual discipline requires constant focus.
Herbert’s exploration of the tension between labour and pleasure reveals his theological priorities. The line ‘Quitting with daily labour all My pleasure’ suggests that earthly enjoyment must be sacrificed for spiritual reward. The ‘harvest’ metaphor draws on biblical imagery, particularly the parable of the sower, where life’s actions yield eternal consequences. The ‘eternal Treasure’ is both the culmination of this labour and the ultimate goal of the Christian life—union with God.
Formally, the poem is tightly structured, with balanced lines that reflect the harmony Herbert seeks between the earthly and divine. The rhyme scheme and rhythmic flow reinforce the contemplative tone, guiding the reader through Herbert’s logical progression. The poem’s structure itself mirrors its theme, with its ordered form suggesting the divine order inherent in life’s dual motions.
The tone of the poem is instructive yet reflective, offering a personal account of the poet’s spiritual journey. Herbert presents himself as a model for the reader, embodying struggle to balance temporal duties with eternal aspirations. The final lines emphasize resolution and hope, suggesting that by aligning one’s life with God’s purposes, earthly toil becomes meaningful.
Herbert’s poem is a concise yet profound reflection on the dual nature of human existence. By aligning the movements of life with the sun’s dual motion, he explores the tension between temporal labour and eternal reward, offering a vision of life rooted in divine purpose and ultimate fulfilment.
YouTube: Ash Wednesday | T.S. Eliot | Audio Christian Poetry | Word Aloud Ash Wednesday, one of T.S. Eliot’s most profound and enigmatic poems, marks a significant transition in his life and work. Written in 1930, it is the first long poem Eliot composed after his conversion to Anglicanism in 1927. The poem, often considered one of Eliot’s masterpieces, delves into themes of faith, redemption, and spiritual struggle. It reflects the poet’s personal journey towards spiritual enlightenment and serves as a testament to his newfound religious beliefs. A reading of Ash Wednesday is an exploration of the poem’s religious, literary, and personal contexts, as of the poem’s complex structure and themes. Religious Context And Symbolism Ash Wednesday is deeply embedded in Christian symbolism and tradition. The title refers to the first day of Lent in the Christian liturgical calendar, a day marked by penance, fasting, and prayer. Ash Wednesday is a time for reflection on mortality and repentance, themes that are intricately woven throughout the poem. Eliot’s conversion to Anglicanism profoundly influenced his writing; ‘Ash Wednesday’ is an expression of spiritual awakening and quest for redemption. The poem is replete with religious imagery and references, drawing on Christian doctrine and scripture. The use of liturgical language, biblical allusions, and references to saints and spiritual figures creates a tapestry of faith that invites readers to contemplate deep spiritual truths with which Eliot is grappling. The repetitive and prayer-like quality of the verses echoes meditative practices of the faithful, in part enabling the contemplative nature of the poem. Literary Influences And Techniques T.S. Eliot was a master of literary allusion and technique, and Ash Wednesday expresses Eliot’s ability to blend various influences into a cohesive whole. The poem reflects the influence of Dante, particularly The Divine Comedy, which Eliot admired for its exploration of spiritual ascent and redemption. Dante’s journey through Hell, Purgatory and Heaven parallels Eliot’s own spiritual journey, and the structure of Ash Wednesday can be seen as a reflection of this pilgrimage. Eliot’s use of fragmented narrative, a hallmark of his earlier work such as The Waste Land, is also present in Ash Wednesday. However, in this poem, the fragmentation serves a different purpose. Instead of depicting the disintegration of modern society, it mirrors the fragmented and often painful process of spiritual rebirth. The disjointed structure reflects the internal struggle of the speaker, who is torn between the pull of worldly desires and the aspiration for divine grace. The poem’s language is rich and varied, combining the lyrical and the obscure, the personal and the universal. Eliot employs a range of poetic forms and devices, including free verse, rhyme and meter, to convey the tumultuous journey of faith. The shifting tone and style reflect the complexities and contradictions inherent in the spiritual quest, capturing moments of doubt, despair, hope, and transcendence. Personal Significance Ash Wednesday is a deeply personal work. Eliot’s conversion to Anglicanism marked a profound shift in his life, providing a sense of purpose and direction that had been missing. The poem can be read as a reflection of Eliot’s own struggles with faith and his efforts to reconcile his intellectual skepticism with his desire for spiritual certainty. Eliot’s personal experiences, including his troubled marriage and professional pressures, also inform the poem. Themes of renunciation and acceptance, sin and redemption, are not merely abstract concepts but lived realities for the poet. This personal dimension adds a layer of intimacy and urgency to the poem, which thereby resonates with readers who have faced their own spiritual crises. Thematic Exploration At its core, Ash Wednesday is a meditation on the possibility of spiritual renewal in a world that often seems devoid of meaning. The poem grapples with the tension between faith and doubt, reflecting the existential struggles of modernity. The poem acknowledges the difficulties of maintaining belief in an age of skepticism but ultimately affirms the possibility of redemption and grace. The central theme of renunciation is explored through imagery of ascension and purification. The speaker’s journey is marked by a series of renunciations, symbolizing the shedding of earthly attachments in pursuit of spiritual truth. This process is neither straightforward nor easy; it involves moments of intense struggle and introspection. Yet, through this arduous journey, the speaker moves closer to a state of spiritual clarity and acceptance. Ash Wednesday | T. S. Eliot Because I do not hope to turn again Because I do not hope Because I do not hope to turn Desiring this man’s gift and that man’s scope I no longer strive to strive towards such things (Why should the agèd eagle stretch its wings?) Why should I mourn The vanished power of the usual reign? Because I do not hope to know The infirm glory of the positive hour Because I do not think Because I know I shall not know The one veritable transitory power Because I cannot drink There, where trees flower, and springs flow, for there is nothing again Because I know that time is always time And place is always and only place And what is actual is actual only for one time And only for one place I rejoice that things are as they are and I renounce the blessèd face And renounce the voice Because I cannot hope to turn again Consequently I rejoice, having to construct something Upon which to rejoice And pray to God to have mercy upon us And pray that I may forget These matters that with myself I too much discuss Too much explain Because I do not hope to turn again Let these words answer For what is done, not to be done again May the judgement not be too heavy upon us Because these wings are no longer wings to fly But merely vans to beat the air The air which is now thoroughly small and dry Smaller and dryer than the will Teach us to care and not to care Teach us to sit still. Pray for us sinners now […]
Jesus has a different way of teaching his disciples from that with which he speaks to the many. As he forms them for their apostolic work, so much of what they learn will come from being close to Jesus, living with him, sharing a way of life. We may think of a whole culture, a whole way of thinking and doing and being, being transmitted through a lived and community relationship, rather than, say, of the sort of education which divides the world up into classes and has a textbook and a teacher for each. Christ is no mere teacher in this sense: he is the Master; he is the Way [ … ]
In this poem, Herbert reflects on humanity’s misplaced admiration and affection, which is directed at transient, earthly beauty rather than at God, the ‘Immortal Love’ and creator of all things. The poem begins by acknowledging God as the creator of the world’s beauty—a beauty that ‘can never fade’—and contrasts this with humanity’s inclination to direct love toward earthly, perishable objects. Humanity’s focus on ‘mortal love’ instead of divine love results in a separation from God, as people are captivated by temporary creations rather than the Creator [ … ]
