Christian Art | George Herbert | The Temple | The Church | Sighs and Grones
George Herbert | The Temple | The Church | Sighs and Grones
O do not use me
After my sinnes! look not on my desert,
But on thy glorie! then thou wilt reform
And not refuse me: for thou onely art
The mightie God, but I a sillie worm;
O do not bruise me!
O do not urge me!
For what account can thy ill steward make?
I have abus’d thy stock, destroy’d thy woods,
Suckt all thy magazens: my head did ake,
Till it found out how to consume thy goods:
O do not scourge me!
O do not blinde me!
I have deserv’d that an Egyptian night
Should thicken all my powers; because my lust
Hath still sow’d fig-leaves to exclude thy light:
But I am frailtie, and already dust;
O do not grinde me!
O do not fill me
With the turn’d viall of thy bitter wrath!
For thou hast other vessels full of bloud,
A part wherof my Saviour empti’d hath,
Ev’n unto death: since he di’d for my good,
O do not kill me!
But O reprieve me!
For thou hast life and death at thy command;
Thou art both Judge and Saviour, feast and rod,
Cordiall and Corrosive: put not thy hand
Into the bitter box; but O my God,
My God, relieve me!
George Herbert | The Temple | The Church | Sighs and Grones
The poem offers Herbert’s desperate plea for divine mercy, structured as a series of direct appeals to God. The repeated cries of ‘O do not’ introduce a layered exploration of sin, justice, and grace, where Herbert acknowledges personal failure while seeking deliverance.
The first stanza establishes Herbert’s profound self-abasement. He acknowledges his unworthiness before God, calling himself a ‘silly worm’ in contrast to God’s might. The image of a ‘worm’ emphasizes human frailty and insignificance. Yet, Herbert asks God not to deal with him according to his sins but instead according to divine glory, implying that God’s justice and mercy are inseparable from divinity.
In the second stanza, Herbert shifts to the metaphor of stewardship. He confesses having mismanaged the gifts entrusted to him – ‘abused thy stock, destroyed thy woods’ – suggesting spiritual neglect or moral wastefulness. The phrase ‘my head did ache’ underscores Herbert’s guilt, implying both emotional torment and a realization of wrongdoing. Despite this failure, the plea is for correction rather than destruction — a call for divine discipline over total condemnation.
The third stanza introduces the metaphor of blindness, drawing from biblical imagery of spiritual darkness. The ‘Egyptian night’ recalls the plague of darkness from Exodus, a divine punishment for rebellion against God. Herbert equates his sinful state with a similar darkness, where moral corruption has obscured divine light. The phrase ‘fig leaves to exclude thy light’ echoes the Fall in Genesis, where Adam and Eve used fig leaves to hide their shame. Herbert admits his vulnerability, describing himself as ‘frailty’ and ‘dust’, emphasizing human mortality and dependence on divine mercy.
The fourth stanza introduces the imagery of divine wrath as a ‘turned vial’ filled with bitterness, a reference to the biblical concept of God’s judgment being poured out from a cup or vial (Revelation 16). Herbert appeals to the atoning sacrifice of Christ, who ‘emptied’ a vessel of suffering on humanity’s behalf. By referencing Christ’s bloodshed ‘even unto death’, Herbert makes a theological argument for mercy grounded in the completed work of redemption, highlighting substitutionary atonement as the basis for his plea.
The final stanza presents a tension between God’s dual roles as ‘Judge and Saviour, feast and rod, cordial and corrosive’. These paired contrasts reflect the complexity of divine justice and mercy. Herbert does not ask for a denial of divine authority but pleads for its merciful application. The ‘bitter box’ image suggests a container of severe punishment, but the closing repetition of ‘my God, relieve me!’ resolves the poem with a direct, heartfelt cry for deliverance.
Through the poem, Herbert’s tone remains reverent yet urgent, emphasizing dependence on divine mercy rather than entitlement to grace. The repetitive structure heightens this emotional intensity, while consistent use of biblical references underscores the theological grounding of the plea. Herbert highlights a paradox of divine justice—both severe and compassionate—while emphasizing hope of grace through Christ’s sacrifice. The poem explores the profound human need for forgiveness in the face of divine holiness.
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Christian Art | Life Of Jesus In The Gospels | King James Audio Bible KJV The Gospel Of Saint John 14: 1-7 | King James Audio Bible YouTube: Connection With The Life Of Jesus In The Gospels | King James Audio Bible The Gospels are not just a collection of stories or teachings, but a window into the life of Jesus. By reading and reflecting on the Gospels, we gain a deeper understanding of who Jesus was and what he came to do. As we read the Gospels, we see that Jesus was a man of great compassion and love. Jesus showed mercy to the outcasts and the marginalized, and he offered healing and hope to those who were in need. He also taught with authority, challenging the religious leaders of his day and offering a new way of living based on love and service. But the Gospels are not just a history lesson. They are also an invitation for us to enter into a relationship with Jesus. By reading and meditating on the Gospels, we can come to know Jesus more personally and deeply. We can learn from his example and seek to follow in his footsteps. So we may be encouraged to read the Gospels, perhaps starting with the Gospel of Mark or the Gospel of John, as we read paying attention to how Jesus interacted with others and how he responded to different situations. We may ask ourselves what you can learn from his words and actions, and how we can apply them to our own lives. And as we read, we can allow ourselves to be drawn into a closer relationship with Jesus. There truly is an historical Jesus. May the Gospels be a source of guidance, inspiration, and transformation for us all. How Much In The Gospels Is Historical, And How Much Is Myth, Legend, Trope, Figurative Thinking? It is difficult to say with certainty how much of the Gospels is historical in the modern sense of the word and how much is myth, legend, trope, or figurative thinking. The Gospels were written some years after the events they describe, and they were written from the perspective of the early Christian community. This means that the Gospels may contain a mix of historical facts and interpretation, as well as elements of myth, legend, and figurative thinking. That being said, scholars believe that the Gospels contain a good deal of historical information. For example, the Gospels describe specific places and events, such as the places where Jesus preached and the events of his trial and Crucifixion. These details suggest that the writers of the Gospels had access to historical information and intended to provide an accurate account of what happened. On the other hand, the Gospels also contain elements that are not seen by all as historical, howsoever this goes to the root of the faith, such as the miracles performed by Jesus and the accounts of his resurrection. Some see these as legends or myths that were added to the Gospels to help convey the message of the early Christian community. The question of how much of the Gospels is historical and how much is myth, legend, or figurative thinking is complex. What is important is that we approach the Gospels with an open mind and a willingness to engage with the stories and teachings they contain. We are in the Gospels in conversation with God – and with the many people who have had such faith and conversations – as with the historical Jesus. Why Do The Gospels Say Were People Afraid Of Jesus? There are several reasons why people may have been afraid of Jesus, according to the Gospels. One reason is that Jesus was a powerful and charismatic figure who challenged the religious and political authorities of his time. He spoke out against corruption and injustice, and he called on people to repent and turn to God. This type of behaviour was seen as threatening by those in positions of power, and they may have been afraid of losing their influence or authority. Another reason is that Jesus performed many miracles, such as healing the sick and casting out demons. These miracles were seen as evidence of his divine power, and they may have made people afraid of him. Some people may have been afraid of being healed or possessed by Jesus, while others may have been afraid of what would happen if they did not believe in him. Finally, some people may have been afraid of Jesus because of the prophecies and expectations of the coming of a messiah. The Jews of Jesus’ time were looking for a saviour who would deliver them from oppression and establish a kingdom of God on earth. When Jesus arrived on the scene, he may have been seen as a threat to the status quo, and some people may have been afraid of what he might do. Might The Fear Be Related To The Fear Of God – The Injunction To Fear God? Yes, it is possible that the fear of Jesus mentioned in the Gospels may be related to the fear of God. In the Old Testament, the fear of God is often used to describe a deep reverence and awe for God, as well as a sense of humility and obedience in the face of his greatness. This fear of God is seen as a positive and necessary quality for a faithful believer, and it is often linked to the idea of fearing God’s punishment or judgement. In the New Testament, the fear of God is also mentioned, but it is often portrayed in a more positive light. For example, in the Gospel of Luke, Jesus tells his followers not to be afraid of those who can only kill the body, but to fear God, who can destroy both body and soul (Luke 12:4-5). This suggests that the fear of God is not just about punishment, but about a deep respect for […]
