Christian Art | George Herbert | The Temple | The Church | Good Friday
George Herbert | The Temple | The Church | Good Friday
O my chief good,
How shall I measure out thy bloud?
How shall I count what thee befell,
And each grief tell?
Shall I thy woes
Number according to thy foes?
Or, since one starre show’d thy first breath,
Shall all thy death?
Or shall each leaf,
Which falls in Autumne, score a grief?
Or cannot leaves, but fruit, be signe
Of the true vine?
Then let each houre
Of my whole life one grief devoure;
That thy distresse through all may runne,
And be my sunne.
Or rather let
My severall sinnes their sorrows get;
That as each beast his cure doth know,
Each sinne may so.
Since bloud is fittest, Lord, to write
Thy sorrows in, and bloudie fight;
My heart hath store, write there, where in
One box doth lie both ink and sinne:
That when sinne spies so many foes,
Thy whips, thy nails, thy wounds, thy woes,
All come to lodge there, sinne may say,
No room for me, and flie away.
Sinne being gone, oh fill the place,
And keep possession with thy grace;
Lest sinne take courage and return,
And all the writings blot or burn.
George Herbert | The Temple | The Church | Good Friday
This poem explores themes of atonement, humility, and the desire for spiritual purification. The poet addresses God, expressing a desire to quantify the suffering and sacrifice of Christ’s blood. The poet’s question, ‘How shall I measure out thy blood?’ suggests an intent to understand the magnitude of Christ’s suffering and to reciprocate in a meaningful way. However, the poet acknowledges the difficulty in fully grasping or repaying this sacrifice.
The poem contemplates ways to measure Christ’s suffering, considering the number of his ‘foes’ or the duration of his life, symbolized by the star at his birth. The poet also proposes more natural imagery, including autumn leaves or fruits, to signify the extent of grief and sacrifice. These metaphors underscore the poet’s sense that Christ’s suffering permeates creation itself, as each leaf or fruit could serve as a token of the ‘true vine’, a reference to Christ. Here, nature functions as a reminder of both human mortality and divine sacrifice, reflecting the connection between earthly symbols and spiritual truths.
The poet then suggests an alternative: to allow each hour of his own life to be consumed by sorrow as a way of participating in Christ’s suffering. This line reflects a desire for personal suffering to be a response to Christ’s distress, suggesting that the poet feels a duty to integrate this sorrow into his daily life. The sun metaphor here, ‘be my sun,’ could indicate both the ever-present influence of Christ’s sacrifice and the desire for this influence to illuminate and guide the poet’s life.
The poet also suggests that each individual sin could carry its own sorrow, similar to how ‘each beast his cure doth know’. This line may imply that every sin has a corresponding form of repentance or healing, and that each should bring the poet to a form of personal penitence. This individual approach to repentance reveals the poet’s understanding of sin as multifaceted, requiring different forms of introspection and sorrow.
Toward the end, the poet turns to blood as a fitting medium to ‘write thy sorrows in’. They suggest that his heart, containing both ‘ink and sin’, could serve as a space for God to record Christ’s sacrifice. This ‘writing’ serves as a method to internalize and retain the memory of Christ’s suffering. The poet envisions Christ’s wounds and tools of suffering—whips, nails, wounds—as ‘foes’ that could occupy his heart, filling it so completely that sin itself would be driven out, stating, ‘No room for me, and fly away.’
In the closing lines, the poet petitions for God’s grace to take over the ‘place’ left by sin’s departure, ensuring that God’s presence fills the void. The plea for ‘possession’ by divine grace conveys the poet’s concern that, without God’s continual influence, sin might return, ‘blot or burn’ the writings on his heart, erasing Christ’s sacrifice. This ending reveals the poet’s awareness of human vulnerability to sin and the necessity of divine grace as a protective and sustaining force.
The poem thus portrays the poet’s yearning for an internalized connection to Christ’s suffering, seeking not only to remember it but to live in a state of continuous reverence and repentance. Through these varied metaphors, the poem reflects a desire to transform personal weakness into a site for divine presence.
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 […]
In the Garden of Gethsemane, the presence of the angel becomes a symbol of divine comfort and support during Jesus’ moment of utmost agony. As Jesus withdrew a stone’s cast away from his disciples and fell on the ground to pray, sweating blood, the world’s sins and crucifixion-horror pressed heavily upon him [ … ]
Jesus has crossed the Sea of Galilee, entering into Gentile territory. The King James Version speaks of the country of the Gergesenes, however ‘Gaderenes’ or ‘Gerasenes’ are more usually spoken of in other ancient sources. The two main towns in the area were Gerasa and Gadara. The events reported in these Gospel verses could have happened close to both of the towns [ … ]
