"To be thy Praise, / And be my salvation": The Double Function of Praise in The Temple

In her comprehensive study of Protestant poetics, Barbara Lewalski notes the forms and variety of George Herbert's poems of praise:

Hymns were by definition joyful praises of God or thanksgivings to him: in Herbert this category covers the broad range from the elegant simplicity of the hymn portion of "Easter" to the lofty eloquence of "Providence."

(300)

Herbert's overall corpus of poetry reflects his obsession with praise: approximately forty-eight poems in the Bodleian MS. of The Temple, two additional from the Williams MS., and his two early sonnets to his mother either directly praise God or talk about the act or writing of praise. When Herbert engages in this type of poetic expression, however, these acts have a double function. Of course, Herbert makes use of praise as a way of honoring or thanking God. But he also intends it to be a means of creating a participatory role in his own salvation: his poems are responses from an individual sparked by the gift of grace. For Herbert, the recognition of one's own salvation establishes a duty to glorify God in return in whatever form, literary or otherwise, the Christian is able. Louis Martz comments that Herbert uses his art as "a means of partaking in the salvation offered by a transcendent power" ("Voices," 103). But Herbert is not only convinced that he must praise, he is obsessed with the proper method of doing so, taking up the subject time and time again in his poetry: Joseph Summers has noted that "One of the chief sources of the Christian's and the poet's 'miserie' was that he could not properly praise God" (106). Thus, it is also important to examine Herbert's concerns about the methods of praising that he attempts and the impediments he overcomes in order to worship the Lord in ways that he considers correct. The physical illness and pain that plagued Herbert throughout hislife distract him from his task, but these problems are exacerbated by emotional issues such as a lack of confidence and motivation, and, on the opposite end of the spectrum, a concern over exhibiting too much pride in his poetic ability. These complications are what make Herbert's poetry more than just flaccid applause or naïve Sunday School rhymes: Herbert is fully and equally aware of the pitfalls of Christianity and the need to write good poetry. On this last point I depart from Summers, who claims that "the beauty of language, like the soul's, can live only if it is 'lost' to the proper object" (119). In The Temple, Herbert is very careful not to lose his mastery over beautiful language; rather, he knows that a confident use of one's abilities can assist the soul in finding its final place with God.

Of course, a major sticking point for a post-Calvinist Protestant in contemplating salvation was the complex and evolving doctrine of predestination. Jean Calvin's notions of unconditional predestination had been interpreted narrowly by later Continental and English thinkers. Calvin's disciple Theodore Beza maintained that God "hathe determined from before all beginning with hym selfe, to create all thyngs in their tyme, for his glory, and namely men: whom he hath made after two sorts, cleane contrarie one to the other" (2.A.iii). English theologian William Perkins declared in 1590 that God "hath ordained all men to a certain and everlasting estate, that is either to salvation or condemnation, for his own glory" (186). But countering these views were theologians such as Jacobus Arminius: his growing rejection of hard-line doctrine in the Netherlands had been crystallized by 1610 into a set of articles which, while not retreating to the Pelagian and semi-Pelagian position that the human will rather than divine grace initiated the steps toward eternal salvation, stood firmly for the propositions that predestination was conditioned by God's foreknowledge of the individual's response to the offer of grace, and that a believer could both resist and fall from grace. Many of the theological and...