George Herbert’s Poetic Savagery in “The Collar”
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This article explores George Herbert’s expression of poetic savagery in “The Collar” by paying attention to the poem’s specific locations of doubts, questions, and rebellion. To do so, it traces the manifestation of the “savage” Herbert at odds with the “pious” Herbert, the poet’s priestly self that has long been the core of all the fideistic readings of the poem. Despite the poet’s elicitation of the epiphanic revelation of God at the end—the moment of metanoia, designed to correct the speaker’s deviant course of action—the blasphemous presence of the savage Herbert remains intact without being resolved in such a dramatic reaffirmation of personal devotion. The article attempts a provocative, “wild” reading of “The Collar,” which focuses on a variety of its formal disjunctions and metaphorical associations to identify Herbert’s secret enthusiasm with copia—that is, the abundance of poetic inspiration and the buoyancy of individual freedom. In this regard, it argues that the whole poem devotes to embodying this copiousness of mind, through its challenging rendition of blasphemy articulated in what the article terms “poetic savagery.”
Abstract
This article explores George Herbert’s expression of poetic savagery in “The Collar” by paying attention to the poem’s specific locations of doubts, questions, and rebellion. To do so, it traces the manifestation of the “savage” Herbert at odds with the “pious” Herbert, the poet’s priestly self that has long been the core of all the fideistic readings of the poem. Despite the poet’s elicitation of the epiphanic revelation of God at the end—the moment of metanoia, designed to correct the speaker’s deviant course of action—the blasphemous presence of the savage Herbert remains intact without being resolved in such a dramatic reaffirmation of personal devotion. The article attempts a provocative, “wild” reading of “The Collar,” which focuses on a variety of its formal disjunctions and metaphorical associations to identify Herbert’s secret enthusiasm with copia—that is, the abundance of poetic inspiration and the buoyancy of individual freedom. In this regard, it argues that the whole poem devotes to embodying this copiousness of mind, through its challenging rendition of blasphemy articulated in what the article terms “poetic savagery.”
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