ジョージ・ハーバートとその形而上詩 : 内なる声と愛の実相

(1)

NII-Electronic Library Service 　 M 刪 01

皿

SOFS ▲GA ｝！I

IN 昌 T買 TUT 翼 OF 　T

鱈

CHNOLO くヌY

　　 Vol

．

8

，

No

．

1

，

1974

George

Herbert

and

His

Metaphysical

Poetry

The

Reality

　of 　

Love

Through

Private

Ejaculations

Masakatsu

NAKAMuRA

＊ジョ

ー

ジ

・

ハ

ー

バ

ー

ト

とそ

の

形

而上

詩

一

_内

_な _る

_声

_と

_愛

_の

_{実相}

一

中　　村　　匡　　克

　　　要　　旨

　

シェイクスピァの時

代

は

，

ルネッサンスの

華

といわれ，ヒ

ュー

マニズムが高らかに

謳

歌された時代と，

一

般に考えられているが

，

果たして内実共にそれは事

実

であろうか

。

その後に_{続く}形而上詩人達が

，

宗教的なアソティ

・

テ

ー

ゼを提示して，

神

による

秩

序の回

復

，

神との和解を求めていたという事

実

を考える時，必

ず

しも，それを額面通り受けとることはできない。時

代

はいつも

錯綜

している。クリストファ

・

マ

ー

ロ

ー

（

1564

〜

1593

）やウィリァム

・

シ

ェ

イクスピァ（

1564

〜

1616

）が人間礼讃を叫んでいた時に，ジョン

・

ダン（

1572

〜

1631 ）

やジョ

ー

ジ

・

ハ

ー

バ

ー

ト

（

1593・

・1633

）

1

ま

説教

を

語

り

，

祈

を

捧

げ

，

魂

の救いを求めるような

詩

を書

き始

めていたからである

。

エリザベス朝という時代をよく把握するためにも，我々はアンテ a

・

テ

ー

ゼの形而上

詩

人

達

の

姿

を理解しなければならない。ここでは

，

ジョソ

・

ダソに続いて

重要

な

位置

を

占

めるジョ

ー

ジ

・ハー

パ

ー

トを考えることによって，この目的の

一

助

としたい。　形而上詩人ジョ

ー

ジ

・

ハ

ー

バ

ー

トは

，

晩年の数年間の宗教的生活において，幾多の詩を残したが

，

その代表

作

The

Temple

：

Sacred

PQems

　and 　

Private

Ejaculations

（

聖

堂

：聖

詩

と内なる

叫

び

）

において，

如実に

，

彼の信仰を告白している。彼の詩は，彼自身が英国有数の名門

ハー

バ

ー

ト家の出であるということ，ヶンブリッジ

大学

の

代表演説

者となったこと，ジェ

ー

ムズ

ー

世

治下の

宮

廷生活を楽しんだこと，ジョン・ダンと

知

己を得るほどの聡明な母

親

をもったことなどを

，一

連の

背

景として

認識

した上で，

考

えられな

T

ればならない

。

併し，彼は

1625

年，ジェ

ー

ムズ

ー

壯の

逝

去と共に，明

確

な理由もいわ

ず

に，突然，

宮

廷生活を離れ，司祭となって宗教生活に入り，

晩年

の三年間は，

r

田舎司祭」として，貧しいペマ

ー

トンの教区を守りつつ，その

一

生

を終える

。

　

彼の

代表的詩集『

聖堂

』

の

中

には

，

自

伝

的

な

詩

「

_{苦悩」を}

_始

め

160

余にわたる

宗教詩

が

あ

り，また，

愛

に関する詩が幾つか残されている。この

愛

の詩を中心として，

彼

の詩の特質を考えてみたい。

　彼

の

_詩

は

，

いわば

神

と己れの

_魂

との不断の対話である

。

それは，完全に救いを

得

たとか，

悟

りを

開

いた者の告白ではなく

，

むしろ

，

神の意志に己れの意志を捧げる前の

，

_神と人間の

_魂

との霊的な闘いの記録である

。

いわば

，

ルネッサソスを経験した近

代

人の

呻

きである

。

彼はこの闘いのうちに

完

全な

自

由を

見

出す。彼は旧約聖

書

の

原

点に返って，「土と罪」の認

識

を強く

持

ちつつ，敬虔な思いのうちに，単純だが力強い詩調をかなでる。時々，

全

く子

供

じみた詩形や

韻

律をとるが，それは内容と巧みに

一

致しており，彼が「巧みな音

楽

家」（ヘレン・ _ガ

ー

ドナ

ー

）で

あ

るのではないかと

思

わせる。

彼

の

言う愛

とは

，

工卩スとしての

愛

ではなく，ロゴスとしての，アガペ

ー

としての

愛

であり，命令する者であり，

食

事を共にする者であり，

永

遠不滅の火ともなる者である。　このような主張の中に

，

我々は

，

シ

＝

イクスピアと同じように

，

ル _ネッサンスの曙を経験した十七世紀人の

苦悩

を，

表現

こそ

違

え

，

認

識することがで

き

る

。E ．

M ，

W ．

ティリア

ー

ドの「エリザベス女王がボェティゥスを訳し， P

一

リ

ー

が探険家であると同時に神学

者

であったことや，説教が熊いじめと同じょうに，

エ

リザベス時

代

の

生

活の

一

部をなしていた」という言葉は，我々の，このような認識が誤まりでないことを示唆している。＊

助教授

　

英語

　　1973

年

9

月

23

口受理

一

₃₅

一

N工工

一

Eleotronio _Library

(2)

Shonan Institute of Technology

NII-Electronic Library Service

ShonanInstitute of Technology

NecI#Jk\reeq

ca8#

eele

'

I

which

Edward

has

eoncerning

court

life

and

We

previouslyi)

pointed

out

that

the

Eliza-

religiOn

is

also

held

by

his

_younger

brother

bethan

Age

should

be

recongidered not only

GeOrge･

from

the

viewpoint

of

the

Renaissanee

but

George

Herbert

(1593-1633)

was

born

the

fromthatofreligion

as suggestedby a

_pagsage

fifth

son

of

Riehard

and

Magdalen

Herbert.

from

E･M･W.

Tillyard's

work: "people still

His

mother,

who

had

been

acquanited with

think

of

the

Age

of

Elizabeth

as a seeular

John

Donne,

wagawoman

of

great

charaeter,

period

between

two

outbreaks of

protestant-

intelligenee,

piety

and

beauty,

and

greatly

ism:

a

period

in

which religious enthusiasm

influeneed

George.

He

waseducated

at

West-was suficiently

dormant

to

allow

the

new

minsterSchoolandTrinityCollege,Cambridge.

humanism

to

shape

out

Iiterature.

They

admit

His

brilliant

aeademie

honeur,

the

oMce of

indeed

that

the

_quiet

was

preeariousandthat

publie

orator

to

the

university

(1619-1627),

the

Puritans

were

ever

on

the

alert...They

held

prgmise

of

a

notable

seeular

career,

and

do

not

tell

us

that

Queen

Elizabeth

translated

_young

Herbert

was aware of

his

high

birth

Boethius,

that

Raleigh

was a

theologian'as

and

of

worldly allurements.

After1621,

Her-well as a

diseoverer,

and

that

serrnons were

bert

seemed

to

have

spent more

time

at

the

as mueh a

_part

of an ordinary

Elizabethan's

Court

than

at

Cambridge.

By

the

standards

life

as

bear-baiting."2)

of

his

own

time,

he

was

doing

what any

_young

That

is,

in

the

Age

of

Elizabeth,

whieh

is

man

of

his

eonnections

and ability would

do

generally

thought

of as

the

Age

of

the

Renais-

in

seeking

the

_patronage

of

the

King.

In

1625

sanee, we

have

to

admit

that,

as

a

historical

before

he

had

obtained

the

advancement

he

faet

ofEnglish

literature,

William

Shakespeare

sought,

King

James

died.

Presumably

he

eould

(1564-1616)

lived

with

_great

metaphysieal

_poets

well

have

gained

the

favour

of

his

successor, such

as

John

Donne

(1572-1631)

and

George

but

for

reasons which

are

not elear

he

did

Herbert

(1593-1633).

We

here

shed

some

light

not

do

so

but

abandoned court

life.d)

It

might on

the

major

metaphysical

poet,

George

Her-

have

Iong

been

his

wish

that

he

should

take

bert,

in

order

to

_grasp

another real aspeet of orders,

so

in

or

before

1626

he

was ordained

the

Age

of

Elizabeth.

deacon

of

the

Chureh

of

England,

and

in

1630

In

the

first

plaee,

it

is

necessary

to

east a ordainedpriestandbecameareetorofBemerton

glance

upon

his

life

and soeial

background

in

near

Salisbury.

There

he

wrote some one

order

to

understand

him

well.

The

name

of

hundred

and sixty

poems

which would

later

HerbertigfromadistinguishedEnglishfamily,

be

eollected

and

_published

as

The

Temple:

various

branches

of whieh

held

the

earldoms

Sacred

Pbems

and

Private

EZiaculations.

of

Pernbroke

and

Montgomery,

the

earldom

It

might

be

very unusual

for

a

man

of

his

and marquessate of

Powis,

the

earldom of

birth

and edueation

to

beeome

a "country

Carnarvon,

and

the

barony

of

Cherbury.

It

_parson"

or even

to

take

orders at

all.

But

is

this

barony

of

Cherbury

to

whieh

the

farnily

onee

he

made up

his

mind

to

beeome

a

priest

of our

_poet

George

Herbert

belongs,

and

his

in

this

small,

poor,

obseure

parish,

he

devoted

eldest

brother

Edward

Herbert

was

the

first

himself

to

his

ealling.

Immediately

_people

Baron

Herbert

of

Cherbury.

Edward

was onee

there

came

to

love

and revere

hirn

very

much.

in

the

service of

the

prince

of

Orange,

and as

He

was even

_proud

of

his

life

as

Priest

to

the

ambassador

to

France

(!61EF1624)

he

made

Temple,

or

the

Ck)zantrv

Parson,

which

is

also

arrangements

for

the

marriage of

Charless

I

the

title

of

his

principal

prose

work.

His

and

Henrietta

Maria.

He

is

often called

the

ministry at

Bemerton

was only

three

_years.

Father

of

English

Deism.

He

asserts

in

his

His

health

faltered

and

he

died

on

the

lst

of

prineipal

work,

De

veritate

(1624),

the

univer-

March,

1633,

at

the

age

of

forty,

"meeting

sality

of natural religion.S)

This

inclination

his

end

with serenity and with a

prayer

on

(3)

George

Hhrbert

andthslldetaphysicatPoetry

his

lips."li)

His

poetry

is,

therefore,

limited

only

to

Christian

themes,

the

tendencies

_of

which are clearly shown

in

the

titles

of

his

short

lyries

in

The

Ilempte:

they

are"AMie-tion,"

"The

_Agonie,"

"The

_Altar,"

"To

all

Angels

and

Saints,"

"The

Call,"

"Confession,"

"Jesu," "Jordan," "Judgement," "Justice,"

and

many

others.

He

also

eoncentrates on

direct

eonversation with

God.

His

religious

themes

are not of some

_peculiar

experience

but

from

very

familiar

and

common sources

in

everyday

life.

His

poetical

eharacteristies

are,

moreover,

expressed

in

rhythm as we]l as

in

strueture.

He

uses various

types

of

metrieal

forms,

trying

to

make

them

correspend with each situation

in

the

lyries.

The

variety of

his

formg

and

the

skill with which

they

are used, as

Helen

Gardner

suggests, reminds us

that

Herbert

was "a _skilled _musieian."

He

is,

_as

it

were, a

master of repetition and variation,

finding

his

resting-place

in

"the

C

Major

_ef

this

life."6)

For

example,

the

following

two

poems

represent

the

cases

in

whieh

the

rhythmical

and metrieal

forms

eoincide

with

the

substanee.

"Easter

Wings"

brings

its

picture

with

it.

It

remains

primarily

visual,

but

the

images

presented

have

already

been

explored

by

his

thought

and experienee.

Lord,

Then

Edster

Wings

who createdst man

in

wea]th

and

store,

Though

foolishly

he

lost

the

sarne,

Deeaying

more and more,

Till

he

beeame

Mest

poore:

With

thee

O

let

me rise

As

larks,

harmoniously,

And

sing

this

day

thy

victories:

shall

the

fall

further

the

fiight

in

me.

My

tender

age

in

sorrow

did

beginne:

And

still with

sicknesses

and

shame

Thou

didst

so

punish

sinne,

That

I

beeame

Most

thinne.

With

thee

Let

me

_combine

And

feel

this

day

thy

victorie :

For,

if

I

imp

my wing on

thine,

AMiction

shall advanee

the

fiight

in

me.

Here

it

may

be

enough

_to

_quote

_the

_famous

commentary on

this

_poem

by

Joan

Bennett:

"The

diminuendo

and

crescendo

that

bring

the

shape

of

the

wings about

are

expressive

both

of

the

rise and

fall

of

the

lark's

song

and

flight

(Herbert'g

image)

and also of

the

fa]1

of man

_and

his

resurrection

in

Christ

(the

subjeet

that

the

image

represents.7))

Anether

case

is

"The

_Altar."

The

AItar

A

BRoKEN

ALTAR,

Lord,

thy

Bervant reares',

Made

of a

heart,

and

eemented

with

_teares:

Whose

parts

are as

thy

hand

did

frame;

No

workmans

tool

hath

toueh'd

the

same.

A

HEART

alone

Is

sueh a stone,

As

nothing

but

Thy

pow'r

doth

eut.

Wheretore

each

_part

Of

my

hard

heart

Meets

in

this

frame,

To

praise

thy

Name:

That,

if

I

ehanee

to

hold

my

_peace,

The

stones

to

_praise

thee

may not cease.

O

let

thy

blessed

SAcRIFICE

be

mine,

Anrf

sanctifie

this

ALTAR

_to

be

_thine.

This

kind

of correspondence

is

_quite

_simple

and easy.

Thig

simplicity shows,

in

a sense,

eertain ehildlike

_qualities

of

his

mind.

Leaving

this

brief

commentary of

the

_general

eharae-teristics

of

his

_poetry,

we now wish

to

consider

his

poems

through

the

theme

of

love,

whieh will

form

the

major

_portion

of

this

paper.

(4)

ShonanInstitute ofTechnology

NptZ*Jk\reS

II

What

is

the

essenee of

Iove

in

the

poetry

of

George

Herbert?

What

does

he

consider

love

to

be?

What

dees

he

pursue

and

reflect on

through"Love"

poetry?

We

will

consider

the

theme

of

love

mainly

through

his

three

poems;

"Love"

_(I)

Immortall

Love,

"Love"

(II)

Immortall

Heat,

"Love"

(III)

Love

_made _me _welcome.

The

last

one

is

thought

to

be

his

masterpiece.

These

three

poems

are

inetuded

in

his

_prineipal

work,

The

71emple

:

Sdcred

Pbems

ana

Private

Eliaculations.

We

will

try

to

elucidate some

aspeets of

Herbert's

poetry

by

considering

ehiefiy

his

three

"Love"

poems,

among

which

we will

start

with

his

Iongest

and

deepest

one.

In

"Love"

(III),

_whieh

is

_the

last

_poem

in

The

Temple,

he

gings:

LovE

bade

me welcome:

yet

my soul

drew

baek,

Guiltie

of

dust

and sinne.

But

quick-ey'd

Love,

observing

me

grow

slack

.

From

my

first

entrance in,

Drew

nearer

to

me, sweetly

_questioning,

If

I

laek'd

any

thing.

A

guest,

I

answer'd, worthy

to

be

here

:

Love

said,

You

shall

be

he.

I

the

unkinde, ungratefull?

Ah

my

deare,

I

eannot

look

on

thee.

Love

took

my

hand,

and smiling

did

reply,

Who

made

the

eyes

but

I?

Truth

Lerd,

but

I

have

marr'd

them

:

let

my

shame

Go

where

it

doth

deserve.

And

know

you

not,

sayes

Love,

who

bore

the

blame

?

My

deare,

then

I

will serve.

You

must sit

down,

sayes

Love,

and

taste

my meat:

So

I

did

sit

and

eat.

This

poem

consists

of

three

stanzas

in

which

the

poet

holds

a eonversation

between

"

I"

_and "Love,"

The

_conversation

_style

is

_one

_of

the

msg

file

characteristics seen

in

the

greater

part

of

his

poetry.

Here

the

poet

allegorically sings about

the

relationship

between

"Love" _signifying

God,

and "I" _signifying

_the

_soul,

_the

_internal

exigtence

of

the

human

being.

The

relation-ship of

the

_poet

to

God

is

that

of

a

guest

to

his

host.

The

whole

poem

is

founded

on

this

metaphor.

So

this

_poem

is

thought

to

be

"a

sort of

dramatized

_parable."S)

Here,

"Love"

_is

always

gazing

at

him

and

generous

enough

to

weleome

him

at any

time.

But

his

soul

does

not

easily

respond

to

aecept

His

love

and order.

Why

so?

His

soul

draws

back,

feeling

guilty

of

dust

and sin, against

the

demand

of

Love

God

which

is

not a simple

calling

but

a compulsory order.

Drawing

baek

from

the

demand

to

meditate on

his

own

inner

existence,

he

realizes

that

he

is

not

worthy

of

accepting

the

ealling of "Love",

for

he

has

been

fi11ed

with a

lot

of

_guilty

eonsciousness

of

dust

and sin.

In

the

Bible

dust

is

made

by

God

and we

human

beings

are also made of

dust....this

kind

of

idea

must

have

fiIled

the

humble

heart

of

the

_poet.

That

is,

he

believed

in

the

Bible

which says, "The

Lord

God

formed

_man _of

the

dust

of

the

_ground,

and

breathed

into

his

nostrilg

the

breath

of

life;

and

man

became

a

living

soul."P)

Man

ig

such

an

existence

as

is

represented

by

the

expressions

that

"His

breath

goeth

forth,

he

returneth

to

his

earth,"tO) and "Then _sha]I

_the

dust

_return

_to

_the

_earth

as

it

was."'i)

Man

is

made

from

the

dust,

so

that

he

shall return

to

his

original existence

of

the

dust.

There

is

a

deep,

absolute abyss,

which

can

not

be

overstepped

eternally

between

the

Creator

and

the

created

being.

The

_poet

held

this

faith

to

the

Abso]ute

Being

in

the

depth

of

his

heart

and always wrote

his

own

religious

experienee

during

all

his

life.

Man

is

a created

being

and sinner, so

that

he

can

not

_proceed

to

His

_presence

in

his

original

figure.

The

poet

had

a

great

hesitation

and awe

to

God,

feeling

his

own

deep

sin of

dust.

Here

we no

longer

need

to

turn

to

the

phrase,

"Truth

_Lord,"

_in

_the

_third

_stanza

_to

find

_out

that

the

Creator

has

the

nature

of

truth

as

38

(5)

George

Herbert

and

.His

Miztaphysical

Poetry

well as of

love.

Love

he

mentions

here

is

not

Considering

his

own surprise,

joy,

awe

and of

eros

but

of

logos

and agape

shown

in

the

despair,andfeelinghis

ownsmallness compared

New

Testament.

God

is,

as

it

were,

living

with

_great

Love,

the

_poet

suddenly cries out

and conversing with us, showing anger,

jeal-

in

the

third

stanza: "Truth

_Lord,

_but

_I

have

ousy,

forgiveness

and

love.

marr'd

them."

We

feel

the

strong

agony

of

God,

who

is

quiek-eyed

enough

to

acknowl-

Herbert

between

the

seeond

and

the

third

edge me

hesitating,

knows

that

I

have

deelined

stanzas.

Herbert

agrees with

God

that

He

is

in

every respect of mind and

heart

ever since

_truth

and

love.

Though

he

has

been

_presented

Icame

to

the

right entrance

to

God's

throne.

with

the

holy

eyes

to

see

the

Holy

One,

"I

God

invites

me

andIcan

elearly

see

the

hands

have

marr'd

them."

Therefore

he

fee]s

such of

God

ealling

me,

but

my

own

hands

could

a

_great

shame

that

he

urges

to

show

him

the

not and would not respond

to

it.

Just

when

_plaee

where

it

deserves.

This

is

exaetly

the

I

am

in

deep

agony

and

aMietion,

God

himself

same cry as

Jeremiah's

when

he

said

to

his

eomes

down

to

me

to

ask, "ifIlaek'd

any-people"which

have

eyes, and see not; which

thing.

God

would not cross-examine me who

have

ears, and

hear

not."'`)

The

_poet

larnents

desire

to

obey

Him

but

can not

do

so.

In-

his

_own

foo!ishness

_and

is

_penitent

for

his

stead,

the

Lord,

pursuing

to

find

fault

with own sin,

being

anxious

to

"set

in

_sackeloth

Himself

rather

than

with me, refieets on

His

and

ashes"ib)

throwing

himself

to

the

valley

ewn responsibility.

I,

sinner, can

barely

find

of mourn.

It

is

then

that

the

_poet

ean cateh

the

chance

to

answer

him;

you

do

not

have

any

the

calling of

God:

"Know

you

not who

bore

"guest _worthy

_to

be

here."

Nevertheless,

_the

_{blame?....You}

must

sit

down

and

taste

Almighty

God

responds

to

me with

for

ineon-

_my _meat."

_He

_can _not _resist _against

_this

eeivably

awful

words: "You

shall

be

he"

almighty ealling and

findanywayagainstthis

who

is

"a

guest

worthy

to

be

here･"

This

is

_great

love

_and _at

last

_aeeepts

_the

_ealling _of

agreat

surprise

and awe-

I

can not

find

_any

_Love,

_saying, "My

deare,

then

I

will serve"

proper

word

for

it.

I

am

sueh an unworthy _as

_yourguest.

_Here

_he

_ean

_finally

_find

_where

andimproper

being

for

it

that

I

ean

not

hold

_he

_should _sit;"So

_I

_did

_sit _and _eat."

_The

any seat as

a

guest,

nor

be

qualified

to

hold

moment

he

obeys

Love's

order of"sit

down

it,

nor

look

up

into

the

face

of

God

Love･

and

taste

my meat,"

his

eyes are opened and

The

more

_profoundly

I

devote

myself

to

holy

_earnestly

_gaze

_at

_Love.

_In

_this

_moment _we

meditation

in

front

of

the

Holy

Spirit,

the

_are

reminded of sueh old

Hebrew

joyful

eon-more severelyIfeel myowndeadlysin･

God

fessions

as "I

have

heard

of

thee

by

the

comes

eloser

to

me

to

lay

His

hands

on mine

hearing

_of

_the

_ear:

but

_now _mine _eye _seeth

and speaks smiling, "Who _made

_the

_eyes

but

_thee,"i6)

_and "Mine _eyes _are _ever

toward

the

I?"

God

is

the

ereator of

the

world and

Lord."iT)

universe

including

sueh a

little

existenee as

_The

_last

_order _of

_God

_in

_the

_third

_stanza

_is

my

eyes.

"There

shall

not an

hair

of

_your

_a

_eoncrete

_expression

_for

"Love

bade

_me

head

perish."i2)

Here

in

the

_poet's

mind, _weleome"

_in

_the

_first

_stanza,

_and "I

_did

sit

famous

words must

be

eehoed: "The

_hearing

and

eat"

is

itsconc!usive

response.

This

_poem

ear, and

the

seeing eye,

the

Lord

hath

made eonsists of

the

tension

between

these

two

even

both

of

them."i3)

The

creatureisforced

_expressions;

_the

_calling

from

God

_and

_the

to

look

up

to

the

Creator,

but

the

ereature response of man.

The

tremble

in

the

_poet's

ean not afford

to

see

the

Creator

beeause

of

heart

_is

vividly

described

with

simple

but

his

eyes wondering

in

his

own self-conscious- serene words and

imagination

in

the

conversa-ness.

The

dialogue

between

the

Creator

and

tion

between

_the

Creator

_and

the

_ereature.

the

ereature will

become

extinct

in

the

situa-

We

can

not

find

any overwhelming

lines

guch

tion

of what

they

are. as

those

shown

in

William

Wordsworth's

-39-NII-Electronic Mbrary

(6)

.

NptrmeJc\raif

poetry,

but

find

a simple

but

_adhesive

stream

of

Iine

which will never

finish

until a

satis-factory

conclusion

is

discovered

in

the

conver-sation.

For

him

_poetry

should

be

dedieated

to

God,

therefore

his

poetic

reputation,

as

A. Alvarez

writes,

depended

more

_on

his

_piety

than

on

his

originality.'S)

He

dedieated

his

poetical

genius

not

to

Venus

or

Muse

but

to

God

and

his

_glory.

He

wrote

poetry

in

sueh

a

dialectical

way as shown

in

this

_poem,

having

a

conversation

with

God

and

his

soul.

His

piety

ig

the

essenee of

his

_poetry,

and

the

essence

of

this

_poem

is

_also

the

_pious

_attitude

of

the

_poet

including

"a

kind

_of _understood

tenderness."i")

His

final

_purpose

is

the

aecept-anee

_of

the

love

of

God.

He

keenly

realizes

on

the

last

stage

･of

his

life

of

forty

what

he

thinks

and

what

he

feels

about

the

spiritual

problems

of

Iove,

immortality,

calling,

heaven,

paradise,

etc.

The

substance

of each

_poem

is

pious,

spiritual

_and

sometimes emotional

but

it

ig

deeply

rooted

in

his

thought.

III

In

the

poem

"Love"

(I)

the

poet

speaks

about

God

not as a

temporary

_existence

but

as everlasting

Love.

The

treasure

for

the

poet

who

lived

in

the

village of

Bemerton

near

Salisbury

as

_country

_parson

was

his

ehureh

and sheep, where

he

usually

kept

divine

serviee

twice

a

day.

Therefore,

as a matter of course,

his

meditation

was

about

his

Creator

God.

The

Creator

fi11s

with eternal

love,

nay,

He

is

eternal,

immortal

love

itself.

He

sings

in

this

poem

"Love"

(I)

:

IMMORTALL

Love,

authour

of

this

great

frame,

Sprung

from

that

beautie

which can never

fade;

How

hath

man

parcel'd

out

thy

glorious

name,

And

thrown

it

on

that

dust

whieh

thou

hast

made,Whi!e

mortall

love

doth

all

the

title

_gain

!

Whieh

siding with

invention,

they

together

Bear

all

the

sway,

_possessing

heart

and

brain,

-

40 msts

esle

(Thy

workmanship>

and

give

thee

share

in

neither.

Wit

faneies

beautie,

beautie

raiseth wit:

The

world

is

theirs;

_they

_two

_play

out

the

game,

Thou

standing

by;

and

though

thy

_glorious

name

Wrought

our

deliveranee

from

_th'

infernall

pit,

Who

sings

thy

_praise?

onely a skarf or

glove

Doth.warm

our

hands,

and

make

them

write of

love.

This

immortal

Love

springs

frorn

everlasting

beauty.

Love

and

beauty-the

eombination

of

these

images

_guides

us

into

a more serene

world

of

the

_poet.

What

_a

_simple

and serene

universe

it

is!

On

the

eontrary, mortal

love

whieh we

have

in

this

secular world makes us

strive

to

seek

for

a

_great

flame

and

_glory.

Human

beings

are

_poor

and

foolish

enough

to

ask

for

it

in

vain, and at

Iast

they

throw

it

down

on

the

dust

the

Creator

has

made,

dividing

the

glorious

name

into

_pieces.

The

_poet

rnust

have

remembered

his

_young,

arrogant

days

in

the

eourt of

James

I,

eompeting with other

nobility

for

damanding

earthly

_glorious

names.

Unfortunately

King

James

I

_passed

away

in

1625

when

Herbert

was

thirty

two

_years

old,

and

after

that

he

must

have

felt

some

emptiness

in

court

life

to

leave

there

without

mentioning any reason

for

it.

At

the

end of

the

_year

he

decided

to

take

holy

orders,

and

spent

a

saintly

life

as a

country

parson

from

that

time

on.

The

state

of

his

mind

is

reflected

in

this

poem.

It

is

in

such

a moment

that

human

beings

who

have

thrown

themselves

down

on

the

dust

are

also

made

from

the

dust

themselves.

The

poem

is

a eonfession of continuous

struggles

between

Love

God

and

man.

Aceord-ing

to

Izaak

Walton,

Helen

Gardner

suggests,

Herbert

on

his

death-bod

sent

The

Temple

including

this

"Love"

poem

to

his

friend

Nieholas

Ferrar

of

Little

Gidding,

with a

message

telling

him

that

he

would

find

in

it

(7)

George

Lferbert

and

Ms

Mletaphvsicat

Poetry

"apictureofthemanyspiritual

Conflicts

_that

far

from

being

_a _simple _country

parson,

have

past

betwixt

God

and my

Soul,

beforeI

however

saintlike

his

later

_years

may

have

could

_subject

_rnine

to

the

will of

Jesus

my

been.

As

mentioned above,

he

_eame

from

a

Master:

in

whose service

I

have

now

found

talented

and

distinguished

family

and

beeame

perfect

freedem."

And

he

added:"if

he

ean a

public

erator of

Cambridge

in

1619

when

he

think

it

may

turn

to

the

advantage of any was

twentysix

and

held

the

_post

for

eight

dejeeted

poor

Soul,

let

it

be

made

_publick:

if

_years,

and

beeause

of

his

_great

abili･ties

he

not,

let

him

burn

it:

for

I

and

it

are

less

was very

high

in

the

King's

favour,

and not

than

the

least

of

God's

mereies."20)

He

sug- meanly valued and

loved

by

the

most eminent

gests

that

man,

depending

on

his

own

haugh-

and most

powerful

of

the

Court

Nobilities."2i)

tiness,

has

ignored

and

rejected

the

_glorious

The

words of "name,

_title,

_invention,

game"

name of

God,

and

that

man should adore

and

in

this

poem

onee

belonged

to

his

mind

in

his

worship

Him,

dedicating

his

own existenee

to

_younger

days.

His

imagery

works

through

Him.

'

the

mind

rather

than

the

senses,

the

strueture

Mortal

love

on

the

earth

is

covered with of

his

_poetry

is

logical,

and

its

tone

is

rather

feeling

and reason along with "invention"

lyrieal

_and

pious.

whieh means "doing," showing

their

functions

IV

in

every

direction.

But

these

are all

products

of

God.

Mortal

love

would not

_proeeed

to

Love

is,

in

a sense,

immortal

Heat

for

the

immortal

Love

in

any respect.

The

_grand

poet･

Heat

is

not a small secular

fire

of

eontrast

of man

to

God!

desire

to

take

and

give,

buta"greater

flame"

Wit

remembers

beauty

and

beauty

does

wit.

whieh

burns

and

gives

light

on

every

thing.

The

relationship of wit

to

beauty.

is

so

tight

The

poet

sings

in

"Love"

(II):

that

now

the

world

is

under

their

reign.

They

t.

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ship ef man

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but

he

is

Obliged

tO

Thou

shalt recover

all

thy

goods

in

kinde,

the

contradietion and

diseordance

aS

who

wert

disseized

by

usurping

lust:

describe

a matter

of

reality.

Man

is

a creatUre

that

_All

_knees

_shhll

_bow

_to

_thee;

_all _wits _shall

turns

hig

baek

on

the

Creator

who

is

ealling _rise,

him,

and

always says "No"

in

reply.

What

And

praise

him

who

did

make

and

mend our

a miserable

heart

he

must

have

when

he

must _eies.

say "onely a skarf or

_glove

1 Doth

warm our

hands,

and make

them

write of

love"

!

Her-

A

fire

burning

within a

human

body

in

this

bert

shows

in

this

_poem

his

_past

_pride,

haugh-

world seems

for

the

_poet

to

be

a

lesser

one

tiness

and ability.

He

was,

A. Alvarez

writes,

compared

with

the

greater.

So

his

longing

is

(8)

-Shonan Institute of Technology

*gue:[:#rt\vapt

that

this

lesser

fire

be

attracted

and

absorbed

in

the

greater.

The

fire

of selfishnesg,

honour,

property,

position

and

other

desires

is

burning

in

his

heart.

He

heartily

longs

for

it

to

be

burnt

out

by

the

_greater,

immortal

Heat

to

whieh

he

aspires

to

_get

aceess.

At

this

moment

he

remembers

the

familiar

_passage,

"the _wicked

_boasteth

of

his

heart's

desire,

and

blesseth

the

covetous, whom

the

Lord

abhorreth."22)

The

Psalmist

here

sings

that

the

wieked,

eovetous

people

are

proud

of

their

own

thoughts

_and

utter eurses against

the

Lord

to

eut

off

their

relationship

to

Him.

Sometimes

sueh a wicked

thought

overruns

the

mind, when

the

_poet

longs

for

being

shown

what

the

true,

sacred reality

is.

Once

he

has

obtained

the

truth,

his

heart

begins

to

_pant

for

God

as

the

Psalmist

does.

His

soul

and

reason

devote

all

the

fruits

they

have

brought

in

to

the

Lord

and

the

Altar.

There

_singing

of

hymns,

he

_will

_send

back

_the

lesser

fire

_to

the

greater

to

whom

it

originally and

substan-tially

belonged.

His

eyes whieh

have

been

desiring

to

see

the

wieked, sinful

dust,

shall

see

Him

clearly.

Such

_a

_past

dust

shall

be

blown

by

the

wit

God

_gives

us,

and

the

eyes

shall

be

opened and see everything

in

the

world,

not

to

mention

the

Lord

Himself.

Thus

the

soul, whieh once

diseonneeted

the

relationship

to

God

and rejeeted

His

ealling

beeause

of

being

absorbed

with strong,

usurp-ing

desires

and

lusts,

shall return

to

Him

to

recover what

has

been

lost.

That

the

Lord

recovers

the

absolute

property

of

his

soul

signifies

that

he

himself

reeovers

the

absolute

property

of

God

at

last.

Consequently

all

the

knees

shall make

bows

to

Him,

and all

the

wits shall rise

to

_praise

Him

who

is

a ereator

and

healer

of

the

eyes.

The

most

important

and substantial

longing

for

George

Herbert

is

that

all

the

human

souls along with

his

own should

be

burnt

by

the

_greater,

immortal

Heat

so

that

they

will

be

absorbed

by

Him

and will accept

Him.

As

those

who

were

ence

exiled

frorn

the

Paradise

due

to

the

internal

and

external

faetor

of

sin

regain

the

Paradise,

so

we

who

onee

rejeeted

ag

za8ig

asle

the

Lord

return

to

the

original

plaee

where

we should

be.

At

that

moment

the

Lord

will

become

for

the

_poet

the

God

of

forgiveness

as shown

in

"mend our eies."

In

these

three"Love"poems,

the

poet

pays

special consideration

_to

_the

words

of

"dust"

and

"eies."

The

tendency

of

this

usage

is

seen

in

his

other

_poems

in

The

Temple.

Through

"dust"

he

_earves

_in

_relief

_the

rela-tionship

of

himself

to

God

and

his

_created

soul

is

anxious

to

be

_accepted

by

the

Creator,

for

"the

_Lord

_God

_formed

_man _of

_the

_dust

of

the

_ground."2')

It

is

the

eyes

that

recognize

this

relationship.

The

eyes recognize

that

the

Lord

is

the

Creator

who

mends

the

eyes

with

which

he

knows

who

the

healer

of

the

eyes

is.

Thus

Herbert

sings of

his

own

faith

and

religious

experience with simple

but

_pious

lines,

gazing

at

his

inner

existence and

trying

to

find

out

his

recovery and reconelliation

with

God

in

eontradiction and eompetenee

between

God

and

him

through

the

mirror

of

eomparison.

As

Helen

Gardner

says,

"The

'

souree of

the

struggles

in

The

Temple

does

not

lie

in

eonfiict

between

the

world

and

a

eall

to

serve

God

at

his

alter;

but

in

the

diMeulty

of

learning

to

say

truly

in

any

call-ing

`Thy

will

be

done.'"2`)

The

continuous

spiritual

eonfiicts

between

God

and

his

soul,

and

the

eonfession of

the

agonizing

soul

trying

to

reeover

his

relationship

to

God

eover all of

his

poetry.

Notes

1)

MasakatsuNakamura,"SomeConsiderationson

Religious

Aspeets

of

Shakespeare's

Word,

Man,

Religion,

and

Drama"

Mbmodrs

of

Sagami

institute

of

fLechmotogy,

No.

7,

Vol.

1,

1973,

p.

28. 2)

E.M.W.

Tillyard,

The

Elizabethan

IV(n'ld

Picture

(Penguin,

1963),

p.

11. 3)

Lavinia

P. Dudley

ed.,

Encyclopedia

cana,

(Eneyelopedia

Arnerieana

Corporation,

Vol.

14,

1962),

p.

117. 4)

Jack

Dalglish,

Eight

Metaphysical

PeetB

nemann,

1965),

_pp.

137-139.

5)

ibid.

p.

140. 6)

F.E.

Hutehinson

ed.,

The

Poems

of

George

Herbert

with an

introductim

by

Helen

(9)

7)

8)9)

10)11)12>13)14)15)16)17)18)

19)20)21)22)23)24>

George

Hizrbert

and

His

Joan

Bennett,

Fiive

Metaphysical

Poets

(Cam-bridge,

1964),

_pp.

62-63.

Jack

Dalglish,

op. cit.

p.

147. The

Authorize

Version;

Genesis,

2:7,

Here-after

this

version will

be

used

for

the

Bible

reference without mentioning.

Psatms,

146:4.

Ecelesinstes,

12:7.

Luke,

21:18.

Proverbs,

20:12.

Jleremiah,

5:21.

Luke,

10:13.

Jbb,

42:5.

.Psalms,

25:15.

A. Alvarez,

The

Sehool

of

Donne

(Chatto

and

Windus

1962),

_p.

68. ibid.

pp.

80-81.

E.

E. Hutchinson

ed., op. cit.

_pp.

xv-xvi.

A. Alyarez,

op. cit. p.

r.

Psalms,

10:3.

aenesis,

2:7.

F.E.

Hutchinson

ed., op. cit.

_p.

xvii.

Metaphysical

Poetry

References

Thomas,

R.S.

ed.

A

Choice

of

George

Herbert's

Verse.

Faber

and

Faber,

1941.

Hutehinson,

F.

E.

ed.

The

Poems

of

George

Herbert

2vith an

Intreduction

by

lleten

Gardner.

The

World

Classics,

1961.

Gardner,

Helen.

ed.

The

ll4etaphysical

Peets.

The

Penguin

Books,

1966.

Alvarez,

A. The

School

of

Donne.

Chatto

and

Windus,

1962.

Bennett,

Joan.

Iiiive

Metaphysical

Poets.

Cam-birdge,

1964.

Keast,

William

R.

ed.

Seventeenth

Century

EngUsh

Poetry.

Oxford,

1965.

Dalglish,

Jaek.

Eight

Metaphysical

Poets.

Heine-mann,

1965.

TillyarG,

E.M.W.

TheElizabethan

Wbrtel

Picture.

Penguin

Books,

1963.

Baba,

Kaichi.

ed.

ジョージ・ハーバートとその形而上詩 : 内なる声と愛の実相

皿

鱈

．

，

No

．

，

1974

George

Herbert

and

His

Metaphysical

Poetry

The

Reality

Love

Through

Private

Ejaculations

Masakatsu

NAKAMuRA

ー

・

ー

ー

と そ

形

而 上

詩

一

内

声

愛

実 相

一

中 村 匡 克

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，

実

。

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，

実

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〜

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_{実相}

中　　村　　匡　　克

　　　要　　旨

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重要

位置

如実に

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