Introduction: “Love (III)” by George Herbert
Love (III) by George Herbert, first appeared in 1633 in the collection “The Temple”is a beautiful exploration of the transformative power of love. Herbert uses vivid imagery and metaphors to convey the profound impact of love on the soul. The poem’s main idea is that true love has the ability to purify and elevate the heart, ultimately leading to a state of divine union.
Text: “Love (III)” by George Herbert
Love bade me welcome. Yet my soul drew back
Guilty of dust and sin.
But quick-eyed Love, observing me grow slack
From my first entrance in,
Drew nearer to me, sweetly questioning,
If I lacked any thing.
A guest, I answered, worthy to be here:
Love said, You shall be he.
I the unkind, ungrateful? Ah my dear,
I cannot look on thee.
Love took my hand, and smiling did reply,
Who made the eyes but I?
Truth Lord, but I have marred them: let my shame
Go where it doth deserve.
And know you not, says Love, who bore the blame?
My dear, then I will serve.
You must sit down, says Love, and taste my meat:
So I did sit and eat.
Annotations: “Love (III)” by George Herbert
| Line | Annotation |
| Love bade me welcome. Yet my soul drew back | The speaker is invited by Love, but feels hesitant and unworthy. |
| Guilty of dust and sin. | The speaker acknowledges their own flaws and imperfections. |
| But quick-eyed Love, observing me grow slack | Love notices the speaker’s hesitation and takes action. |
| From my first entrance in, | Referring to the speaker’s initial encounter with Love. |
| Drew nearer to me, sweetly questioning, | Love approaches the speaker gently and inquisitively. |
| If I lacked any thing. | Love asks the speaker if they need anything. |
| A guest, I answered, worthy to be here: | The speaker responds with a sense of unworthiness. |
| Love said, You shall be he. | Love assures the speaker of their place and value. |
| I the unkind, ungrateful? Ah my dear, | The speaker questions their own character and expresses self-doubt. |
| I cannot look on thee. | The speaker feels ashamed and unable to face Love. |
| Love took my hand, and smiling did reply, | Love responds with compassion and understanding. |
| Who made the eyes but I? | Love reminds the speaker that Love created their eyes and therefore knows their limitations. |
| Truth Lord, but I have marred them: let my shame | The speaker acknowledges their own faults and desires to be punished. |
| Go where it doth deserve. | The speaker seeks atonement for their sins. |
| And know you not, says Love, who bore the blame? | Love reveals the ultimate sacrifice made for the speaker’s sins. |
| My dear, then I will serve. | The speaker offers their service in gratitude. |
| You must sit down, says Love, and taste my meat: | Love invites the speaker to partake in the divine feast. |
| So I did sit and eat. | The speaker accepts Love’s invitation and experiences divine grace. |
Literary And Poetic Devices: “Love (III)” by George Herbert
| Literary Device | Definition | Example from the Poem | Explanation |
| Alliteration | The repetition of the same consonant sounds at the beginning of words close to one another. | “Love took my hand, and smiling did reply” | The repetition of the “t” sound in “took” and “the” creates a musical effect, enhancing the softness and gentleness of Love’s actions. |
| Allusion | An indirect reference to another text, event, or person. | “And know you not, says Love, who bore the blame?” | This is an allusion to Christ’s sacrifice, referring to Jesus bearing the blame for human sins in Christian theology. |
| Anaphora | The repetition of a word or phrase at the beginning of successive clauses. | “Love bade me welcome… Love took my hand” | The repetition of “Love” emphasizes the central theme of the poem, where Love (personified as God or Christ) continuously invites and reassures the speaker. |
| Assonance | The repetition of vowel sounds in nearby words. | “Guilty of dust and sin” | The repetition of the “u” sound in “guilty” and “dust” creates a sense of unity between the two concepts, enhancing the speaker’s guilt and unworthiness. |
| Caesura | A pause or break in the middle of a line of poetry. | “Truth Lord, but I have marred them: let my shame” | The pause after “Truth Lord” reflects the speaker’s hesitation and shame, creating a moment of reflection. |
| Consonance | The repetition of consonant sounds, typically within or at the end of words. | “Guilty of dust and sin” | The repetition of the “s” sound at the end of “dust” and “sin” ties the words together, emphasizing the weight of the speaker’s guilt. |
| Dialogue | A conversation between two or more characters. | “A guest, I answered, worthy to be here: Love said, You shall be he.” | The dialogue between the speaker and Love creates a personal, intimate tone, reinforcing the poem’s conversational structure. |
| Enjambment | The continuation of a sentence without a pause beyond the end of a line of poetry. | “Guilty of dust and sin. But quick-eyed Love…” | The lack of a pause between these lines creates a fluid, uninterrupted flow, mirroring the speaker’s emotional response to Love’s invitation. |
| Hyperbole | Exaggeration for emphasis or effect. | “Guilty of dust and sin” | The speaker exaggerates his guilt by implying that he is entirely unworthy due to “dust and sin,” though the invitation from Love suggests otherwise. |
| Imagery | Language that appeals to the senses and creates mental pictures. | “Love took my hand, and smiling did reply” | The tactile imagery of Love taking the speaker’s hand and smiling evokes a sense of warmth, comfort, and acceptance. |
| Irony | A contrast between expectation and reality. | “I the unkind, ungrateful? Ah my dear, I cannot look on thee.” | The speaker ironically refuses to look at Love, even though Love represents forgiveness and acceptance, contrasting with the speaker’s feelings of guilt. |
| Metaphor | A figure of speech that makes a comparison between two unlike things without using “like” or “as.” | “Love” (personified as God or Christ) | Love is used metaphorically to represent divine grace and forgiveness, a constant presence that invites the speaker despite his feelings of unworthiness. |
| Oxymoron | A figure of speech in which contradictory terms appear together. | “Quick-eyed Love” | Love is typically associated with emotional rather than intellectual awareness, but here Love is described as “quick-eyed,” implying both emotional and spiritual insight. |
| Paradox | A statement that seems contradictory but reveals a deeper truth. | “You must sit down, says Love, and taste my meat” | The paradox is that the speaker, feeling unworthy, is asked to sit and eat, revealing the deeper truth of unconditional divine love and forgiveness. |
| Personification | Attributing human characteristics to non-human entities. | “Love bade me welcome” | Love is personified as a gracious host, welcoming and speaking to the speaker, representing the personification of divine grace. |
| Repetition | The deliberate use of the same words or phrases multiple times for effect. | “Love bade me welcome… Love said, You shall be he.” | The repetition of “Love” throughout the poem reinforces its role as the central theme and guiding force. |
| Rhyme | The correspondence of sound between the endings of words, especially at the ends of lines. | “Sin… in” | The rhyme scheme enhances the poem’s musicality and flow, creating a sense of harmony despite the speaker’s internal conflict. |
| Symbolism | The use of symbols to represent ideas or qualities. | “Dust and sin” | “Dust” symbolizes human mortality, while “sin” represents the speaker’s moral failings, highlighting the obstacles that stand between him and Love. |
| Tone | The general attitude or feeling conveyed by the author in a literary work. | Humble, Reverent | The tone of the poem is one of humility and reverence as the speaker grapples with feelings of unworthiness in the face of divine Love. |
| Volta | A turn or shift in the argument or theme in a poem. | “And know you not, says Love, who bore the blame?” | This line marks the volta in the poem, where the speaker’s focus shifts from guilt to acceptance, realizing that Love (Christ) bore the blame for his sins. |
Themes: “Love (III)” by George Herbert
· Divine Love and Grace: One of the central themes in “Love (III)” is divine love and grace, embodied in the figure of Love, which is commonly interpreted as representing God or Christ. Throughout the poem, Love patiently welcomes the speaker, despite the speaker’s overwhelming sense of unworthiness. Love’s actions—inviting the speaker to sit and eat—demonstrate unconditional acceptance and forgiveness. This is especially evident when Love says, “You shall be he” (line 7), reassuring the speaker that he is indeed worthy of the feast. The theme emphasizes the Christian concept of grace, where, despite human failings, divine love offers forgiveness and redemption without merit.
· Guilt and Unworthiness: Guilt and a sense of unworthiness are prevalent themes in the poem, reflected in the speaker’s reluctance to accept Love’s invitation. The speaker initially recoils, “Guilty of dust and sin” (line 2), expressing a deep sense of moral inadequacy. This guilt prevents the speaker from fully embracing Love’s hospitality, as he questions how someone as “unkind” and “ungrateful” (line 9) could be deemed worthy. The speaker’s persistent self-doubt and shame represent the human struggle to accept forgiveness and grace, even when it is freely offered.
· Redemption and Forgiveness: The theme of redemption runs through the poem, culminating in the moment when Love reminds the speaker that the blame for his sins has already been borne: “And know you not, says Love, who bore the blame?” (line 12). This line represents the turning point, where the speaker moves from self-rejection to acceptance of Love’s grace. Love’s gentle reminder that someone else has taken responsibility for the speaker’s sins highlights the Christian belief in Christ’s redemptive sacrifice. Ultimately, the speaker’s reluctant acceptance of Love’s invitation to “sit and eat” (line 18) symbolizes the acceptance of divine forgiveness.
· Hospitality and Communion: Another significant theme in “Love (III)” is hospitality, which is closely tied to the Christian concept of communion. Love acts as a gracious host, offering food to the speaker, which can be interpreted as a metaphor for the Eucharist. Love’s invitation to “taste my meat” (line 17) signifies not only a physical meal but also spiritual nourishment. This act of hospitality mirrors the Christian sacrament, where believers are invited to partake in the body and blood of Christ. The final act of sitting down and eating reflects the speaker’s submission to Love’s grace and the communion between humanity and the divine.
Literary Theories and “Love (III)” by George Herbert
| Literary Theory | Application to “Love (III)” | References |
| Reader-Response Theory | This theory emphasizes the reader’s subjective interpretation and personal connection to the text. In “Love (III),” readers can project their own experiences of love, guilt, and redemption onto the speaker’s journey. For example, the speaker’s initial hesitation and guilt might resonate with readers who have felt unworthy of love. | “Guilty of dust and sin” |
| New Historicism | This theory examines a text within its historical and cultural context. In “Love (III),” one could analyze the poem’s place within the English Renaissance, a period marked by religious turmoil and the exploration of individual spirituality. The poem might reflect the anxieties and spiritual seeking of the time. | “A guest, I answered, worthy to be here” |
| Psychoanalytic Theory | This theory analyzes the unconscious motivations and desires underlying a text. In “Love (III),” the speaker’s guilt and unworthiness could be seen as manifestations of the superego, while Love’s forgiving nature might represent the ego’s desire for acceptance. The poem could also explore the Oedipus complex through the speaker’s relationship with Love, a powerful figure. | “Love bade me welcome. Yet my soul drew back” |
Critical Questions about “Love (III)” by George Herbert
- How does Herbert use imagery and symbolism to convey the transformative power of love?
- Herbert employs vivid imagery to illustrate the profound impact of love on the speaker’s soul. For instance, the speaker’s “dust and sin” symbolize their imperfections, while Love’s “quick-eyed” nature suggests its keen perception and understanding. The metaphor of a guest and a host underscores the speaker’s initial unworthiness and Love’s gracious acceptance.
- What is the significance of the speaker’s initial hesitation and guilt in the poem?
- The speaker’s hesitation and guilt serve as a foil to Love’s unconditional acceptance. By acknowledging their flaws, the speaker creates a sense of humility and vulnerability, making their eventual transformation even more profound. This initial state also highlights the transformative power of love, which can overcome even the deepest feelings of unworthiness.
- How does the poem explore the themes of redemption and forgiveness?
- “Love (III)” is a powerful exploration of redemption and forgiveness. The speaker’s initial guilt and shame are gradually replaced by a sense of gratitude and peace as Love offers unconditional forgiveness. The poem suggests that even the most flawed individuals can find redemption through the transformative power of love.
- What is the role of the divine in the poem, and how does it relate to the speaker’s relationship with Love?
- The divine plays a significant role in “Love (III).” Love is portrayed as a divine figure, capable of offering unconditional forgiveness and redemption. The speaker’s relationship with Love can be seen as a spiritual journey, leading to a deeper connection with the divine. This suggests that love is not only a human emotion but also a spiritual experience.
Literary Works Similar to “Love (III)” by George Herbert
- “The Collar” by George Herbert: Similar to “Love (III)”, this poem explores the speaker’s struggle with faith and eventual submission to divine grace.
- “Holy Sonnet XIV” by John Donne: Both poems address the speaker’s inner conflict with sin and the desire for divine intervention and redemption.
- “Hymn to God, My God, in My Sickness” by John Donne: Like “Love (III)”, this poem reflects on human mortality and the acceptance of God’s grace in the face of death and sin.
- “God’s Grandeur” by Gerard Manley Hopkins: This poem shares a theme of divine grace and the renewal of the human soul through God’s presence, much like “Love (III)”.
- “The Pulley” by George Herbert: Similar to “Love (III)”, “The Pulley” focuses on the relationship between humanity and divine grace, emphasizing God’s role in human redemption.
Suggested Readings: “Love (III)” by George Herbert
Books
- Martz, Louis L. The Poetry of Meditation: A Study in English Religious Literature of the Seventeenth Century. Yale University Press, 1954.
- Strier, Richard. Love Known: Theology and Experience in George Herbert’s Poetry. University of Chicago Press, 1983.
- Vendler, Helen. The Poetry of George Herbert. Harvard University Press, 1975.
- Lewalski, Barbara Kiefer. Protestant Poetics and the Seventeenth-Century Religious Lyric. Princeton University Press, 1979.
Websites
- “George Herbert’s ‘Love (III)’.” The Poetry Foundation.
URL: https://www.poetryfoundation.org/poems/44365/love-iii - Guite, Malcolm. “A Close Reading of George Herbert’s Love (III).” Malcolm Guite Blog.
URL: https://malcolmguite.wordpress.com/2014/04/18/a-close-reading-of-george-herberts-love-iii/ - “George Herbert: Poems and Biography.” Poetry Archive.
URL: https://www.poetryarchive.org/poet/george-herbert - “Love (III) by George Herbert.” Luminarium: Anthology of English Literature.
URL: http://www.luminarium.org/sevenlit/herbert/love3.htm
Representative Quotations of “Love (III)” by George Herbert
| Quotation | Context | Theoretical Perspective |
| “Love bade me welcome. Yet my soul drew back” | The poem opens with Love (representing God) inviting the speaker, but the speaker hesitates due to feelings of guilt. | Theology of Grace: This reflects the Christian belief in God’s welcoming grace despite human feelings of unworthiness. |
| “Guilty of dust and sin” | The speaker describes his unworthiness before Love, referencing his sin and mortality. | Original Sin: The reference to “dust” and “sin” alludes to human frailty and the theological concept of original sin. |
| “But quick-eyed Love, observing me grow slack” | Love notices the speaker’s reluctance and takes action to draw him closer. | Divine Omniscience: Love is portrayed as all-seeing and understanding, aligning with the idea of God’s omniscience. |
| “A guest, I answered, worthy to be here: / Love said, You shall be he.” | The speaker expresses his unworthiness, but Love insists that he is worthy of being a guest. | Divine Justification: The assurance from Love mirrors the Christian belief in justification through God’s grace. |
| “I the unkind, ungrateful? Ah my dear, / I cannot look on thee.” | The speaker, feeling overwhelmed by his unworthiness, cannot bear to look at Love, despite Love’s invitation. | Psychoanalysis: This reflects internal conflict, with the speaker struggling between guilt and the desire for acceptance. |
| “Love took my hand, and smiling did reply, / Who made the eyes but I?” | Love gently reassures the speaker, reminding him that God (Love) created him, imperfections and all. | Creation Theology: Emphasizes the theological belief that humans are created in God’s image, imperfections included. |
| “Truth, Lord, but I have marred them: let my shame / Go where it doth deserve.” | The speaker admits that, although God created him, he has ruined his own purity through sin. | Moral Responsibility: Reflects the human recognition of personal responsibility for sin in Christian theology. |
| “And know you not, says Love, who bore the blame?” | Love reminds the speaker that Jesus bore the blame for humanity’s sins, offering redemption. | Atonement Theology: Refers to the Christian doctrine of Christ’s atonement, where Jesus bore the sins of humanity. |
| “My dear, then I will serve.” | The speaker offers to serve Love (God) in response to his feelings of guilt and unworthiness. | Human Submission: Reflects the theological concept of surrendering to divine will, acknowledging the need for grace. |
| “You must sit down, says Love, and taste my meat: / So I did sit and eat.” | The poem concludes with Love inviting the speaker to partake in communion, symbolizing acceptance of grace. | Sacramental Theology: The “meat” symbolizes the Eucharist, reflecting communion and the acceptance of divine grace. |