“The Collar” by George Herbert: A Critical Analysis

I struck the board, and cried, “No more;

                         I will abroad!

What? shall I ever sigh and pine?

My lines and life are free, free as the road,

Loose as the wind, as large as store.

          Shall I be still in suit?

Have I no harvest but a thorn

To let me blood, and not restore

What I have lost with cordial fruit?

          Sure there was wine

Before my sighs did dry it; there was corn

    Before my tears did drown it.

      Is the year only lost to me?

          Have I no bays to crown it,

No flowers, no garlands gay? All blasted?

                  All wasted?

Not so, my heart; but there is fruit,

            And thou hast hands.

Recover all thy sigh-blown age

On double pleasures: leave thy cold dispute

Of what is fit and not. Forsake thy cage,

             Thy rope of sands,

Which petty thoughts have made, and made to thee

Good cable, to enforce and draw,

          And be thy law,

While thou didst wink and wouldst not see.

          Away! take heed;

          I will abroad.

Call in thy death’s-head there; tie up thy fears;

          He that forbears

         To suit and serve his need

          Deserves his load.”

But as I raved and grew more fierce and wild

          At every word,

Methought I heard one calling, Child!

          And I replied My Lord.

·         Rebellion and Defiance: The poem opens with a tone of rebellion, as the speaker expresses frustration with the restrictions of his religious or moral life. The use of words like “No more” and “I will abroad” reflect a desire to break free from the constraints that have confined him. The speaker questions whether he should “ever sigh and pine,” suggesting that he feels enslaved by expectations and desires a life of freedom (“My lines and life are free, free as the road, Loose as the wind”). This defiant attitude dominates the first half of the poem, as the speaker rejects traditional duties and restrictions.

·         Despair and Disillusionment: The theme of despair is evident as the speaker laments the perceived futility of his life. He feels that his efforts have yielded nothing but pain and frustration, metaphorically describing his harvest as “a thorn” and his labor as bloodletting without reward (“Have I no harvest but a thorn to let me blood, and not restore”). The repetition of questions, such as “Is the year only lost to me?” and “All blasted? All wasted?” reflects a deep sense of disillusionment with the course of his life, feeling as though he has reaped no rewards for his sacrifices.

·         Spiritual Struggle and Conflict: Throughout the poem, there is an underlying spiritual struggle as the speaker wrestles with his faith and his duties to God. The “collar” in the title can be interpreted as a symbol of the clerical collar, representing the speaker’s obligations to his religious calling. His struggle is not only personal but also spiritual, as he grapples with his feelings of inadequacy and the lack of fulfillment in his spiritual duties (“Thy rope of sands, which petty thoughts have made”). The conflict between his rebellious desires and his faith intensifies as he moves between rage and self-reflection.

·         Submission and Redemption: In the final lines of the poem, the speaker hears a voice calling “Child!”—a representation of God calling him back to faith and submission. This moment of divine intervention contrasts sharply with the earlier rebellion, and the speaker’s response, “My Lord,” signifies his return to humility and acceptance. The final act of submission reflects the theme of redemption, as the speaker recognizes that his defiance is ultimately futile and that true peace lies in surrendering to God’s will. This moment brings closure to the spiritual conflict that has dominated the poem, offering a resolution through faith.

·         How does the speaker’s initial sense of rebellion reflect the conflict between personal freedom and religious duty?

• The speaker’s declaration, “I will abroad!” marks a clear desire for freedom from the constraints he feels in his life, which can be interpreted as both personal and spiritual. This line, along with his refusal to “sigh and pine” any longer, suggests a deep-seated frustration with the burdens of religious commitment. Does this rebellion represent a broader struggle within the speaker to balance his desires for independence with the responsibilities of faith? The vivid imagery of being “Loose as the wind” and “free as the road” conveys a longing for autonomy, yet the poem also suggests that this freedom comes at the cost of abandoning the spiritual calling symbolized by the “collar.” The tension between personal liberty and spiritual duty raises the question of whether the speaker truly seeks freedom, or if he is simply fleeing from his obligations.

·         What role does metaphor play in expressing the speaker’s emotional and spiritual turmoil?

• The poem is rich with metaphors that deepen the understanding of the speaker’s internal struggle. For instance, the “thorn” that draws blood but fails to “restore” symbolizes the pain and sacrifice the speaker feels without receiving spiritual nourishment in return. Similarly, “cordial fruit” and the “rope of sands” serve as metaphors for fulfillment and futility, respectively. How do these metaphors shape the reader’s understanding of the speaker’s despair and sense of loss? The image of the “rope of sands” powerfully conveys the futility of his efforts, while the metaphor of “wine” and “corn” evokes a sense of past blessings now dried up or drowned. The use of metaphor highlights the complex emotional and spiritual state of the speaker, raising the question of whether his suffering is self-imposed or inherent in his religious duties.

·         How does the tone shift throughout the poem, and what does this reveal about the speaker’s journey?

• The poem begins with a tone of anger and rebellion, as the speaker declares, “No more,” signaling his decision to break free from what he perceives as an oppressive life. However, as the poem progresses, the tone shifts from defiance to a softer, more reflective mood. This transition is most evident when the speaker hears the voice calling, “Child!” and his immediate response, “My Lord,” suggests submission. How does this shift in tone reveal the transformation in the speaker’s mindset, from anger to acceptance? The wild, fierce language of the beginning, characterized by rapid questioning and exclamations, contrasts sharply with the calm, almost peaceful, tone at the poem’s conclusion. This tonal shift reveals a journey from inner turmoil to spiritual reconciliation, raising the question of what ultimately leads the speaker to accept his faith again.

·         What is the significance of the final dialogue between the speaker and the voice that calls “Child”?

• The climax of the poem occurs when the speaker, in the midst of his raging rebellion, hears a voice call out “Child!” The speaker’s response, “My Lord,” marks a pivotal moment of submission and return to faith. Is this voice an external divine presence, such as God, or is it an internal realization within the speaker himself? The simplicity and tenderness of the word “Child” contrasts with the speaker’s earlier fury, suggesting that the speaker’s rebellion was always meant to end in reconciliation. What does this exchange reveal about the relationship between the speaker and his faith, and does the speaker’s final submission indicate genuine spiritual renewal, or is it a reluctant resignation? The tenderness of this final dialogue suggests a loving, merciful God who welcomes the speaker back despite his rebellion, which opens up questions about the nature of divine grace and forgiveness in the poem.

Primary Sources:

• Herbert, George. The Temple. London: Thomas Cotes, 1633.

Secondary Sources:

• Baum, Paul. “The Collar: Herbert’s Paradox of Freedom.” Studies in English Literature, 1500-1900 15, no. 1 (Winter 1975): 1-16.
• Lewis, C. S. Preface to Paradise Lost. Oxford: Oxford University Press, 1942. https://en.wikipedia.org/wiki/A_Preface_to_Paradise_Lost
• Winters, Yvor. “George Herbert.” The Triple Thinker: On the Poetry of T. S. Eliot, Robert Frost, and Wallace Stevens. New York: Meridian Books, 1958.