George Herbert’s “The Collar”: Rebellion and Submission in Late Elizabethan and 17th-Century Poetry
George Herbert’s The Collar, published posthumously in The Temple (1633), is a striking example of the metaphysical poetry that flourished in the early 17th century. The poem captures the tension between spiritual duty and personal freedom, reflecting the broader religious and existential anxieties of the late Elizabethan and Stuart eras. Through its dramatic monologue form, vivid imagery, and sudden resolution, Herbert explores the struggle of a speaker chafing against divine authority before ultimately submitting to it.
Rebellion and Restraint
The title The Collar is a pun, referring both to the clerical collar worn by Herbert as an Anglican priest and to the restraints of religious obedience. The poem opens with the speaker’s outburst:
I struck the board, and cried, “No more;
I will abroad!”
This declaration of defiance sets the tone for a tirade against the perceived constraints of a devout life. The speaker laments lost pleasures—"my harvest," "wine," and "corn"—suggesting worldly desires suppressed by religious discipline. The irregular, free-verse structure mirrors his emotional turmoil, breaking from the strict formal conventions of earlier Elizabethan poetry.
Metaphysical Conceits and Imagery
Herbert employs metaphysical conceits, comparing spiritual struggle to physical bondage. The speaker asks:
Is the year only lost to me?
Have I no bays to crown it?
Here, "bays" (laurel wreaths symbolizing poetic or martial triumph) signify secular achievements denied by his religious vows. The poem’s imagery shifts from agricultural ("harvest") to martial ("rope of sands"), reflecting the speaker’s inner conflict. The rhetorical questions accumulate, creating a sense of claustrophobia, as if he is trapped in his own mind.
The Turn to Submission
The climax arrives when a divine voice interrupts:
“Child!”
And I replied, “My Lord.”
This moment of recognition—where the speaker acknowledges God’s call—transforms the poem. The brevity of the exchange contrasts with the preceding chaos, underscoring the peace found in submission. The collar, once a symbol of restriction, becomes a mark of belonging.
Historical and Religious Context
Herbert wrote during the rise of Protestant individualism, where personal piety often clashed with institutional religion. The poem’s tension reflects the broader Calvinist debates over free will and predestination. Unlike the public, ornamental verse of the late Elizabethan era (e.g., Spenser or Sidney), Herbert’s work is introspective, aligning with the metaphysical poets’ focus on inner experience.
Conclusion
The Collar exemplifies Herbert’s mastery of psychological depth and spiritual paradox. Its abrupt shift from rebellion to resignation captures the human struggle with faith—a theme resonant in an age of religious upheaval. By blending dramatic immediacy with theological nuance, Herbert bridges the late Renaissance and early modern periods, offering a timeless meditation on devotion and surrender.