Essay regarding «The Collar» by George Herbert - Biography and Analysis

In George Herbert's poem " The Training collar, " posted in The Brow (1633), the author/persona rebels against the casuistry that the Christian life imposes, only to be brought back finally into childlike submission when he hears (or thinks this individual hears) the " Lord's" gentle rebuke. My discussion is that, astoundingly, the poem's elaborate, random-seeming rhyme scheme--itself " collar-like" because it edges the poem--encodes witty communications that power us to rethink the poem's meaning, especially its serious strengthen.[1]

The breakthrough discovery explicated in this article belongs actually to Cary Ader, a Miami-Dade Community College student who also proposed it in 1992 to his professor, Norbert Artzt, who have passed that on to myself because he knew of my investigations into runic embeddings and " suppressed design" in before literature. In brief, Ader diagnosed that if one uses conventional transliterated analysis the complex vocally mimic eachother scheme from the poem ends with a " NO SIMPLY NO! " that sounds like a playful echo of (and gloss on) the Lord's sotto ciarla reprimand within the last lines of the text on its own. My main contributions to Ader's findings are to suggest that a second, contingency rhyme scheme--inherent in the eclectic phonics in the poem's endwords--yields further connection, and that the two letter rules themselves express complex runic meanings, not just quippy one-liners.

Ader's research of the poem's rhyme plan appears, (see poem page 74) in column A, mine in column M. The divergence arises from uncertain rhyming associations between endwords suit/fruit/dispute (lines 6, on the lookout for, 20) and drown it/crown it (12, 14). Because Ader effectively recognized, these kinds of endword sound groups are phonically remote control; still, all their " disputable" eye-rhyme linkage does permit my option construction. If allowed, the B rhyme scheme produces a fatal " MN MN" --a phonic chain that puns insistently on " Septante! Amen! " Because " amens" conventionally close and underscore emails, these are inarguably relevant to Preacher Herbert's verse text.

To facilitate conversation, I have increased several lettered strings with boldfaced type. Herbert's preliminary acrostic letterstring NOO (15, 20-21, my personal emphasis) suggests that the various other acrostic ZERO NO (33-36) that we " think were hearing" is usually Herbert's approved statement.

The whispered " No! Not any! " is usually an correctly soft-spoken negation reprimanding a " child"; concurrently, the " Amen" is preacher talk--but not the usual shout--that affirms. Therefore these juxtaposed end components gain oxymoronic force, all their witty significance suggesting both equally tedious consent and deliberate duplicity.

Boldfaced strings (beginning with line 4) likewise heighten latent authorized notice strings that spell out NEGATIVE, DEAD, CONCEALED, and JIG--as well being a phonic edition of " cabal" (KBLL) and some potential scatology (e. g., BM). A " jig" --with its lively " up-and-down" features--might become a " joke, " " trifle, " or perhaps " trick" (1592) and so a " dodge, " " unit, " or perhaps " contrivance" (OED).

The likelihood that Herbert contrived duplicitous rhyme structure wit in " The Collar" gains support from a parallel pattern that (following Ader's model) may be extrapolated via another of Herbert's poems, " Deniall"[3]--a stanzaic operate which " NO NOO" echoes the titular " negation":

Rhyme scheme Vocally mimic eachother scheme


pierce/eares/verse/fears/disorder A W A B C A B A B C

bow/asunder/go/thunder/alarms D C Deb C Electronic D Electronic D Elizabeth F

say/benumme/day/come/hearing F G F G H G H G H I

tongue/thee/long/knee/hearing I actually J My spouse and i J They would J K J K I


Discontented T L K L Meters L Meters L M N

breast/time/request/chime/ryme N O N O O Um P U P S

The vocally mimic eachother scheme split as proven above, takes place because " asunder" might rhyme with " disorder. " This poem's rhymes are overloaded playful mainly because " disorder" is a " disorderly" nonrhyme and because " chime" and " ryme" do " chime and rhyme" --replacing disorder with formality. (The " odd-word" string says, " Disorder alarms hearing--hearing discontented ryme. " ) " Ope up" (code.....


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