Commentary

Appearing as it does in the first (Williams) manuscript of 'The Temple', we can assume that this poem is one of George Herbert's earlier works. It is based on a simple idea - the desire to create a 'garland of praise' for the Almighty through the medium of a life of simplicity and the avoidance of sin. However, it is unusual for such a short, straightforward poem to work on so many levels.

First and foremost, its presentation represents its subject - a series of closely connected lines that link backwards and forwards, and an ending that links back to the beginning - a closed loop that mimics the circular nature of a wreath. In this case Herbert makes it clear that he has in mind the traditional victor's laurel leaf garland of honour, rather than any funereal tribute and certainly not the kind of festive decoration with which we are familiar nowadays.

Second, one cannot but admire how Herbert adapts a conventional verse structure to suit his purpose. Essentially it is a classic sonnet, but Herbert has removed the customary concluding couplet to allow the poem to fold back on itself. He is well known for his many and varied verse forms, but in this instance he keeps it simple and allows the reader to concentrate on how his words and their relationship convey the poem's theme.

Then notice how skilfully Herbert makes the lines overlap. The linking words often do not come at the start of the subsequent line but nearer the middle. Some critics have found this irritating - a sort of stuttering that interrupts the flow of the verse. On the contary, it is a further reinforcement of the wreath analogy, To make a coronet firm and durable, each new sprig must be interwoven and folded back into its predecessor. The overlap is an essential element of its structure.

And tying all this together is the poem's central conceit; that for Herbert, whose failings are known by and cannot be concealed from the Almighty, the most effective way of creating the imagined coronet for his God is by living a simple, straightforward life. For him, there can be no pretence - he must follow the 'paths of righteousness' (Psalm 23) and be seen to do so. This is how he envisages the convoluted wreath that comprises his life being converted into the more perfect 'crown of praise' which is God's due.

George Herbert was by no means the first poet to employ this type of circular poetic construct; he would have been well aware of examples from Philip Sidney and John Donne. However, here he succeeds in concentrating it into a short, neat verse that illustrates beautifully both his poetic and artistic skills. One can imagime him being quietly well satisfied with the result.