Because he wanted this poem to have many different levels and meanings.
The practice of writing poems whose shape mirrored their theme was adopted from the ancient Greeks and was very popular at the time when Herbert was writing. If you turn the poem sideways, you can see the shape of two pairs of wings.
The Easter theme in this poem operates at two levels: The shape represents a dying or falling, then rising pattern, which is the theme of the Easter story.
The top half of each stanza focuses on the problems caused by human sin. The bottom half reflects the hope made possible by the resurrection of Jesus Christ at Easter.
The wings may evoke those of the angel s who were said to be present in the empty tomb on Easter Day John Easter is the central Christian festival, even more significant than Christmas.
It commemorates the death and resurrection of Jesus. Riding Westwardand rose again three days later John The resurrection of Jesus was later interpreted as giving hope to all who believed in him that they too would rise to new life after death 1 Corinthians The first stanza The first stanza or wing traces the decline of humankind outlined in Christian thought.
Expelled from the garden and alienated from God, they, and their descendants, were condemned to poverty and wretchedness in a harsh and unwelcoming world. Rather than believing that human beings grow better and better through the centuries, Herbert is reflecting the Christian perspective that human beings had enormous potential, which they have wasted through turning away from God.
Fortunately, there is hope. In the rising part of the stanza, Herbert now talks of himself rising with Christ, like a lark which soars and sings in the spring, close to Eastertide. Herbert is now applying this hope to himself. The second stanza The second stanza is parallel in its form, and, in fact, picks up a number of words and phrases from the first.
It is more specifically autobiographical, and could be seen as a summary of Affliction I. The second part then becomes a prayer that his previous suffering may help him to fly even higher. Herbert is asking to become one with Christ's rising from the dead into new life and to soar towards heaven with him.
Herbert may have in mind two passages from the Bible which link the idea of flight and the experience of God's healing and renewal: Investigating Easter Wings What do you think about human progress? What sort of progress is Herbert thinking about in Easter Wings? How effective is this poem?
What elements are most powerful? English Standard Version King James Version 1Now on the first day of the week Mary Magdalene came to the tomb early, while it was still dark, and saw that the stone had been taken away from the tomb.
He saw the linen cloths lying there, 7and the face cloth, which had been on Jesus' head, not lying with the linen cloths but folded up in a place by itself.Amy Foreman March 25, Thank you, Jane, for this excellent and insightful essay on Herbert’s “Easter Wings.” Herbert has always been a favorite of mine, and this pattern poem is lovely visually and in its deeper meaning.
Easter Wings - George Herbert George Herbert () George Herbert's poem is a clear example of Visual Poetry. The poem consists of two ten-line stanzas of varying line lengths 2 / Explicatory Essay \ In the poem "War is Kind," The author tell a story from many different points of view.
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Easter Wings George Herbert Easter Wings Lord, who createdst man in wealth and store, Though foolishly he lost the same, Decaying more and more, Till he became Most poore: With thee O let me rise As larks, harmoniously, And sing this day thy victories: Then shall the fall further the flight in me.
Apr 10, · Easter Wings is a shape poem written by George Herbert filled with different metaphors and examples of imagery. One obvious characteristic that is easily noticed is the fact that the verses shrink and expand– Herbert cleverly accomplishes this by decreasing or increasing each consecutive verse by two syllables (10, 8, 6, 4, 2, 2, 4, 6, 8, 10).
In that sense, Herbert finds a prominent place in the larger tradition of 'dark night of the soul' writing, from the early 16th century to the present. Also in narrativising experience through the medium of poetry, it raises questions of authorial self-construction, agency and activism/5(14).