Robert Herrick (poet

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Robert Herrick (baptized 24 August 1591 – buried 15 October 1674) was a 17th Robert Herrick century English poet.

Biography
Early life
Born in Cheapside, London, he was the seventh child and fourth son of Nicholas Herrick, a prosperous goldsmith, who fell out of a window when Robert was a year old Robert Herrick, illustration based on Hesperides impression. baptised 24 August 1591 (whether this was Born Cheapside, London, England suicide remains buried 15 October 1674 (aged 83) unclear). The tradition Died Dean Prior, Devon, England that Herrick received Occupatio his education at Poet and clergyman n Westminster is groundless. It is more likely that (like his uncle's children) he attended The Merchant Taylors' School. In 1607 he became apprenticed to his uncle, Sir William Herrick, who was a goldsmith and jeweller to the king. The apprenticeship ended after only six years when Herrick, at age twenty-two, matriculated at St John's College, Cambridge. He graduated in 1617. Robert Herrick became a member of the Sons of Ben, a group centered upon an admiration for the works of Ben Jonson. Herrick took holy orders in 1623, and became vicar of Dean Prior in Devonshire, but lost his position because of his Royalist bent.

Restoration and later life
When King Charles II was restored to the throne in 1660, Herrick petitioned for his own restoration to his living. Perhaps King Charles felt kindly towards this genial man, who had written verses celebrating the births of both Charles II and his brother James before the Civil War. Herrick became the vicar of Dean Prior again in the summer of 1662 and lived there until his death in October 1674, at the ripe age of 83. His date of death is not known, but he was buried on 15 October. Herrick was a bachelor all his life, and many of the women he names in his poems are thought to be fictional.

Poetic style and stature
His reputation rests on Hesperides, and the much shorter Noble Numbers, spiritual works, published together in 1648. He is wellknown for his style and, in his earlier works, frequent references to lovemaking and the female body. His later poetry was more of a spiritual and philosophical nature. Among his most famous short poetical sayings are the unique monometers, such as "Thus I / Pass by / And die,/ As one / Unknown / And gone." Herrick sets out his subject-matter in the poem he printed at the beginning of his collection, The Argument of his Book. He dealt with English country life and its seasons, village customs, complimentary poems to various ladies and his friends, themes taken from classical writings and a solid bedrock of Christian faith, not intellectualized but underpinning the rest. Herrick never married, and none of his lovepoems seem to connect directly with any one beloved woman. He loved the richness of sensuality and the variety of life, and this is shown vividly in such poems as Cherryripe, Delight in Disorder and Upon Julia’s Clothes. The over-riding message of Herrick’s work is that life is short, the world is beautiful, love is splendid, and we must use the short time we have to make the most of it. This message can be seen clearly in To the Virgins, to make much of Time, To Daffodils, To Blossoms and Corinna going a-Maying, where the warmth and exuberance of what seems to have been a kindly and jovial personality comes over strongly. The opening stanza in one of his more famous poems, "To the Virgins, to Make Much of Time", is as follows: Gather ye rosebuds while ye may, Old Time is still a-flying; And this same flower that smiles today, Tomorrow will be dying. (In Elizabethan slang, "dying" referred both to mortality and to orgasm.) This poem is an example of the carpe diem genre; the popularity of Herrick's poems of this kind helped revive the genre. His poems were not widely popular at the time they were published. His works were rediscovered in the early nineteenth century, and have been regularly printed ever since.

The Victorian poet Swinburne described Herrick as the greatest song writer...ever born of English race. It is certainly true that despite his use of classical allusions and names, his poems are easier for modern readers to understand than those of many of his contemporaries.

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