To Laurels

Robert Herrick's To Laurels

Robert Herrick’s "To Laurels" is a compact yet profound meditation on mortality, legacy, and the poet’s desire for an enduring presence beyond the ephemeral bounds of human life. Composed during the 17th century, a period rife with political upheaval, religious tension, and artistic flourishing, Herrick’s poem encapsulates the Renaissance and early modern preoccupation with fame, nature, and poetic immortality. Through its concise structure, rich symbolism, and layered thematic concerns, "To Laurels" transcends its brevity to offer a timeless reflection on the human yearning for permanence.

This essay will explore the poem’s historical and cultural context, its deft use of literary devices, its central themes, and the emotional resonance it evokes. Additionally, we will consider Herrick’s broader oeuvre, the significance of the laurel as a cultural symbol, and philosophical perspectives on artistic immortality.

Historical and Cultural Context: The Poet in a Tumultuous Era

Robert Herrick (1591–1674) was a Cavalier poet, a clergyman, and a disciple of Ben Jonson, whose influence is evident in Herrick’s classical allusions and polished lyricism. Living through the English Civil War, the execution of Charles I, and the Interregnum, Herrick experienced a world in flux, where traditional structures—monarchy, the Church of England, and even artistic patronage—were destabilized. His collection Hesperides (1648), in which "To Laurels" appears, reflects both hedonistic celebration and melancholic contemplation, embodying the Cavalier poets’ dual emphasis on carpe diem and the inevitability of death.

The laurel tree (Laurus nobilis) holds deep cultural significance, dating back to ancient Greece and Rome. Associated with Apollo, the god of poetry, and bestowed upon victors and poets, the laurel symbolized honor, achievement, and immortality. By invoking this symbol, Herrick aligns himself with a classical tradition that elevates the poet’s role as a creator of enduring art. In an age where physical monuments—such as funeral stones—were common markers of remembrance, Herrick rejects the inert in favor of the living, suggesting that true immortality lies not in cold marble but in organic, ever-renewing nature.

Literary Devices: Economy of Language, Symbolism, and Paradox

Despite its brevity, "To Laurels" employs a range of literary techniques that amplify its thematic weight. Herrick’s use of direct address ("Of you that I may have") establishes an intimate supplication, as though the laurel itself is a divine or mythic entity capable of granting his wish. The poem’s structure is deliberate, with enjambment creating a fluid, almost incantatory rhythm, reinforcing the idea of growth and continuity.

Central to the poem is the symbolism of the laurel, which operates on multiple levels:

• Poetic Immortality: Unlike a funeral stone, which is static and lifeless, the laurel is evergreen, perpetually renewing itself—a metaphor for the poet’s desire that his work outlasts him.

• Natural vs. Artificial Memorials: Herrick explicitly contrasts the "funeral stone" with the living laurel, privileging organic vitality over man-made monuments.

• Transformation: The laurel is not merely a plant but an "eternal monument," blurring the line between nature and art, life and legacy.

A striking paradox emerges in the final lines: the laurel is "Not so much call’d a tree, / As the eternal monument of me." Here, Herrick suggests that the laurel transcends its botanical identity, becoming something greater—a living testament to his poetic soul. This paradox underscores the poem’s central tension between mortality and immortality, the natural and the symbolic.

Themes: Mortality, Legacy, and the Poet’s Defiance of Time

At its core, "To Laurels" grapples with the human fear of oblivion and the artist’s struggle to secure a lasting name. Herrick’s rejection of the "funeral stone" is significant; it implies a dissatisfaction with conventional remembrance, which is passive and subject to erosion. Instead, he seeks a dynamic, ever-present legacy—one that flourishes rather than decays.

This theme resonates with classical and Renaissance notions of fame (famam) as explored in the works of Ovid and Shakespeare. Ovid’s closing lines in Metamorphoses ("I shall be borne, immortal, far above the stars... my name shall never die") echo in Herrick’s aspiration. Similarly, Shakespeare’s Sonnet 18 ("Nor shall Death brag thou wander’st in his shade") asserts poetry’s power to defy time, a sentiment Herrick shares.

Yet Herrick’s vision is distinct in its natural imagery. Where Shakespeare relies on the written word ("So long as men can breathe or eyes can see"), Herrick places faith in the living laurel, suggesting that nature itself will act as his herald. This aligns with the pastoral tendencies in his other works, such as "Corinna’s Going A-Maying," where nature is both a setting and a participant in human experience.

Emotional Impact: Intimacy, Longing, and Consolation

The emotional power of "To Laurels" lies in its quiet urgency. Unlike the grandiose declarations of epic poets, Herrick’s tone is humble yet fervent—a personal plea rather than a boast. The repetition of "I covet none" and "only crave" conveys a singular, almost vulnerable desire, making the poem feel like a whispered prayer.

There is also a consolatory dimension. The laurel’s "perpetual green" offers solace against the inevitability of death, transforming grief into hope. This duality—mourning and affirmation—is characteristic of Herrick’s work, where even his carpe diem poems acknowledge the shadow of mortality.

Comparative and Philosophical Perspectives

Comparing "To Laurels" with other poems reveals fascinating intersections. Keats’ "Ode on a Grecian Urn" similarly explores art’s ability to freeze time, though Keats focuses on static beauty ("Forever wilt thou love, and she be fair!"), whereas Herrick embraces organic growth.

From a philosophical standpoint, Herrick’s poem aligns with existential inquiries into legacy. Heidegger’s concept of Dasein (being-toward-death) posits that humans define themselves in relation to their finitude. Herrick’s laurel can be read as an artistic Dasein—a way of being that persists beyond physical death.

Conclusion: The Evergreen Legacy

"To Laurels" is a masterful distillation of Herrick’s poetic philosophy: that true immortality lies not in stone but in living memory, not in silence but in perpetual renewal. Through its elegant symbolism, emotional sincerity, and classical resonance, the poem transcends its era, speaking to all who seek to leave a mark upon the world.

In an age where digital footprints threaten to render legacy both omnipresent and ephemeral, Herrick’s vision reminds us that the most enduring monuments are those that breathe, grow, and remain "blest with perpetual green." His laurel is not just a plant but a promise—an eternal testament to the power of poetry to defy time itself.

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