The structure of George Herbert's The Temple has been the subject of considerable critical controversy. Scholarly opinion has run the gamut from articles purporting to have discovered an irrefutable principle of organization to those works which write off the whole collection as an anthology of religious verse, interesting enough for its individual poems, but lacking overall thematic and structural unity. For example, in A Reading of George Herbert1 Rosemond Tuve attempts to establish the relationship between Herbert's poems and an elaborate and rather diffuse system of traditional and publicly-known correspondences and analogies on which medieval and Renaissance popular theology was based, while Rosemary Freeman's English Emblem Books 2 elaborates Miss Tuve's suggestions as she studies the almost wholly visual nature of Herbert's imagery in its obvious indebtedness to Quarles' Emblemes and other similar books. A somewhat more tenable thesis on the subject is developed in Joseph H. Summers' George Herbert: His Religion and Art,3 a reconsideration of The Temple as Herbert's own attempt to imitate the supreme unity and order of God's creations. In addition to these three main sources, at least two periodical articles treat the question of unifying factors in The Temple: Elizabeth Stambler's The Unity of Herbert's 'Temple,' 4 and John David Walker's The Architectonics of George Herbert's The Temple. 5 Miss Stambler finds the collection held together