Scant Verses:Henry Lok as a Forerunner of George Herbert Debra Rienstra A generation before Herbert began working through the challenges of “outstripping Cupid” and writing a true hymn, Henry Lok made a grand, initial attempt at defining and solving the challenges of devotional verse. Lok was the son of Anne Lock, who presumably wrote the sonnet sequence published in 1560 based on Psalm 51.1 Henry Lok published the first edition of his sonnet sequence, Sundry Christian Passions, in 1593, the same year George Herbert was born. Lok was responding to the initial fervor of the Elizabethan sonnet craze, hoping to impress potential patrons with over two hundred devotional sonnets, roughly divided into poems of “meditation, humiliation, and prayer” and “comfort, joy, and thankesgiving.” He published a second volume in 1597, expanded with over one hundred additional sonnets.2 Very occasionally, Lok’s Elizabethan contribution to English devotional verse has been noted as a possible influence on Herbert, in particular by Barbara Lewalski, John Ottenhoff, and Thomas Roche.3 Understandably, considering the sheer number of sonnets Lok wrote, no one has yet undertaken a full and careful comparison between Lok and Herbert, nor established that Herbert possessed Lok’s volume.4 Nevertheless, reading through Lok’s poems does yield some arresting similarities to Herbert, especially to certain of Herbert’s most famous poems. So I have to agree with previous speculation: based on textual evidence, it seems plausible that Herbert knew Lok’s poems and found generative suggestions in Lok’s efforts toward assimilating biblical sources into the lyric voice and toward theorizing a defensible devotional poetics. I have elsewhere considered the sources and implications of Lok’s favored parabolic technique in the first century of sonnets, in which he places the speaker of each sonnet into a dramatic tableau taken from a [End Page 80] biblical story.5 Lok’s approach is especially intriguing when we consider where Herbert might have found precedents for his distinctive parable poems. Herbert’s “Redemption,” for example, may well draw directly from two Lok sonnets, sonnets 1.50 and 1.78.6 Roche notes a correspondence between “Redemption” and Lok’s 1.50, arguing that Herbert may have used the Lok poem as “a starting point.”7 His reasoning is that the figures of tenant and lord in Herbert’s poem are improvisations on certain of Jesus’ parables, especially the story of the vineyard owner recounted in Matthew 21, Mark 12, and Luke 20. Roche notes that Herbert could not have gotten the term “tenant” from any English Bible version of this parable available to him, as the figure of the wicked tenant is virtually always translated “husbandman.” Tyndale is the only one who uses the word “tenant.” So Roche posits that Lok used Tyndale, and Herbert got the idea for that term from Lok. This may be the case, although it is not difficult to imagine Herbert choosing the word “tenant” on his own. Still, there is more to support Roche’s theory than only this one curious instance of word choice. When we examine Lok’s sonnet 1.50, we see that it follows the biblical parable much more closely than Herbert’s poem does. A tenant most untrue ô Lord to thee, In vineyard of my bodie have I bin: To crave thy rent thy servants came to me, But nothing but intreatie bad they win:My travell therein was to nourish sin, And wast the wine of thy abounding plant; The more to call me backe thou didst begin, The more to thee my gratitude did want.Ne would my lacke of grace let me recant, When thou thy onely Sonne to me didst send, For sin and Satan did me so supplant, That to his ruine I did also bend: But Lord me lend In time repentant hart, That from this vineyard I may not depart. The speaker posits himself as an “untrue” tenant of his own body, in which he has nourished sin. The poem then traces the contours of the parable in that the speaker mistreats the servants and eventually [End Page 81] “bends” to the “ruin” of the Son as well. However, as is typical...
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