Explore the use of symbolism in the presentation of salvation in George
Herbert’s ‘Redemption’ and one other poem
In both George Herbert’s ‘Redemption’ and Henry Vaughan’s ‘Unprofitableness’, an element of
symbolism is used to present God as a figure of salvation. The main conceit of Herbert’s poem is the
comparison between God and a powerful landlord, demonstrated when Herbert writes “tenant long
to a rich lord.” The use of the adjective rich demonstrates the authority and power given to God
through this image of a high-status professional. Throughout the poem, God is symbolised by
legalistic language and transactional imagery, demonstrating the contractual nature of God’s
salvation. This suggests that, although God is the authority figure from which we ask for salvation
from, he is also a co-dependent partner in a contractual relationship, meaning as much as man relies
on him, he also relies and entrusts in man. However, the symbolism of the transactional relationship
between landlord and tenant also elevates God, emphasised when the speaker says “I resolved to be
bold”, suggesting that addressing him as an equal would be unacceptable and therefore, he is of a
much greater status than man, since he has the capacity to grant man’s “suit”. The finality of God’s
direct speech when he says “your suit is granted” also aids the symbolism in its quest to present God
in a superior and authoritative way. The fact that he says it in a staccato type tone, one which seems
distinctly uncompassionate, demonstrates the separation between God and man. Interestingly,
however, Herbert is presenting the New Testament God, who was believed to be much more
forgiving and caring, possibly commenting on the idea that whilst the New Testament God is more
forgiving, he should not be considered as an equal, but instead a reasonable authority figure, as
suggested by the symbolism of the landlord. Similarly, in ‘Unprofitableness’, symbolism is used to
present God as forgiving yet powerful. He is symbolised using the image of the “full sun” and spring
time, whereby the speaker is revived from sin, and given salvation. This presents God as loving and
generous, as well as omnipotent, since the forces of nature were highly regarded in the 17 th century
to be powerful and respectable. The use of positive imagery associated with God, such as “flourish”,
“spice” and “fruit” demonstrates the forgiving nature of the New Testament God, however, these
positive images are contrasted with more negative symbols. Vaughan also writes of “dust” “mud”
and “weed”, which suggests that man is lost without God, not only emphasising God’s authority over
man, but suggesting a transactional nature of forgiveness. The negative imagery may suggest that
without God, man is nothing but decay, however, without earth and nature, spring time has no
purpose and the sun has nothing to shine upon, which echoes Herbert’s idea of the transactional
forgiveness. This transactional symbolism helps to present God as both forgiving but authoritative in
his status superior to man.
Both George Herbert and Henry Vaughan use symbolism to present man as a subject of God who
Herbert’s ‘Redemption’ and one other poem
In both George Herbert’s ‘Redemption’ and Henry Vaughan’s ‘Unprofitableness’, an element of
symbolism is used to present God as a figure of salvation. The main conceit of Herbert’s poem is the
comparison between God and a powerful landlord, demonstrated when Herbert writes “tenant long
to a rich lord.” The use of the adjective rich demonstrates the authority and power given to God
through this image of a high-status professional. Throughout the poem, God is symbolised by
legalistic language and transactional imagery, demonstrating the contractual nature of God’s
salvation. This suggests that, although God is the authority figure from which we ask for salvation
from, he is also a co-dependent partner in a contractual relationship, meaning as much as man relies
on him, he also relies and entrusts in man. However, the symbolism of the transactional relationship
between landlord and tenant also elevates God, emphasised when the speaker says “I resolved to be
bold”, suggesting that addressing him as an equal would be unacceptable and therefore, he is of a
much greater status than man, since he has the capacity to grant man’s “suit”. The finality of God’s
direct speech when he says “your suit is granted” also aids the symbolism in its quest to present God
in a superior and authoritative way. The fact that he says it in a staccato type tone, one which seems
distinctly uncompassionate, demonstrates the separation between God and man. Interestingly,
however, Herbert is presenting the New Testament God, who was believed to be much more
forgiving and caring, possibly commenting on the idea that whilst the New Testament God is more
forgiving, he should not be considered as an equal, but instead a reasonable authority figure, as
suggested by the symbolism of the landlord. Similarly, in ‘Unprofitableness’, symbolism is used to
present God as forgiving yet powerful. He is symbolised using the image of the “full sun” and spring
time, whereby the speaker is revived from sin, and given salvation. This presents God as loving and
generous, as well as omnipotent, since the forces of nature were highly regarded in the 17 th century
to be powerful and respectable. The use of positive imagery associated with God, such as “flourish”,
“spice” and “fruit” demonstrates the forgiving nature of the New Testament God, however, these
positive images are contrasted with more negative symbols. Vaughan also writes of “dust” “mud”
and “weed”, which suggests that man is lost without God, not only emphasising God’s authority over
man, but suggesting a transactional nature of forgiveness. The negative imagery may suggest that
without God, man is nothing but decay, however, without earth and nature, spring time has no
purpose and the sun has nothing to shine upon, which echoes Herbert’s idea of the transactional
forgiveness. This transactional symbolism helps to present God as both forgiving but authoritative in
his status superior to man.
Both George Herbert and Henry Vaughan use symbolism to present man as a subject of God who
