Robert Herrick's "Hesperides" is a rich anthology that showcases his lyrical prowess, long unrecognized before finally receiving its due acclaim. This collection, including both "Hesperides" and "Noble Numbers," encompasses a diverse array of poems from secular to sacred themes. Herrick remains celebrated as one of the finest lyric poets in English literature, his works surviving through discovery and scholarly recovery across centuries.

The Whimsical Collection

The poems in "Hesperides" are whimsically arranged, a nod to the legend of the nymphs who protected Hera's golden apples. Most were written during Herrick's tenure as vicar in Devonshire, spanning from 1629 until 1647 when Puritan forces ousted him from his parish. After being reinstated in 1662, he continued to draw upon the West Country's pastoral beauty, infusing it with a pagan spirit in his verse.

Chronology and Early Influences

Eminent Herrick scholar L. C. Martin identified four general periods in which Herrick composed, refined, and published his poetry. From his apprenticeship with a goldsmith uncle, at least one poem, "A Country Life," survives. This poem is thought to have contributed to his decision to leave this trade for academia at Cambridge, where his poetic talents continued to mature.

The Formative Years

The second period, perhaps the most critical in Herrick's development, spans from 1617 to 1627. During this time, he became a beloved figure among the "sons" of Ben Jonson. His renowned poem "His Fare-well to Sack" captures these formative years, marked by intellectual camaraderie, extensive reading, and witty exchanges. Influences from poets like Anacreon, Horace, Catullus, and Theocritus are evident throughout his work.

Literary Themes and Style

Herrick's "The Argument of His Book" encapsulates his literary interests with pastoral imagery:

I sing of Brooks, of Blossomes, Birds, and Bowers:Of April, May, of June, and July-Flowers.I sing of May-poles, Hock-carts, Wassails, Wakes,Of Bride-grooms, Brides, and of their Bridall-cakes.I write of Youth, of Love, and have AccesseBy these, to sing of cleanly-Wantonnesse.I sing of Dewes, of Raines, and piece by pieceOf Balme, of Oyle, of Spice, and Amber-Greece.I sing of Times trans-shifting; and I writeHow Roses first came Red, and Lillies White.I write of Groves, of Twilights, and I singThe Court of Mab, and of the Fairie-King.I write of Hell; I sing (and ever shall)Of Heaven, and hope to have it after all.

Herrick's Imaginary Muses

Despite his "cleanly-Wantonnesse," Herrick's musings on love and beauty often featured idealized, perhaps imaginary, female figures like Corinna, Julia, Anthea, and Electra. His philosophy was Anacreontic, akin to the carpe diem sentiment shared by Cavalier poets. "To the Virgins, to Make Much of Time," which begins with "Gather ye Rosebuds while ye may," remains one of his most timeless pieces.

Diverse Subjects and Styles

Herrick’s poetry spans a rich tapestry of subjects and styles. "Corinna's Going a-Maying" captures the vibrant spirit of spring festivals with its madrigal form. Another example is "Cherrie-ripe," a ballad in the style of Campion:

Cherrie-Ripe, Ripe, Ripe, I cryFull and faire ones; come and buy:If so be, you ask me whereThey doe grow? I answer, There,Where my Julia’s lips doe smileThere’s the Land, or Cherry-Ile:Whose Plantations fully showAll the yeere, where Cherries grow.

Influences and Innovation

In "The Mad Maid's Song," reminiscent of Shakespeare, he mourns a lover's death by a bee sting. The Elizabethan pastoral debate continues in "To Phillis to Love, and Live with Him," drawing inspiration from Marlowe and Ralegh:

Thou shalt have Ribbands, Roses,...