The H. Communion
The Gift of Himself in the Sacrament
The poet reflects that Christ does not come in outward riches but as inward nourishment and strength, entering the soul through grace hidden in the sacramental elements.
Not in rich furnishings or fine clothes, nor in a bar of gold, do you—who were sold away from me—now give yourself to me; for if you came that way, you would still have stayed outside me, leaving sin within me.12 But by way of nourishment and strength you creep into my breast, making your way my rest, and your small quantities my full reach—which spread their forces into every part, meeting sin's force and craft.34 Yet these still can't reach my soul, leaping the wall that separates our souls from our fleshly hearts; but as outer defenses, they may control my rebellious flesh, and by carrying your name, frighten away both sin and shame.5 Only your grace, which comes with these elements, knows the ready way and has the private key, opening the soul's most subtle rooms; while those refined into spirits wait at the door for messages from their friend.6
The Yearning for Unity
The poet expresses a longing for his soul to be united with his body in the risen life, and the hope that one more step will bring this union.
Give me my captive soul, or take my body there too. Another lift like this will bring them both together.
The Restoration of Lost Paradise
Reflecting on the pre-Fall state, the poet notes that before sin, moving from earth to heaven was effortless, and Christ's blood restores this ease in the sacrament.
Before sin turned flesh to stone, and all our lump to leaven, a fervent sigh might well have blown our innocent earth to heaven. Surely, when Adam didn't know how to sin or how to smother sin, he could go from Paradise to heaven as easily as from one room to another. You have restored us to this ease by this heavenly blood of yours, which I can go to whenever I please, and leave the earth to its food.7
Read the original English
NOt in rich furniture, or fine aray, Nor in a wedge of gold, Thou, who from me wast sold, To me dost now thy self convey; For so thou should'st without me still have been, Leaving within me sinne:
But by the way of nourishment and strength Thou creep'st into my breast; Making thy way my rest, And thy small quantities my length; Which spread their forces into ev'ry part, Meeting sinnes force and art.
Yet can these not get over to my soul, Leaping the wall that parts Our souls and fleshly hearts; But as th' outworks, they may controll My rebel-flesh, and carrying thy name, Affright both sinne and shame.
Onely thy grace, which with these elements comes, Knoweth the ready way, And hath the privie key, Op'ning the souls most subtile rooms; While those to spirits refin'd, at doore attend Dispatches from their friend.
Give me my captive soul, or take My bodie also thither. Another lift like this will make Them both to be together.
Before that sinne turn'd flesh to stone, And all our lump to leaven; A fervent sigh might well have blown Our innocent earth to heaven.
For sure when Adam did not know To sinne, or sinne to smother; He might to heav'n from Paradise go, As from one room t'another.
Thou hast restor'd us to this ease By this thy heav'nly bloud; Which I can go to, when I please, And leave th' earth to their food.
Notes
- 1 ↩Early modern 'without me' means outside me / external to me, not merely 'without my help.' The contrast is exterior wealth versus interior reception in Communion.
- 2 ↩Period phrase for a bar or ingot of gold; also carries biblical wealth diction (cf. 'golden wedge of Ophir').
- 3 ↩Herbert's 'length' is deliberately paradoxical: the tiny Eucharistic portions become the speaker's extension, amplitude, or full measure of life. Rendered as 'full reach' to keep that small-to-ample contrast without archaic diction.
- 4 ↩'Art' here means skill/cunning, paired with 'force': sin's power and craft, not fine art.
- 5 ↩“Outworks” is siege language: the outer fortifications of a fortress. Herbert treats the sacramental elements as able to govern the body and scare off sin, but not to cross the wall into the soul; that deeper entry belongs to grace in the next stanza.
- 6 ↩"those refined into spirits" (source: "those to spirits refin'd") is left deliberately open: in context it may mean the sacramental elements raised to a spiritual effect, or the soul's powers refined into spirits—both wait at the door while grace alone enters the innermost rooms.
- 7 ↩Herbert’s “ease” continues the previous stanza’s picture of free passage between earth and heaven; the blood of Christ restores that ready access, received in Holy Communion.
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