The British Church
The Beauty of the British Church
The speaker rejoices in the British Church's balanced beauty, which is neither gaudy nor bare, and surpasses foreign extremes.
I rejoice, dear Mother, when I see your perfect features, and your coloring both sweet and bright. Beauty takes her place in you, and when she writes, she dates her letters from your face. A neat, appropriate appearance—neither too plain nor too showy—shows who is best.1 Foreign looks can't compare: They're either painted, Or else left undressed.
The Extremes of Foreign Churches
The speaker contrasts the alluring, painted church on the hills with the overly plain, undressed church in the valley, both missing the mark.
She on the hills, who recklessly lures everyone with the hope of being chosen by her, She's kissed her painted shrines so long that even her face shines from the kissing—that's her reward. In the valley she's so shy about dressing up that her hair hangs around her ears: While she avoids her neighbors' pride, she goes all the way to the other extreme, and wears nothing.
The Middle Way and Divine Grace
The speaker praises the British Church for its glorious middle way and blesses God for doubly protecting it with grace.
But dearest Mother — what those others miss — the middle way is your praise and glory, and long may it be.2 Blessed be God, whose love it was to double-moat you with his grace, and no one but you.3
Read the original English
I Joy, deare Mother, when I view Thy perfect lineaments, and hue Both sweet and bright.
Beautie in thee takes up her place, And dates her letters from thy face, When she doth write.
A fine aspect in fit aray, Neither too mean, nor yet too gay, Shows who is best.
Outlandish looks may not compare: For all they either painted are, Or else undrest.
She on the hills, which wantonly Allureth all in hope to be By her preferr'd,
Hath kiss'd so long her painted shrines, That ev'n her face by kissing shines, For her reward.
She in the valley is so shie Of dressing, that her hair doth lie About her eares:
While she avoids her neighbours pride, She wholly goes on th' other side, And nothing wears.
But dearest Mother, (what those misse) The mean thy praise and glorie is, And long may be.
Blessed be God, whose love it was To double-moat thee with his grace, And none but thee.
Notes
- 1 ↩Early modern 'gay' means bright/showy/ornate, not the modern sexual sense; 'mean' means plain or lowly in dress, not cruel.
- 2 ↩Herbert's 'mean' is the golden mean / via media (moderation between extremes), not 'mean' as base or average. Rendered 'middle way' for contemporary clarity while keeping the praise of measured moderation.
- 3 ↩Herbert’s coinage “double-moat” (to surround with a double defensive moat) is kept as a verb so the fortification image of grace stays concrete and specific.
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