Henry King - Poems by the Famous Poet - All Poetry

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Henry King

1592-1669

Henry King, Bishop of Chichester, was the eldest son of John King, the famous Bishop of London & his wife Joan Freeman (daughter of Henry Freeman of Staffordshire), and was born in January of 1591/2 at Worminghall in Buckinghamshire. King was a minor poet of the age, but an excellent one among that class. He was befriended by numerous poets & other men of note, including Ben Jonson, John Donne, Izaak Walton, Sir Henry Wotton, and James Howell to name a few. Even the diarist Samuel Pepys took notice of him (however small) on a couple of occasions in the 1660s. He is almost exclusively remembered today for his poem The Exequy, upon his wife who died. Like many of his period he was fond of writing elegies, particularly of notable events to occur in the royal family or court, such as the death of James I/VI's popular first-born son Prince Henry, and the execution of Charles I.

He matriculated from Christ Church, Oxford, in 1609, when his father was Dean of his College and Vice-Chancellor of the University, and took his degrees of B.A. and M.A. in 1611 and 1614. His studies at Oxford, according to Fuller and Anthony Wood, were 'Musick and Poetry . . . Oratory and Philosophy,' and no doubt many of his lyrics were written at that time. In 1611 his father was made Bishop of London, and soon afterwards King himself was ordained together with his brother John, who seems to have been his close companion during all their early life. Influential patronage favoured the two brothers. King became Chaplain in Ordinary to King James, in 1616 made a prebend of St. Paul's, and next year advanced to the Archdeaconry of Colchester; and there is an account of a sermon preached by him at Paul's cross in 1617 in which 'he did' - as he usually did - 'reasonably well, but nothing extraordinary,' and showed himself 'orator' - as he was poeta - 'parum vehemens.' He was now living in London, near St. Paul's Churchyard, but he seems to have kept up his connection with his Christ Church friends. About the year 1617 he married Anne Berkeley of Throwley in Kent, and by the time of her death [see his poem The Exequy], which must have taken place in 1624, their family had grown large; in the words of one of her elegists:

Children were sure, and frequent; ev'ry year
By a new darling was seal'd current here;

But of their six children only two, John and Henry, survived their infancy.

In 1621 King was called upon to defend the reputation of his father, who had died in that year, from a persistent rumour that he had embraced the Roman Catholic faith on his death-bed; and this he did in a sermon which was the first of many which subsequently appeared in print. In 1624 Henry and his brother John King obtained Canonries of Christ Church, Oxford, and both seem to have led a quiet life in London till John's death in 1639. Henry King was made D.D. and Dean of Rochester, became Chaplain in Ordinary to King Charles I., and in February 1641/2 he was raised to the bishopric of Chichester. During the months immediately following his consecration the Civil War broke out, and the Parliamentarians besieged Chichester, ransacked the Palace, and barbarously treated him, besides sequestrating his estates. He lived in 'sad Retirement' in Hertfordshire and Buckinghamshire during the war, and bewailed its result in Elegies; but at the Restoration amendment was made, and he lived to enjoy his see for nine years. He died October 1, 1669, and was buried on the south side of the choir (near the communion table) in Chichester Cathedral October 8th. His son John soon died also; and Henry King's widow, Anne the daughter of Sir William Russell, erected a monument with a Latin inscription to their memory.

During his life King had made many friends, and seems to have been known to most of the prominent poets of his day, including Ben Jonson and John Donne, the latter of whom he became literary executor. He was also a long-time friend of Izaak Walton (another poet and author of the enormously popular Compleat Angler), as can be seen in his letter appended to Walton's Life of Hooker, dated November 17, 1664, which begins,

"Though a familiarity of more than forty years continuance, and the constant experience of your love, even in the worst of the late sad times, be sufficient to endear our friendship; yet I must confess my affection much improved, not only by evidences of private respect to those very many that know and love you, but by your new demonstration of a public spirit, testified in a diligent, true, and useful collection, of so many material passages as you have now afforded me in the Life of venerable Mr. Hooker." And he ends it, "Your ever faithful and affectionate old Friend."

In the letter he refers to his friendship with John Donne also, "I shall begin with my most dear and incomparable friend, Dr. Donne, late dean of St. Paul's church, who not only trusted me as his executor, but three days before his death delivered into my hands those excellent sermons of his now made public; professing before Dr. Winniff, Dr. Monford, and, I think, yourself, then present at his bed-side, that it was by my restless importunity that he had prepared them for the press."
And of Sir Henry Wotton, whose life was also written by Walton, "And let me not leave my friend Sir Henry without this testimony added to yours, that he was a man of as florid a wit, and as elegant a pen, as any former (or ours which in that kind is a most excellent) age, hath ever produced."

King was also friends with the political author James Howell (who is now chiefly remembered for his letters, published as Epistolae Ho-Elianae), as they had a few friends in common. Howell is supposed to have pronounced the first judgment upon King's poems, in manuscript form. In a letter to a Mr Thomas W. dated 3 February, 1637, Howell says, "those choice manuscripts you sent me lately, amongst which I find divers rare pieces, but that which afforded me most entertainment in those miscellanies, was Doctor Henry King's Poems, wherein I find not only heat and strength but also an exact concinnity and evenness of fancy."

Henry King is remembered primarily for a single poem, The Exequy, on Anne Berkeley his deceased first wife, written about 1624. In it he adapts John Donne's manner with impressive skill and individuality lamenting Anne's death. It may be considered one of the purest and most moving poems written in the 17th century. King was an amateur poet (like most of his time), who had a tender heart, a tranquil mind, and a perfect sense of rhyme and rhythm, which made him at his best among the best of the minor poets of that age. Very few in Early English poetry stand above him.

Samuel Pepys makes mention in his diary of him in role of Bishop, first on the 6th of July, 1660, "The Bishop of Chichester preached before the King, and made a great flattering sermon, which I did not like that the Clergy should meddle with matters of state." And again on the 8th of March, 1662/3, "To White Hall to-day: I heard Dr. King, Bishop of Chichester, make a good and eloquent sermon upon these words, 'They that sow in tears, shall reap in joy.'"

King published numerous sermons & theological works, beginning in 1621 with his Sermon Preached at Pauls Crosse. Only two collected editions of his poems were printed in his life-time; the first being printed without King's knowledge in 1657 was reported to have been by his brother Dr. Philip King (according to Wood's Oxonienses) and was put into the Bodleian Catalogue under Philip's name. The second collection appeared in 1664. In 1700 a third collection was published but, strangely, this was spuriously attributed to Ben Jonson. Other poems were printed individually, however, such as the 'Elegy Upon K. Charles I.', (1649), and 'A Groane at the Funerall of that incomparable and Glorious Monarch, Charles the First,' (1649) which was reissued as 'A Deepe Groane, Fetch'd At the Funerall of that incomparable and Glorious Monarch, Charles the First,' (1649). In 1843 Archdeacon Hannah's incomplete, though invaluable, edition was printed. In 1913 Dr Lawrence Mason of Yale University published the Life and Works of Henry King; and in 1914 an edition of the poems was released by the same. In 1925 the Nonesuch Press published an excellent scholarly edition of the Poems edited by John Sparrow in a limited edition of 900 copies. Kings works, theological or poetical, in any edition pre-1925 are scarcely available; however modern reprints have recently been produced.
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A Contemplation upon Flowers

BRAVE flowers—that I could gallant it like you,
     And be as little vain!
You come abroad, and make a harmless show,
     And to your beds of earth again.
You are not proud: you know your birth:
For your embroider'd garments are from earth.

You do obey your months and times, but I
     Would have it ever Spring:
My fate would know no Winter, never die,
     Nor think of such a thing.
O that I could my bed of earth but view
And smile, and look as cheerfully as you!

O teach me to see Death and not to fear,
     But rather to take truce!
How often have I seen you at a bier,
     And there look fresh and spruce!
You fragrant flowers! then teach me, that my breath
Like yours may sweeten and perfume my death.
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Analysis (ai): This poem explores the speaker's desire to embrace the ephemeral nature of flowers, symbolizing the acceptance of mortality. Unlike the flowers, the speaker struggles with the fear of death and yearns for an eternal spring. The poem compares favorably to Henry King's other works, known for their contemplative and elegiac tone. It reflects the Baroque period's preoccupation with transience and the search for meaning in the face of death. By contrasting the beauty and resilience of flowers with the fragility of human life, the poem invites readers to reflect on the inevitability of death and to seek solace in nature's wisdom.
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Sic Vita

Like to the falling of a star,
Or as the flights of eagles are,
Or like the fresh spring's gaudy hue,
Or silver drops of morning dew,
Or like a wind that chafes the flood,
Or bubbles which on water stood:
Even such is man, whose borrowed light
Is straight called in, and paid to night.
The wind blows out, the bubble dies;
The spring entombed in autumn lies;
The dew dries up, the star is shot;
The flight is past, and man forgot.
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Analysis (ai): The poem by Henry King compares the transience of human life to various natural phenomena. Through similes, the poem likens man's brief existence to the falling of a star, the soaring of eagles, the fading hues of spring, the ephemeral nature of morning dew, the disruptive force of wind on water, and the fragility of bubbles on the surface. The poem suggests that human life, like these natural occurrences, is fleeting and often ends abruptly. Unlike King's other works, which often explore themes of love and faith, "Sic Vita" focuses solely on the brevity of life, reflecting the common motif of transience found in similar works from the time period.
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The Exequy

Accept, thou shrine of my dead saint,
Instead of dirges, this complaint;
And for sweet flow'rs to crown thy hearse,
From thy griev'd friend, whom thou might'st see
Quite melted into tears for thee.

Dear loss! since thy untimely fate
My task hath been to meditate
On thee, on thee; thou art the book,
The library whereon I look,
Though almost blind. For thee (lov'd clay)
I languish out, not live, the day,
Using no other exercise
But what I practise with mine eyes;
By which wet glasses I find out
How lazily time creeps about
To one that mourns; this, only this,
My exercise and bus'ness is.
So I compute the weary hours
With sighs dissolved into showers.

Nor wonder if my time go thus
Backward and most preposterous;
Thou hast benighted me; thy set
This eve of blackness did beget,
Who wast my day (though overcast
Before thou hadst thy noon-tide past)
And I remember must in tears,
Thou scarce hadst seen so many years
As day tells hours. By thy clear sun
My love and fortune first did run;
But thou wilt never more appear
Folded within my hemisphere,
Since both thy light and mot{"i}on
Like a fled star is fall'n and gone;
And 'twixt me and my soul's dear wish
An earth now interposed is,
Which such a strange eclipse doth make
As ne'er was read in almanac.

I could allow thee for a time
To darken me and my sad clime;
Were it a month, a year, or ten,
I would thy exile live till then,
And all that space my mirth adjourn,
So thou wouldst promise to return,
And putting off thy ashy shroud,
At length disperse this sorrow's cloud.

But woe is me! the longest date
Too narrow is to calculate
These empty hopes; never shall I
Be so much blest as to descry
A glimpse of thee, till that day come
Which shall the earth to cinders doom,
And a fierce fever must calcine
The body of this world like thine,
(My little world!). That fit of fire
Once off, our bodies shall aspire
To our souls' bliss; then we shall rise
And view ourselves with clearer eyes
In that calm region where no night
Can hide us from each other's sight.

Meantime, thou hast her, earth; much good
May my harm do thee. Since it stood
With heaven's will I might not call
Her longer mine, I give thee all
My short-liv'd right and interest
In her whom living I lov'd best;
With a most free and bounteous grief,
I give thee what I could not keep.
Be kind to her, and prithee look
Thou write into thy doomsday book
Each parcel of this rarity
Which in thy casket shrin'd doth lie.
See that thou make thy reck'ning straight,
And yield her back again by weight;
For thou must audit on thy trust
Each grain and atom of this dust,
As thou wilt answer Him that lent,
Not gave thee, my dear monument.

So close the ground, and 'bout her shade
Black curtains draw, my bride is laid.

Sleep on my love in thy cold bed
Never to be disquieted!
My last good-night! Thou wilt not wake
Till I thy fate shall overtake;
Till age, or grief, or sickness must
Marry my body to that dust
It so much loves, and fill the room
My heart keeps empty in thy tomb.
Stay for me there, I will not fail
To meet thee in that hollow vale.
And think not much of my delay;
I am already on the way,
And follow thee with all the speed
Desire can make, or sorrows breed.
Each minute is a short degree,
And ev'ry hour a step towards thee.
At night when I betake to rest,
Next morn I rise nearer my west
Of life, almost by eight hours' sail,
Than when sleep breath'd his drowsy gale.

Thus from the sun my bottom steers,
And my day's compass downward bears;
Nor labour I to stem the tide
Through which to thee I swiftly glide.

'Tis true, with shame and grief I yield,
Thou like the van first took'st the field,
And gotten hath the victory
In thus adventuring to die
Before me, whose more years might crave
A just precedence in the grave.
But hark! my pulse like a soft drum
Beats my approach, tells thee I come;
And slow howe'er my marches be,
I shall at last sit down by thee.

The thought of this bids me go on,
And wait my dissolution
With hope and comfort. Dear (forgive
The crime) I am content to live
Divided, with but half a heart,
Till we shall meet and never part.
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Analysis (ai): "The Exequy" is a heartfelt elegy that expresses the speaker's profound grief over the loss of his beloved. The poem's simple yet powerful language conveys an overwhelming sense of sorrow and longing.

The speaker's grief is palpable in each stanza. He laments the untimely demise of his beloved, who he sees as his guiding star. The vocabulary of darkness and night imagery reflects the speaker's emotional state, contrasting the past brightness and hope that his love brought.

The poem is marked by its use of metaphors. The deceased is described as a "saint" enshrined in a "shrine," while the speaker's tears are depicted as "showers" that dissolve "weary hours." These images emphasize the sacred and emotional significance of the loss.

Compared to King's other works, "The Exequy" is more subdued and intimate. While retaining his signature metaphysical style, King employs simpler language and a more straightforward structure in this poem, allowing the raw emotions to take center stage.

In the context of its time period, "The Exequy" reflects the prevailing mood of religious devotion and the influence of the metaphysical poets. The poem's focus on the afterlife and the hope of reunion with the deceased aligns with the Christian beliefs of the era. The poem's emotional intensity and introspective nature also resonate with the era's exploration of human experiences and the search for meaning.
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