The Argument of His Book

The poem opens with the assertion of the first-person speaker of the poem. The speaker states, “I sing […]” (Line 1). Readers are thus prepared to receive the thoughts and emotions of the poem’s speaker. The initial imagery the speaker presents is bright and full of life. They sing of “brooks,” “blossoms,” “birds” and “bowers” (Line 1). A “bower” refers to a shelter or retreat made with tree branches or vines. All the direct objects of the sentence, everything about which the speaker sings, refers to nature. Specifically, they refer to springtime, which continues into the second line. The speaker continues listing the topics of their song: They sing of “April, May, of June, and July flowers” (Line 2). The speaker’s focus, and therefore the focus of their readers, is on new life and rebirth.

This celebration of life carries into the following description of “May-poles,” “hock-carts,” “wassails,” and “wakes” (Line 3). All of these topics refer to celebrations and holidays. The “May-pole” is a pole erected and decorated in greenery used for ceremonial dancing in various European holidays typically taking place between May and June. “Hock-carts” refer to prosperity and abundance, as they are the carts that bring in the harvest. “Wassail” refers to drinking and revelry. In contrast to common modern associations of “wakes” with funeral dirges, a wake could also refer to revelry or “an annual English parish festival formerly held in commemoration of the church’s patron saint” ("wake." Merriam-Webster). These celebrations culminate in “bridegrooms,” “brides” and “bridal-cakes” (Line 4). This marital imagery, as with the symbolism of the May-pole, evokes fertility, happiness, celebration, and abundance.

If the imagery of the first four lines isn’t obvious enough for readers, the speaker more clearly states what they are referencing: “I write of youth” (Line 5). They write “of love” (Line 5). The speaker desires to live life to its fullest, to celebrate every day. It is because the speaker has “access” (Line 5) and comes into direct contact with these emblematic representations of life that they are capable of and inspired “to sing of cleanly wantonness” (Line 6). Their singing continues, next centering on sensations of reckless or limitless freedom, possibly lewd or sexual behavior, lack of restraint or inhibitions. “[C]leanly wantonness” (Line 6) refers to recklessness or an efficient lack of restraint. In other words, it is a natural way of acting or being, without reserve or inauthenticity.

The speaker’s repetition of “I sing” (Line 7) introduces another list of topics they wish to address, once again relating to spring and new life. This time, they sing of “dews” and “rains” (Line 7), both of which provide sustenance and nurturing for new life and growth. The next items that the speaker lists shift slightly away from nature to more luxurious, materialistic objects. The speaker sings of “balm,” “oil,” “spice,” and “ambergris” (Line 8). “Balm” refers to an ointment used to soothe or heal, while oil and spice were valuable trade items during the time period in which Herrick wrote. Ambergris was another costly object, referring to “a waxy substance found floating in or on the shores of tropical waters, believed to originate in the intestines of the sperm whale, and used in perfumery as a fixative” (“ambergris.” Merriam-Webster). Only those of the wealthiest classes could have spared expense for something as frivolous as perfume.

Next, attention turns to more serious subjects. Not only does the speaker intend to discuss nature and luxury items, but they also “sing of Time’s trans-shifting” (Line 9). The capitalization of “Time” serves to personify it and turn it into an identifiable entity. “Trans-shifting” seems to be a blend of the prefix “trans” meaning “across” and “shifting” meaning “changing.” The word implies the omnipresence of change. Intangible and abstract, time is always moving and morphing. By singing of time’s movements, the speaker tracks it through history and space. Part of this trajectory includes some of the most basic aspects of creation, such as the origins of flora and fauna. The speaker says they address “[h]ow roses first came red, and lilies white” (Line 10). Packed into this single sentence is the implication of a god and the story of creation in Genesis. According to the Christian tradition, God created all things on earth, which included roses and lilies. God would have been the Creator deciding on the flowers’ colors in his divine design. The poem’s speaker is essentially implying that his songs, his tales, go back to the very beginning of “Time”—of human history.

Once again returning to natural imagery, the speaker references “groves” and “twilights” (Line 11). However, this time the speaker does not “sing,” but rather they “write” about these topics (Line 11). Their medium of creative expression has changed from oral history to written history. Singing and writing intermix as in the next line the speaker once more sings, this time of “The court of Mab” and “the fairy king” (Line 12). In English folklore, Queen Mab is queen of the fairies. With these references, the speaker combines traditional religion with mythological figures from folklore.

In the final two lines of the poem, the speaker ends with two remaining subjects—arguably the most important topics—about which they will either write or sing: Heaven and Hell. First, they note that they “write of Hell” (Line 13). Then, they “sing (and ever shall) of Heaven” (Line 14). By singing of Heaven as opposed to writing about it (as they do for Hell), the speaker sounds more celebratory and jovial when referencing this eternal celestial reward. Hell is succinctly mentioned as as something the speaker will quickly document. Also, by referencing Heaven and Hell the speaker once again enters the discourse of the traditional Christian faith. The speaker identifies as a member of this faith in their last phrase where they “hope to have [Heaven] after all” (Line 14). The speaker ends the poem exerting their desire to one day die and attain eternal peace in Heaven.