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Difficulty: Very hardStructural Forms and Lineation

Read the following excerpt from George Herbert's poem "The Collar" (1633):

Away! take heed;
I will abroad.
Call in thy death's-head there; tie up thy fears;
He that forbears
To suit and serve his need
Deserves his load.
But as I raved and grew more fierce and wild
At every word,
Methought I heard one calling, Child!
And I replied, My Lord.

How does the sudden structural shift in lineation and rhyme scheme in the final four lines (lines 7–10) function in relation to the poem's thematic development?

  1. A
    The changes in line length chronologically document the speaker's physical departure to a foreign land and their subsequent encounter with a literal child along the road.
  2. B
    The establishment of a neat abab rhyme scheme in lines 7–10 acts as a decorative ornament that demonstrates the poet's technical virtuosity rather than contributing to the speaker's psychological state.
  3. The shift from irregular line lengths and unpredictable rhymes to a structured alternating rhyme scheme and measured meter mirrors the speaker's transition from chaotic rebellion to quiet spiritual submission.Answer
  4. D
    The continuation of abrupt line endings and disjointed rhythm reinforces the speaker’s persistent defiance, indicating that the conflict between the speaker and the divine remains unresolved.
  5. E
    The line divisions in the final four lines serve only to visually separate the speaker’s inner thoughts from the external dialogue, without influencing the emotional pacing or meter of the resolution.

Answer

The correct answer states that the shift from irregular line lengths and unpredictable rhymes to a structured alternating rhyme scheme and measured meter mirrors the speaker's transition from chaotic rebellion to quiet spiritual submission.
The correct answer is correct because the sudden transition from chaotic, unpredictable lineation and irregular rhymes to a structured alternating rhyme scheme (abab) and measured meter (iambic tetrameter followed by iambic trimeter) directly mirrors the speaker's psychological and spiritual shift. Throughout the poem, the irregular form represents the speaker's turbulent rebellion against religious constraints. When the divine voice intercedes with a gentle call, the immediate restoration of formal symmetry and metric order reflects the speaker's sudden submission and the re-establishment of spiritual harmony.

Step-by-Step Solution

1
Analyze the structural characteristics (meter, lineation, and rhyme) of the first six lines of the passage.
Lines 1–6 exhibit highly irregular line lengths, varied lineation, and unpredictable rhyme placements, reflecting the speaker's chaotic, rebellious emotional state.
To establish the baseline structural pattern against which the final lines can be compared.
2
Examine the formal structure of the final four lines (lines 7–10).
Lines 7–10 resolve into a tight, alternating abab rhyme scheme ('wild'/'Child' and 'word'/'Lord') and a structured iambic meter, ending in a short, quiet line.
To identify the specific structural shift and lineation choices made at the end of the poem.
3
Synthesize the formal shift with the thematic shift in the speaker's attitude.
The sudden transition from formal chaos to strict order and restraint directly mirrors the thematic shift from the speaker's passionate rebellion to their immediate, quiet submission to the divine voice.
To determine the thematic function and artistic effect of the structural choices.

Key Concept

Analyzing how shifts in structural form, meter, and lineation mirror changes in a speaker's psychological state and the thematic resolution of a poem.
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Topics

Structural Forms and Lineation

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