This chapter focuses on how Herbert and Vaughan depict the natural world as capable of revealing theological truth--and humans as capable of receiving that truth--in their widely read devotional lyrics. Ultimately, Herbert and Vaughan do not just hint at what kind of natural theology might be possible or edifying given their respective understandings of science and nature; both authors practice natural theology in their devotional poetry. Because the two poets differ on the value of human science and the theological status of nature, however, they differ markedly on how and when natural theology may usefully be practiced. Herbert views natural theology along the lines Bacon laid down in his Essays and Advancement of Learning, anticipating—and perhaps even influencing—the physico-theology of John Ray later in the century. Vaughan, by contrast, retains the older view that more theological insight is available in nature than just the facts of God’s existence and providence, making less of a distinction than Herbert between nature and scripture.

This chapter considers Herbert and Vaughan’s foundational views of science and nature, toward exploring their views of natural theology more specifically in Chapter 4. How does each poet conceive of the relationships between God, humans and nature, and does he see human inquiry into nature as leading to theological insight? Both Herbert and Vaughan engage these questions, though they differ starkly on the answers. Vaughan is less dismissive of human science than is Herbert, for instance. And although both poets share a conviction that the natural world is not as it should be, Herbert sees the world as destined for conflagration while Vaughan’s hope—repeated throughout Silex Scintillans—is instead for regeneration.

The Introduction establishes Herbert’s reputation as a musical poet. It lays out contemporary evidence for Herbert’s practical interest in music-making, and draws attention to a wider engagement with music among members of the extended Herbert and Sidney families. Remembered by early biographers for his musical skill, George Herbert is celebrated for his musical verse, much of which is still regularly performed today in musical settings as hymns, songs, and anthems. This chapter argues for the importance of attending to the aural and oral characteristics of Herbert’s verse, and – drawing on critical discussions about the nature of early modern lyric verse and the lyric mode – it establishes the need to develop a cultural poetics of listening.