Classic and Contemporary Poetry: Explained

Robert Herrick’s “To Prince Charles Upon His Coming to Exeter” is a celebratory and politically charged poem that welcomes the arrival of Charles, the Prince of Wales, to the city of Exeter. As a royalist poet, Herrick frequently composed verses that glorified the monarchy and emphasized its divine right to rule. This poem fits within that tradition, using language of restoration, fortune, and martial success to cast Charles as a heroic figure destined to bring stability to the West of England, which had suffered through the upheavals of the English Civil War.

The poem begins with a declaration of fate’s fulfillment: “What Fate decreed, Time now ha’s made us see / A Renovation of the West by Thee.” The word “Renovation” suggests not only a return to order but also a renewal, as though Charles’s presence will revitalize the region. Exeter had been a contested city during the Civil War, and by emphasizing the West’s transformation through the Prince’s arrival, Herrick signals a hope for royalist resurgence.

Herrick then turns to illness as a metaphor for political instability: “That Preternaturall Fever, which did threat / Death to our Countrey, now hath lost his heat.” The fever represents the recent political turmoil and military conflict that had threatened England, particularly from the forces opposed to King Charles I. The poet suggests that this fever—perhaps a reference to parliamentary resistance—has now subsided, and calm has returned. The phrase “Th’ unequall Pulse to beat, as heretofore” reinforces this image, equating the nation’s distress with a disordered heartbeat that is now steadying.

Despite the suggestion that some strife has passed, Herrick acknowledges that Charles still has work ahead: “Something there yet remaines for Thee to do; / Then reach those ends that thou wast destin'd to.” This imperative urges the Prince to fulfill his fate, which Herrick presents as divinely ordained. By invoking the Roman general Sulla, who rose to power through both war and political maneuvering, Herrick aligns Charles with a figure of both military success and authoritarian restoration: “Go on with Sylla's Fortune; let thy Fate / Make Thee like Him, this, that way fortunate.” The reference suggests that Charles should embrace both martial and political strength, a message suited to the turbulence of the era.

The poet invokes Apollo, the god of prophecy, poetry, and, significantly, healing: “Apollos Image side with Thee to blesse / Thy Warre (discreetly made) with white successe.” The phrase “white success” implies a pure or rightful victory, aligning the Prince’s military actions with divine approval rather than mere conquest. Herrick’s mention of discretion also suggests an ideal balance between force and wisdom, positioning Charles as a ruler whose war is not driven by reckless ambition but by necessity.

The concluding lines present a vision of celebration and religious devotion. “Meane time thy Prophets Watch by Watch shall pray; / While young Charles fights, and fighting wins the day.” The “Prophets” may refer to both literal clergy and poet-prophets like Herrick himself, whose role is to offer support through words and prayers while the Prince takes direct action. The use of “Watch by Watch” suggests continuous prayer, reinforcing the idea that Charles’s success is bound to divine will.

The final couplet blends poetry, song, and ceremonial festivity: “That done, our smooth-pac’t Poems all shall be / Sung in the high Doxologie of Thee.” The “Doxologie” refers to a hymn of praise, often directed at God, but here it is transferred to the Prince. This hyperbolic elevation of Charles emphasizes Herrick’s royalist devotion. The image of maidens strewing flowers and placing a “flowrie Diadem” on Charles’s curls underscores the poem’s celebratory nature, transforming the military leader into a semi-divine figure of renewal and grace.

In “To Prince Charles Upon His Coming to Exeter,” Herrick blends political allegiance with poetic craftsmanship, casting Charles as a heroic figure whose destiny is to restore order to a fractured nation. The poem’s use of metaphors—fever, fortune, divine blessing—enhances its persuasive power, making it not merely an address of welcome but a statement of royalist ideology. By aligning Charles with historical and mythological figures, Herrick strengthens the Prince’s image as both a warrior and a redeemer. The tone is celebratory yet instructive, urging Charles toward victory while assuring him of the poet’s unwavering support.

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