The Problem
I like a church; I like a cowl;I love a prophet of the soul;And on my heart monastic aislesFall like sweet strains, or pensive smilesYet not for all his faith can seeWould I that cowlèd churchman be.
Why should the vest on him allure,Which I could not on me endure?
Not from a vain or shallow thoughtHis awful Jove young Phidias brought;Never from lips of cunning fellThe thrilling Delphic oracle;Out from the heart of nature rolledThe burdens of the Bible old;The litanies of nations came,Like the volcano's tongue of flame,Up from the burning core below,--The canticles of love and woe:The hand that rounded Peter's domeAnd groined the aisles of Christian RomeWrought in a sad sincerity;Himself from God he could not free;He builded better than he knew;--The conscious stone to beauty grew.
Know'st thou what wove yon woodbird's nestOf leaves, and feathers from her breast?Or how the fish outbuilt her shell,Painting with morn each annual cell?Or how the sacred pine-tree addsTo her old leaves new myriads?Such and so grew these holy piles,Whilst love and terror laid the tiles.Earth proudly wears the Parthenon,As the best gem upon her zone,And Morning opes with haste her lidsTo gaze upon the Pyramids;O'er England's abbeys bends the sky,As on its friends, with kindred eye;For out of Thought's interior sphereThese wonders rose to upper air;And Nature gladly gave them place,Adopted them into her race,And granted them an equal dateWith Andes and with Ararat.
These temples grew as grows the grass;Art might obey, but not surpass.The passive Master lent his handTo the vast soul that o'er him planned;And the same power that reared the shrineBestrode the tribes that knelt within.Ever the fiery PentecostGirds with one flame the countless host,Trances the heart through chanting choirs,And through the priest the mind inspires.The word unto the prophet spokenWas writ on tables yet unbroken;The word by seers or sibyls told,In groves of oak, or fanes of gold,Still floats upon the morning wind,Still whispers to the willing mind.One accent of the Holy GhostThe heedless world hath never lost.I know what say the fathers wise,--The Book itself before me lies,Old Chrysostom, best Augustine,And he who blent both in his line,The younger Golden Lips or mines,Taylor, the Shakspeare of divines.His words are music in my ear,I see his cowlèd portrait dear;And yet, for all his faith could see,I would not the good bishop be.
Words in this poem
- vest n.
- An article of clothing covering the person; an outer garment; a vestment; a dress; a vesture; a robe. [L. vestis a garment, vesture; akin to Goth. wasti, and E. wear: cf. F. veste. See Wear to carry on the person, and cf. Divest, Invest, Travesty.]
- jove n.
- The chief divinity of the ancient Romans; Jupiter. [L. Jupiter, gen. Jovis, OL. Jovis, nom. & gen. for Djovis; akin to E. Tuesday. See Tuesday, and cf. Jupiter.]
- thrilling a.
- Causing a thrill; causing tremulous excitement; deeply moving; as, a thrilling romance.
- delphic a.
- Of or relating to Delphi, or to the famous oracle of that place. [L. Delphicus, fr. Gr. Delphi, a town of Phocis, in Greece, now Kastri.]
- oracle v. i.
- To utter oracles.
- groined a.
- Built with groins; as, a groined ceiling; a groined vault.
- wove
- p. pr. & rare vb. n. of Weave.
- morn n.
- The first part of the day; the morning; -- used chiefly in poetry. [OE. morwen, morgen, AS. morgen; akin to D. morgen, OS. morgan, G. morgen, Icel. morginn, morgunn, Sw. morgon, Dan. morgen, Goth. maúrgins. Cf. Morrow, Morning.]
- gladly adv.
- Preferably; by choice. [From Glad, a.]
- countless a.
- Incapable of being counted; not ascertainable; innumerable.
- ghost n.
- The spirit; the soul of man. [OE. gast, gost, soul, spirit, AS. gast breath, spirit, soul; akin to OS. g spirit, soul, D. geest, G. geist, and prob. to E. gaze, ghastly.]
- blent p. p.
- Blinded. Also (Chaucer), 3d sing. pres. Blindeth.
Definitions and etymologies from Webster's Unabridged Dictionary, 1913.
About this text
The Problem is in the public domain. This text is taken from Poems Household Edition, Project Gutenberg ebook #12843; the transcription's header, footer and licence were removed and nothing else was changed. You may copy, print and reuse it freely.
Cite as: Ralph Waldo Emerson, The Problem, in Poems (1847), text of Project Gutenberg ebook #12843, Laurel, https://laurelpoetry.com/poem/emerson-poems/the-problem.html, id L07381.
Form and metre
The Problem is 72 lines in 5 verse paragraphs. It is in rhyming couplets, 78% of the lines: octosyllabic couplets. The metre is iambic tetrameter, measured from the stress the words themselves fix (confidence 90%). 95% of its stressed syllables fall where the metre puts the beat. The lines average 8.0 syllables. 6 lines end on an unstressed syllable, a feminine ending. 25% of the lines run on without a stop at the line end.
See other poems in octosyllabic couplets, other poems in iambic tetrameter.
Measured by Laurel's pipeline, not copied from a handbook: how stress and metre are counted, how rhyme is lettered, how a drifted rhyme is found. Where the dictionary cannot confirm a rhyme the letter is withheld, not guessed.
Rhyme words, stanza by stanza
The word that ends each line, lettered by the rhyme it makes; a dash is a line whose rhyme the dictionary could not confirm.
- 1 --AABB cowl · soul · aislesA · smilesA · seeB · beB
- 2 AA allureA · endureA
- 3 AABBCCDDEEFF--GG thoughtA · broughtA · fellB · oracleB · rolledC · oldC · cameD · flameD · belowE · woeE · domeF · romeF · sincerity · free · knewG · grewG
- 4 AABBCCDD--EEFFGGHH-- nestA · breastA · shellB · cellB · addsC · myriadsC · pilesD · tilesD · parthenon · zone · lidsE · pyramidsE · skyF · eyeF · sphereG · airG · placeH · raceH · date · ararat
- 5 AABBC-DEFFGGHHIIEDJJ-CKKLLMM grassA · surpassA · handB · plannedB · shrineC · within · pentecostD · hostE · choirsF · inspiresF · spokenG · unbrokenG · toldH · goldH · windI · mindI · ghostE · lostD · wiseJ · liesJ · augustine · lineC · minesK · divinesK · earL · dearL · seeM · beM
Scansion, line by line
Each line with its syllable count and the stresses the words themselves fix: / stressed, ˘ unstressed, · a syllable the word leaves free and the metre decides. Read against iambic tetrameter. How this is done.
| Line | Syl. | Stress |
|---|---|---|
| I like a church; I like a cowl; | 8 | ········ |
| I love a prophet of the soul; | 8 | ···/˘··· |
| And on my heart monastic aisles | 8 | ····˘/˘· |
| Fall like sweet strains, or pensive smiles | 8 | ·····/˘· |
| Yet not for all his faith can see | 8 | ········ |
| Would I that cowlèd churchman be. | 7 | ····/˘· |
| Why should the vest on him allure, | 8 | ······˘/ |
| Which I could not on me endure? | 8 | ······˘/ |
| Not from a vain or shallow thought | 8 | ·····/˘· |
| His awful Jove young Phidias brought; | 8 | ·/˘····· |
| Never from lips of cunning fell | 8 | /˘···/˘· |
| The thrilling Delphic oracle; | 8 | ·/˘/˘/˘˘ |
| Out from the heart of nature rolled | 8 | ·····/˘· |
| The burdens of the Bible old; | 8 | ·/˘··/˘· |
| The litanies of nations came, | 8 | ·/˘˘·/˘· |
| Like the volcano's tongue of flame, | 8 | ··˘/˘··· |
| Up from the burning core below,-- | 8 | ···/˘··· |
| The canticles of love and woe: | 7 | ······· |
| The hand that rounded Peter's dome | 8 | ···/˘/˘· |
| And groined the aisles of Christian Rome | 8 | ·····/˘· |
| Wrought in a sad sincerity; | 8 | ····˘/˘˘ |
| Himself from God he could not free; | 8 | ˘/······ |
| He builded better than he knew;-- | 8 | ·/˘/˘··· |
| The conscious stone to beauty grew. | 8 | ·/˘··/˘· |
| Know'st thou what wove yon woodbird's nest | 8 | ········ |
| Of leaves, and feathers from her breast? | 8 | ···/˘··· |
| Or how the fish outbuilt her shell, | 8 | ········ |
| Painting with morn each annual cell? | 8 | /˘···/˘· |
| Or how the sacred pine-tree adds | 8 | ···/˘··· |
| To her old leaves new myriads? | 8 | ·····/˘˘ |
| Such and so grew these holy piles, | 8 | ·····/˘· |
| Whilst love and terror laid the tiles. | 8 | ···/˘··· |
| Earth proudly wears the Parthenon, | 8 | ·/˘··/˘· |
| As the best gem upon her zone, | 8 | ········ |
| And Morning opes with haste her lids | 8 | ·/˘····· |
| To gaze upon the Pyramids; | 8 | ·····/˘˘ |
| O'er England's abbeys bends the sky, | 8 | ·/˘/˘··· |
| As on its friends, with kindred eye; | 8 | ·····/˘· |
| For out of Thought's interior sphere | 8 | ····˘/˘· |
| These wonders rose to upper air; | 8 | ·/˘··/˘· |
| And Nature gladly gave them place, | 8 | ·/˘/˘··· |
| Adopted them into her race, | 8 | ˘/˘····· |
| And granted them an equal date | 8 | ·/˘··/˘· |
| With Andes and with Ararat. | 8 | ·/˘··/˘· |
| These temples grew as grows the grass; | 8 | ·/˘····· |
| Art might obey, but not surpass. | 8 | ··˘/··˘/ |
| The passive Master lent his hand | 8 | ·/˘/˘··· |
| To the vast soul that o'er him planned; | 8 | ········ |
| And the same power that reared the shrine | 8 | ···/···· |
| Bestrode the tribes that knelt within. | 8 | ˘/······ |
| Ever the fiery Pentecost | 8 | /·/˘˘/˘· |
| Girds with one flame the countless host, | 8 | ·····/˘· |
| Trances the heart through chanting choirs, | 8 | /˘···/˘· |
| And through the priest the mind inspires. | 8 | ······˘/ |
| The word unto the prophet spoken | 9 | ·····/˘/˘ |
| Was writ on tables yet unbroken; | 9 | ···/˘·˘/˘ |
| The word by seers or sibyls told, | 8 | ·····/˘· |
| In groves of oak, or fanes of gold, | 8 | ········ |
| Still floats upon the morning wind, | 8 | ·····/˘· |
| Still whispers to the willing mind. | 8 | ·/˘··/˘· |
| One accent of the Holy Ghost | 8 | ·/···/˘· |
| The heedless world hath never lost. | 8 | ·/˘··/˘· |
| I know what say the fathers wise,-- | 8 | ·····/˘· |
| The Book itself before me lies, | 8 | ··˘/···· |
| Old Chrysostom, best Augustine, | 8 | ·····/˘· |
| And he who blent both in his line, | 8 | ········ |
| The younger Golden Lips or mines, | 8 | ·/˘/˘··· |
| Taylor, the Shakspeare of divines. | 8 | /˘····˘/ |
| His words are music in my ear, | 8 | ···/˘··· |
| I see his cowlèd portrait dear; | 7 | ····/˘· |
| And yet, for all his faith could see, | 8 | ········ |
| I would not the good bishop be. | 8 | ·····/˘· |
The reader shows the same poem with its rhymes coloured and a stress row above each line, the notes beside their stanzas, and any word's definition on a tap; the analysis page takes the whole book apart. How every part of this site was made.