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Delight in Disorder
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Background
Historical Context: The Cavalier Poets
Robert Herrick is considered to be a Cavalier Poet, despite never serving at the court or in the English Civil War. His support of the monarchy, his aesthetic sensibility, and his close association with Ben Jonson align him with the Cavalier Poets, who self-titled themselves the “Tribe of Ben” as young men (See: Further Reading & Resources). Richard Lovelace, Sir John Suckling, and Thomas Carew all attended Cambridge with Herrick, and all fell under the influence of Jonson. The Cavalier Poets are often contrasted with the metaphysical poets (e.g., John Donne), who were concerned with analyzing feelings in more elaborate and abstract language than the emotional simplicity favored by the Cavalier Poets.
Rather than exploring higher consciousness on a theoretical level, the Cavalier Poets preferred to discuss sensuality and materiality. They used a simple verse style and often idealized nature. Their poems were characterized by conceit or wit; they produced polished elegant lyrics that urged people to engage with life or embrace the philosophy of carpe diem (“seize the day”). Jonson urged them to study ancient poets and emulate them, which Herrick routinely did. Herrick’s “Delight in Disorder” may be written in tribute to Jonson’s “Still to Be Neat, Still to Be Dressed” (See: Further Reading & Resources).
Politically, the Tribe of Ben supported the monarchy and rejected the Puritan Roundheads’ focus on God’s absolute authority and austerity. In 1651, when the political tides turned and King Charles I was executed, the Cavalier Poets were considered the epitome of all that was ungodly. After the Restoration of the monarchy, they regained favor.
Cultural Context: 17th-Century Women’s Clothing
Women’s clothing in the 17th century was more or less elaborate depending on the financial resources and social position of who wore it. Since there is no definitive place or event mentioned in “Delight in Disorder,” the woman in question could be either from the court, the upper class, or the middle class. She wears a shawl about her shoulders, a “crimson stomacher” (Line 6) with laces, sleeves since there is a “cuff” (Line 7), a “petticoat” (Line 10), and laced shoes.
It is helpful to know what these items looked like to get a full picture of Herrick’s speaker’s subject. A stomacher is a stiff, triangular-shaped panel that was either formed into, or fit over, the bodice of a woman’s dress. It could be a part of stay laces or actually stitched into the garment. It might have also been bejeweled or embellished with lace. During the time period, stomachers were often red, with only the court wearing other colors. Sarah A. Bendall, a fashion historian, notes that “some surviving bodi[c]es from this century had detachable sleeves (that are laced on with points)” (See: Further Reading & Resources).
Petticoats were most often red and could be worn as under or outer wear since “in the seventeenth century there was no firm distinction” (See: Further Reading & Resources). They were often very full, with gathering at the waist, which could account for the “winning wave” (Line 9) of fabric that Herrick’s speaker sees about the woman’s hips. Its “tempestuous” (Line 10) nature may suggest that the petticoat peeks out from the overskirt. Many of these garments were held together by laces or ties that could become loose. This could have created the “sweet disorder” (Line 1) that Herrick’s speaker notices.
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