Classic and Contemporary Poetry: Explained

In the poem "On a Sermon Preach'd on ... 'You Have Sold Your Selves for Naught,'" Sarah Fyge Egerton critiques a preacher for prioritizing legalistic and technical language over spiritual guidance in a sermon. Through a blend of satire and sharp wit, Egerton explores the tension between law and grace while providing a pointed commentary on the preacher's misguided approach.

Overview of the Poem:  

Egerton opens by highlighting the preacher's focus on legal texts: "With Grotius on New-Testament yo've done, / And chose Authentick Coke and Littleton." Hugo Grotius was a Dutch legal scholar known for his work on natural law, while Edward Coke and Thomas Littleton were prominent English jurists. By referencing these figures, Egerton implies that the preacher is more interested in legal theory than in spiritual matters. The preacher's brain, she says, is "inspired" by "Tenures," or the principles of property law, leading him to speak in a "legislative Strain."

Legalistic Approach to Scripture:  

The preacher's focus on technical legal distinctions is evident in his sermon, where he "each nice Distinction did pursue, / The Bargain, Sale, and the habendum too." These terms refer to specific legal concepts related to property transactions. The "habendum," for instance, defines the extent of the interest granted in a conveyance. Egerton finds the preacher's use of such terms inappropriate for a religious sermon.

The preacher interprets the phrase "You have sold your selves for naught" in purely legal terms, explaining how humans have "passed away, / For nothing too our Tenement of Clay." Here, "Tenement of Clay" represents the human body, and Egerton satirically remarks that the preacher treats humans as if they have signed away their souls to the devil through a "Deed of Feoffment." The preacher argues that "the Devil who the Purchase bought, / He nothing gave nor nothing had he got." This implies that the devil acquired humans' souls for nothing and gave nothing in return.

Critique of the Sermon:  

Egerton criticizes the preacher's legalistic interpretation: "On this you Cant (awhile) at last recal, / Cum Pertinentiis, he had gotten all." The Latin phrase "cum pertinentiis" means "with appurtenances," indicating that the devil acquired everything associated with the "Tenement of Clay." Egerton mocks the preacher's reliance on legal jargon ("Cant") and his inability to recognize the spiritual implications of the sermon.

She further critiques the preacher's confusion of law and grace: "When of the Gospel you make Law take Place, / Statues may well get upper-hand of Grace." By focusing on legal distinctions instead of spiritual truths, the preacher allows law to overshadow grace. She asserts that he has missed "the Primitive design" and implies that the preacher is more of a legal advocate than a spiritual guide: "Joshua must yield to an Evangelist."

Satirical Comparison to Legal Practice:  

Egerton uses satire to highlight the preacher's approach: "But Littleton in you has got the start, / Did'st know if thou in church or Temple were't?" By invoking Thomas Littleton, she suggests that the preacher is more concerned with legal principles than with religious teachings. His sermon resembles a legal argument ("The Sermon is at best but a Debate"), relying on "Presidents" (precedents) instead of religious "Proofs."

The preacher's use of legal language continues as Egerton describes him "Declare, Plead, Join Issue or Demur, / Then sell at last with (come ceo Sur;)." These are all legal actions associated with court proceedings, further emphasizing the preacher's preoccupation with law over spirituality. The Latin phrase "come ceo Sur" (likely a play on "come ceo sa" or similar phrases) satirizes his final exhortation.

Egerton concludes with a warning that if the preacher continues to preach in such a manner, his "Hearers may remain in Statu quo," meaning that they will remain unchanged and unaffected. The poem ends with a biting remark: "So far you on the legal rights intrench, / We scarcely know your Pulpit from the Bench." Here, Egerton blurs the line between the pulpit and the legal bench, criticizing the preacher for turning the sermon into a legal lecture.

Conclusion:  

In "On a Sermon Preach'd on ... 'You Have Sold Your Selves for Naught,'" Sarah Fyge Egerton masterfully blends satire and social commentary to critique a preacher's legalistic approach to spiritual matters. By emphasizing the importance of grace over legalism, Egerton challenges the reduction of complex spiritual truths to mere legal distinctions. The poem’s wit and sharp observations make it a compelling commentary on the tensions between law and grace, as well as a critique of misplaced priorities in religious discourse.

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