This study aims at exploring the relationship between the emblem and the poem with special reference to George Herbert’s three poems: “Love unknown,” “The Bunch of Grapes,” and “Easter wings” in The Temple. Contemporary German emblem scholarship, especially that of Albrecht Schöne, explains the dynamic and complicated interrelationship between the emblem and the poem by using the idea of the dual function of representation and interpretation, instead of assigning specific functions to the tripartite structure, that is, the inscriptio, the pictura, and the subscriptio. David Graham’s most up-to-date view of “five classes of functions” is also useful in understanding how Herbert introduces the emblem into his poems. Herbert saw three options to adapt the emblem to the poem. The first way is exemplified in “Love unknown,” where the title serves as an inscriptio while the text as a subscriptio and a pictura. “Love unknown,” which consists of four stanzas, addresses how the heart of the persona is unpresentable to God because of its foulness, callousness, and dullness. In the final stanza, Jesus makes the persona “new, tender and quick” with his unknown love. This poem is pregnant with the images in schola cordis tradition, whose themes and images are exclusively related to the human heart. “The Bunch of Grapes” illustrates the second way to present the emblem in the poem. The title of this poem is a pictura while the text proper is a subscriptio and an inscriptio. In elucidating the symbolic meanings of the bunch of grapes the persona provides a typological perspective on the image of Jesus as wine. “Easter wings” is a so-called pattern poem, whose architectonic aspects resemble specific objects. The poem illustrates the third way to adopt the emblem in the poem. The outward shape of the poem is a pictura while the title is an inscriptio and the text a subscriptio. Even though “Easter-wings” can be approached from Zelus in deum, paupertas emblems, it is best interpreted in terms of the Greek mythology about Ganymede. This Greek hero symbolizes human delight in God, whereas the eagle on which the hero ascends the heaven stands for heavenly contemplation. George Herbert experiments with many ways to introduce the emblem in poems. He is keenly aware of thematic resources, in particular schola cordis emblems and structural varieties of the emblem in general, and is able to enrich his poems thematically and diversify their structures.