Gerard Manley Hopkins
Introduction
Gerard Manley Hopkins was born
in 1844 to devout Anglican parents who fostered
from an early age their eldest son’s commitment to religion and to the creative
arts. His mother, quite well educated for a woman of her day, was an avid reader.
His father wrote and reviewed poetry and even authored a novel, though it was
never published. Hopkins also had a number of relatives who were interested in
literature, music, and the visual arts, some as dabblers and some
professionals; he and his siblings showed similarly creative dispositions from
an early age, and Hopkins enjoyed a great deal of support and encouragement for
his creative endeavors. He studied drawing and music and at one point hoped to
become a painter—as, indeed, two of his brothers did. Even his earliest verses
displayed a vast verbal talent.
Hopkins was born in Essex,
England, in an area that was then being transformed by industrial development.
His family moved to the relatively undefiled neighborhood of Hampstead, north
of the city, in 1852, out of a conviction that
proximity to nature was important to a healthy, wholesome, and religious
upbringing. From 1854 to 1863
Hopkins attended Highgate Grammar School, where he studied under Canon Dixon, who became a lifelong friend
and who encouraged his interest in Keats. At Oxford, Hopkins pursued Latin and Greek. He
was a student of Walter Pater and befriended the poet Robert Bridges and
Coleridge’s grandson. In the 1860s Hopkins was profoundly influenced by
Christina Rossetti and was interested in medievalism, the Pre-Raphaelites, and
developments in Victorian religious poetry. He also became preoccupied with the
major religious controversies that were fermenting within the Anglican Church.
Centered at Oxford, the main debate took place between two reform groups: the
Tractarians, whose critics accused them of being too close to Catholicism in
their emphasis on ritual and church traditions (it was in this culture that
Hopkins was reared), and the Broad Church Movement, whose followers believed
that all religious faith should be scrutinized on a basis of empirical evidence
and logic. Immersed in intense debate over such issues, Hopkins entered into a process of
soul-searching, and after much deliberation abandoned the religion of his family
and converted to Catholicism. He threw his whole heart and life behind his
conversion, deciding to become a Jesuit priest.
Hopkins undertook a lengthy
course of training for the priesthood; for seven years he wrote almost no
verse, having decided that one who had pledged his life to God should not
pursue poetry. Only at the urging of church officials did Hopkins resume his poetry, while
studying theology in North Wales, in 1875. He wrote The Wreck of the Deutschland in 1876
and, during the course of the next year, composed many of his most famous
sonnets. Hopkins’s subject matter in these
mature poems is wholly religious—he believed that by making his work
religious-themed he might make poetry a part of his religious vocation. These
post-1875 poems follow a style quite different
from that of Hopkins’s earlier verse. After his
ordination in 1877, Hopkins did parish work in a number of
locales. He spent the last years of his short life quite unhappily in Dublin,
where he wrote a group of melancholy poems often referred to as the “Terrible Sonnets” or “Sonnets of Desolation”; they exquisitely render the
spiritual anguish for which Hopkins is famous. The great poet died in Dublin of typhoid fever in 1889.
ANALYSIS OF HOPKINS POETRY AS A WHOLE
Gerard Manley Hopkins is one of
the greatest 19th-century poets of religion, of
nature, and of inner anguish. In his view of nature, the world is like a book
written by God. In this book God expresses himself completely, and it is by
“reading” the world that humans can approach God and learn about Him. Hopkins
therefore sees the environmental crisis of the Victorian period as vitally
linked to that era’s spiritual crisis, and many of his poems bemoan man’s
indifference to the destruction of sacred natural and religious order. The poet
harbored an acute interest in the scientific and technological advances of his
day; he saw new discoveries (such as the new explanations for phenomena in electricity
or astronomy) as further evidence of God’s deliberate hand, rather than as
refutations of God’s existence.
One of Hopkins’s most famous (and most
debated) theories centers on the concept of “inscape.” He coined this word to
refer to the essential individuality of a thing, but with a focus not on its
particularity or uniqueness, but rather on the unifying design that gives a
thing its distinctive characteristics and relates it to its context. Hopkins was interested in the
exquisite interrelation of the individual thing and the recurring pattern. He
saw the world as a kind of network integrated by divine law and design.
Hopkins wrote most frequently in the
sonnet form. He generally preferred the Italian or Petrarchan sonnet, which
consists of an octave followed by a sestet, with a turn in argument or change
in tone occurring in the second part. Hopkins typically uses the octave to
present some account of personal or sensory experience and then employs the
sestet for philosophical reflection. While Hopkins enjoyed the structure the
sonnet form imposes, with its fixed length and rhyme scheme, he nevertheless
constantly stretched and tested its limitations. One of his major innovations
was a new metrical form, called “sprung rhythm.” In sprung rhythm, the poet
counts the number of accented syllables in the line, but places no limit on the
total number of syllables. As opposed to syllabic meters (such as the iambic),
which count both stresses and syllables, this form allows for greater freedom
in the position and proportion of stresses. Whereas English verse has
traditionally alternated stressed and unstressed syllables with occasional
variation, Hopkins was free to place multiple stressed syllables one after
another (as in the line “All felled, felled, are all felled” from “Binsey
Poplars”), or to run a large number of unstressed syllables together (as in
“Finger of a tender of, O of a feathery delicacy” from Wreck of the Deutschland). This gives Hopkins great control over the speed
of his lines and their dramatic effects.
Another unusual poetic resource
Hopkins favored is “consonant
chiming,” a technique he learned from Welsh poetry. The technique involves
elaborate use of alliteration and internal rhyme; in Hopkins’s hands this creates an
unusual thickness and resonance. This close linking of words through sound and
rhythm complements Hopkins’s themes of finding pattern
and design everywhere. Hopkins’s form is also characterized
by a stretching of the conventions of grammar and sentence structure, so that
newcomers to his poetry must often strain to parse his sentences. Deciding
which word in a given sentence is the verb, for example, can often involve
significant interpretive work. In addition, Hopkins often invents words, and pulls
his vocabulary freely from a number of different registers of diction. This
leads to a surprising mix of neologisms and archaisms throughout his lines. Yet
for all his innovation and disregard of convention, Hopkins’ goal was always to bring
poetry closer to the character of natural, living speech.
Themes
The Manifestation of God in Nature
Hopkins used poetry to express
his religious devotion, drawing his images from the natural world. He found
nature inspiring and developed his theories of inscape and instress to explore
the manifestation of God in every living thing. According to these theories,
the recognition of an object’s unique identity, which was bestowed upon that
object by God, brings us closer to Christ. Similarly, the beauty of the natural
world—and our appreciation of that beauty—helps us worship God. Many poems,
including “Hurrahing in Harvest” and “The Windhover,” begin with the speaker
praising an aspect of nature, which then leads the speaker into a consideration
of an aspect of God or Christ. For instance, in “The Starlight Night,” the
speaker urges readers to notice the marvels of the night sky and compares the
sky to a structure, which houses Christ, his mother, and the saints. The stars’
link to Christianity makes them more beautiful.
The Regenerative Power of Nature
Hopkins’s early poetry praises
nature, particularly nature’s unique ability to regenerate and rejuvenate.
Throughout his travels in England and Ireland, Hopkins witnessed the detrimental
effects of industrialization on the environment, including pollution,
urbanization, and diminished rural landscapes. While he lamented these effects,
he also believed in nature’s power of regeneration, which comes from God. In “God’s Grandeur,” the speaker notes the
wellspring that runs through nature and through humans. While Hopkins never doubted the presence of
God in nature, he became increasingly depressed by late nineteenth-century life
and began to doubt nature’s ability to withstand human destruction. His later
poems, the so-called terrible sonnets, focus on images of death, including the
harvest and vultures picking at prey. Rather than depict the glory of nature’s
rebirth, these poems depict the deaths that must occur in order for the cycle
of nature to continue. “Thou Art Indeed Just, Lord” (1889)
uses parched roots as a metaphor for despair: the speaker begs Christ to help
him because Christ’s love will rejuvenate him, just as water helps rejuvenate
dying foliage.
Motifs
Colors
According to Hopkins’s theory of inscape, all
living things have a constantly shifting design or pattern that gives each
object a unique identity. Hopkins frequently uses color to
describe these inscapes. “Pied Beauty” praises God for giving every object a distinct visual pattern,
from sunlight as multicolored as a cow to the beauty of birds’ wings and
freshly plowed fields. Indeed, the word pied means “having splotches of
two or more colors.” In “Hurrahing in Harvest,” the speaker describes “azourous hung hills” (9)
that are “very-violet-sweet” (10).
Elsewhere, the use of color to describe nature becomes more complicated, as in “Spring.” Rather than just call the
birds’ eggs “blue,” the speaker describes them as resembling pieces of the sky
and thus demonstrates the interlocking order of objects in the natural world.
In “The
Windhover,”
the speaker yokes adjectives to convey the peculiar, precise beauty of the bird
in flight—and to convey the idea that nature’s colors are so magnificent that
they require new combinations of words in order to be imagined.
Ecstatic, Transcendent Moments
Many of Hopkins’s poems feature an ecstatic
outcry, a moment at which the speaker expresses his transcendence of the real
world into the spiritual world. The words ah, o, and oh
usually signal the point at which the poem moves from a description of nature’s
beauty to an overt expression of religious sentiment. “Binsey Poplars” (1879),
a poem about the destruction of a forest, begins with a description of the
downed trees but switches dramatically to a lamentation about the human role in
the devastation; Hopkins signals the switch by not only beginning a new stanza
but also by beginning the line with “O” (9). Hopkins also uses exclamation points
and appositives to articulate ecstasy: in “Carrion Comfort,” the speaker concludes with two
cries to Christ, one enclosed in parentheses and punctuated with an exclamation
point and the other punctuated with a period. The words and the punctuation
alert the reader to the instant at which the poem shifts from secular concerns
to religious feeling.
Bold Musicality
To express inscape and
instress, Hopkins experimented with rhythm and
sound to create sprung rhythm, a distinct musicality that resembles the
patterns of natural speech in English. The flexible meter allowed Hopkins to convey the fast, swooping
falcon in “The
Windhover” and
the slow movement of heavy clouds in “Hurrahing in Harvest.” To indicate how
his lines should be read aloud, Hopkins often marked words with acute
accents, as in “As Kingfishers Catch Fire” and “Spring and Fall.” Alliteration, or the juxtaposition of similar sounds, links form
with content, as in this line from “God’s Grandeur”: “And all is seared with trade; bleared, smeared with toil” (6). In the act of repeating “red,” our mouths make a
long, low sound that resembles the languid movements of humans made tired from
factory labor. Elsewhere, the alliterative lines become another way of
worshiping the divine because the sounds roll and bump together in pleasure.
“Spring” begins, “Nothing is so beautiful as Spring— / When weeds, in wheels,
shoot long and lovely and lush” (1–2).
Symbols
Birds
Birds appear throughout Hopkins’s poetry, frequently as
stand-ins for God and Christ. In “The Windhover,” a poem dedicated to Christ, the speaker watches a falcon flying
through the sky and finds traces of Christ in its flight path. The beauty of
the bird causes the speaker to reflect on the beauty of Christ because the
speaker sees a divine imprint on all living things. Similarly, “As Kingfishers
Catch Fire” meditates on the innate behaviors and patterns of beings in the
universe: the inscape of birds manifests in their flights, much as the inscape
of stone manifests in the sound of flowing water. Christ appears everywhere in
these inscape manifestations. In Christian iconography, birds serve as
reminders that there is life away from earth, in heaven—and the Holy Ghost is
often represented as a dove. “God’s Grandeur” portrays the Holy Ghost
literally, as a bird big enough to brood over the entire world, protecting all
its inhabitants.
Fire
Hopkins uses images of fire to
symbolize the passion behind religious feeling, as well as to symbolize God and
Christ. In “God’s
Grandeur,” Hopkins compares the glory of God and
the beautiful bounty of his world to fire, a miraculous presence that warms and
beguiles those nearby. He links fire and Christ in “The Windhover,” as the speaker sees a flame
burst at the exact moment in which he realizes that the falcon contains Christ.
Likewise, “As
Kingfishers Catch Fire” uses the phrase “catch fire” as a metaphor for the birds’ manifestation of the divine imprint,
or inscape, in their natural behavior. In that poem too, the dragonflies “draw flame” (1),
or create light, to show their distinct identities as living things. Nature’s
fire—lightning—appears in other poems as a way of demonstrating the innate
signs of God and Christ in the natural world: God and Christ appear throughout
nature, regardless of whether humans are there to witness their appearances.
Trees
Trees appear in Hopkins’s poems to dramatize the
earthly effects of time and to show the detrimental effects of humans on
nature. In “Spring
and Fall,” the
changing seasons become a metaphor for maturation, aging, and the life cycle,
as the speaker explains death to a young girl: all mortal things die, just as
all deciduous trees lose their leaves. In “Binsey Poplars,” the speaker mourns
the loss of a forest from human destruction, then urges readers to be mindful
of damaging the natural world. Cutting down a tree becomes a metaphor for the
larger destruction being enacted by nineteenth-century urbanization and
industrialization. Trees help make an area more beautiful, but they do not
manifest God or Christ in the same way as animate objects, such as animals or
humans.
“The Windhover”
To Christ our
Lord
I caught this morning morning’s minion, king-
dom of daylight’s dauphin, dapple-dawn-drawn Falcon, in his riding
Of the rolling level underneath him steady air, and striding
High there, how he rung upon the rein of a wimpling wing
In his ecstasy! then off, off forth on swing,
As a skate’s heel sweeps smooth on a bow-bend: the hurl and gliding
Rebuffed the big wind. My heart in hiding
Stirred for a bird,—the achieve of, the mastery of the thing!
Brute beauty and valour and act, oh, air, pride, plume, here
Buckle! AND the fire that breaks from thee then, a billion
Times told lovelier, more dangerous, O my chevalier!
No wonder of it: sheer plod makes plough down sillion
Shine, and blue-bleak embers, ah my dear,
Fall, gall themselves, and gash gold-vermillion.
I caught this morning morning’s minion, king-
dom of daylight’s dauphin, dapple-dawn-drawn Falcon, in his riding
Of the rolling level underneath him steady air, and striding
High there, how he rung upon the rein of a wimpling wing
In his ecstasy! then off, off forth on swing,
As a skate’s heel sweeps smooth on a bow-bend: the hurl and gliding
Rebuffed the big wind. My heart in hiding
Stirred for a bird,—the achieve of, the mastery of the thing!
Brute beauty and valour and act, oh, air, pride, plume, here
Buckle! AND the fire that breaks from thee then, a billion
Times told lovelier, more dangerous, O my chevalier!
No wonder of it: sheer plod makes plough down sillion
Shine, and blue-bleak embers, ah my dear,
Fall, gall themselves, and gash gold-vermillion.
Summary
The windhover is a bird with
the rare ability to hover in the air, essentially flying in place while it
scans the ground in search of prey. The poet describes how he saw (or “caught”) one of these birds in the
midst of its hovering. The bird strikes the poet as the darling (“minion”) of
the morning, the crown prince (“dauphin”) of the kingdom of daylight, drawn by the dappled colors of dawn.
It rides the air as if it were on horseback, moving with steady control like a
rider whose hold on the rein is sure and firm. In the poet’s imagination, the
windhover sits high and proud, tightly reined in, wings quivering and tense.
Its motion is controlled and suspended in an ecstatic moment of concentrated energy.
Then, in the next moment, the bird is off again, now like an ice skater
balancing forces as he makes a turn. The bird, first matching the wind’s force
in order to stay still, now “rebuff[s] the big wind” with its forward
propulsion. At the same moment, the poet feels his own heart stir, or lurch
forward out of “hiding,” as it were—moved by “the achieve of, the mastery of” the bird’s performance.
The opening of the sestet
serves as both a further elaboration on the bird’s movement and an injunction to
the poet’s own heart. The “beauty,” “valour,” and “act” (like “air,” “pride,” and “plume”) “here buckle.” “Buckle” is the verb here; it
denotes either a fastening (like the buckling of a belt), a coming together of
these different parts of a creature’s being, or an acquiescent collapse (like
the “buckling” of the knees), in which all parts subordinate themselves into
some larger purpose or cause. In either case, a unification takes place. At the
moment of this integration, a glorious fire issues forth, of the same order as
the glory of Christ’s life and crucifixion, though not as grand.
Form
The confusing grammatical
structures and sentence order in this sonnet contribute to its difficulty, but
they also represent a masterful use of language. Hopkins blends and confuses
adjectives, verbs, and subjects in order to echo his theme of smooth merging:
the bird’s perfect immersion in the air, and the fact that his self and his
action are inseparable. Note, too, how important the “-ing” ending is to the poem’s rhyme
scheme; it occurs in verbs, adjectives, and nouns, linking the different parts
of the sentences together in an intense unity. A great number of verbs are
packed into a short space of lines, as Hopkins tries to nail down with as
much descriptive precision as possible the exact character of the bird’s
motion.
“The Windhover” is written in “sprung rhythm,” a meter in which the number of
accents in a line are counted but the number of syllables does not matter. This
technique allows Hopkins to vary the speed of his lines
so as to capture the bird’s pausing and racing. Listen to the hovering rhythm
of “the
rolling level underneath him steady air,” and the arched brightness of “and striding high there.” The poem slows abruptly at the
end, pausing in awe to reflect on Christ.
Commentary
This poem follows the pattern
of so many of Hopkins’s sonnets, in that a sensuous
experience or description leads to a set of moral reflections. Part of the
beauty of the poem lies in the way Hopkins integrates his masterful description
of a bird’s physical feat with an account of his own heart’s response at the
end of the first stanza. However, the sestet has puzzled many readers because
it seems to diverge so widely from the material introduced in the octave. At
line nine, the poem shifts into the present tense, away from the recollection
of the bird. The horse-and-rider metaphor with which Hopkins depicted the
windhover’s motion now give way to the phrase “my chevalier”—a traditional Medieval image of
Christ as a knight on horseback, to which the poem’s subtitle (or dedication)
gives the reader a clue. The transition between octave and sestet comes with
the statement in lines 9-11
that the natural (“brute”) beauty of the bird in flight is but a spark in comparison with the
glory of Christ, whose grandeur and spiritual power are “a billion times told
lovelier, more dangerous.”
The first sentence of the
sestet can read as either descriptive or imperative, or both. The idea is that
something glorious happens when a being’s physical body, will, and action are
all brought into accordance with God’s will, culminating in the perfect
self-expression. Hopkins, realizing that his own heart was “in hiding,” or not fully committed to its
own purpose, draws inspiration from the bird’s perfectly self-contained,
self-reflecting action. Just as the hovering is the action most distinctive and
self-defining for the windhover, so spiritual striving is man’s most essential
aspect. At moments when humans arrive at the fullness of their moral nature, they
achieve something great. But that greatness necessarily pales in comparison
with the ultimate act of self-sacrifice performed by Christ, which nevertheless
serves as our model and standard for our own behavior.
The final tercet within the
sestet declares that this phenomenon is not a “wonder,” but rather an everyday
occurrence—part of what it means to be human. This striving, far from
exhausting the individual, serves to bring out his or her inner glow—much as
the daily use of a metal plow, instead of wearing it down, actually polishes
it—causing it to sparkle and shine. The suggestion is that there is a
glittering, luminous core to every individual, which a concerted religious life
can expose. The subsequent image is of embers breaking open to reveal a smoldering
interior. Hopkins words this image so as to
relate the concept back to the Crucifixion: The verb “gash” (which doubles for “gush”) suggests the wounding of
Christ’s body and the shedding of his “gold-vermilion” blood.
“Pied Beauty” (1877)
Glory be to God for dappled things—
For skies of couple-colour as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
Landscape plotted and pieced—fold, fallow, and plough;
And áll trádes, their gear and tackle and trim.
All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change: Praise Him.
For skies of couple-colour as a brinded cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
Landscape plotted and pieced—fold, fallow, and plough;
And áll trádes, their gear and tackle and trim.
All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change: Praise Him.
Summary
The poem opens with an
offering: “Glory
be to God for dappled things.” In the next five lines, Hopkins elaborates with examples of
what things he means to include under this rubric of “dappled.” He includes the
mottled white and blue colors of the sky, the “brinded” (brindled or streaked) hide of a
cow, and the patches of contrasting color on a trout. The chestnuts offer a
slightly more complex image: When they fall they open to reveal the meaty
interior normally concealed by the hard shell; they are compared to the coals
in a fire, black on the outside and glowing within. The wings of finches are
multicolored, as is a patchwork of farmland in which sections look different
according to whether they are planted and green, fallow, or freshly plowed. The
final example is of the “trades” and activities of man, with their rich diversity of materials and
equipment.
In the final five lines,
Hopkins goes on to consider more closely the characteristics of these examples
he has given, attaching moral qualities now to the concept of variety and
diversity that he has elaborated thus far mostly in terms of physical
characteristics. The poem becomes an apology for these unconventional or “strange” things, things that might not
normally be valued or thought beautiful. They are all, he avers, creations of
God, which, in their multiplicity, point always to the unity and permanence of
His power and inspire us to “Praise Him.”
Form
This is one of Hopkins’s “curtal” (or curtailed) sonnets, in
which he miniaturizes the traditional sonnet form by reducing the eight lines
of the octave to six (here two tercets rhyming ABC ABC) and shortening
the six lines of the sestet to four and a half. This alteration of the sonnet
form is quite fitting for a poem advocating originality and contrariness. The
strikingly musical repetition of sounds throughout the poem (“dappled,” “stipple,”
“tackle,” “fickle,” “freckled,” “adazzle,” for example) enacts the creative act the poem
glorifies: the weaving together of diverse things into a pleasing and coherent
whole.
Commentary
This poem is a miniature or
set-piece, and a kind of ritual observance. It begins and ends with variations
on the mottoes of the Jesuit order (“to the greater glory of God” and “praise to God always”), which give it a traditional
flavor, tempering the unorthodoxy of its appreciations. The parallelism of the
beginning and end correspond to a larger symmetry within the poem: the first
part (the shortened octave) begins with God and then moves to praise his
creations. The last four-and-a-half lines reverse this movement, beginning with
the characteristics of things in the world and then tracing them back to a
final affirmation of God. The delay of the verb in this extended sentence makes
this return all the more satisfying when it comes; the long and list-like
predicate, which captures the multiplicity of the created world, at last yields
in the penultimate line to a striking verb of creation (fathers-forth) and then
leads us to acknowledge an absolute subject, God the Creator. The poem is thus
a hymn of creation, praising God by praising the created world. It expresses
the theological position that the great variety in the natural world is a
testimony to the perfect unity of God and the infinitude of His creative power.
In the context of a Victorian age that valued uniformity, efficiency, and
standardization, this theological notion takes on a tone of protest.
Why does Hopkins choose to commend “dappled things” in particular? The first
stanza would lead the reader to believe that their significance is an aesthetic
one: In showing how contrasts and juxtapositions increase the richness of our
surroundings, Hopkins describes variations in color
and texture—of the sensory. The mention of the “fresh-firecoal
chestnut-falls” in the fourth line, however, introduces a moral tenor to the list.
Though the description is still physical, the idea of a nugget of goodness
imprisoned within a hard exterior invites a consideration of essential value
in a way that the speckles on a cow, for example, do not. The image transcends the
physical, implying how the physical links to the spiritual and meditating on
the relationship between body and soul. Lines five and six then serve to
connect these musings to human life and activity. Hopkins first introduces a landscape
whose characteristics derive from man’s alteration (the fields), and then
includes “trades,”
“gear,” “tackle,” and “trim” as diverse items that are man-made. But he then goes on to include
these things, along with the preceding list, as part of God’s work.
Hopkins does not refer explicitly to
human beings themselves, or to the variations that exist among them, in his
catalogue of the dappled and diverse. But the next section opens with a list of
qualities (“counter,
original, spare, strange”) which, though they doggedly refer to “things” rather than people, cannot but
be considered in moral terms as well; Hopkins’s own life, and particularly
his poetry, had at the time been described in those very terms. With “fickle” and “freckled” in the eighth line, Hopkins introduces a moral and an
aesthetic quality, each of which would conventionally convey a negative
judgment, in order to fold even the base and the ugly back into his worshipful
inventory of God’s gloriously “pied” creation.
“Spring and Fall” (1880)
To
a young child
Margaret, are you grieving
Over Goldengrove unleaving?
Leaves, like the things of man, you
With your fresh thoughts care for, can you?
Ah! as the heart grows older
It will come to such sights colder
By and by, nor spare a sigh
Though worlds of wanwood leafmeal lie;
And yet you will weep know why.
Now no matter, child, the name:
Sorrow’s springs are the same.
Nor mouth had, no nor mind, expressed
What heart heard of, ghost guessed:
It is the blight man was born for,
It is Margaret you mourn for.
Margaret, are you grieving
Over Goldengrove unleaving?
Leaves, like the things of man, you
With your fresh thoughts care for, can you?
Ah! as the heart grows older
It will come to such sights colder
By and by, nor spare a sigh
Though worlds of wanwood leafmeal lie;
And yet you will weep know why.
Now no matter, child, the name:
Sorrow’s springs are the same.
Nor mouth had, no nor mind, expressed
What heart heard of, ghost guessed:
It is the blight man was born for,
It is Margaret you mourn for.
Summary
The poem opens with a question
to a child: “Margaret,
are you grieving / Over Goldengrove unleaving?” “Goldengrove,” a place whose name suggests an
idyllic play-world, is “unleaving,” or losing its leaves as winter approaches. And the child, with her
“fresh
thoughts,”
cares about the leaves as much as about “the things of man.” The speaker
reflects that age will alter this innocent response, and that later whole
“worlds” of forest will lie in leafless disarray (“leafmeal,” like
“piecemeal”)
without arousing Margaret’s sympathy. The child will weep then, too, but for a
more conscious reason. However, the source of this knowing sadness will be the
same as that of her childish grief—for “sorrow’s springs are the same.” That is, though neither her
mouth nor her mind can yet articulate the fact as clearly as her adult self
will, Margaret is already mourning over her own mortality.
Form
This poem has a lyrical rhythm
appropriate for an address to a child. In fact, it appears that Hopkins began composing a musical
accompaniment to the verse, though no copy of it remains extant. The lines form
couplets and each line has four beats, like the characteristic ballad line,
though they contain an irregular number of syllables. The sing-song effect this
creates in the first eight lines is complicated into something more uneasy in
the last seven; the rhymed triplet at the center of the poem creates a pivot
for this change. Hopkins’ “sprung rhythm” meter lets him orchestrate the
juxtapositions of stresses in unusual ways. He sometimes incorporates pauses,
like musical rests, in places where we would expect a syllable to separate two
stresses (for example, after “Margaret” in the first line and “Leaves” in the third). At other times he lets the
stresses stand together for emphasis, as in “will weep” and “ghost guessed”; the alliteration here
contributes to the emphatic slowing of the rhythm at these most earnest and
dramatic points in the poem.
Commentary
The title of the poem invites
us to associate the young girl, Margaret, in her freshness, innocence, and
directness of emotion, with the springtime. Hopkins’s choice of the American word “fall” rather than the British “autumn” is deliberate; it links the
idea of autumnal decline or decay with the biblical Fall of man from grace.
That primordial episode of loss initiated human mortality and suffering; in
contrast, the life of a young child, as Hopkins suggests (and as so many poets
have before him—particularly the Romantics), approximates the Edenic state of
man before the Fall. Margaret lives in a state of harmony with nature that
allows her to relate to her paradisal “Goldengrove” with the same sympathy she
bears for human beings or, put more cynically, for “the things of man.”
Margaret experiences an
emotional crisis when confronted with the fact of death and decay that the
falling leaves represent. What interests the speaker about her grief is that it
represents such a singular (and precious) phase in the development of a human
being’s understanding about death and loss; only because Margaret has already
reached a certain level of maturity can she feel sorrow at the onset of autumn.
The speaker knows what she does not, namely, that as she grows older she will
continue to experience this same grief, but with more self-consciousness about
its real meaning (“you will weep, and know why”), and without the same mediating
(and admittedly endearing) sympathy for inanimate objects (“nor spare a sigh, / Though
worlds of wanwood leafmeal lie”). This eighth line is perhaps one of the most beautiful in all of Hopkins’s work: The word “worlds”
suggests a devastation and decline that spreads without end, well beyond the
bounds of the little “Goldengrove” that seems so vast and significant to a child’s perception. Loss
is basic to the human experience, and it is absolute and all-consuming. “Wanwood” carries the suggestion of pallor
and sickness in the word “wan,” and also provides a nice description of the
fading colors of the earth as winter dormancy approaches. The word “leafmeal,” which Hopkins coined by
analogy with “piecemeal,” expresses with poignancy the sense of wholesale havoc with which
the sight of strewn fallen leaves might strike a naive and sensitive mind.
In the final, and heaviest,
movement of the poem, Hopkins goes on to identify what this
sorrow is that Margaret feels and will, he assures us, continue to feel, although
in different ways. The statement in line 11 that “Sorrow’s springs are the
same”
suggests not only that all sorrows have the same source, but also that
Margaret, who is associated with springtime, represents a stage all people go
through in coming to understand mortality and loss. What is so remarkable about
this stage is that while the “mouth” cannot say what the grief is for, nor the mind even articulate it
silently, a kind of understanding nevertheless materializes. It is a whisper to
the heart, something “guessed” at by the “ghost” or spirit—a purely intuitive notion of the fact
that all grieving points back to the self: to one’s own suffering of losses,
and ultimately to one’s own mortality.
Though the narrator’s tone
toward the child is tender and sympathetic, he does not try to comfort her. Nor
are his reflections really addressed to her because they are beyond her level
of understanding. We suspect that the poet has at some point gone through the
same ruminations that he now observes in Margaret; and that his once-intuitive
grief then led to these more conscious reflections. Her way of confronting loss
is emotional and vague; his is philosophical, poetical, and generalizing, and
we see that this is his more mature—and “colder”—way of likewise mourning for
his own mortality.
Felix Randal
Felix Randal the farrier, O is he dead
then? my duty all ended,
Who have watched his mould of man,
big-boned and hardy-handsome
Pining, pining, till time when reason
rambled in it, and some
Fatal four disorders, fleshed there,
all contended?
Sickness broke him. Impatient, he
cursed at first, but mended
Being anointed and all; though a
heavenlier heart began some
Months earlier, since I had our sweet
reprieve and ransom
Tendered to him. Ah well, God rest him
all road ever he offended!
This seeing the sick endears them to
us, us too it endears.
My tongue had taught thee comfort,
touch had quenched thy tears,
Thy tears that touched my heart,
child, Felix, poor Felix Randal;
How far from then forethought of, all
thy more boisterous years,
When thou at the random grim forge,
powerful amidst peers,
Didst fettle for the great grey
drayhorse his bright and battering sandal!
Summary
In this sonnet Hopkins reflects on the long illness and death of Felix Randal, the farrier. The poet watched this "big-boned and hardy-handsome" man decline, until he was broken by "some / fatal four disorders" and his "reason rambled . . . . " At first Randal had railed against his fate, but later, anointed by the poet-priest, he developed a "heavenlier heart" and "sweet reprieve."
The
poet reflects on his role as a spiritual healer: "This seeing the sick
endears them to us, us too it endears." While the priestly tongue and
touch refreshed Felix Randal in his illness, Randal's tears also touched the
priest's heart, and so he is left with a sense of loss and mourning when the
man dies.
Commentary
“Felix Randal” is a particular
individualistic poem written by Hopkins and it highly represents the
Victorian poetry in its Romanticism in theme, feelings and tone. At the same
time the poem can be categorized as a religious poem too. Moreover there can be
seen some effects of Pre-Raphaelitism which means an attempt to reveal truths
through nature.
Hopkins’ sonnet Felix Randal reflects on long illness and death of a farrier called Felix Randal. The poet notices the ‘big-boned and hardy-handsome’ man reduced and declined ‘some fatal four disorder.’ In the process of the aggravating illness, the man loss the sense and power to his reason. Next the poet emphasizes the idea of his healing process. Being a priest poet the poet uses his spiritual power to heal the man. It is quiet paradoxical that physically strong men find it difficult to accept death. We see the extreme suffering of Felix. Furthermore the poet brings out the mutual bond between the healer (poet) and the healed (Felix). There is a bond of compassion and trust. Both exchanged their sympathy, empathy and kindness. Hopkins and Randal share similar feelings towards life. Hopkins enjoys by getting something out of life by giving his affection to other people through his priesthood. This mutuality is emphasized by the word “us”, which, obviously, evokes a certain bonding between the two people.
‘My tongue had taught thee comfort, touch had quenched thy tears,
Thy tears that touched my heart, child, Felix, poor Felix Randal;’
Likewise Randal's tears also touched the priest's heart, so he is left with a sense of loss and mourning when the man dies. Their common humanity supported each with compassion. This common humanity was the basis of their divinity/ religion. Even though he was an extremely physically strong man he had to face the law of nature. In other words sickness can go beyond the physical power or the strength of men. Like all flesh Felix’s body broke under the law of nature (God). The vocabulary, which Hopkins uses in this quatrain, brings out the harshness and the boisterousness/ disorderliness of Felix Randal. Obviously a person needs to be strong and big-boned in order to be able to put horseshoes on horses. And Hopkins tried to make the reader aware that no matter how strong a person is; eventually that person will die. Again, the “mould of man” concept is apparent. Randall accepts his death through reprieve. Nature had given him a life extension for several months and now it was time for him to die. Felix became reconciled to his fate and achieved spiritual peace as a result of ministration of the poet- priest. “though a heavenlier heart began some Months earlier” this experience was mutually ennobling both farrier and the priest. Finally Felix became the poet priest’s spiritual child. But the process to understand and get agree with the law of nature was painful for both.
Hopkins’ sonnet Felix Randal reflects on long illness and death of a farrier called Felix Randal. The poet notices the ‘big-boned and hardy-handsome’ man reduced and declined ‘some fatal four disorder.’ In the process of the aggravating illness, the man loss the sense and power to his reason. Next the poet emphasizes the idea of his healing process. Being a priest poet the poet uses his spiritual power to heal the man. It is quiet paradoxical that physically strong men find it difficult to accept death. We see the extreme suffering of Felix. Furthermore the poet brings out the mutual bond between the healer (poet) and the healed (Felix). There is a bond of compassion and trust. Both exchanged their sympathy, empathy and kindness. Hopkins and Randal share similar feelings towards life. Hopkins enjoys by getting something out of life by giving his affection to other people through his priesthood. This mutuality is emphasized by the word “us”, which, obviously, evokes a certain bonding between the two people.
‘My tongue had taught thee comfort, touch had quenched thy tears,
Thy tears that touched my heart, child, Felix, poor Felix Randal;’
Likewise Randal's tears also touched the priest's heart, so he is left with a sense of loss and mourning when the man dies. Their common humanity supported each with compassion. This common humanity was the basis of their divinity/ religion. Even though he was an extremely physically strong man he had to face the law of nature. In other words sickness can go beyond the physical power or the strength of men. Like all flesh Felix’s body broke under the law of nature (God). The vocabulary, which Hopkins uses in this quatrain, brings out the harshness and the boisterousness/ disorderliness of Felix Randal. Obviously a person needs to be strong and big-boned in order to be able to put horseshoes on horses. And Hopkins tried to make the reader aware that no matter how strong a person is; eventually that person will die. Again, the “mould of man” concept is apparent. Randall accepts his death through reprieve. Nature had given him a life extension for several months and now it was time for him to die. Felix became reconciled to his fate and achieved spiritual peace as a result of ministration of the poet- priest. “though a heavenlier heart began some Months earlier” this experience was mutually ennobling both farrier and the priest. Finally Felix became the poet priest’s spiritual child. But the process to understand and get agree with the law of nature was painful for both.
Basically the poem deals with the theme of physical strength as a deterrent a spiritual strength and life and death. Furthermore we see the priest as a spiritual healer and also the lasting bond of the healer and the healed.
"Felix Randal" also demonstrates Gerard Manley Hopkins's magnificent technical virtuosity as a poet. It is an almost perfect Italian-style sonnet (two a-b-b-a rhymed quatrains [the octave] followed by two rhymed c-c-d stanzas [the sestet]).
(C) starnotes
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