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Gerald Manley Hopkins established himself as one of the prominent Victorian poets through his manipulation of prosody , using sprung rhytm and bringing about the concept instress and inscape. This presentation presents his poetic techniques with regard to his famous poems.
The aim of this paper is to identify those factors which caused the later (post-1875) poems of the Jesuit priest and poet Gerard Manley Hopkins to be considered so original. The uniqueness of Hopkins’ work is due to a radical approach to theme, rhythm and aural effect. Several poems are closely examined under these headings in order to demonstrate Hopkins’ poetic theories and to contrast them with other contemporary poets’ approaches where appropriate. Where possible, the dissertation evaluates the effectiveness of Hopkins’ prosody as well as his technique. Biographical, critical and psychological considerations are documented only inasmuch as these factors help explain elements of the Hopkins’ canon. Various thematic influences upon Hopkins are examined and his lifelong quest for individuality and ‘thisness’ is positioned against the background of his intense religious beliefs. Hopkins’ letters, journals and sermons are drawn upon in order to better understand the context of each poem evaluated. The dissertation concludes by noting and reviewing examples of successive poets that have been influenced by Hopkins’ work.
The Review of English Studies
Gerard Manley Hopkins, Plainsong and the Performance of Poetry2009 •
This article examines the effects of Hopkins' devotion to plainsong on his poetry and theory of poetry. It is written for literary specialists and students of Hopkins' poetry, requiring no specialist musical knowledge, and does not discuss the relationship of music and poetry in Hopkins' own music compositions. It places his interest in early music in the context of his aesthetic development generally and proposes that Hopkins; knowledge of the unmeasured and unbarred music of plainsong provided an impetus to his move away from standard verse rhythms and his development of sprung rhythm. Its second proposition is that that Hopkins' declamatory or rhetorical models of poetry and plainsong and his placing of poetry in the context of performance also stem from his belief in plainsong as 'perfect recitative'. It is based on a study of the letters and journals and contains some discussion and analysis of the poems and Hopkins' own directions on reading them.
Gerard Manley Hopkins is often considered as one of the greatest Victorian poets of nature, of religion, and of melancholy or inner anguish. Poet and a Jesuit priest, he never published his works during his lifetime. It was only in 1918 that his poems were first published posthumously by his friend Robert Bridges. Hopkins’ poems were found to be very different from the poetry that emerged during the late Victorian era during which he wrote; he was clearly ahead of his times. However, his poetry bore striking resemblances to the avant-garde modernist poetry that emerged during the early twentieth century- the time during which his poems were published. Because of this reason, Hopkins is identified as one of the forerunners of modernist poetry. There were many factors that set his poetry apart- his style of writing, his worldview, the techniques that he introduced, as well as the themes, images and the motifs that he used. This paper attempts to explore the themes specific to Hopkins’ poetry with reference to two of his poems, “Pied Beauty” and “God’s Grandeur”.
2018 •
Journal of Humanities and Education Development
Divine, Philosophical, and Existential dimension of Gerard Manley Hopkins’ poetry2020 •
Poetry is speech meant for contemplation of the mind by the way of hearing or speech framed to be heard for its own sake and interest even over and above its interest of meaning. Some matter and meaning is essential to it but only as an element necessary to support and employ the shape which is contemplated for its own sake… Poetry is in fact speech only employed to carry the inscape of speech for the inscape " s sake and therefore the inscape must be dwelt on. (House and Storey 289) These are the ideas expressed by Hopkins himself from which we come to know that Hopkins " s is meant for hearing rather than reading. For creating the sonic beauty in his poetry, he gives first and foremost importance to the shape or design in his poetry. In a letter to Bridges Hopkins explains the aim of his poetry, " design, pattern, or what I am in the habit of calling inscape is what I above all aim at in poetry " (House and Storey 66). This inscape in his poetry, he creates through the shape of sounds. The highest aim of his poetry can be realized through a close observation of the phonological features of his poetry. These phonological features tend to make a pattern with the help of one principle and that is repetition in Hopkins " s poetry. Through the repetition of sounds, he presents the inscape or the shape in a poem which is a sum total of sound patterns as received by the ear. We can understand the importance of repetition of sound in his poetry through the following diagram: If we make a single cross, that will neither be important nor noticeable to us but if we repeat the item, that will make a design or pattern. Suresh K. Agarwal states the importance of repetition in Hopkins " s poetry in the following words: It would seem that the central nature of poetry for Hopkins is repetition. We find in his poetic work repetition of grammatical forms, whether a sentence, a clause, a phrase or a word; repetition of an idea, repetition of vowels or consonants, initial or final. (Agarwal 31) He uses various repetitive devices to get his aim. All these devices may be gathered under one head called " Rhyme ". Because rhyme does not mean merely the similarity of sounds at the end of
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