Gerard Manley Hopkins, selected poems Contents
- As Kingfishers Catch Fire
- Binsey Poplars
- The Blessed Virgin Mary Compared to the Air We Breathe
- Carrion Comfort
- Duns Scotus' Oxford
- God's Grandeur
- Harry Ploughman
- Henry Purcell
- Hurrahing in Harvest
- Inversnaid
- I Wake and Feel the Fell of Dark
- Synopsis of I Wake and Feel the Fell of Dark
- Commentary on I Wake and Feel the Fell of Dark
- Language and tone in I Wake and Feel the Fell of Dark
- Structure and versification in I Wake and Feel the Fell of Dark
- Imagery and symbolism in I Wake and Feel the Fell of Dark
- Themes in I Wake and Feel the Fell of Dark
- The Leaden Echo and the Golden Echo
- Synopsis of The Leaden Echo and the Golden Echo
- Commentary on The Leaden Echo and the Golden Echo
- Language and tone in The Leaden Echo and the Golden Echo
- Structure and versification in The Leaden Echo and the Golden Echo
- Imagery and symbolism in The Leaden Echo and the Golden Echo
- Themes in The Leaden Echo and the Golden Echo
- The May Magnificat
- My Own Heart, Let Me Have More Pity On
- Synopsis of My Own Heart, Let Me Have More Pity On
- Commentary on My Own Heart, Let Me Have More Pity On
- Language and tone in My Own Heart, Let Me Have More Pity On
- Structure and versification in My Own Heart, Let Me Have More Pity On
- Imagery and symbolism in My Own Heart, Let Me Have More Pity On
- Themes in My Own Heart, Let Me Have More Pity On
- No Worst, There is None
- Patience, Hard Thing!
- Pied Beauty
- The Sea and the Skylark
- Spelt from Sibyl's Leaves
- Spring
- Spring and Fall
- St. Alphonsus Rodriguez
- The Starlight Night
- That Nature is a Heraclitean Fire and of the Comfort of the Resurrection
- Synopsis of That Nature is a Heraclitean Fire
- Commentary on That Nature is a Heraclitean Fire
- Language and tone in That Nature is a Heraclitean Fire
- Structure and versification in That Nature is a Heraclitean Fire
- Imagery and symbolism in That Nature is a Heraclitean Fire
- Themes in That Nature is a Heraclitean Fire
- Thou Art Indeed Just, Lord
- Tom's Garland
- To Seem the Stranger
- To What Serves Mortal Beauty
- The Windhover
- The Wreck of the Deutschland
- Beauty and its purpose
- The beauty, variety and uniqueness of nature
- Christ's beauty
- Conservation and renewal of nature
- God's sovereignty
- The grace of ordinary life
- Mary as a channel of grace
- Nature as God's book
- Night, the dark night of the soul
- Serving God
- Suffering and faith
- The temptation to despair
- The ugliness of modern life
- Understanding evil in a world God has made
Structure and versification in As Kingfishers Catch Fire
The sonnet is a sophisticated piece of poetry. Each word takes its place appropriately (in the same way that the life of the ‘just person' is lived). There is no showing off of verbal dexterity, but the patterning bears out the meaning succinctly.
Metre
Although Petrarchan sonnets have an iambic pentameter line, there is a tension within the poem between the rising foot of the iambic and the falling foot of the trochee:
- ll.3,4,6,7,10,11,12, 13 all begin with a stressed syllable, which could easily lead into a trochaic line
- often in iambic pentameter the first foot is trochaic, and this is called first foot inversion and is typical of the Petrarchan sonnet
- this is how most of these lines resolve themselves, except 1.8, where the trochaic pattern carries on to the caesura, where it reverts to iambic.
Investigating As Kingfishers Catch Fire
- What is the force of l.8 being trochaic?
- Notice Hopkins himself marks in the stresses.
- It could be argued the ‘Bow' of l.4 should not be stressed, thus preserving the iambic throughout.
- Try reading it both ways, remembering the enjambement from the previous line.
- Look at l.12. There are dashes round the first ‘Christ'.
- What do these signify?
- How do they affect the rhythm?
- In l.10, Hopkins has again marked a stress over ‘that'.
- What does it do to the metre and sense?
A sonnet is a poem with a special structure. It has fourteen lines, which are organised in a particular manner, usually characterised by the pattern of rhyming, which changes as the ideas in the poem evolve.
In the style of Petrarch, an Italian poet of the sixteenth century, who created both a form of the sonnet and presented a courtly ideal of womanhood.
A line containing five metrical feet each consisting of one stressed and one unstressed syllable.
A group of syllables which constitute a metrical unit within a line of poetry. In English poetry this includes stressed and unstressed syllables.
A metric foot in a line of verse, consisting of a stressed syllable followed by an unstressed. It is thus a falling metre.
In all languages, some syllables are pronounced with more of an emphasis than others. In poetry of many languages, this becomes a significant means of patterning. The pattern of stressed and unstressed syllables within a line of verse is called its
The smallest sound fragment of a word, consisting of one vowel sound, with attached consonants if any.
The reversal on an established poetic metre for just the first metrical foot of the line.
A pause, often indicated in text by a comma or full stop, during a line of blank verse.
The technique used in blank verse and other verse forms in which the sense of a line runs on without a pause to the next one; this often gives a sense of greater fluency to the lines.
Title (eventually used as name) given to Jesus, refering to an anointed person set apart for a special task such as a king.
The musical effect of the repetition of stresses or beats, and the speed or tempo at which these may be read.
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