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
Themes in Carrion Comfort
The Temptation to Despair
Despair is a not uncommon feeling. Hopkins has had to face this, but in a brave opening, he rejects it as ‘carrion comfort'. The crux of his resistance is that there is always a choice, an alternative to suicide specifically, even if it is ‘not choose not to be', which must be the smallest, yet perhaps bravest, choice there is.
The temptation is also resisted by being totally honest. He sees God as a tyrant. A less honest person would not care to utter such a ‘non-politically correct' phrase - at least not PC for a priest. This forms the drama of the sonnet, as it becomes a confessional poem.
The Dark Night of the Soul
The ‘dark night' experience Hopkins refers to in the sestet appears to be in the past: ‘That night, that year...':
- this might suggest the experience also described in the first part of The Wreck of the Deutschland
- or, if this poem was revised some two years after it was written, he may merely be referring to a more recent past. This seems more in keeping with the tone, which does not suggest any sort of real, or at least settled, resolution to the inner turmoil.
Investigating Carrion Comfort
- Do you see any other themes in the sonnet?
- Is he ultimately concerned with
- God's attitude to him?
- or his to God?
The Bible describes God as the unique supreme being, creator and ruler of the universe.
A person whose role is to carry out religious functions.
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.
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