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 God's Grandeur
Natural theology
Hopkins' philosophy here is called natural theology: that is, the study of how a Creator might be seen through his Creation. In Hopkins' time, there were huge debates about whether the existence of God could be proved through evidence from nature. Darwin's theory of evolution, which seemed to stress chance and impersonal principles, greatly upset many who thought God could be proved in this way.
Hopkins' own position is reflected over a number of poems, and could be summarised as seeing Nature as God's book. (See Themes and significant ideas for a fuller account.)
- Hopkins is more concerned with proofs or dialectics than with the sense of presence
- God has not just made a Creation; he is present in it
- The whole matter of inscape and instress is about the ability to get an intuition or insight of God in the beauty of his world.
The ugliness of modern life
Unfortunately, the more people spoil the beauty of Creation, the less likelihood there is in catching such insights. The cause of that destruction, Hopkins suggests, is because ‘men then now not reck his rod'. He asks it as a question, but it has the force of a statement:
- reck means ‘take note of', just as ‘reckless' means taking no care or note.
- his rod might sound like punishment (as in ‘spare the rod and spoil the child'), but rod can also mean a sceptre, a metonym for sovereignty.
After all, Psalms 23:4 says:
‘thy rod and thy staff, they comfort me.'
which refers to the way in which a shepherd safely guides his flock.
The sense of an all-powerful God can be a great source of hope, especially when things seem to be going all wrong.
So people have lost touch with both God as Creator and his Creation. This is best expressed in the line:
‘the soil Is bare now; nor can foot feel, being shod.'
The earth is meant to be clothed, human feet unclothed (or unshod): the ‘bareness' has been reversed. Once there was intimate contact; now all this is lost. The earth's covering has been scraped off and people have no sense of the ‘touch' of the earth.
Conservation and renewal of nature
The poem's third theme, the conservation and renewal of nature, reflects that God is not out of control of the situation, but renewing nature through the Holy Spirit.
- Hopkins uses the older form ‘Holy Ghost', which has taken on supernatural overtones. The German word Geist also still maintains both meanings.
- This idea of the Holy Spirit is often rather problematic to people who aren't Christians, though we use the words ‘spirit' and ‘spirituality' a good deal still.
- The Bible suggests the Spirit was at work in Creation, as in Genesis 1:2:
‘The Spirit of God moved upon the face of the waters' (AV)
The word translated ‘moved' here has been variously translated as:
- ‘was hovering' (NIV)
- ‘brooding' (Living Bible), which is the very word Hopkins had used some hundred years before that particular translation.
Since, in Christian thought, the Holy Spirit is still active, it makes sense to see the Spirit still at work in creating - or re-creating, as needs be.
- The image of the wings and breast may come from the episode in the New Testament where Jesus is baptised, and ‘the Spirit of God descended like a dove' (Matthew 3:16 AV)(cf Luke 3:22)
- What words does Hopkins use to suggest human destruction?
- By contrast, what words does Hopkins use to suggest the Spirit's activity?
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