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 Henry Purcell
Beautiful Creation / creativity
The obvious theme is the beauty of created things, including people. There is no question that Hopkins finds Purcell's music beautiful, though he does not say in what way. Somehow, the beauty of the music gets transferred into the image of a bird's flight, so clearly there is some sort of soaring, ecstatic quality to it. When we compare his poem with The Windhover, this may make more sense.
Uniqueness
Purcell's uniqueness is conveyed not just by the use of ‘especial' (a usage also seen in Binsey Poplars with its ‘sweet especial scene'), but also by the difficult term ‘sakes of him'. Hopkins admits he has forced his own meaning on to the word. He explains it is the image a thing has outside of itself, and he gives the example of the echo of a voice:
- An echo is and is not the voice
- Purcell's music is and is not Purcell
- The concept of uniqueness lies not just in a thing itself, but in the manifestation of that thing.
This is not dissimilar to our modern notion of what it means to be ‘faking it'. If a declaration of feeling, for example, is not really from a person's uniqueness / soul, then it is a fake; but a true declaration reflects the unique nature of the person who utters it.
Hopkins' own poetry is a good example. It clearly comes from his very being, and, even if he is ‘straining', it is a genuine part of Hopkins' being, not a production to impress an audience (which he did not always have, anyway).
- Can you see the difference between individuality and subjectivity?
- Do you think you know ‘the real you'?
- Can you think of anyone else who knows ‘the real individual, unique you'?
- How would they know it?
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