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 Patience, Hard Thing!
Questions of scansion
As with I Wake and Feel, the sonnet divides neatly into two quatrains and two tercets, which latter also rhyme in the same way. The scansion, however, is much less obvious:
- in the first quatrain, the monosyllable clusters all seem to demand stresses, as: ‘Wánts wár, wánts wóunds;|| wéary his tímes, his tásks;'
- if we withdraw stresses from both ‘wants', the line almost settles into iambic pentameter
- however, the echo of the stress remains to set up a counterpointing, as does the pause after ‘wounds' with the implied caesura
- it becomes a jerky rhythm
- similar clusters as ‘take tosses', ‘wrecked past purpose' echo the phrase ‘hard thing'
- should the repeated ‘hard thing' share a stress, which would make l.1 too short; or do both words carry stresses, in which case the first line is a hexameter?
Rhythmically, therefore, there is no real evidence for any systematic use of sprung rhythm, but it is a rhythm of stops and starts, some smooth, some jerky - which is what we might expect from the subject matter.
Investigating Patience
- Do you see any use of enjambement that calls for attention?
- If so, what sort of counterpointing is set up?
- Overall, would you say this sonnet was the most focused on one particular topic that you have read so far?
- Which others are as focused?
A 3-line unit of verse, usually forming part of a sestet. Sometimes it rhymes within itself, sometimes it has the same rhyme scheme as a following tercet.
The device, frequently used at the ends of lines in poetry, where words with the same sound are paired, sometimes for contrast ' for example, 'breath' and 'death'.
Measuring the metre of verse, by determining the patterns of stressed and unstressed syllables, and the length of each line.
A line containing five metrical feet each consisting of one stressed and one unstressed syllable.
In music, the playing of two tunes at the same time, allowing them to interweave. In poetry, the use of two rhythms at the same time, for example, one being based on the metre, and one on the grammatical structure of the sentence.
A pause, often indicated in text by a comma or full stop, during a line of blank verse.
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
A line of poetry containing six feet or stresses (beats).
A term given by Gerard Manley Hopkins to his versification. It does have a regular basic metre, but contains additional feet or outriders and other planned irregularities.
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.
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