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
Tone in The Wreck of the Deutschland
Variation of tone
In terms of voice or tone, we have suggested that in The Wreck of the Deutschland it is basically dramatic, being both the drama of internal and external conflict. The first three verses are as dramatic as anything Hopkins ever wrote. However, there are gentler, more lyrical stanzas spaced in between to provide contrast and movement within the poem.
Thus, the first three stanzas are followed by the much more intimate stanzas 4,5; the drama of the nun's cry is followed by the almost hymn-like stanza 30. Even the lay-out on the page gives us a clue: the shorter, more concise stanzas are usually simpler, softer, more lyrical; the longer, spread-out ones are usually the more dramatic. However:
- the long stanza 31 is more thoughtful and contemplative
- clearly, stanza 28, with its broken phrases is meant to be read almost ecstatically, as the emotional climax of the poem
- the last stanza, as several others, is the drama of triumph rather than conflict.
Investigating tone in The Wreck of the Deutschland
- Read stanzas 11 and 23 in several different tones of voice. Which seem the most satisfactory to you?
- Can you see how Hopkins achieves the different tones?
Literally, the tone of voice in which anything is to be read in: e.g. lyrical, dramatic, contemplative.
The tone of voice in which anything is to be read in: e.g. lyrical, dramatic, contemplative.
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