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Who was Gerard manley Hopkins? He was the first …of their nine children. His parents were devout High Church Anglicans. The family had a lively interest in religion and the creative arts.
Manley published a volume of his poetry the year before Hopkins's birth and frequently reviewed poetry; Catherine was a keen reader, and the young Hopkins and his siblings involved themselves in literature, music, and painting. Hopkins continued to use sprung rhythm in some of his most famous sonnets, including "God's Grandeur" and " Pied Beauty " both written in What was Gerard Manley Hopkins profession?
He graduated from Oxford in with a double major in History and Literature. Years later he w…as exiled from the Church for criticizing and doubting the Catholic Church in his 17 page poem "The Wreck of the Deutschland". What is analysis of god's grandeur by Gerard manley Hopkins?
The world is charged with the grandeur of God. It will flame out, like shining from shook foil; It gathers to a greatness, like the ooze of oil Crushed. Why do men then …now not reck his rod? Generations have trod, have trod, have trod; And all is seared with trade; bleared, smeared with toil; And wears man's smudge and shares man's smell: And for all this, nature is never spent; There lives the dearest freshness deep down things; And though the last lights off the black West went Oh, morning, at the brown brink eastward, springs- Because the Holy Ghost over the bent World broods with warm breast and with ah!
Summary The first four lines of the octave the first eight-line stanza of an Italian sonnet describe a natural world through which God's presence runs like an electrical current, becoming momentarily visible in flashes like the refracted glintings of light produced by metal foil when rumpled or quickly moved.
Alternatively, God's presence is a rich oil, a kind of sap that wells up "to a greatness" when tapped with a certain kind of patient pressure. Given these clear, strong proofs of God's presence in the world, the poet asks how it is that humans fail to heed "reck" His divine authority "his rod".
The second quatrain within the octave describes the state of contemporary human life-the blind repetitiveness of human labor, and the sordidness and stain of "toil" and "trade. The shoes people wear sever the physical connection between our feet and the earth they walk on, symbolizing an ever-increasing spiritual alienation from nature.
The sestet the final six lines of the sonnet, enacting a turn or shift in argument asserts that, in spite of the fallenness of Hopkins's contemporary Victorian world, nature does not cease offering up its spiritual indices. Permeating the world is a deep "freshness" that testifies to the continual renewing power of God's creation.
This power of renewal is seen in the way morning always waits on the other side of dark night. The source of this constant regeneration is the grace of a God who "broods" over a seemingly lifeless world with the patient nurture of a mother hen. This final image is one of God guarding the potential of the world and containing within Himself the power and promise of rebirth.
With the final exclamation "ah! Form This poem is an Italian sonnet-it contains fourteen lines divided into an octave and a sestet, which are separated by a shift in the argumentative direction of the poem.
The meter here is not the "sprung rhythm" for which Hopkins is so famous, but it does vary somewhat from the iambic pentameter lines of the conventional sonnet. For example, Hopkins follows stressed syllable with stressed syllable in the fourth line of the poem, bolstering the urgency of his question: Commentary The poem begins with the surprising metaphor of God's grandeur as an electric force.
The figure suggests an undercurrent that is not always seen, but which builds up a tension or pressure that occasionally flashes out in ways that can be both brilliant and dangerous.
The optical effect of "shook foil" is one example of this brilliancy. The image of the oil being pressed out of an olive represents another kind of richness, where saturation and built-up pressure eventually culminate in a salubrious overflow.
The image of electricity makes a subtle return in the fourth line, where the "rod" of God's punishing power calls to mind the lightning rod in which excess electricity in the atmosphere will occasionally "flame out. Electricity was an area of much scientific interest during Hopkins's day, and is an example of a phenomenon that had long been taken as an indication of divine power but which was now explained in naturalistic, rational terms.
Hopkins is defiantly affirmative in his assertion that God's work is still to be seen in nature, if men will only concern themselves to look. Refusing to ignore the discoveries of modern science, he takes them as further evidence of God's grandeur rather than a challenge to it.
Hopkins's awe at the optical effects of a piece of foil attributes revelatory power to a man-made object; gold-leaf foil had also been used in recent influential scientific experiments.
The olive oil, on the other hand, is an ancient sacramental substance, used for centuries for food, medicine, lamplight, and religious purposes. This oil thus traditionally appears in all aspects of life, much as God suffuses all branches of the created universe.
Moreover, the slowness of its oozing contrasts with the quick electric flash; the method of its extraction implies such spiritual qualities as patience and faith. By including this description Hopkins may have been implicitly criticizing the violence and rapaciousness with which his contemporaries drilled petroleum oil to fuel industry.
Thus both the images of the foil and the olive oil bespeak an all-permeating divine presence that reveals itself in intermittent flashes or droplets of brilliance.
Hopkins's question in the fourth line focuses his readers on the present historical moment; in considering why men are no longer God-fearing, the emphasis is on "now.
The second quatrain contains an indictment of the way a culture's neglect of God translates into a neglect of the environment.Brothers gerard manley hopkins analysis essay Brothers gerard manley hopkins analysis essay ley de thomas malthus essay catamaran hull design comparison essay ballade of worldly wealth explication essay.
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GERARD MANLEY HOPKINS - That Nature Is A Heraclitean Fire (And The Comfort Of The Resurrection) Gerard Manley Hopkins () "That Nature Is A Heraclitean Fire". A biography of the English poet Gerard Manely Hopkins. Everyone is destined to be great for a moment in their lives.
For Gerard Manley Hopkins this was difficult. Gerard was a poet that came way before his time and people didn’t realize the power he had with words.
Gerard Manley Hopkins was one of the [ ]. Gerard Manley Hopkins: Oxford Essays and Notes.
Lesley Higgins, editor. Oxford University Press. [pounds sterling] xxiv + pages. ISBN With this volume O.U.P.
begins The Collected Works of Gerard Manley Hopkins which will eventually number eight . But I also do a few revivals, a couple of long poems that I read again and again: Coleridge’s The Rime of the Ancient Mariner, Keats’s On the Eve of St.
Agnes, and one of my all-time favorite poems to read aloud, The Wreck of the Deutschland by Gerard Manley Hopkins.