Introduction 

It cannot be denied that the poetry of Gerard Manley Hopkins boasts copious examples of stylistic merit and poetic expertise. As a nineteenth century poet, he redefined the traditional restrictions of rhythm and introduced the internationally renowned ‘iambic pentameter’ or ‘sprung rhythm’. This rhythm adds a unique beauty and flowing quality to his work. His poetry covers a vast variety of themes from the unspoiled beauty of nature to his relationship with God. 

Hopkins became a priest in 1868, a vocation which influenced much of his work. His deep sense of faith is regularly expressed through his poetry as he ponders the idea of sin and redemption. Hopkins' poems serve as a reminded or the connection between the mortal and immortal. Despite the comfort and sense of security that Hopkins found in his faith, he was no stranger to the wrath of depression and psychological suffering, which becomes bleakly apparent in his ‘terrible sonnets’. Hopkins' poetry serves as a means of self-expression. He writes honestly and unreservedly about his life experiences. His intense and oscillating emotions seem amplified by his impressive language and poetic skills. 

Inversnaid 

‘Inversnaid’ is undoubtedly one of Hopkins' most uplifting and joyous poems. In this poem, Hopkins is overcome by the sheer beauty and tranquility of the Scottish Highlands. Hopkins' detailed descriptions and stimulation of senses creates vivid imagery of the picturesque Inversnaid. “His rollrock highroad roaring down”. This alliterative ‘r’ sound emphasises the rushing flow of water, while the onomatopoeia creates wonderful aural imagery. 

Hopkins incorporates colours and textures easily into the poem “a windpuff bonnet of fawned froth”. This produces an aesthetically pleasing scene, helping me to visualise the untouched Scottish landscape. In my opinion, it is Hopkins' clever use of language that makes this poem so appealing. There is a liberal sprinkling of Scottish colloquialisms which I think adds to the authenticity and charm of the poem; “the beadbonny ash that sits over the burn” “It rounds and rounds despair to drowning”- the certain ambiguity of this line caught my attention. It seems to show how nature was a form of escapism and respite for Hopkins from the mental health issues he suffered from. 

In the final stanza, Hopkins begins an emotional plea with humanity to protect and value our planet. “What would the world be once bereft of wet and of wilderness” I found this rhetorical question to be hugely thought provoking, and indeed apt for the climate threatened world we live in. His pensive tone encourages me to think deeply into the issue. Much to my delight, Hopkins concludes the poem on an uncharacteristically cheery and hopeful note; “long live the weeds and the wilderness yet.” 

God’s Grandeur 

‘God’s Grandeur’ is also centralised on the beauty of nature. In this poem however, I feel as though Hopkins' appreciation and admiration for the natural world is overpowered by his pious and judgemental nature. The poem opens on an exciting note, “the world is charged with the grandeur of God”. Hopkins openly declares his respect for God. His detailed descriptions and clever choice of adjective makes for great imagery “like shining from shook foil”. Hopkins uses this unusual simile to demonstrate the energy from God emanating through all things. 

The zealous passion is quickly soured however, as Hopkins demands “why do men not reck his rod?” I found this oppressive and overbearing line to be rather unsettling. The word ‘rod’ has sinister connotations, suggesting the threat of punishment and retaliation, which I thought was a disturbing image. What disturbs me more so however, is Hopkins' blind acceptance of this dogmatic and authoritative God. Hopkins' beliefs are typical for those of the pre-Vatican II era. I found it interesting to examine Hopkins' intense religious identity while I myself live in a society which is becoming increasingly indifferent to religion. “generations have trod, have trod, have trod” His use of repetition and assonance of broad vowel sounds gives this line a heavy, stifling quality. While I am irritated by his God-fearing nature, I am inclined to concur. Hopkins boldly confronts the destruction of the environment, and firmly places the blame on humanity. I too am hugely concerned by our reckless treatment of the planet, caused by our own selfish desire to overindulge, “wears man’s smudge and shares man’s smell.” 

I disapprove of Hopkins' disdainful view on society. It shows him to be a self-righteous man with an off putting superiority complex. I resent that he associates humans with dirt and disgust. Despite his scathing and critical accusations, he redeems himself somewhat in the reflective sestet of this Petrarchan sonnet “nature is never spent”. He shows great belief in the vitality and rejuvenating power of nature, which helps to conclude the poem on a slightly warmer note. 

I Wake and Feel the Fell of Dark 

One of Hopkins' darkest and most morose poems is ‘I Wake and Feel the Fell of Dark’. This poem is classed under his ‘terrible sonnets’, a despondent collection of poems which were written in Hopkins' depressed state. This is a Petrarchan sonnet, a structure which Hopkins frequently uses. This structure gives readers an insight to the poet’s mind in the descriptive octet, while allowing us to contemplate the poem in the reflective sestet. Iambic pentameter is also used in this poem. This regulated rhythm is perhaps used to underscore the restriction and confinement Hopkins felt due to his crippling depression and paranoia. The opening line is bleak and dismal; “I wake and feel the fell of dark, not day” 

Hopkins contrasts the relief and joy of daytime with the dark burden of the night. Light and darkness are juxtaposed effectively in this poem. There are staccato bursts of emotion throughout the poem, emphasising his anguished cries “what hours, O what black hours”. The distorted syntax captures the disorientation and confusion faced by the depressed mind; “but where I say hours, mean years, mean life.” This simple line gives me a sad understanding of the trepidation he faced. As a reader, I found it difficult to digest such an emotive and sorrowful poem. He feels unworthy of God’s love, and his self-criticism evolves into self-loathing, which is very disturbing, “I am gall, I am heartburn”. His religious fanaticism leads him to believe that his intense psychological suffering is somehow a justified punishment from God. The poem concludes on an utterly hopeless note,“the lost are like this”. 

I admire Hopkins’ pathos and skill in shedding light on the debilitating disease of depression. He does this through graphic imagery and haunting language, to make for an altogether haunting poem. 

Thou Art Indeed Just, Lord 

‘Thou Art Indeed Just, Lord’ is an interesting poem in that it showcases the fraught and tense relationship that Hopkins has developed with God. It is also written as a Petrarchan sonnet. The language used in the poem is very telling of Hopkins’ feelings. His deference to God is blatant and unwavering throughout. However, it seems as though Hopkins only shows such respect out of fear of punishment from God. The tone varies hugely from bold and confrontational to apologetic and defensive. 

In the first quatrain, Hopkins uses formal address and upholds a polite and level headed facade, but the deep frustration and sense of anger he feels is obvious; “But sir, so what I plead is just. Why do sinners ways prosper?” He is infuriated by the corruption that surrounds him. He can no longer simply accept the unfulfillment that burns deep within him, given that he has devoted his life to serving the Lord. 

In the second quatrain, Hopkins’ feelings of self-pity are evident. He is embittered by the success and prosperity of those who lead debaucherous and hedonistic lifestyles, and paints a hugely unflattering picture of them; “the sots and thralls of lust do in spare hours more thrive than I spend” 

In the concluding sestet, Hopkins has become completely despondent and miserable. He is perplexed by the state of his life and his relationship with God. He creates beautiful imagery of the ease of procreation in the natural world “birds build, but not I build”. He is envious of the endless cycle of nature which he has been excluded from by his faith. The metaphor of “time’s eunuch” is interesting, and conveys the extent to which Hopkins pities and victimizes himself. He feels worthless as he is plagued by inspirational drought “not breed one word that works”. Hopkins feels disillusioned, both by his vocation and God. He finishes on a desperate and poignant plea, “send my roots rain”. 

Spring 

‘Spring’ is an idyllic and uplifting Petrarchan sonnet, once again expressing Hopkins’ love for nature. He uses vivid visual and aural imagery to showcase myriad examples of the glory of mother nature. He uses simplistic language for emphatic purposes. His use of alliteration seems to almost encapsulate the bountiful energy of nature. Hopkins uses a wide variety of eye catching colours “the blue is all in a rush” to help readers visualise the springtime scene. He pleads with humanity to not sour God’s beauty with sin; “before it cloud, Christ, lord, and sour with sinning”. 

Conclusion 

After studying the poetry of Gerard Manley Hopkins, I feel obliged to comment on his poetic mastery. He has skilful control of the English language, which is showcased eloquently across his work. His vivid descriptions easily allow readers to visualise the scenes he carefully illustrates. However, I found the recurring religious theme to be overbearing and at times overwhelming. It bothered me that so many of his poems are tainted by images of a forceful, unforgiving and critical God. As a modern reader, I found his close-minded and pious views to be archaic and overly-judgemental. However, I do believe that Hopkins’ poetry was, in many ways, revolutionary. His pioneering use of ‘sprung rhythm’ added depth and profundity to his work. While I found many of his beliefs and the contents of his poems to be off-putting, I can objectively admire his ability to express these beliefs in an original and thought provoking manner.