The format of Hopkins poetry was largely un-traditional, and though he wrote frequently and sonnet form preferring the Italian or Petrarchan sonnet forms(which are composed of octaves followed by sestets). The poet seems to relish in the structure and stability of the traditional verse forms( most specifically their fixed length and rhyme schemes) , but however seems to take even greater joy expanding upon their limitations and testing what makes them classic. The most iconic example of Hopkins experimental style is his invention of a verse form called “sprung rhyme”. The format was new and completely original it, the old importance of accented syllables remained but this new verse form placed no limit upon their number, was in eloquent celebration of literary freedom with striking poignant and cadence. Contrary to syllabic meters, commonly used forms are iambic or trochaic( counting both stresses and syllables) “sprung rhythm” also counts both but does not place the same limitations of it’s predecessors. The most interesting example is the use of repeated stressed syllables without alternating unstressed syllables facilitating extraordinarily strong lines, unique among the normals cadences of English verse. Sprung rhyme also gave Hopkins more opportunities for dramatic effect and control over rate of motion in his poetry.
A combination of internal rhyme and alliteration coined as “Consonant chiming” for it’s use in Welsh Poetry was also employed by Gerard Manley Hopkins. Using repetition and determined fluency Hopkins uses the technique to create intriguing depth, personality and strength in poetry using repeated sounds to draw emphasis to particular points in his verse. There is eye-catching uniqueness to be found in Hopkins’s seemingly spontaneous employment of this technique, it appears without warning through the poem he memorably using it to illustrates his idiosyncratic images in “The Windhover: To Christ our Lord”. Such as in the his description of the hovering falcon’s splendor, a “kingdom of daylight’s dauphin, dapple-dawn-drawn” the line employs both extensive alliteration( a repetition of the beginning consonant sound) paired with a hint of internal rhyme in the form of “dawn-drawn” to finish off the effect with a bit of closing cadence. He employs similar tactics in the following lines of the poem, but here however he splits from the combined effect and uses each technique singularly. First, he uses very basic straightforward repetition such as “morning morning’s” in his first line, perhaps to signify the earliest hours of this period of day, it is used again in line ten, “ . . . off, off . . .” the conjunction giving deliberate movement and rapid pace to Hopkins’s words. In addition to this method of drawing thought to certain phrases of importance, whether thematic or rhythmic, Hopkins also uses very basic illustrations throughout such as “…sweeps smooth”, “Brute beauty …”, “…pride, plume…”, the repetition of the beginning consonants, more often than not the “b” sound in particular, is often and fluent, with grace and flow it lends strength to descriptions of the bird and it’s movements. Internal rhyme can be found throughout the poem as well, existing in the second to last line as “Fall, gall…”. This brings into consideration he rhyme scheme of the piece which is indeed unusual, it is impromptu and unexpected, inconsistent but delightfully conscionable, clear resemblance separated by unpredictably lengthy lines, it begins with the very first line, “-king” reappears in “riding”, again in the seventh line as “striding” and in the ninth as “wing”, then the eleventh as “swing” here the lines become swifter and this condensation of the rhyme coincides with the increasing pace of the poem. From “gliding” to “hiding and finishing with “thing” the swifter pace does not end with the first stanza even is the rhyme sound does. The beginning octet is followed by two tercets, with interlocking rhyme schemes, ABA BAB the rhyme links the movements of the two stanzas even if the number of syllables contained within each are unique. Yet, the significance and charisma of this poem is deeper than it’s eloquence and careful poetic construction.
The theme of the poem is a devotion and reverence that runs as deep and crucial as one’s blood. As a Reverend Father, Gerard Manley Hopkins expression his appreciation and awe of the natural world’s splendor as a dedication in his faith. Perhaps, it is a spiritually summoned respect for all life and the raw beauty of the earthly cycles surrounding us that prompts the zeal and detail of Hopkins’s poetry. As is true of great poetry is written empowered by the greatest passions inspired in the poet, though often these emotions are often romantic Hopkins’s are religious and they seem to make his poetry all the more genuine and fastidious. From the very first line Hopkins’s poetry is bursting with energy and imagery, “I CAUGHT this morning morning’s minion, king-dom of daylight’s dauphin, dapple-dawn-drawn Falcon” embodies the poet’s awe upon first seeing the bird describing it as the early morning’s follower, the eldest child of “daylight’s kingdom” brought out by patchy sunlight. Hopkins then proceeds to illustrate its movements
“ . . . in his riding
Of the rolling level underneath him steady air, and striding
High there, how he rung upon the rein of a wimpling wing”
these words paint the image of a creature in complete control of his god-given powers, the poet uses metaphors to depict his Falcon riding the wind with all the discipline of a horsemen upon his steed, creating strength from apparent fragility. The metaphors only continue into the following line, verbally dictating the exalted predatory patterns of aerial movement becoming the fluid path of an ice-skate, with identical grace and ease:
“In his ecstasy! then off, off forth on swing,
As a skate’s heel sweeps smooth on a bow-bend: the hurl and gliding
Rebuffed the big wind…”.
The poet then ventures to express the birds effect on him personally as he states his own “heart” soars with avian, connecting to it’s flawless action and natural triumphs. The second stanza and first tercet, is less of the immediate reactions and observations and ventures into the realm of mental translation, and praise: “Brute beauty and valour and act, oh, air, pride, plume, here” Hopkins attempts to categorize the bird’s magnificence it’s stamina, and physical prowess, going as far as to call it’s air prideful, insinuating a vain valor, a seeming aura of confidence and regality. Suddenly Hopkins’s address changes he goes from describing his vision to speaking directly to his target audience: Christ, our lord, “Buckle! AND the fire that breaks from thee then,” he seems to describes the falcon as the fire of Christ, the manifestation of a deity’s unpredictable and uncontrollable side, “… a billion times told lovelier, more dangerous, O my chevalier!” his words deem Christ his “chevalier” his knight in shining armor, all the more glorious in his unchecked state teeming with infinitely more beauty and power. The last stanza and second tercet, expands upon Hopkins’s admiration addresses his gratitude to a wider array of natural occurrences, summarizing his recognition of Christ’s role in the allure of all the natural world.
“No wonder of it: shéer plód makes plough down sillion
Shine, and blue-bleak embers, ah my dear,
Fall, gall themselves, and gash gold-vermillion.”
The scintillations and appeal of freshly tilled earth, the hidden spark within illusively drab ashes and their ability to rekindle-fire. The poem finishes like a eulogy to the potential of natural world, it’s mystic fascination and tangible appeal.
Gerard Manley Hopkins commands the pen with what must be god given gift, his prose is talented and ardent brimming with both meticulous technique and natural fluency combined with original style and voice. Regarded by some critics and admirers as the greatest poet of the Victorian era of literature, renowned for both the bittersweet and spiritual mastery of his work. Yet, though he is now considered own of the greatest religious poets of all time, his poetry gained most of its recognition posthumously due to Hopkins’s radical style. Nonetheless, the poet had a diligent and encouraging audience in his artistically inclined and devoutly religious mother, Kate Smith Hopkins (1821-1900) who was a High Church Anglican and daughter of a London physician. But, wasn’t just Hopkins’s mother who taught and encouraged him, he was taught sketching by his sister, inspired by his uncle’s painting, even more in his extended family both maternal and paternal. Surrounded by religious incentives, eager teachers and love it is no wonder the poetry of Reverend Father Gerard Manley Hopkins’s is so exquisite and fervently inspired.