Emotional Analysis of G. M. Hopkins’ Spring and Fall

This article critically focuses on the emotions created in the poetry of Gerard Manley Hopkins. It explores the various features responsible for creating feelings in poetry. Among them are word choice, sound choice and imagery. Moreover, it delves into the poem to anayse how devices such as alliteration, simile, metaphor, diction, and symbolism play a vital role. Appropriate implementation of these features create strong emotions in poetry. In most of his poems, Hopkins employed coinage words. In “Spring and Fall”, he doubly used coinage words in a single – line. In the second line of the poem, he coined ‘Goldengroove’ and ‘unleaving’ and in the eighth line ‘wanwood’ and ‘leafmeal’. The word ‘Goldengroove’ is not used for a place in reality yet, and it is a place that represents autumn’s beauty. ‘Golden groove also refers to the ‘Garden of Paradise’. It indicates the four seasons of the year and the chronological phases of human life too. The words ‘golden’ and ‘groove’ are combined to form a single word. The word ‘unleaving’ encapsulates the noun ‘leaf’ employed as a verb possessing a negative prefix ‘un’, which means ‘leaving leaves’. The coinage word ‘unleaving ' is an Anglo-Saxon and comes in the category of pun. Another word, 'wanwood', is also a compound word. ‘Wanwood’ explains the pale condition of trees that have shed their leaves, so they seem to become ‘wan’ or pale. Initially, the word ‘leafmeal’ appears to be ambiguous, yet this ambiguity is expelled immediately.’Leafmeal’ refers to the phrase ‘leaf by leaf’. The two words ‘wanwood’ and ‘leafmeal’ are originated from Anglo- Saxon ring. Hopkins entitled the poem” Spring and Fall”, which itself enhances strong emotion. The rhyme scheme's alteration in this innovative poem, “Spring and Fall”, exhibits the speaker's feelings.

Beyond the Threshold – Autobiography, Dialogic Interaction, and Conversion in Gerard Manley Hopkins’s and W. Abdullah Quilliam’s Poetry

The intertwinement of poetic life writing and theological reflections has a long-standing history in British literature. This paper shows how two Victorian poets – Gerard Manley Hopkins and W. Abdullah Quilliam – use dialogic strategies to establish an autobiographic voice, which becomes an essential poetic means of the text. Through the representation of dialogic encounters, the poems establish an autobiographic mode of speaking, which is used to articulate individual conversion experiences and to negotiate conversion as an encounter with God. Based on the works of Martin Buber and Emmanuel Levinas, I will show how a dynamic understanding of text and conversion experience is essential to a reading that seeks to explore the poetic construction of Hopkins’s as well as Quilliam’s works. The representation of the dynamic encounter of the self and the Divine in the contact zone of the text provides a frame in which the authors locate themselves with regard to the religious majority of Victorian Britain. The texts link the spiritual journey of conversion to the self as being caught in the world, responding to God’s call as an answer to the world’s condition.

Revisiting a Victorian Poet: Gerard Manley Hopkins. Ecocritical and Religious Echoes

The article starts from the claims of some ecocritical theoreticians that Christianity may be considered among the roots of the belief that man masters the earth (at least in the West) and thus justifies the current environmental crisis. But even these critics feel the need to provide role models of environmental concern from the list of saintly figures of the Christian tradition. In an age completely enthusiastic about the union between science and technology, the Victorian Age, the Jesuit priest Gerard Manley Hopkins wrote sonnets that may be read through the ecocritical lens at a time when the concept had not been invented. The conclusions of the essay point out the relevance of the emergence of ecococritical studies in the 1980s, showing thus how literary studies, religion and spirituality join environmental concerns and contribute to man’s fair appreciation and treatment of nature.

Wenn die Sprache zum Bild wird: Konkrete Metamorphosen in der Lyrik moderner katholischer Literatur – Konrad Weiß und Gerard Manley Hopkins

Gdy język staje się obrazem: Konkretne metamorfozy we współczesnej liryce katolickiej – Konrad Weiß i Gerard Manley Hopkins Dlaczego obrazowość poezji jest bliższa religii lub religijnemu doświadczeniu niż podporządkowany zinstrumentalizowanemu rozumowi język dyskursu? Być może dlatego, że jest on zbyt nastawiony na dialogiczność. Alternatywa opiera się na swoistości religijnego i estetycznego doświadczenia poza przyczynowo-praktyczną łącznością. W jaki sposób można to ukazać? W jaki sposób za pomocą języka i poprzez język zostaje przerwana komunikacja i jak przemawia język, gdy stara się on połączyć religię z poezją. Poglądowość oferuje swego rodzaju konkretyzację. Literatura stosuje zatem tropy, aby uniknąć rozległych i wieloznacznych opisów. Obraz wyostrza każde zjawisko i nadaje mu przedmiotowość lub symuluje formę dającej się uchwycić obecności, równocześnie nie sugeruje jednoznacznego odczytania. Ta jego właściwość jest szczególnie ważna w obrębie sztuki sakralnej i ikonografii. Przedstawiciele współczesnej liryki katolickiej Konrad Weiß i Gerard Manley Hopkins sięgają po nią i łączą ją z oryginalnymi koncepcjami poetologicznymi. Redukcja aspektu znaczeniowego języka i obecność obrazu w słowie poetyckim prowadzi do celowego i jednocześnie kontemplacyjnego doświadczenia lub też rozważania/recepcji dzieła zbawienia i stworzenia oraz determinuje ukrytą funkcjonalność tego rodzaju poezji, która jest silnie związana z wyznaniem. Warum kann sich eher die Dichtung mit ihrer Bildhaftigkeit an die Religion oder an religiöse Erfahrungen annähern als die einer instrumentellen Vernunft gehorchende Sprache des Diskurses? Vielleicht, weil letztere zu sehr auf Kommunikabilität und damit auf Dialogizität ausgerichtet ist. Die Alternative beharrt auf der Eigenart religiöser und ästhetischer Erfahrung, jenseits kausalpraktischer Vernetzbarkeit. Woran könnte das festgemacht werden? Wie wird mit und durch die Sprache Kommunikation unterbrochen und wie spricht wiederum diese Sprache, wenn sie Religion und Dichtung miteinander zu fusionieren trachtet? Anschaulichkeit bietet so etwas wie Konkretisation. Deshalb benutzt die Literatur den Apparat der Tropen, um langatmige und vieldeutige Umschreibungen zu vermeiden. Das Bild verdeutlicht einen Sachverhalt und macht ihn quasi gegenständlich bzw. simuliert eine Form von fassbarer Anwesenheit, ohne auf eine direkte Verständlichkeit hin ausgerichtet zu sein. Im Bereich der sakralen Kunst und Ikonographie ist derlei von großer Bedeutung und wird von Lyrikern einer modernen katholischen Literatur wie Konrad Weiß und Gerard Manley Hopkins aufgegriffen und mit einem eigenständigen poetologischen Konzept verbunden: Zu Ungunsten einer semantisierenden Sprache wird über die Anwesenheit des Bildes im lyrischen Wort eine gezieltere und zugleich kontemplativere Begegnung oder auch Betrachtung/Rezeption des Heils- und auch Schöpfungsgeschehens evoziert, worin die verborgene Funktionalität dieser stark konfessionsgebundenen Dichtung liegt.

Transatlantic Climate and Gulf Stream Aesthetics

Daniel Williams, “Transatlantic Climate and Gulf Stream Aesthetics” (pp. 57–91) The Gulf Stream gained scientific prominence in the nineteenth century as a test case for theories about the dynamics of ocean currents and the equilibrium of transatlantic climate. Discourse about the current supplied descriptions, analogies, and myths that persist into the present. Triangulating oceanic, ecological, and transatlantic approaches to literary study, this essay argues that the nineteenth-century discourse of the Gulf Stream included a significant aesthetic dimension organized by a dialectic between stability and variability. First, the essay traces the Gulf Stream’s presence in eighteenth- and nineteenth-century scientific writing and print culture, showing how memorable figures and vivid illustrations accentuated the risk of climate variability even as they charted an apparently stable oceanic system. Next, it considers the work of two poets separated by the ocean, Gerard Manley Hopkins and Sidney Lanier. While ostensibly using the Gulf Stream motif to reflect on geographic identity and cultural belonging, Hopkins and Lanier use formal and figurative techniques that register the threat of climate instability, offering a deeper sense of climate disquiet than the scientific materials on which they drew. Finally, the essay looks at the poetry of Derek Walcott, sketching the afterlife of the Gulf Stream discourse, extending its formal and figurative lineage, and renewing the present ecological urgency of thinking with an Earth-system process as a motif of climatic connection and obligation.

LIZ LANE (b. 1964)Landscapes (2009)

This chapter highlights Liz Lane’s Landscapes (2009). This song cycle, a special birthday commission for a young baritone, displays great empathy with the rich emotional world and stirring imagery of well-loved texts by Gerard Manley Hopkins, John Clare, and William Wordsworth. Words are set with clarity and sensitivity, in natural response to their resonances. The attractive musical idiom is basically tonal, but quite chromatic, encompassing changes of pace and mood with admirable fluency. Although unafraid of occasional extremes of register, the composer wisely focuses on medium tessitura when wishing to show the voice’s full palette of colours and shadings. Piano writing is clear and practical, ranging from ostinato figures to simple diaphanous textures and held chords. The three songs are well contrasted: the short opening setting ends in a passage of exultant shouting and the last song, in which the piano takes a major role, gives the singer a satisfying glissando.