Before you can read and analyse his poetry, it is advisable to go through the concepts of thisness, inscape and instress. Look to the skies yourself and deeply observe the birds you see, paying careful attention to how they alight, where they land, and the patterns they make in the air. However, the term, being ambiguous, could also suggest the spiral climb of the bird. Consider how watching them makes you feel, and what their flight might suggest about your own beliefs, spiritual or otherwise. In the same way, fidelity in religious life just as Christ compared the religious life to taking up the plough produces brightness in the soul. Not knowing right away what the subject is, and what the syntax is doing, also slows us down. He describes a bird which he saw flying in the sky that morning.
Though Hopkins wrote the poem around the year 1877, it was published in 1918 after his death. It is as if Hopkins intended to create multiple ideas in some of his images, each interesting and valid in its own way. Sprung rhythm is a poetic device used to reveal the energy of God that pulses through the world. It essentially is related to the idea of being or individuality of an entity. The bird is so called because he has a tendency to hover in the wind. My heart in hiding Stirred for a bird,—the achieve of; the mastery of the thing! For this reader, Hopkins has chosen the favorable mode of expression. Its author, , was a Jesuit priest who died at the age of 44.
Analysis of Felix Randal Lines 1-4 Hopkins begins this piece by having his speaker, generally considered to be Hopkins himself, see introductory material introduce the main character of the poem, Felix Randal. He adds, further, that both the terminology and the picture itself have their source in the Jesuit handbook Spiritual Exercises. But the poem is rather difficult because the poet has used odd old English words, only implications, and Christian symbols to suggest the pain gall , wound gash , blood vermillion , sacrifice, and so the greatness of Christ. Try to capture and convey that feeling through your choice of words and their connection to one another. Seeing the divine in the world is the same as seeing its inscape. I have not read many poets who are as successful at viscerally demonstrating the spirituality of the natural world, Rabindranath Tagore and Rilke leap to mind. Through its powerful use of the elements of poetry, the poem explores the power of God and the wonder of nature.
In either case, a unification takes place. A connection is born between the two. Hopkins continued to write for the rest of his life but only received any critical acclaim after his death of typhoid fever in 1889. I found your analysis of it and enjoyed it all over again. Finally, in sprung rhythm the scansion of the poetic lines is carried over, from line to line Hopkins 107-108. Love is the evil and the good, the lies and the truth. Hopkins' choices of words add to the feeling of grandeur that is the subject of the poem through their powerful imagery, and they express wonder at the power and grandeur of God and the continuity of nature.
Lines 12-14 The last three lines of the poem describe the happy years that the farrier did get to live. On hearing a poet describe a long remembered poem, the only thing he could recall from college days, I identified with that. How do the different kinds of aural effects repetition, alliteration, and consonance alter its sound? God as feminine, as an enfolding, as a wrinkle we lose ourselves in… paired with the fierce imagery of the hunter. It is a usual Hopkinsian sonnet that begins with description of nature and ends in meditation about God and Christ and his beauty, greatness and grace. This is the memory that the speaker leaves the reader with and the one he is hoping will last. We should first get the feel of the poem by reading it more than once silently and then aloud. He must have had an extraordinary pair of eyes to see it.
He coined the words instress and inscape, adapting these ideas from the medieval theologian Duns Scotus, but Hopkins never formalized his theories; rather, he used them as intuitive concepts, hybrids of insight + stress stress as in poetic meter and insight + landscape. If indeed this poem is based on real life events, Hopkins is describing the real connection he felt between himself and Felix. They lend to a very organic yet cosmic structure and design within his poetry which is almost akin to his idea of the world and has a heavy influence in the content. I tend to read right through Hopkins just for the love of the sound and can miss some of the nuances. Shakespeare paints this picture using a wonderful combination of metaphors and a simile. The description of the first stanza and the comparison of the second stanza are all forgotten when the poet deeply meditates and exalts in the sacrifice and greatness of Christ in the last three-line stanza.
Hopkins felt poetry should not be attributed to personal goals, and in his capacity of a priest dedicated to God, he felt it was his duty to rebut individual desires. Brute beauty and valour and act, oh, air, pride, plume, here Buckle! The attention that Hopkins pays to the details of the setting and the breathless pace of the sprung rhythm that he developed elevate this poem from mere lines about a flying bird and raise it to the level of art. Again, it immediately seemed to me that this was a love poem. Hopkins was ordained into the priesthood in 1877 and served in various institutions throughout England. The falcon can be connected with ecstasy and rejoicing and freedom; also with battle and chivalry.
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. Wood suggests that it is perhaps possible that Hopkins came to his unique view of the world and to his use of a unique rhythm due to cultural training that his mother provided in his childhood. In 1874 Hopkins started his study of theology at St. Fribourg: University Press Fribourg, 1992. He also believed that this uniqueness formed a part of greater recurring patterns. The speaker of this poem is generally considered to be Hopkins himself.
He is depicting Felix as having been made from a preset mold that imbued him with natural strength and strong looks. The poem, The Windhover, by is a sonnet in sprung rhythm. The last stanza associatively brings together unrelated words, each telling something about Christ and his suffering and sacrifice for human beings. But what is Shakespeare trying to say. Hopkins has mixed his romantic fascination with the nature with his religious favor of gratitude towards God for giving us a beautiful nature. Brute beauty and valour and act, oh, air, pride, plume, here Buckle! Like all sonnets, there are fourteen lines, with every four lines written as quatrains in a b a b format. From the bold God, to the winged-spirit God, from the plodding of man to the majesty of God, it is all contained as if of a piece.