Gerard Manley Hopkins
Glory be to God for dappled things–
For skies of couple-colour as a brindled cow;
For rose-moles all in stipple upon trout that swim;
Fresh-firecoal chestnut-falls; finches’ wings;
Landscape plotted and pieced–fold, fallow, and plough;
And all trades, their gear and tackle and trim.
All things counter, original, spare, strange;
Whatever is fickle, freckled (who knows how?)
With swift, slow; sweet, sour; adazzle, dim;
He fathers-forth whose beauty is past change:
– – –
I want you to read this once more, this time aloud. I want you to sense how your tongue moves about and your lips shape the sounds. Ah! The feel of this poem is so unique. This poem is a physical act. This is language poetry at its finest, this makes other poets either feel inadequate or inspired. Gerard Manley Hopkins, or G-Man as I like to call him, was a strange man. He was a poet his whole life; in fact, he couldn’t help but write poetry. At Oxford he became a Jesuit; subsequently he burned every scrap of poetry he had written up until then, thinking it sinful. For much of the rest of his life he was torn between the joy poetry brought him and the guilt it later caused him. It was only toward the end of his short life that he reconciled the two and was able to write the glorious poems we have from him today. He died in his forties. This is the kind of thing that makes Brit Lit folks weep, thinking of all the what-ifs; what if he hadn’t burned his older works? what if he’d lived to be 90? Up until G-Man came around, most innovations in poetry took the form of subject changes; what was written about and how it was addressed. Gerard was the first to incorporate substantial wordplay into his poetry. And he went largely unnoticed; formal Victorian and Romantic poetry continued around him, leading into Modern poetry at the turn of the century (1900, that is). It’s not until the Beats and other Postmodern movements that we begin to see such a focus on language again. This poem features sprung rhythm, which the G-Man invented. The funny thing about sprung rhythm is that its intent is to mimic the natural speech patterns of the Irish and the English; thus, to read sprung rhythm correctly, you simply read it as normal. Because sprung rhythm is a combination of stressed and unstressed syllables, it reflects this poem’s subject, pied beauty; pied being synonymous with dappled, and both meaning a combination of dark and light colors. Kind of like Hopkins’ life! Oh, how it all comes together!