Everything is ruined by trade; everything is blurry, being smeared by laborious work. Why do men then now not reck his rod? We can see how Hopkins thinks in images here: a simile is used to describe a metaphor further. And for all this, nature is never spent; There lives the dearest freshness deep down things; And though the last lights off the black West went Oh, morning, at the brown brink eastward, springs — Because the Holy Ghost over the bent World broods with warm breast and with ah! This confusion was due to the greatness of God's power and overall existence that, to Hopkins, seemed impossible and sinful to ignore. However, the last line of the poem contradicts his negative thoughts of the industrial age and the effects that it has on people. With the industrial and commercial revolutions gathering pace in Britain and the West, unprecedented pressures were being placed on the environment.
And all is seared with trade;bleared, smeared with toil;5. This one line incorporates alliteration, assonance, and an internal rhyme. Hopkins, a sensitive and observant poet above all else, expressed his dismay at this free-for-all by writing sonnets of extraordinary texture and depth. He possesses an infinite power of renewal, to which the regenerative natural cycles testify. He has has a degree in English literature from Delhi University, and Mass Communication from Bhartiya Vidhya Bhavan, Delhi.
Below is the poem, followed by a brief analysis of some of its themes and linguistic features. The novel is set in pre-independence Senegal and follows the struggles of the African trainworkers in three cities as they go on strike against their French employers in an effort for equal benefits and compensation. The octave thus ends on a very bleak note, giving the lasting impression of humanity's self-inflicted decay, about which it is significantly unaware. The sounds stretch and roll around the mouth and not only that, enjambment takes the reader into the fourth line, where the single word Crushed is suddenly end-stopped. In the context of a Victorian age that valued uniformity, efficiency, and standardization, this theological notion takes on a tone of protest. Hopkins communicates three main points in his poem, and each line can be placed under one of these three points. Seriously; you know you want to.
Line eight reaffirms that once industrialised humans have got their hold on nature, not much good can come out of the earth. It was then in 1877 he was ordained as a Jesuit priest and wrote some of his best and most well-known work, including God's Grandeur Everett 1. The shoes people wear sever the physical connection between our feet and the earth they walk on, symbolizing an ever-increasing spiritual alienation from nature. First off, we see an attempt to capture the obscurity, beauty and knowledge which is ever present in human beings relationships with the Divine. Moreover, the slowness of its oozing contrasts with the quick electric flash; the method of its extraction implies such spiritual qualities as patience and faith. This poem portrays a dark and foreboding atmosphere that serves are a warning to what may lie ahead for humankind if we continue on our current path toward destruction. In 1877 electricity had been discovered, but it was still an uncontrollable and indescribable mystery.
And although the sun goes down the western sky and the earth is plunged in darkness, the next day will dawn and the sun will be rising again in the eastern sky. The beginning section of the poem is an introduction of God. It can take the joy out of it — like having to explain a joke. Shaken gold-foil gives off broad glares like sheet lightning and also, and this is true of nothing else, owing to its zigzag dints and crossings and network of small many cornered facets, a sort of fork lightning too. Line six continues the theme of nature being despoiled by the behaviour of humans.
If one is wearing shoes, it protects themfrom stones etc, therefore, mans consciousness is deadened by his inability to see the damage that he hascaused. Holy Ghost over the bentThis can be interpreted to mean that salvation is on its way, it also implies that salvation is sure becausewhen one is bent on something, it implies a strong determination. That is the way in which the world6. The diction used in the second and third lines of this stanza seems to. This Saint John not to be confused with other Saint Johns , was a Roman Catholic mystic and a poet.
Hopkins stresses the vowels and therefore pushes the point across to the reader better. The sestet rhymes in the pattern c-d-c-d-c-d. In accordance with this, lines 11 and 12 arguably suggest a movement from the metaphorical darkness of industry's transitory reign, to a new dawn in which God will provide the nurturing force. The chestnuts offer a slightly more complex image: When they fall they open to reveal the meaty interior normally concealed by the hard shell; they are compared to the coals in a fire, black on the outside and glowing within. This imagery meshes with the sense of battle or struggle that permeates much of the poem. God's Grandeur focuses on the handiwork of God, the natural phenomena he inherently resides within, and the contrasting negative influences of man.
Line 4 Why do men then now not reck his rod? Though the description is still physical, the idea of a nugget of goodness imprisoned within a hard exterior invites a consideration of essential value in a way that the speckles on a cow, for example, do not. Invisible to the naked eye, this dearest freshness is a spiritual energy that today gets the ecologists, religionists and environmental people excited - it is present in all things and especially apparent when each new day dawns, as lines eleven and twelve suggest. The main theme which the poems are centred around is madness. The first metaphor comes in like two of the poem. This confusion was due to the greatness of God's power and overall existence that, to Hopkins, seemed impossible and sinful to ignore.
At the bottom of the world there is freshness. This power of renewal is seen in the way morning always waits on the other side of dark night. Rhythm Hopkins holds only loosely to iambic pentameter here. Hopkins returns to the grandeur of God, but rather than illustrating its power through simile, he here locates it directly in the nature he has previously discussed only in terms of destruction. Indeed, these final lines seem to suggest an entire regenerative process, as the Holy Ghost sits dove-like over the natural world, ensuring its protection. He has impacted every crevice of the world in some negative way, as implied by words such as smudge.