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Page 475
College, Dublinwhere he was Professor of Greek, where he often felt isolated, impotent, and bleak, and where he composed what are known as the "terrible sonnets" or the "sonnets of desolation." In these last, some of the most harrowing in the English language, Hopkins wrestles with the appalling solitude of God's absence and with the spiritual dryness, desolation, anguish, and self-loathing that are its consequence. Never is God's absence ontological, however; rather, Hopkins's "lament / Is cries countless, cries like dead letters sent / To dearest him who lives alas! away." The chastened language of these late sonnets forfeits none of the intensity of his earlier exuberance over the beauty of a world upheld by God; but the plainer style he once hoped for has been achieved at a terrible cost. Yet even this series of sonnets, written in Dublin, contains moments of hard-won calm, patience, self-irony, and, in "My own heart let me more have pity on," wan cheer.
Formally, Hopkins's favored vehicle is the sonnet; over two-thirds of his finished poems are in this form. In his hands, however, the form underwent some notable transformations, from the ten-and-one-half-line "curtal sonnet" (reduced by arithmetic ratio) to the "caudated sonnet," whichbuilding on a Miltonic modelappends one or more additional tercets (codas, or tails). An example of the former is "Pied Beauty". Of the latter, "That Nature is a Heraclitean Fire and of the comfort of the Resurrection" is the most daringa triply caudated (twenty-four-line) sonnet in alexandrines enormously swelled by metrically irrelevant slack syllables authorized by sprung rhythm.
Since for Hopkins no aspect of experience was alien to religion, two in particular have appeared to some of his modern readers as worthy of high relief. First, his experience of the appalling conditions of urban life in industrial England led to an assertion to Bridges the enormity of which provoked a hiatus of over three years in their correspondence. Referring to the ideals of the Paris Commune, Hopkins wrote:
I must tell you I am always thinking of a Communist future. . . . Horrible to say, in a manner I am a Communist. Their ideal bating some things is nobler than that professed by any secular statesman I know of. . . . Besides it is just.I do not mean the means of getting to it are. But it is a dreadful thing for the greatest and most necessary part of a very rich nation to live a hard life without dignity, knowledge, comforts, delights, or hopes in the midst of plentywhich plenty they make.
 
Page 476
(This, to the middle-class Englishman was the secular equivalent of defecting to the Roman Catholic Church.) Years later this attitude gave rise to the in-more-than-one-way-radical poem "Tom's Garland: on the Unemployed."
Second, Hopkins recorded in his early notebooks an attraction to male beautyas indeed to beauty of all kindswith instructive scrupulosity, alongside notes of nocturnal emissions (whether involuntary or conscious), inattentiveness at chapel, intemperance in food and drink, unkind thoughts, inveterate habits, observations on architecture, shopping lists, lists of dinner guests and of books to read, drafts of verses, and so on. In the later poetry this attraction finds most explicit expression in "Harry Ploughman"; but in his letters, too, he is disarmingly open, albeit not to the point of naming. It is clear that while at Oxford he felt physically drawn to some other young men, attractions he counts among his many "sins." And after reading some of Whitman's poems, he wrote to Bridges: "I always knew in my heart Walt Whitman's mind to be more like my own than any other man's living." But he adds, "As he is a very great scoundrel this is not a pleasant confession." Finally, and typically, his attraction calls forth a vow of renunciation: "And this also makes me the more desirous to read him and the more determined that I will not.'' The question of the significance of such facts, however, remains psychologically open (see N. H. MacKenzie,
Early Poetic Manuscripts and Note-books
, 2138).
In the case of someone like Hopkins, whose life, being, and actions were organized around and informed by religious faith, and by a faith that condemned such leanings and behavior unequivocally, the forces and the meaning of control and abnegation must also be weighed in the balance. His poetry offers proof, whatever the case, that religious faith and the life of the senses are not fundamentally at odds.
Further Reading
Fairchild, Hoxie Neale.
18301880: Christianity and Romanticism in the Victorian Era
. Vol. 4 of
Religious Trends in English Poetry
. New York: Columbia University Press, 1957.
 
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Harrison, Antony H.
Christina Rossetti in Context
. Chapel Hill: University of North Carolina Press, 1988.
MacKenzie, Norman H.
Hopkins
. Edinburgh: Oliver and Boyd, 1968.
MacKenzie, Norman H.
A Reader's Guide to Gerard Manley Hopkins
. Ithaca, N.Y.: Cornell University Press, 1981.
Mermin, Dorothy.
Elizabeth Barrett Browning: The Origins of a New Poetry
. Chicago: University of Chicago Press, 1989.
Plotkin, Cary H.
The Tenth Muse: Victorian Philology and the Genesis of the Poetic Language of Gerard Manley Hopkins
. Carbondale: Southern Illinois University Press, 1989.
Prickett, Stephen.
Romanticism and Religion: The Tradition of Coleridge and Wordsworth in the Victorian Church
. Cambridge: Cambridge University Press, 1976.
Scheinberg, Cynthia. "Miriam's Daughters: Women's Poetry and Religious Identity in Victorian England." Ph.D. diss., Rutgers University, 1992.
Schneider, Elisabeth.
The Dragon in the Gate: Studies in the Poetry of Gerard Manley Hopkins
. Berkeley: University of California Press, 1968.
Tennyson, G. B. "The Sacramental Imagination." In
Nature and the Victorian Imagination
, edited by U. K. Knoepflmacher and G. B. Tennyson. Berkeley: University of California Press, 1977.
Tennyson, G. B.
Victorian Devotional Poetry: The Tractarian Mode
. Cambridge: Harvard University Press, 1981.
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