Chapter 1

Introduction

A l though G era rd M an ley H opk ins be longs ch rono log i - ca l l y t o t he

Vic to r i an Age , t oday he i s cons ide r ed to be a mode rn poe t . H i s poe t ry m arks

a comple t e depa r tu r e f rom the Vic to r i an t r ad i t i on . H e f r eed bo th m e t r e and

l angu age f rom the bond o f conven t ion and paved the w ay fo r t he em ergence

o f mode rn poe t ry. How eve r i t s hou ld be adm i t t ed t ha t H opk ins i s no t

r ega rd ed a s a popu la r poe t . The ma jo r r ea s on i s t ha t h i s poe t ry, wh ich

appe a red pos thumous ly t h rough the e f fo r t s o f h i s f r i end Robe r t B r idges , i s

no t e a s y to unde r s t and . Hopk ins w as by p ro fe ss ion a p r i e s t , and h i s en t i r e

l i f e , s ho r t t hough i t p roved to be , w as devo ted to h i s r e l i g ious du t i e s . O ne

o f H opk ins ’ J e s u i t con t empora r i e s t e s t i f i e s t o h i s cha r ac t e r and conduc t :

I t h ink the cha rac t e r i s t i c s i n h im tha t mos t s t r uck and ed i f i ed a l l

o f u s w ho knew h im w ere , f i r s t , wha t I c a l l h i s p r i e s t l y s p i r i t ;

t h i s show ed i t s e l f no t on ly i n t he r eve ren t i a l w ay he pe r fo rmed

h i s s ac r ed du t i e s , and spoke on s ac r ed s ub jec t s , bu t h i s who le

conduc t and conve r s a t i on (L ahey 145 ) .

I t i s t r ue t ha t H opk ins show ed h i s p r i e s t l y s p i r i t i n h i s w ords and

deeds and na tu r a l l y h i s poe t ry t oo r e f l e c t s t h i s r e l i g ious s p i r i t and i s

r e l i g ious i n cha rac t e r. Ga rdne r eva lua t e s t he r e l i g ious cha rac t e r o f H opk ins ’

poems in a more exp l i c i t way :

H opk ins i s r e l i g ious , no t mer e ly a devo t iona l , poe t . Re l ig ion , f o r

h im , w as t he t o t a l r ea c t ion o f t he w ho le man to t he w ho le o f l i f e .

M an w as c r ea t ed t o s e rve and p r a i s e G od . A s Hopk ins d id bo th

w i th comple t e s ince r i t y, so t oo h i s d i s appo in tm en t s , p ro t e s t s , and

r evu l s ions we re s t a t ed w i th compl e t e candour ( PG MH XX XV ) .

The poe t ry o f H opk ins i s r e l i g ious i n cha r ac t e r even w hen the

i n s p i r a t i on i s t he beau ty o r g r andeu r o f N a tu re . Thus i n “G od’s G randeu r” he

w r i t e s : “TH E WO RLD i s cha rged w i th t he g r andeu r o f G od . / I t w i l l f l a me

ou t , l i ke sh in ing f rom s hook fo i l ; ( PG MH 66) . The ve ry f i r s t l i n e s c l ea r ly

i nd i ca t e t he t h ru s t o f t he sonne t t ha t t he w or ld i s cha rged w i th G od’s

G randeu r, a s w i th e l ec t r i c i t y. The r e f e r en ce he r e i s t o t he Book o f Ps a l ms in

t he B ib l e whe re i t i s s t a t ed : “The who le ea r th sha l l be f i l l ed w i th h i s

ma je s ty” (P s ms .71 :19 ) . Th i s i dea r ep re s en t s t he c l imax o f t he Sp i r i t ua l

Ex erc i s e s of S t . I gna t iu s Loyo la i n t he con t emp l a t ion fo r ob t a in ing love . On

the f i na l po in t o f t h i s con temp la t ion H opk ins h ims e l f commen t s : “A l l t h ings

t he r e fo re a r e cha rged w i th l ove , a r e cha rged w i th God and i f w e know how

to t ouch the m g ive o f f spa rks and t ak e f i r e , y i e ld d rops and f l ow, r i ng and

t e l l o f h im” ( SD 195) .

Re l ig ious poe t ry i s no t l i ke ly t o appea l t o many r eade r s , e s pec i a l l y

w hen , a s i n H opk ins ’ ca s e , i t d em ands an i n t ima t e know ledge o f r e l i g ious

be l i e f s w h ich f i nd exp re s s ion in i t . The t r ad i t i on o f Ca tho l i c i s m wh ich he

i nhe r i t ed a t h i s conve r s ion i s r ep re s en t ed in h i s poe t ry i n en t i r e ly pe r s ona l

t e r ms .

Wha t i s r ea l l y new in Hopk ins i s no t so much h i s i ngen ious and

f a s t i d ious expe r i men t s w i th l anguage and rhy thm, a s h i s doub le v i s ion o f t h e

r e l a t i ons be tw een G od and man—G od bo th p r e s en t i n t he s ou l o f e ach

ind iv idua l be ing , and God pe rvad ing the who l e un ive r s e . Hopk ins ’ w ho le

conc ep t ion o f poe t ry dem anded and inc luded tha t con tac t w i th G od w h ich

on ly t he mys t i c s know —a con tac t w h ich r ea ches t h rough and beyond the

s ens es . H e s aw G od’s foo t p r in t s on a l l c r ea t i ons uphe ld by H i s l ove . I n t he

poem “P ied Beau ty” he wr i t e s : “G lo ry be t o G od fo r dapp led th ings - / F o r

s k i e s o f coup l e - co lou r a s a b r inded cow ; ( PG MH 69) . A cco rd ing to Hopk ins

G od i s p r e s en t eve ryw her e , H e pe rvades t h e w ho le un ive r s e . H e can f ee l and

touch H i s p r es enc e . H i s onenes s w i th G od i s onenes s w i th Chr i s t , bo th God

and man w ho i s a l s o s een eve ryw here : “Chr i s t p l ays i n t en t hous and p l a ces , /

Love ly i n l imbs , and lov e ly i n eyes no t h i s / To the F a the r t h rough the

f ea tu r e s o f men ’s f ace s ( PG MH 90 ) . The mom en t s o f pu re i l l um ina t ion in h i s

ve r s e a r e a lw ays connec t ed w i th Chr i s t , G od , t he S on , t he Inca rna t e . “M ark

Chr i s t ou r K ing . H e know s w ar…There he b ides i n b l i s s / Now, and see ing

s omew here… So G od-made f l e s h does t oo” ( PG MH 99) . Th i s Chr i s to cen t r i c

v i s ion o f Hopk ins i s endo r s ed by one o f t he em inen t Hopk ins s cho la r s ,

J o s eph H i l l s M i l l e r. I n h i s es s ay “Th e U n ivoca l Ch im ing” M i l l e r op ines t h a t

H opk ins s ee s a l l t h ings a s c r ea t ed i n Chr i s t and founds t he t h eo ry o f

ha rmon y, name ly, eve ry th ing rhymes in Chr i s t . M i l l e r con t inues :

The doc t r i n e o f t he common na tu r e t ak es H opk ins one a l l -

impor t an t s t ep beyond the r ecogn i t i on th a t a l l t h ings rhyme . The

l a t t e r l ed t o a s ens e t ha t a l l na tu r e i s i n t eg ra t ed , bu t i s f o r e ign to

man . H opk ins ’ doc t r i ne o f Chr i s t a l l ows h i m to i n t eg ra t e man

in to t he g r ea t cho rus o f c r e a t ed t h ings . M an too i s a s cape o f

Chr i s t , and r e f l ec t s Ch r i s t ’s i mage back to Chr i s t a t t he s ame

t i me as he a f f i rms h i s ow n s e l fhood . A man , l i k e o the r c r ea t ed

t h ings s ays “Chr i s t ” a t t he s ame t ime a s he s peaks h i s ow n name .

A l l men a r e rhymes o f Chr i s t (M i l l e r 115 ) .

To s ee t h ings a s c r ea t ed means s ee ing Chr i s t a s t he Word , t he Be ing

f rom whom a l l words de r ive . Ch r i s t i s t he pe r f ec t i on o f human na tu r e , bu t

he i s a l s o t he pe r f e c t i on o f b i rd s , t r e e s , s t ones , f l ow er s , c louds and

w a te r f a l l s . H e i s t he common na tu r e who con t a in s i n h i ms e l f a l l na tu r e s . A s

Chr i s tophe r D e lv in pu t s i t : “G M H th inks o f Chr i s t ’s c r e a t ed na tu r e a s t he

o r ig in a l pa t t e rn o f c r ea t i on , t o a p l ace i n w h ich a l l s ubs equen t c r e a t ed be ing

mus t a t t a in i n o rde r t o be comp le t e” ( SD 342 ) .

Each c r ea t ed t h ing i s a ve r s ion o f Chr i s t and de r ive s i t s be ing f rom th e

w ay i t exp re s s e s Chr i s t ’s na tu r e i n a un iqu e w ay. A l l t h ings rhyme in Chr i s t .

The s a l i en t f ea tu r e t ha t i s cons p icuous i n Hopk ins ’ v i s ion i s t ow ard s ee ing

in s cap es a s ve r s ions o f t he w ho le na tu r e o f Chr i s t . Na tu r a l t h ings a r e a l l ,

and a l l equa l ly, cha rged w i th t he g r andeu r o f God , and th i s ove rw he lm ing

f ac t i s more impor t an t t han any th ing spec i f i c abou t t h e na tu r e o f G od wh ich

may be l ea rn ed f rom the s pec i a l qua l i t i e s o f c r ea t ed t h ings . G od’s beau ty i s

l i k e l i f e g iv ing f l u id o r e l ec t r i c ene rgy mou ld ing eve ry th ing in t he imag e o f

t he S on , Chr i s t .

H opk ins ’ na tu r e poems a r e e loquen t exp re s s ions o f t h i s ba s i c

p r e s uppos i t i on tha t eve ry th ing r ad i a t e s t he imman ence o f Chr i s t , t he Son . As

L i ch tm ann w r i t e s , “H opk ins i n s cap es Chr i s t i n h i s poems in t he way he

found in t he qu in t e s s en t i a l I nca rna t ion o f Euch a r i s t i n ma t t e r ” “ (L ich tmann ,

T he Incar na t iona l Aes the t i c 43) . ” The oc t ave o f “A s K ing f i s he r s ca t ch f i r e”

i s s u s t a ined by the s ame p re s uppos i t i on . The f ac t t ha t a l l t h ings c ry, “Wh a t I

do i s me : f o r t ha t I c am e” ( PG MH 90 ) i s more t han ev iden ce tha t t h ings

exp re s s t he i r i n s capes o r i d en t i t y by ‘do ing ’ t h ems e lves . The ve ry w ords o f

Chr i s t a r e echoed he re :

P i l a t e t he r e fo re s a id t o h im : Are you a k ing then? J e s us

ans w ered : You s ay tha t I am a k ing . F o r t h i s I w as bo rn , and fo r

t h i s I c ame in to t he w or ld ; t ha t I s hou ld g ive t e s t i mony to t he

t r u th . Eve ryone tha t i s o f t he t r u th , hea r s my vo i ce ( J n . 18 :37 ) .

Thes e w ords t e l l u s t ha t i n do ing w ha t t hey cam e fo r, i n speak ing

the ms e lves , nonhuman c r ea tu r e s r evea l t he i r l i ken ess t o Chr i s t and dec l a r e

h i s nam e . L ik e j u s t men , k ing f i s he r s and d r agon f l i e s a r e o f t he t r u th , hea r

Chr i s t ’s vo i ce and speak i t aga in .

The s ame ide a o f omn ip r e s ence o f Chr i s t i s r e f l ec t ed i n t he poe m “The

S t a r l i gh t N igh t . ” The n igh t s ky, w i th i t s t r e a s u re o f s t a r s , i s l i ke b r igh t

peop l e o r c i t i e s hove r ing in t he a i r, l i ke “d im w oods ” w i th “d i amond

de lv es , ” l i ke “g rey l aw ns co ld w he re go ld , w he re qu i ckgo ld l i e s , ” l i ke

“w ind - bea t w h i t eb eam, ” l i ke “a i ry abe l e s se t on a f l a r e , ” l i k e a f l ock o f

doves f l y ing in a ba rnya rd , l i ke M ay b lo ss oms on o r cha rd t r ee s , and l i ke

“M arch - b loom … on me a led - w i th -ye l low s a l l ow s ” ( PG MH 66 -67 ) . The poem,

l i k e s o many o th e r na tu r e poems o f H opk ins , i s made up o f a l i s t o f na tu r a l

phenom ena s e t i n appos i t i on t o one ano the r. The poem s ays : ‘Look a t t h i s ,

and th i s , and then th i s ! ’ The th ings l i s t ed a r e a l l me tapho r s o f t he n igh t s ky

and o f one ano the r. They a r e pa r a l l e l becaus e t hey a l l equa l ly con ta in

Chr i s t . Th e poem ends w i th t he a f f i r ma t ion tha t t he n igh t s ky and the t h ings

w i th wh ich i t has been compar ed a r e l i ke ba rns w h ich hous e t he p r ec ious

g r a in , Ch r i s t . Ch r i s t i s t he t r ea s u re w i th in a l l t h ings .

In t he s ame w ay the bas i s o f “Th e M ay M agn i f i c a t ” i s a compar i s on o f

t he B le s s ed Vi rg in and na tu r e . A s M ary bo re Chr i s t w i th in he r and magn i f i ed

h im, a l l na tu r e i n M ay magn i f i e s Chr i s t :

The i r magn i fy ing o f ea ch i t s k ind

Wi th de l igh t c a l l s t o mind

H ow she d id i n he r s to r ed

M agn i fy t he Lo rd ( PG MH 77 ) .

The P oem “H ur rah ing in Ha rves t ” g ives t he mos t p i c tu r e s que

p r e s en t a t i on o f Hopk ins ’ v i s ion o f t he omn ip re s ence o f Chr i s t i n na tu r e . I t i s

t he end o f s ummer and the t ime o f ha rves t . O n bo th s ide s o f a r oad , t he poe t

s ee s t he sheav es o f r eaped co rn i n s tocks , “ba rba rous i n beau ty. ” A s he

w a lks , he l i f t s up h i s eyes and h i s hea r t i n r ap tu rous p r aye r o f ado ra t i on .

F i l l ed w i th t he v i s ion o f Chr i s t , t he poe t dec l a r e s t ha t t he “azu rous hung

h i l l s ” ( PG H M 70) a r e , a s i t w e re , t he shou lde r o f Chr i s t w ho ca r r i e s t he

w e igh t o f t he w ho le wor ld . Eve ryw here i n t he ea r th and s ky o f t h i s au tumn

s cene w as a supe rna tu r a l ha rves t f o r t he spec t a to r. ‘G lean ing ’ Chr i s t f r om

the mu l t i t ud inous spec t ac l e , t h r e s h ing h im ou t f rom the hus ks w h ich h id

h im , H opk ins t ook h im a s i t w e re i n t he com mun ion o f l ove , and w as h ims e l f

l i f t ed up in to and in s cap e o f Chr i s t : “ I w a lk , I l i f t up , I l i f t up hea r t , ye s , /

D ow n a l l t ha t g lo ry i n t he heavens t o g l ean ou r s av iou r” ( PG MH 70 ) .

G eo ff r ey H . H a r tman , ano the r Hopk ins s cho la r, b r ings ou t an impor t an t

ana ly s i s o f Hopk ins ’ poems . Of cou r s e , he admi t s t ha t Ch r i s t i s p r e s en t

eve ryw here i n na tu r e . Bu t he i s more man i f e s t i n man than e l s ew here .

H a r tm an s ee s H opk ins ’ poems a s an a t t emp t t o r eve a l t he i den t i t y o r wha t he

ca l l s r e s i l i ence o f each be ing . Acco rd ing to H opk ins each th ing has i t s ow n

ind iv idua l i t y o r wha t Hopk ins ca l l s ‘ p i t ch o f s e l f ’ o r ‘ i n s cape ’ and man has

t he h ighes t i nd iv idua l i t y. H opk ins ’ p r eoccupa t ion w as t o exp re s s t h i s

i nd iv idua l i t y t h rough h i s poems :

F o r H opk ins l e aves a s ide a l l s pecu la t i on on w he the r t he phys i ca l

un ive r s e ha s o r ha s no t a s ou l and w ha t k ind o f s ou l . H e i s

conc e rned i t w i th on ly one th ing , i t s “p i t ch o f s e l f , ” and he

know s tha t e ach th ing ’s p i t ch o f s e l f i s d i s t i n c t i v e and

inco mparab le w i th any o the r, and tha t man’s p i t ch i s t he h ighes t

(H a r tm an 124 ) .

Th i s i nd iv idua l i t y o r t h i s ness o f ea ch be ing i s man i f e s t ed i n va r i ed

w ays , “ a s b i rd i s man i f e s t i n f l am e , s o be l l i n p i t ch , s o ea r th i n be ing

p low ed” (H ar tman 126 ) . Th e nex t ques t i on i s , and th en w ha t i s t he man i f e s t

o f man ? Q uo t ing th e poem “As K ing f i s he r s Ca tch F i r e” , Ha r t man f inds ou t

t he answ er :

Chr i s t i s f o r Hopk ins t he man i f e s t o f man , a s r i ng ing i s o f t he

be l l , f i r e o f k ing f i s he r s , hu r l and g l id ing o f t he Windhov e r. We

pe rc e ive t he i den t i t y e s t ab l i s hed in t he poems o f H opk ins , an

i den t i t y o f a l l t h ings , a l l mor t a l t h ings , i n r e s i l i ence , i n f in i t e

i nd iv idua l i t y,…Bu t t h i s i den t i t y … i s t hen t r ans cended by a

fu r the r i den t i t y, exc lu s ive t o man , i n r e s i l i ence , h ighes t p i t ch o f

s e l f , Ch r i s t , hence - r e s u r r ec t ion (H ar t man 126 ) .

F o r Hopk ins , Ch r i s t ’s su f f e r ing wh ich l eads t o t he r e s u r r ec t ion and

h i s u l t ima te t r i umph i s a ve ry impor t an t t heme in h i s poe t ry. Ch r i s t ’s

i nd iv idua l i t y l i e s i n h i s vo lun ta ry s u f f e r ing . Windhove r ’s i nd iv idu a l i t y l i e s

no t i n i t s e l egan t ba l anc e i n t he a i r amids t t h e s t r ong s t r e s s , bu t i n t he ac t o f

“buck l ing . ” H a r tman compare s and con t r a s t s t he f a l con w i th Chr i s t and s ays

t ha t w indhove r r ea ches t he comple t ion o f i t s i nd iv idu a l i t y on ly w hen i t i s

r eady to buck le t he f l i gh t a f t e r t he examp le o f Chr i s t :

F o r t he i dea l marked and admi r ed in t he Windhove r by the poe t

w as o f e l egan t ba l ance i n t he cen t e r o f s t r e s s , and th i s s t r e s s i s

s ough t by, no t impos ed on the f a l con who s eems to know tha t a

s to rm cen te r i s neces s a ry t o d i s p l ay the “ach iev e” and “mas t e ry. ”

Ye t Chr i s t w h i l e a l s o o f h i s ow n w i l l s eek ing the cen t e r o f s t r e s s

d id t h i s no t f o r t he s ake o f e l eg an t ba l ance , bu t t o s u f f e r w i thou t

mas t e ry t he “uns peakab le s hock n igh t . ” “Buck le , ” t he r e fo r e ,

add re s s ing th e w indhove r o r i t s a ccou te r men t s o f sens uous

magn i f i c ence , wou ld be i n t he na tu r e o f an op t a t i ve and mean

more t han “buck le on mee t ing th i s hea r t w h ich , t h ink ing o f t h e

a s ce t i c Chr i s t , mus t r e fu s e i t s admi ra t i on” ; i t s ugges t s “ Le t

you r s e l f l i ke Chr i s t m i l i t an t f o r s ac r i f i c e s ubmi t t o a s to rm

cen te r g r ea t e r t h an the pow er o f beau ty, va lou r, o r a c t , and l e t

t h i s exampl e g r app le w i th , beco me a buck le r f o r, den t my hea r t ”

(H a r tm an 127 ) .

H a r tman s ays t ha t H opk ins pe r ce iv es Chr i s t ’s s u f f e r ing w h ich w ins t he

r ede mpt ion o f t he w or ld a s a un ive r s a l and haun t ing phenomenon . Chr i s t i s

p r e s en t eve ryw here i n na tu r e :

The poe t t h en s ee s t he s ac r i f i c e o f Chr i s t impr in t ed l i ke a

phys i ca l l aw in even the l ow l i e s t co rne r o f na tu r e . H e though t

Chr i s t supe r indu ced on the w indhove r t o be un ique , bu t f i nds t he

ca l l t o s ac r i f i c i a l a c t i on a l s o i n coa l…In s uch p roces s e s H opk ins

com es to s ee an imi t a t i on o f Chr i s t ’s P as s ion , C ruc i f i x ion , and

Res u r r ec t ion ; and th i s f ac t haun t s h i m…(H ar tman 128 ) .

Th i s i s t r ue t oo as mos t o f t he poems o f Hopk ins g lo r i fy t he su f f e r ing

o f Chr i s t who t r i u mphs ove r s in and dea th by g iv ing h ims e l f t o be

‘b ru i s ed / c ru s hed ’ . Thus i n a w ay Hopk ins ’ poe t ry i s a poe t ry o f i nca rna t ion .

I nca rn a t ion means , Ch r i s t , t he S on o f G od t ak ing up hum an na tu r e t o r edee m

the w or ld t h rough h i s vo lun t a ry s u f f e r ing . H ence even w hen h i s poems dea l

w i th pa r t i cu l a r peop l e l i k e t he bug le r, t h e s o ld i e r, H a r ry P loughman , P u rce l l

and F e l ix Randa l , t he t heme o f su f f e r ing and Chr i s t a r e echoed e i t he r

d i r e c t l y o r i nd i r ec t l y. Hopk ins neve r fo rge t s t he neces s i t y and the ennob l ing

pow er o f s u f f e r ing . H i s J e s u i t - d i s c ip l i ne and p r ac t i ce a lone w ou ld have been

s u f f i c i en t t o impres s t he a t t i t ude t ow ards s u f f e r ing on h i s mind . Ye t t he r e i s

no mas och i s m in H opk ins ’ agon i e s . H e r ecogn ize s t ha t su f f e r ing i s pa r t o f

t he cond i t i on o f man tha t ha s been made sw ee t and ac cep tab l e by Chr i s t ’s

ow n s uff e r ing w h ich he unde r took vo lun t a r i l y t o s ave mank ind . H opk ins a l s o

r ecogn ize s t ha t s u f f e r ing , w hen unde r t aken vo lun t a r i l y, w ins t he r ede mpt ion

o f t he s e l f and o the r s and i t i s neve r w as t ed even a t i t s da rkes t mom en t s .

H i s w orks he lp t o bu i ld up an a t t i t ude w h ich i s r eady to acc ep t s u f f e r ing and

to w a i t on G od w i th pa t i ence . “We hea r ou r hea r t s g r a t e on thems e lves : ”

( PG MH 102 ) . The poe t know s tha t s u f f e r ing i s no t e a s y ; i t k i l l s s ome t imes ,

bu t s t i l l h e i s ab l e t o be l i eve t h a t t h i s k i l l i ng , b ru i s ing i s done on ly t o mak e

h im dea re r t o G od . The re i s a l s o a t r ans fo rma t ion t ak ing p l a ce w i th in a s he

beco mes dea re r t o G od ; he beco mes a be t t e r be ing and henc e even in t he

mids t o f s u f f e r ing he can f ee l i t s goodnes s . “…i t k i l l s / To b ru i s e t h em

dea r e r ” ( PG MH 102 ) .

The vo lun ta ry su f f e r ing o f Chr i s t w ho l e t s h i ms e l f t o be “ s heaved in

c rue l bands , ” “ s cou rged upon , ” “b ru i s ed s o re , ” ( PG MH 17 ) f o r t he

r ede mpt ion o f t he w or ld beco mes the cen t r a l o rgan iz ing the me o f H opk ins ’

poe t r y. I t i s t r ue t ha t a t f i r s t he ha s t o unde rgo the t o rmen t ing expe r i enc e

w h ich makes h im appea r t o be de f ea t ed . Bu t t h rough th i s ve ry su f f e r ing he

s ucceeds and t r i umphs ove r t he w or ld . As M ar i a L ich t man r igh t ly obs e rves

abou t t he poe ms o f Hopk ins :

In “Th e Windhove r, ” ded i ca t ed …to “Chr i s t ou r Lo rd , ” t he poe t

l e aves u s w i th p loughed s i l t and bu rn t -ou t emb er s a s t he ma t t e r

i n wh ich to f i nd Chr i s t ’s s p i r i t un t i l…i t b r eaks fo r th i n “ t en

t hous and p l aces ”…In “R ibb le s da l e , ” i t i s “Ea r th , s w ee t E a r th ,

s w ee t l ands cape” wh ich , l i ke Chr i s t i n t he Eucha r i s t , ” “ cans t bu t

on ly be . ” In H opk ins ’s i dea o f t he Inca rn a t ion , t he r e i s , a t l e a s t

a t f i r s t , v e ry l i t t l e t r i umph o f s p i r i t . I f t he Inca rna t ion s ucceeds ,

i t s ucceeds aga in s t a l l odds . Ch r i s t l i e s do rman t i n t he mos t

v i s cous , murky, opaque o f s ubs t ances , “ th e ooze o f o i l , / c ru s hed”

un t i l , b ec aus e o f h i s “b i l l i on t imes t o ld” g r ea t e r f i r e , he ga s h [e s ]

go ld - ve rmi l l i on “ ( T he Incar na t iona l Aes the t i c 44 ) . ”

I n f ac t t he s u f f e r ing o f Chr i s t t r an s fo rms h im too ; i t t r an s fo rms the

de f e a t ed Chr i s t i n to Chr i s t t he he ro . H is b lood f l ow ed upon the wor ld and

pu r i f i ed i t l e ad ing to i t s r edempt ion . H e re ano th e r t r ans fo rm a t ion t akes

p l a ce : Ch r i s t t he c ruc i f i ed and de fe a t ed i s t r ans fo rmed in to Chr i s t t h e v i c to r

and he ro , t he g round be ing h i s vo lun ta ry s u f f e r ing .

A cco rd ing to H ans Ur s von Ba l th a s a r t he u l t i ma te co re o f

H opk ins ’ t heo log ica l a e s the t i c s i s t h e d r ama t i c na r r a t i v e o f ‘ t he Grea t

S ac r i f i c e ’ o r t he s to ry o f Chr i s t ’s su f f e r ings t h rough w h ich he w on the

r ede mpt ion o f t he w or ld . The dynamics o f God’s s e l f - r eve l a t i on , c r e a t i on ,

and even g r ace f l ows f rom ‘ the G rea t S ac r i f i c e ’ a s na r r a t ed by H opk ins . Von

Ba l tha s a r a s s e r t s :

A l l t h i s i s f ounded on the ‘G rea t S ac r i f i c e ’ o f t he S on , t o w h ich

Idea o f s ac r i f i c e a l l t he r e s t o f t he c r e a tu r e s a r e r e l a t ed a t t he

l ev e l o f i d ea . The ‘G rea t S ac r i f i c e ’ on wh ich eve ry th ing i s

f ounded i s … the p r im ary w ay in w h ich the s e l f –emp ty ing , t he

pu re be ing fo r ano the r o f G od’s pe r s ona l , Tr in i t a r i an be ing can

be man i f e s t ex t e rna l ly (Ba l tha s a r 376 ) .

The p r e s en t s t udy i s f ocus ed on th i s t heme o f vo lun ta ry s e l f

s ac r i f i c e and on i t s r ede mpt ive d imens ion in t he works o f G e ra rd M an ley

H opk ins . Th i s d i s s e r t a t i on i s an a t t e mp t t o h igh l igh t how the s u f f e r ings an

i nd iv idua l a ccep t s w i th fu l l f r eedom o f w i l l , c an w in and b r ing s p i r i t ua l

g row th fo r ones e l f and o the r s a s r e f l ec t ed i n H opk ins ’ w orks . Th i s r e s ea r ch

w ork i s a modes t e f fo r t t o ana ly s e t h i s mys t e r ious t he me and to b r ing ou t i t s

imp l i c a t i ons . M ore s ign i f i can t ly s t i l l , t he a t t en t ion i s pa id t o b r ing to l i gh t

how th i s t he me o f t h e r edemp t ive va lue o f vo lun ta ry su f f e r ing has

de t e rmin ed the cha rac t e r o f H opk ins ’ poe t i ca l works .

The w ork i s d iv ided in to f i ve chap te r s . The f i r s t , i n t rodu c t ion ,

f am i l i a r i ze s t he s ub jec t ma t t e r and p rov ides a gene r a l ou t l i ne o f t he

i nves t i ga t ion . I t g iv e s a r ev i ew o f t h e r e s ea r ch work ca r r i ed ou t on Hopk ins ,

r e l a t ed t o t h i s t he me . Th i s chap te r a l s o h igh l igh t s t he j u s t i f i c a t i on and

r e l evance o f t he s tudy.

The s econd chap t e r t r ac e s t he t r a j ec to ry o f t he evo lu t ion , g row th and

deve lopmen t o f t he concep t o f vo lun ta ry human s u ff e r ing in Hopk ins ’s l i f e

and the i n f lu ences exe r t ed on h im by va r ious pe r s ons who u l t im a te ly caus ed

the b i r t h o f a p r i e s t -poe t . The re a r e ve ry many pe r s ons who have con t r ibu t ed

to t he g row th and deve lopmen t o f H opk ins ’ t hough t . Bu t t h i s chap te r f ocus es

on on ly t hos e w ho have p l ayed a p ivo t a l r o l e i n mou ld ing the mind o f

H opk ins a f t e r t h i s t he me , vo lun t a ry s u f f e r ing and i t s r edemp t ive d imens ion .

The r e w e mee t h i s ow n f a the r, M r. M an ley H opk ins , h i s mo th e r M rs . K a te

H opk ins , J ohn Rus k in , I gna t iu s o f Loyo l a , and D uns S co tus , t he ma jo r

pe r s ona l i t i e s who mer i t an a t t en t ion in t h i s chap te r.

H opk ins i s be s t unde r s tood by r e l a t i ng h im to i deas mos t e a s i l y

i n f lu enced h im. J ohn Rus k in and D uns S co tus have he lped h im to en joy th e

beau ty o f na tu r e . A cco rd ing to Rus k in , a l l beau t y, s omehow r e l a t e s t o t h e

na tu r e o f G od . S ince beau ty i s t he r e f l ec t i on o f God’s na tu r e i n v i s ib l e

t h ings , Rus k in be l i ev ed tha t t he f e l i c i t y o f t he l i v ing th ings , ded i ca t ion to

t he du t i e s t h rough the comp le t e fu l f i lmen t o f f unc t ions and the obed ience t o

G od’s w i l l , a l l come to fo rm beau t y. Th i s l a s t po in t , name ly, t he s ubmis s ion

to t he w i l l o f G od and to t a l s u r r ende r o f t he s e l f t o H im becam e a

f a s c in a t ing expe r i en ce and sub je c t f o r H opk ins . Thus H opk ins came unde r

t he s pe l l o f Rus k in .

D uns S co tus he lped H opk ins t o f r a me h i s s ens e o f i nd iv idua l i t y. Duns

S co tus ’ conc ep t o f hacc e i ta s ( t h i s nes s ) w as the founda t ion o f t h i s i dea .

M ore s ign i f i can t ly S co tu s s aved H opk ins f rom h i s s c rup le s o f t he

cons c i ence . Hopk ins w as ve ry s ens uous by na tu r e . Bu t he f ea r ed th a t t h i s

w ou ld com e in t h e w ay o f h i s p r i e s t l y l i f e o f comm i tmen t and ded ica t ion .

S co tu s w ho pu t much s t r e s s on ind iv idua l i t y, bo th o f pe r s ons and th ings ,

t augh t t ha t t he mind can app rehend the i nd iv idua l , conc re t e ob j ec t , and

th rough in tu i t i on o f “ th i s ness ” ( hacce i ta s ) f i na l l y come to know the

un ive r s a l . The t each ings o f S co tu s fu r the r r evea l ed tha t s uch expe r i ences o f

i nd iv idua l beau ty u l t i ma te ly r evea l G od and tha t by d i r ec t i ng such

expe r i ences t ow ards G od , man can pe r f ec t h i s ow n ind iv idu a l i t y. Th i s i n f ac t

he lp ed H opk ins t o en joy the beau ty o f na tu r e by s ee ing G od in i t . M oreove r,

i t g ave h i m a t r e mendous r e l i e f f r om the p r i ck o f cons c i enc e . I n t h i s w ay

bo th , John Rus k in and Duns S co tus , have he lp ed H opk ins t o exp re s s h i s

i nne r conv ic t i ons i n t he fo rm o f poe t r y.

I gna t iu s o f Loyo la w as ye t ano the r dec i s ive i n f luen ce on H opk ins . T he

Sp i r i t ua l Ex erc i s e s of Loyo la mou lded and deve loped the i nne r l i f e o f

H opk ins . The re in H opk ins found ou t t he bas i c pu rpos e o f l i f e , name ly, t o

p r a i s e , r eve re and s e rve G od . Th i s i n s t i l l ed i n h im a s ens e o f r e s igna t ion , a

r ead ines s t o s u r r ende r eve ry th ing , i nc lud ing h i s i nd iv idua l i t y t o G od . Th i s ,

as w e s ha l l s ee l a t e r, beco mes a r ecu r r ing them e in Hopk ins ’ poe t ry and

D evo t ion a l Wr i t i ngs . Ce r t a in l y, t he r e a r e o the r s who have ac t ed a s t he

s ou rce o f i n f luence on h im. The s tudy i s con f ined to t he s e t h r ee bec aus e

t hey a r e t he ones w ho have he lped h im to s hape h i s l i ne o f t h ink ing tha t i s

r e l evan t t o ou r s tudy.

The th i rd and fou r th chap t e r s cove r t he t hem e o f t he s tudy, “The

Rede mpt iv e D imens ion o f Vo lun ta ry Human S uff e r ing ” in de t a i l . The th i rd

chap te r exp l a in s t he Chr i s to logy o f r ede mpt iv e vo lun t a ry s u f f e r ing in

H opk ins . I n t he D evo t iona l Wr i t i ngs and Serm ons o f Hopk ins w e f ind h i s

t hough t s on the Chr i s to logy o f s u f f e r ing . They a l s o i nd i ca t e how h i s

t hough t s w e re fo rmed unde r t he i n f lu ence o f Chr i s to logy. H opk ins ’ w r i t i ngs

a lw ays m i r ro r t he Chr i s t i an t heo logy o f su f f e r ing . A s pec i a l e f fo r t i s made

to i n t roduce the t heo log ic a l t hough t s o f su f f e r ing becaus e t hey have had a

s t r ong bea r ing on H opk ins ’ w r i t i ngs and a r e ve ry e s s en t i a l t o unde r s t and h i s

i de as . Hopk ins h i ms e l f w as ve ry eage r t o exp l a in h i s ow n ideas . H ence in

h i s l e t t e r t o B r idges , on M ay 25 , 1888 , he wro te :

We shou ld exp la in t h ings , p l a in ly s t a t e t he m, c l ea r t he m up ,

exp l a in t h em—exc ep t pe r s ona l— is a lw ays pu re good ; w i thou t

exp l ana t ion peop le go on mi s unde r s t and ing ; be ing once

exp l a ined they then ce fo rw ard unde r s t and th ings ; t h e r e fo re

a lw ays exp la in ( L RB 275 ) .

The Chr i s to logy o f su f f e r ing i s ch i e f ly ba s ed on the pas s ion , dea th and

f i na l ly, t he r e s u r r ec t ion o f Chr i s t . I t i s t h rough the b i t t e rnes s o f su f f e r ing

tha t Ch r i s t r edeemed the w or ld . Ch r i s t , t h rough the t o t a l s ubmis s ion o f h i s

f r ee w i l l t o t he s e rv i c e o f h i s f a the r, s e t s t he pe r f ec t pa r agon fo r H opk ins t o

deve lop the t heme o f t he s u r r ende r o f t he w i l l w h ich r e s u l t s i n t he

t r an s fo rm a t ion o f t he pe r s on . A cco rd ing to Hopk ins eve ry c r ea tu r e ha s bo th

t he na tu r e wh ich i s common and the s e l f w h ich i s pa r t i cu l a r. I t i s t he s e l f

t ha t de t e rmines each one ’s de s t i ny. Th rough the vo lun t a ry rhyming o f t he

s e l f w i th Chr i s t e ach one a t t a in s t r ans fo rm a t ion .

The focus o f t he fou r th chap te r i s t he poems o f Hopk ins , w h ich cen t r e

t he t hem e o f “The Vo lun ta ry Hum an S u ff e r ing . ” “ The Windhov e r” w h ich

H opk ins h ims e l f a s s e r t s a s t he ‘be s t t h ing [he ] eve r w ro t e ’ ( L RB 85 ) . “The

Wre ck o f t he D eu t s ch l and” , t he l eng th i e s t w ork he eve r w ro t e , and the s o

ca l l ed “Te r r ib l e S onne t s ” a r e examin ed in de t a i l a s t hey a r e t he mos t

e loqu en t exp re s s ions o f t he t hem e o f ou r s tudy, vo lun t a ry human su ff e r ing

and i t s r edemp t ive d imens ion . A l l t he s e poems h igh l igh t t he p roces s o f

t r ans fo rm a t ion th rough the su r r ende r o f t he i nd iv idua l i t y and w i l l . H ence

the t a l l nun in “ The Wre ck” , t he f a l con in “Windhove r” , t he beau ty o f

w oman in “The Leaden Echo and the G o lden E cho” a r e a l l t r an s fo rmed in to

be t t e r be ings t h rough s e l f s u r r ende r.

T he f i na l chap t e r s ums up the f i nd ings o f t he s tudy and i t s p r ac t i ca l

imp l i c a t i ons and r e l evan ce . I t a l s o po in t s ou t t he poss ib i l i t i e s o f f u r the r

s tud i e s on Hopk ins .

Though an eno rmous amoun t o f w ork has been done on the va r ious

a s pec t s o f Hopk ins i an t hough t s , t he r edemp t ive a s pec t o f h i s conc ep t o f

vo lun t a ry s u f f e r ing has no t been adequa te ly h igh l igh t ed . A s e r ious s tudy o f

H opk ins ’ f avou r i t e concep t o f vo lun t a ry s u f f e r ing and i t s i n f luen ce on h i s

i nd iv idua l i t y wou ld make a wor thw h i l e a t t emp t . To b r ing ou t t h e mer i t s o f

H opk ins i an concep t s o f me an ing fu l vo lun ta ry su f f e r ing th rough i t s

r ede mpt iv e impa c t s i s t o unde rs t and the ve ry pe r s on o f Hopk ins w ho o f f e r ed

h ims e l f vo lun t a r i l y t o t he a s ce t i c l i f e o f a r e l i g ious cong rega t ion tha t

embr aced the l i f e s ty l e o f J es us Chr i s t w ho r edee med mank ind f rom s in by

h i s vo lun t a ry s u f f e r ing . Th i s s u f f e r ing wh ich Chr i s t vo lun t a r i l y accep ted

l e ads t o h i s ow n t r ans fo rma t ion . Th i s vo lun ta ry s u f f e r ing t r ans fo rms Chr i s t

t he man in to S on o f G od the r edee mer. I t i s t h i s r edeeming a s pec t o f

vo lun t a ry human su ff e r ing tha t becomes a cons t an t ly i n s p i r i ng though t w i th

H opk ins .

Though Hopk ins w as e s s en t i a l l y a poe t , he w as a l s o a s ub t l e ph i lo s ophe r

and theo log i an w hos e poe t i c un iquenes s a ro s e i n pa r t becaus e o f h i s de s i r e

t o speak a s ap t ly a s pos s ib l e o f t he i mmanen t G od , o f t he i n ca rna t e Chr i s t ,

h i s vo lun t a ry s u f f e r ing and i t s r edemp t ive va lues . As he w r i t e s i n h i s poem

“E as t e r Com munion” :

P U RE fa s t ed f ace s d r aw un to t h i s f ea s t

G od comes a l l s w ee tnes s t o you r L en ten l i p s

You s t r i pped in s ec r e t w i th b r ea th - t ak ing wh ips ,

Thos e c roke ’d rough - s co red cheque r s may be

p i e ced

To c ro s s e s mean t f o r J es u ’s ; you w hom the E as t

Wi th d r augh t o f t h in and pu r s uan t co ld so n ip s

Brea the Eas t e r now ; you s e rg ’d f e l l ow s h ips ,

( PG MH 20 -21 ) .

Chr i s t had to t ake t he f l age l l a t i ons s i l en t ly ; he i s s t r i pped o f f

mer c i l e s s ly bu t he unde rgoes t h i s o rdea l w i thou t comp la in t s . H e unde rgoes

t he s u f f e r ing vo lun ta r i l y. How eve r, h i s su f f e r ing i s no t a w as t e . I t w ins f i r s t

t he f avou r o f G od who “… sha l l o ’ e r -b r im the me as u re s you have s pen t /

Wi th o i l o f g l adnes s ; ” ( PG MH 21) . M ore s ign i f i can t ly s t i l l , i t l e ads t o a

t r ans fo rm a t ion . S ince i t i s vo lun ta r i l y unde r t aken , t h i s vo lun ta ry s u f f e r ing

i s c ap ab le o f w inn ing a s tupendous t r ans fo rma t ion whe re t hough the bones

a r e spen t and ben t , G od s t r eng thens t hem. “Your s ca r ce - shea thed bones a r e

w ea ry o f be ing ben t : / Lo , God s ha l l s t r eng then a l l t he f eeb l e knees ” ( PG MH

21) . Though th e bones a r e w orn ou t t h rough vo lun ta ry su f f e r ing , t hey a r e r e -

s t r eng th ened . The f eeb l en ess o f t h e knees i s no more f e l t . The w eaknes s i s

t r ans fo rm ed in to s t r eng th . I n f ac t t h i s i s t he key po in t t ha t H opk ins w an t s t o

d r ive home in mos t o f h i s w orks , t h e r edemp t ive d imens ion o f vo lun ta ry

s u f f e r ing . The deve lopm en t o f t h i s t hem e can be t r aced back even to t he

ea r ly poems o f H opk ins . The f i r s t poem, “Es co r i a l ” t ha t f e t ch ed h im the

p r i z e a t s choo l l eve l , na r r a t e s t h i s t r ans fo rm a t ive pow er o f t he vo lun ta ry

s u f f e r ing tha t S t . Law ren ce , a Chr i s t i an mar ty r ac cep t ed . Though i t be longs

t o t he ca t ego ry o f mino r poems , i t g ive s amp le i nd i ca t ions o f Hopk ins i an

t hough t s on the r ede mpt ive d imens ion o f vo lun ta ry su f f e r ing . I n t he f i r s t

i n s t an ce t he poem na r r a t e s t he s to ry o f t he v i c to ry o f K ing P h i l i p I I w ho

vow ed the ca s t l e t o S t . Law ren ce , a s a m emen to o f h i s v i c to ry du r ing the

ba t t l e o f Quen t in ( PG MH 245) . Bu t i t a l s o g lo r i f i e s t he he ro i c mar ty rdom o f

S t . Law ren ce , w ho w as bu rn t a l i v e . H i s “c r ack ed f l e s h l ay h i s s ing on the

g r a t e” ( PG H M 3 ) . The body o f t he s a in t “H ung l i k e a w reck tha t f l ames no t

b i l l ow bea t ” ( PG MH 3) . Even in t he mids t o f t he s e un to ld mi s e r i e s and

a f f l i c t i on , “ tha t s t aunch s a in t s t i l l p r a i s ’d h i s M as t e r ’s name ” ( PG MH 3 ) .

Th rough vo lun ta ry su f f e r ing Law rence , t he o rd ina ry man i s t r ans fo rm ed in to

a sa in t , a be t t e r be ing . I t m ay no t be w is e t o conc lude tha t H opk ins had

pos s e ss ed th e fu l l y deve loped idea abou t t he r edempt ive as pec t o f vo lun t a ry

s u f f e r ing a t t h i s s t age . How eve r, i t i s a c l ea r i nd i ca t ion o f h i s p r ed i l e c t i on

fo r t he t hem e o f vo lun ta ry s u f f e r ing . G a rdne r com men t s on th i s : “… i t i s

r em arkab le fo r a s choo l boy to us e such an exp re s s ion w i th f i e ry cons t ancy”

(G a rdne r 54 ) .

Ano the r ea r ly poem, “Ba rn f loo r and Winep re s s ” a l s o p r e s en t s t he t he me

o f t he vo lun ta ry su f f e r ing o f Chr i s t and i t s r edempt ive e f f ec t . A ddres s ing

the s inne r and pe rhaps even the unbe l i ev e r, H opk ins , announces t he

w onde r fu l g i f t s t ha t Ch r i s t pu rchas ed by means o f h i s t e r r i b l e sac r i f i c e .

S heaved in c rue l bands , b ru i s ed s o re ,

S cou rged upon the t h r e s h ing - f loo r ;

Wher e t he uppe r mi l l - s tone roo f ’d H i s head ,

A t morn w e found the heaven ly Bread ’

A nd , on a t hous and a l t a r s l a id ,

Chr i s t ou r s ac r i f i c e i s made ! ( PG MH 17) .

In t h i s poem Hopk ins emph as i ze s , how Chr i s t , “ s heav ed in c rue l bands ,

b ru i s ed so re” ( PG MH 17 ) b rough t man new l i f e , t he t r ee o f l i f e , by s ac r i f i c e

t hen and h i s s ac r i f i c e now, w h ich i s t he s ac r am en t o f H o ly Com munion . The

th i rd s t anza i s t he de s c r ip t i on o f Chr i s t ’s pa ss ion and pe r s ecu t ion . The

r e f e r ence t o t he de t a i l s o f t he men ta l agony tha t Ch r i s t expe r i ences a t

G e ths em ane ga rden i s f ound in t he Gos pe l a cco rd ing to S t . M a thew 26 : 36 -

57 . H opk ins ’ f avou r i t e i de a o f r edemp t ive su f f e r ing i s embedded in t he

fo l l ow ing l i ne s :

F o r t he Vine was f enced w i th t ho rn ,

F ive w ays t he p r ec ious b r anch es t o rn ;

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

F o r u s by Ca lva ry ’s d i s t r e s s

The w ine w as r acked f rom the p r e s s ( PG MH 17 ) .

Chr i s t ’s l i f e does no t end w i th s u f f e r ing , dea th and bu r i a l . I t

cu l mina t e s i n t he r e s u r r ec t ion and the g lo r ious a s cens ion in to heav en . The re

i s t ha t t r ans fo rm a t ion in h im , a s he i s no more an o rd ina ry be ing bu t i s

s ha r ing the g lo ry w i th God in H eaven . O n the E as t e r morn ing “ the Tree w as

fo r th” and “ In fo r ty days r each ’d H eaven and ea r th ”

( PG MH 17 ) . H e then beco mes the sou rce o f so l ace , t he s econd t r e e w h ich

g ives t he s hade o f comfo r t and s a lva t ion to many. “Yea w ea ry, co me in to

s hade” ( PG MH 17 ) .

Be ing a p r i e s t i n t he J es u i t O rde r, H opk ins ’ i deas do r ad i a t e t he

i n f lu ence o f t heo logy. H is t h eo log ic a l con t r ibu t ion i s a s t i me ly a s i t i s

un ique in i t s exp re ss ion . H is t heo log ic a l app roa ch emph as i ze s t he

r ede mpt iv e d imens ions o f vo lun ta ry human s u ff e r ings and he b r ings ou t t h i s

r eve l a t i on th rough an in t ens e ly ch r i s to log i ca l pe r s pec t iv e . I n f ac t w ha teve r

he wro te ca r r i ed t he a ro ma o f t h i s t heme and w as a lw ays Chr i s tocen t r i c . The

fo l l ow ing l i ne s f rom the “ Wreck” i l l u s t r a t e i t :

I d id s ay yes

O a t l i gh tn ing and l a s hed rod ;

Thou hea rdes t me t rue r t han tongue con fe s s

Thy t e r ro r, O Chr i s t , O G od ;

Thou know es t t he w a l l s , a l t a r and hou r and n igh t ;

The sw oon o f a hea r t t ha t t he sw eep and hu r l o f

t h e e t r od

H ard dow n w i th ho r ro r o f he igh t :

A nd the mid r i f f a s t r a in w i th l e an ing o f , l a ced

w i th f i r e o f s t r e s s ( PG MH 52 ) .

H e re t h e poe t i s eve r w i l l i ng t o ac cep t t he s u f f e r ing th a t com es in h i s

l i f e . H e exp re s s e s h i s r ead ines s by s ay ing yes t o h i s God . Ev en w hen he

expe r i ences t he “ l i gh tn ing” and the “ l a s hed rod” , i n h i s l i f e , he ha s no

comp la in t s . H e con f iden t ly r e l i e s on G od . H e has s t r ong f a i t h i n God /Chr i s t

w ho “know e th” eve ry th ing , “ the w a l l s , a l t a r and hou r and n igh t . ”

S u ff e r ing , s pec i a l l y, vo lun ta ry s u f f e r ing in t he H opk ins i an app roach

i s t o be t aken pos i t i ve ly a s i t con ta in s t he s eeds o f r edempt ion o f t he s e l f

and o f o the r s . The beau ty o f i t i s t ha t he p ropaga t ed th i s un ive r s a l t he me

th rough the i nd iv idua l i t y and the un iquen ess o f be ing . A cco rd ing to h im the

g r ea t e s t s u r r ende r one can mak e i s t he su r r ende r o f one ’s ow n w i l l and

ind iv idua l i t y. Th rough th i s p roces s a t r e mendous t r ans fo rma t ion t akes p l ac e .

The f i n i t e human ind iv idua l , t h rough the s u r r ende r o f t he w i l l and

ind iv idua l i t y, i s t r ans fo rmed in to t he l i kenes s o f Chr i s t . Th i s i s beau t i fu l l y

i l l u s t r a t ed i n Windhove r :

Bru t e beau ty and va lou r and ac t , oh , a i r, p r ide ,

p lum e , he r e

Buck l e ! AN D the f i r e t ha t b r eaks f rom thee t hen ,

a b i l l i on

Ti mes to ld l ove l i e r, more dange rous , O my

chev a l i e r ( PG MH 69 ) .

When the beau ty i s buck l ed the f i r e i s p roduced and i t i s a b i l l i on

t i mes t o ld l ove l i e r. Windhove r su r r ende r s h i s i nd iv idua l i t y by fo r ego ing the

p l e a s u re o f t he f l i gh t t ha t he cou ld have en joyed . Hopk ins a lw ays s t r es s ed

the impor t ance o f i nd iv idua l i t y and un iquenes s . M oreove r, Hopk ins l oved to

be d i s t i nc t i ve by keep ing h i s ow n iden t i t y. H e wro te t o h i s f r i end Robe r t

B r idges :

N ow i t i s t he v i r t ue o f de s ign , pa t t e rn , o r i n s cape to be

d i s t i n c t i v e and i t i s t he v i ce o f d i s t i nc t i venes s t o beco me

quee r. Th i s v i c e I c anno t have es cap ed (LRB 66).

The un iquenes s and ind iv idua l i t y o f Je s us Chr i s t a r e h i s vo lun ta ry

s ubmis s ion to t he w i l l o f h i s f a the r, G od and the r ede mpt ion he w on fo r t he

w ho le human i ty. The p r aye r o f J es us t o G od h i s F a the r a t t he ga rden o f

G e ths em ane , j u s t be fo re t he pe r s ecu t ion and dea th , c l ea r ly exp re s s e s t h i s

t he me .

A nd he w i thd rew f rom them f rom them abou t a s tone ’s t h row, and

kne l t dow n and p r ayed , ‘F a th e r i f t hou a r t w i l l i ng , r e move th i s

cup f rom me ; neve r the l e s s no t my w i l l , bu t t h ine , be done (Lk .

23 : 41 -42 ) .

L ik ew is e eve ry pe r s on who s ubmi t s h ims e l f t o vo lun ta ry su f f e r ing

beco mes the pa r t - t ak e r o f Chr i s t ’s s u f f e r ing and the r eby in t he r edempt ive

ope ra t i on . I n i t s pe r f ec t f o rm he beco mes one w i th Chr i s t and i s

t r ans fo rm ed . Tha t i s w hy S t . P au l s ha r e s t h i s v i ew : “ I have been c ruc i f i ed

w i th Chr i s t ; i t i s no l onge r I who l i v e , bu t Ch r i s t who l i ve s i n me ” (G a l .

2 :20 ) .

C rea t ion , i n t he H opk ins i an app roach i s no t t o be t ak en gene r i ca l l y.

C rea t ion mos t o f t en has an u t t e r ly i nd iv idu a t ed s ens e . Tru th i s more i n t he

pa r t i cu l a r t han in t he un ive r s a l . Ea ch ind iv idua l t h ing , e a ch be ing in i t s

s e l f - exp re ss iven es s , i s a po t en t i a l r eve l a t i on o f t he D iv ine . Th i s r eve l a t i on

occu r s , f o r H opk ins , i n t h e pe r cep t ion o f t h e i nd iv idua l i t y o f a t h ing o r

expe r i ence— a pe rcep t ion wh ich he u l t ima t e ly he ld t o be a k ind o f ‘ know ing ’

o f t he i nca rna t e word in ma t t e r. P a r t o f Hopk ins ’ un iquenes s a s a r e l i g ious

poe t and s ub t l e t heo log i an f l ow s f rom h i s concen t r a t i on on the un ique , on

the i nd iv idu a l i t y o f each be ing o r o f e a ch expe r i ence .

The ind iv idu a l i t y and un iquen es s o f Chr i s t and h i s s u f f e r ings a r e

p i c tu r e s que ly na r r a t ed by S t . P au l :

“ Though he w as i n t he fo rm o f G od , he d id no t coun t equa l i t y

w i th God a t h ing to be g r a s ped , bu t emp t i ed h ims e l f , t ak ing the

fo rm o f a s e rvan t , be ing bo rn i n t he l i ken ess o f men . A nd be ing

found in human fo rm he humbled h ims e l f and becam e obed i en t

un to dea th , even dea th on a c ro s s ” (P h i l . 2 : 6 -8 ) .

H opk ins ce r t a in ly app roves i t i n The Wre ck o f t he D eu t s ch l and :

I s ou t w i th i t ! O h ,

We l a s h w i th t he be s t o r wor s t

Word l a s t ! How a l u s h -kep t p lu s h -capped s loe

Wi l l , mou thed to f l e s h -bu r s t ,

G us h ! - f l u s h t he man , t he be ing w i th i t , s ou r o r

s w ee t

B r im in a f l a s h , f u l l ! - H i th e r t hen , l a s t o r f i r s t ,

To he ro o f Ca lva ry, Ch r i s t ’s f ee t -

N eve r a s k i f mean ing i t , wan t ing i t , w a rned o f i t -

men go ( PG MH 54 ) .

Thes e l i ne s c l ea r ly exp la in t he dep th and i mpor t anc e o f Chr i s t ’s

s u f f e r ing and s ac r i f i c e s . When a r i pe p lum i s b i t t en w i th t he mou th and i t s

f l e s h i s p i e r ced , j u i ce f l ows dow nw ards p l en t i f u l l y. Though the f ru i t , i n t ha t

emp ty ing p rocess , l o s e s i t s shape and beau ty i t s j u i ce nou r i s hes t he body o f

t he one w ho en joys i t and p r e s en t s h im w i th be t t e r hea l th . S o a l s o i n h i s

emp ty ing se l f s ac r i f i c e t he b lood o f Chr i s t f l ow ed upon the w or ld and

t r ans fo rm ed i t by c l eans ing i t f r om s in fu lnes s .

In h i s “Th e G lo ry o f t he Lo rd : A Theo log i ca l A es the t i c s ” , Von

Ba l tha s a r a s ks how Chr i s t i an i ty beca me such a un ive r s a l pow er i f i t h a s

a lw ays been a s humour l e s s , angu i s hed , and g rumpy a s i t i s t oday. H is ans w er

i s t ha t t oday the r e i s a mi s s ing e l emen t , t he e l emen t o f beau ty.

Beau ty mus t be r e s to r ed to f a i t h and to i t s t r ad i t i on a l p l ace w i th

t r u th and goodnes s a s one o f t he t r ans cenden t a l a t t r i bu t e s o f t he

Chr i s t i an f a i t h . Wha t f o l l ow s , t heo log ica l ly, i s t ha t G od’s s e l f

r eve l a t i on in h i s to ry and in t he i nca rna t ion mus t now become fo r

u s t he ve ry apex and a r che type o f beau ty i n t he wor ld , whe th e r

men s ee i t o r no t . The s up reme fo rm o f t he beau t i fu l i s mad e

man i f e s t i n J es us Chr i s t and pa r t i cu l a r ly i n h i s r e s u r r ec t ion . H e

i s t he v i s ib l en ess o f t he i nv i s ib l e one , t h e de f in i t i ve and

de t e rmin an t f o rm o f God in t he w or ld . H e i s t o be d i s t i ngu i s hed

f rom a l l o the r f o rms o f w or ld ly beau ty a s t he i r p r im a l ,

a r ch e typa l s ou rce” (Cou l s on 218 ) .

Th i s ‘Ba l tha s i an ’ appea l cou ld have been made by Hopk ins i n t he

1870s . F o r Hopk ins , J e s us Chr i s t becom es the pa r agon and a r che type o f

beau ty i n h i s s u f f e r ings w h ich w on r edemp t ion . Hopk ins ’ un ique

con t r ibu t ion i s t ha t he d i s ce rned beau ty i n s u f f e r ing . H e p r e s en t s Chr i s t ’s

s u f f e r ing a s t he a r che typ e o f s u f f e r ings w h ich beco mes the sou rce and

s ummi t o f s a lva t ion .

F o r H opk ins vo lun ta ry su f f e r ing ca r r i ed w e igh t and migh t . Th e beau ty

o f f a l con in ‘Windhove r ’ l i e s i n t he m as t e ry o f s e l f su r r ende r, t he vo lun ta ry

s u f f e r ing . The b i rd i s en joy ing the f l i gh t cha l l eng ing the s t r eng th o f t he

w ind . Bu t he i s a s ked to ‘buck l e ’ , t ha t i s , t o con t ro l h i ms e l f and h i s j oy

de r iv ed f rom th e f l i gh t . H e has t o s u r r ende r, bow dow n by fo rgo ing the

f l e e t i ng p l ea s u re s o f t he wor ld i n o rde r t o become the ‘ l ove l i e r and

dange rous chev a l i e r ’ i n t he se rv i ce o f G od . L ikew is e t he un iquen es s o f t he

t a l l and tow er ing nun in “The Wr eck o f D eu t s ch l and” l i e s i n he r daun t l e s s

coun t enance in t he f ace o f dea th . S he p r ays :

S he to t he b l a ck -abou t a i r, t o t he b r eak e r, t he

t h i ck ly

F a l l i ng f l ak es , t o t he t h rong tha t c a t ches and

qua i l s

Was ca l l i ng ‘O Chr i s t , Ch r i s t , come qu ick ly ’ :

The c ro ss t o he r s he ca l l s Ch r i s t t o he r, ch r i s t ens

h e r w i ld -w ors t

Bes t ( PG MH 59 ) .

Even in t he f ace o f dea th s he does no t des e r t he r f a i t h . As t he s to rm

b l ew in a l l i t s f u ry, t he w aves ros e h igh , t he snow f l akes f e l l t h i ck ly, t he

c row d o f pa s s enge r s w e re pan ic - s t r i cken . Bu t t he supe r io r nun ca l l ed ou t :

“O Chr i s t , Ch r i s t , come qu ick ly. ” S he he ld t he c ruc i f i x c lo s e t o he r b r ea s t

and ca l l ed ou t t o Chr i s t w ho w as t he “Bes t ” i n he r eyes bu t who w as a t t h i s

mom en t i n h i s w ors t , w i ld mood . Bu t t he nun i s ve ry f i r m in he r f a i t h .

H opk ins t hus w eaves a t heo ry o f i nd iv idu a l s u f f e r ing , wh ich w ins t h e

f ru i t s o f r edempt ion fo r t he s e l f and o the r s , e s pec i a l l y w hen s u f f e r ing i s

vo lun t a r i l y s us t a ined . Th i s v i ew has i t s beg inn ings i n H opk ins ’ t a l en t and

p r ac t i ce o f pay ing c lo s e a t t en t ion to t he un iquenes s o f eve ry th ing he

obs e rved . The w ord and concep t a t t h e cen t r e o f t h i s t h eo ry i s ‘ i n s cape ’ .

Th i s Hopk ins i an con t r ibu t ion to Eng l i s h l anguage i s d i f f i cu l t t o de f in e , f o r

i t neve r had a s t a t i c mean ing fo r H opk ins . I t deve loped ou t o f h i s expe r i en ce

t ha t “w ha t you look ha rd a t s eems to l ook ha rd a t you” ( JP 204 ) .

As a s t a r t i ng po in t f o r unde r s t and ing ‘ i n s cape ’ , l e t u s u s e , R .B .

M ar t in ’s e f fo r t a t i n t e rp r e t a t i on :

….[H opk ins ] w as exp re ss ing h i s be l i e f t ha t when one

unde r s t ands a pe r s on , an ob j ec t , o r even an idea , t h rough c lo s e

s tudy, t h a t w h ich i s s t ud i ed r ad i a t e s back a mean ing , one t h a t i s

nec ess a r i l y un ique becaus e each man i f e s t a t i on o f t he w or ld i s

s omehow d i f f e r en t f r om any o the r, so t ha t no tw o mean ings can

be p r ec i s e ly t he s ame . I ns cap e i s t ha t mean ing , t he i nne r

cohe r ence o f t he i nd iv idua l , d i s t i ngu i s h ing i t f r om any o the r

exa mple . I t i s pe r ce ived on ly t h rough c lo s e examina t ion o r

emp a thy, bu t i t i s no t dependen t upon be ing r ecogn ized ; r a th e r i t

i s i nhe r en t i n eve ry th ing in t he w or ld , even w hen w e f a i l t o

no t i ce i t (M ar t in 205 ) .

N orman Macken z ie , an ou t s t and ing H opk ins s cho la r, o f f e r s t h i s

s ucc in c t v i ew :

In s cape i s no t a s upe r f i c i a l appea ranc e ; r a the r i t i s t he

exp re s s ion o f t h e i nne r co re o f i nd iv idua l i t y, pe r ce ived in

mom en t s o f i n s igh t by an on looke r who i s i n fu l l ha rmony w i th

t he be ing he i s obs e rv ing “ (M ackenz ie , A R eader ’s Gu ide 233) . ”

F o r H opk ins , a pe r cep t ion o r t he g r a s p ing o f i n s cape , t he se l f

exp re s s ivenes s o f a t h ing o r a s H opk ins h ims e l f wou ld name , i t s ‘ s e lv ing ’

w as o f g r ea t impor t an ce . O nce he w ro te t o h i s f r i end R icha rd D ixon : “U n le s s

you r e f r e s h t h e mind f rom t i me to t ime you canno t a lw ays r eme mber o r

be l i eve how deep the i n s cap e in t h ings i s ” ( L RD 41 ) .

A co ro l l a ry t o i n s cape i s Hopk ins ’ conc ep t o f ‘ i n s t r e s s ’ . I n s t r e s s i s an

ene rgy o r ‘ s t r e s s o f be ing ’ w h ich ho ld s t he i n s cape tog e the r. H opk ins a l s o

r e f e r s t o i n s t r e s s a s “ the fo r ce w h ich a l s o , a s an impu l s e f rom t h e i n s cape ,

c a r r i e s i t who le i n to t he mind o f t he pe r c e ive r ” ( PG MH XX ) . W.H . G a rdne r

s u rmis e s t ha t H opk ins , a c l a s s i c i s t o f h igh ach i eve men t a t O xfo rd , f ound

r emo te i n s p i r a t i on fo r h i s concep t o f i n s t r e s s i n t he “p l a s t i c s t r e s s ” o f

P l a to ’s ‘O ne S p i r i t ’ , “w h ich s w eeps t h rough the who le w or ld o f du l l ma t t e r

t o impos e upon i t t he p r edes t i ned fo rms o f t he P r ime Good” ( PG MH X X I ) .

Wha teve r be t he o r ig in , i n s t r e s s u l t ima t e ly became , f o r H opk ins , t he s t r e s s

o f G od’s w i l l i n and th rough a l l t h ings . I t i s t h i s s t r es s o f s ubmi t t i ng

h ims e l f t o t he w i l l o f h i s f a the r and accep t ing i t w i thou t compl a in t s t ha t

f o rms the i n s cape o f J es us Chr i s t . I t i s t h i s i n s cape - in s t r e s s dynamics t ha t

H opk ins focus es t o h igh l igh t i n h i s works .

In t e r e s t i ng ly enough , H opk ins h ims e l f expe r i enc ed th i s i n s cape -

in s t r e s s dynam ics i n h i s l i f e . H e hoped to convey in s cap e th rough h i s poe t r y.

I n h i s a rguab ly be t t e r mom en t s , he s aw h i s poems a s a k ind o f s ac r amen t a l

med ium—th e com mun ica t ion o f t he i nca rn a t e and the c r ea t ive d iv in i ty t o

o the r s . Ye t h i s v i ew s and ae s the t i c i nc l i na t ions caus ed h i m con fus ion and

s u f f e r ing . Va r ious s t ages o f h i s pe r s ona l l i f e , e s t r ang emen t w i th t he f ami ly,

t he s emina ry days , p r i e s t l y min i s t ry and the des t ruc t ion o f h i s poe t i c works ,

a l l b rough t h im , t hough vo lun ta r i l y unde r t ak en , mom en t s o f ex t r e me so r row

and su f f e r ing wh ich f i nd v ib r an t exp re s s ion in t he fo l l ow ing un t i t l ed poe m:

TO s eem the s t r ange r l i e s my lo t , my l i f e

A mong s t r ange r s . F a th e r and mo th e r dea r,

B ro the r s and s i s t e r s a r e i n Chr i s t no t nea r

A nd he my peace / my pa r t i ng , s word and s t r i f e ( PG MH 101 ) .

In o rde r t o unde r s t and H opk ins , one has t o d i s ce rn t he unde rcu r r en t

t ha t moved h im. I t i s none o the r t han the sp i r i t o f s e l f - t r ans cendenc e

th rough s e l f s u r r ende r and s ac r i f i c e . H is deep es t s p i r i t ua l a s p i r a t i on w as t o

have h i s mor t a l be ing t r ans fo rmed in to t he image o f Chr i s t . To h im s e l f -

ac tua l i za t i on t ak es p l ace on ly w hen the s e l f i s s u r r ende red . S o he s ays i n

“Th a t N a tu re i s a H e rac l i t e an F i r e : ”

In a f l a s h , a t a t r umpe t c r a s h ,

I am a l l a t once w ha t Chr i s t , s i nce he w as

w ha t I am, and

Th i s J ack , joke , poo r po t s he rd , pa t ch ,

ma tchw ood , im mor t a l

d i a mond

I s immor t a l d i amond ( PG MH 106 ) .

H e w as cons t an t ly aw are o f t he t r ans i t o r ine s s , f a l l enn es s and f i n i t ud e

o f human ex i s t enc e . Bu t he be l i ev ed in t he t r ans fo rm ing pow er o f Chr i s t .

Th rough s e l f - s u r r ende r, t he s e l f i s t r ans fo rmed in to t he im age o f Chr i s t . So

a way w as opened to s ee t he beau ty o f Chr i s t i n t he beau ty o f i nd iv idua l

f o rms a round h im. H e w as ab l e t o con te mp la t e t r u l y, a s an a r t i s t and a s a

r e l i g ious pe r s on , t he beau ty and g lo ry o f Chr i s t . H e s ays i n t he Jour na l s and

Paper s :

I do no t t h ink I have eve r s een any th ing more beau t i fu l t h an the

b lueb e l l I have been look ing a t . I know the beau ty o f ou r Lo rd

by i t . I t s ( i n s cape ) i s (mixed o f ) s t r eng th and g r ac e , l i k e an a s h

( t r e e ) ( JP 199) .

Though the pa in fu l p rocess o f s u r r ende r t ook h im to t he b r ink o f

de s pa i r, i t f i na l l y t r ans po r t ed h im ove r t he chaos t o t he l and o f t he b l e s s ed .

H e s aw the i n s cap e o f Chr i s t i n t he i n s cap es a round h im. A t t he f i na l s t age

o f t h i s a e s the t i ca l - t heo log ica l deve lop men t , t he r e w i l l be i n s cap es a round

h im on ly w hen he i s ab l e t o s ee t he i n s cap e o f Chr i s t i n t hem. The in s cape

o f t he Windhove r i s t r u ly pe r c e ived on ly w hen i t i s t r ans fo rmed in to t he

im age o f Chr i s t and becom es an im mor t a l b i rd .

I n H opk ins , a e s the t i c i s m and a s ce t i c i s m co l l i ded . H i s ae s the t i c

va lu ing o f t he s ens es c l a s hed w i th h i s a s ce t i c f ea r o f t he m. H i s s t r e s s upon ,

emp a thy w i th , and a t t imes , deep love fo r i nd iv idua l t h ings and peop le

cou ld , s o he f ea r ed , d r aw h i m aw ay f rom the p r im ary du ty o f t h e l ove o f

G od . S o Hopk ins s t r ugg led in a d i l em ma o f con f l i c t be tw een the phenom ena l

w or ld and the r ea l m o f t he s p i r i t . H is a r t i s t r y deve lop ed in t he con tex t o f

t h i s mora l and r e l i g ious t en s ion . Ye t a s W.H G ardne r s ugges t s , t he t en s ion

be tw e en the f r ee , c r ea t i ve pe r s ona l i t y o f t he a r t i s t and the acqu i r ed ,

ded i ca t ed cha rac t e r o f t he J e s u i t p r i e s t i n H opk ins w as no t un fo r tuna t e ,

r a th e r :

I f t he r e w as , deep dow n , s ome con f l i c t be tw een ae s the t i c and

a s ce t i c i dea l s , t h e r e w as a l s o , a t t he cons c ious l eve l , a

r em arkab le r econc i l i a t i on and fu s ion , w h ich gave dep th and

s p i r i t u a l pow er t o eve ry th ing H opk ins wro te ( PG MH X XX V ) .

G era rd M an ley H opk ins i s r ega rded a s one o f t he g r ea t e s t Vic to r i an

poe t s . Ye t , a s men t ioned ea r l i e r, h i s poe t ry and o the r works a r e i n f luenc ed

by theo logy and ph i lo s ophy s ince he was a l s o a p r i e s t i n t he J e s u i t o rde r.

N a tu ra l l y, wha t eve r he t hough t s poke and w ro te bo re t he l i f e o f Chr i s t who

w as h i s l o rd and m as t e r. Fo r H opk ins eve ry vo lun ta ry su f f e r ing i s ‘Chr i s t i c ’

a t i t s ve ry co re . H e accep t s J es us Chr i s t and h i s su f f e r ings a s s up reme mode l

f o r s u f f e r ing . Wi th a s t r ong Ca tho l i c i n f luen ce , he cons t an t ly dw e l l s on the

pa s cha l mys t e ry o f Chr i s t , h i s pe r s ecu t ion , c ruc i f i x ion and dea th . Bu t t h i s

does no t mark the end , bu t i s t he beg inn ing o f a new l i f e t h rough

r e s u r r ec t ion . S t . P au l s ays : “ I f you have d i ed w i th h i m , you w i l l a l s o r i s e

w i th h im” (Rom. 6 :8 ) . Ch r i s t i an i ty a s a r e l i g ious t r ad i t i on does no t a rgue

aga in s t s u f f e r ing , no r does i t p ro f f e r a s o lu t ion excep t t he exa mple o f Chr i s t

h ims e l f . I t t e l l s t h e s to ry o f Chr i s t , t he c ruc i f i ed , t he r i s en Lo rd . Ch r i s t i an s ,

f r om the ve ry beg inn ing , have c l a imed tha t t he l i f e , m in i s t ry, dea th , and

r e s u r r ec t ion o f J e s us have b rough t a r ad i ca l d i f f e r en ce t o human i t y. When

one expe r i enc es su f f e r ing , r eca l l i ng t he s ymbo l i c even t o f J e s us ’ l i f e , dea th

and r es u r r ec t ion become the me ans o f comfo r t and unde r s t and ing . Ch r i s t

t u rned s u f f e r ing in to a means o f r ede mpt ion and s a lva t ion o f t he w ho le

w or ld by s ubmi t t i ng to i t vo lun ta r i l y. H opk ins w as a t t r a c t ed and in f luen ced

by th i s exampl e w h ich i s r e f l ec t ed i n h i s w orks . I t i s a round th i s t heme o f

vo lun t a ry s u f f e r ing tha t mos t o f t he w orks o f G e ra rd M an ley H opk ins

r evo lv es .

H i s ex t an t w r i t i ngs co me in t he fo rm o f spo rad i c j ou rna l en t r i e s ,

l e t t e r s and a s s o r t ed co r r e s pondence , a f ew unde rg radua t e e s s ays , poems , and

f r agm en t s o f poe t ry, s e rmons and devo t ion a l wr i t i ngs . U nfo r tuna t e ly,

H opk ins d i ed p r ema tu re ly, be fo re he had an oppo r tun i ty t o exp re s s s ome o f

h i s e s s en t i a l t heo log ic a l t hough t s . The re fo re , any e f fo r t t o deve lop h i s

t heo log ic a l s t r ands i n to s ome th ing s ys t e ma t i c i s s omew ha t ak in t o t he

pa l eon to log i s t ’s exe rc i s e o f r econs t ruc t ing a s ke l e ton f rom a f ew ma jo r

bones . H ow eve r, t he r emnan t s a r e s u f f i c i en t t o g l ean s ome con ten t , s ens e

d i r e c t i ons , and fo l low the connec t ions Hopk ins mad e in h i s va r ious wr i t i ngs .

A n ana ly s i s o f h i s w ork r evea l s t ha t t he ma jo r con t r ibu t ion o f H opk ins r es t s

on h i s v i s ion o f vo lun ta ry human s u ff e r ing a s r edemp t ive .

Cons ide rab l e amoun t o f r e s ea r ch w orks have been ca r r i ed ou t on

H opk ins and h i s w r i t i ngs . Ph i l i p A . Ba l l i nge r, i n h i s w ork T he Poem as

Sacr am en t , p r e s en t s t h e t heo log ica l a e s the t i c s o f H opk ins . H e t r i e s t o b r ing

ou t t he ma jo r t heo log ica l con t r ibu t ion , name l y, h i s t heo log ica l a e s the t i c s

and u l t im a te ly, h i s uns poken v i s ion o f poe m as ‘ s ac r amen t ’ . H e s ucces s fu l ly

e s t ab l i s hes t he t r u ly s ac r a men ta l f unc t ion o f t he poe t ry o f H opk ins .

Ba l l i nge r dw e l l s a t l eng th on the ae s the t i c s o f H opk ins . H opk ins ’

ae s th e t i c s i s t ha t he accep t s beau ty a s se l f - exp re s s ivenes s . I t r evea l s t he

p r e s ence o f G od . I t i s a l s o d iv in e becaus e Chr i s t i s p r e s en t i n i t . Ba l l i ng e r

po in t s ou t t ha t t h i s i de a i s c l e a r ly m an i f e s t i n t he wr i t i ngs o f H opk ins :

I t i s a t heo log ica l c iphe r t h roughou t h i s w r i t i ngs . Beau ty a s

‘ s e l f - exp re ss iven es s ’ i s u l t im a te ly d iv in e ‘S e l f - exp re s s iven ess ’

i n Hopk ins ’ w ork . Thus , t he na tu r a l wor ld , t he w or ld imb ibed

th rough the s ens es , c an beco me r eve l a to ry. H opk ins deep ly

hono r s t he sens o ry w or ld becaus e i n i t s s e l f - exp re s s ive dep th and

in t e l l i g ib i l i t y i t i s u l t im a te ly Chr i s i t i c . The c r ea t ed w or ld fo r

H opk ins i s much more t han s imp ly food fo r t hough t - i t i s

d iv in e ly, becaus e i t i s Ch r i s t i c a l l y, s e l f - exp re s s ive . (Ba l l i ng e r

151 ) .

H ence fo r H opk ins na tu r e and i t s beau ty becom e me an ing fu l and

v i s ib l e on ly i n t he backg round o f Chr i s t ’s p r e s enc e i n i t . I n t h i s s ens e na tu r e

and beau ty t r ans c end the s ens uous nes s and a r e t r ans fo rm ed in to t he d iv ine .

The theo log ica l co re o f H opk ins ’ ae s the t i c s i s t ha t a l l t r u th i s g rounded in

Chr i s t and a l l beau ty i s r e l a t ed t o h i m . Beau t y, i n t h i s con tex t becomes a

p r im ary nam e o f G od and a c iph e r fo r t he D iv ine . Beau ty i s a l s o a

t r ans c enden ta l a t t r i bu t e o f G od . A cco rd ing to H opk ins God’s beau ty mus t be

t he apex and a r che type o f beau ty i n t he wor ld . No doub t i t i s t he be t t e r

beau ty t oo . H ence H opk ins wr i t e s i n h i s poem “To w ha t s e rves M or t a l

Beau ty?” : “H ome a t hea r t , heaven ’s sw ee t g i f t ; t hen l eave , l e t t h a t a lon e . /

Yea , w i s h t ha t t hough , w i s h a l l , G od’s be t t e r beau ty, g r ace” ( PG MH 98 ) .

Hopk ins de s i r ed t o mak e s ens e o f h i s keen ae s th e t i c expe r i ence o f t he

w or ld i n t he l i gh t o f t he e s s en t i a l t r u th s o f Chr i s t i an r eve l a t i on - pa r t i cu l a r ly

t he Inca rna t ion . F o r H opk ins , t he Inca rn a t ion i s c en t r a l t o h i s l i f e :

O ur l i ve s … a re i n t he i r w ho le d i r ec t i on , no t on ly i nw ard ly bu t

mos t v i s ib ly and ou tw ard ly, s haped by Chr i s t ’s . Wi thou t t ha t

even ou tw ard ly t he w or ld cou ld be so d i f f e r en t t h a t w e canno t

even guess i t . A nd my l i f e i s de t e rmin ed by the Inca rna t ion …

( SD 263 ) .

I n t he l i gh t o f t he Inca rna t ion , even ae s the t i c expe r i enc e fo r H opk ins

i s s omehow Chr i s t en ed . H opk ins pe r ce iv ed na tu r e t o be Chr i s t i c a l l y

exp re s s ive . The Inca rna t e Word i s t he u l t im a te pa t t e rn and in t e l l i g ib i l i t y o f

c r e a t ed be ing in i t s va r ious and s ingu la r man i f e s t a t i ons :

Wi th in t he con t ex t o f t h e p r ima cy o f t he Inca rna t ion o f t he Word ,

i n s cap e beca me the common l i nk be tw een H opk ins ’ r e l i g ious

be l i e f , a e s th e t i c t heo ry, and poe t i c exp re s s ion . Ch r i s t a s t he a r ch

and u l t im a te i n s cape o f c r e a t ed be ing i s t he r e fo re t h e a r che type

o f c r e a t ed beau ty. Beau ty i s Ch r i s t i c s e l f - exp re ss iv enes s i n t he

fo rms o f t he c r ea t ed w or ld (Ba l l i nge r 234 ) .

Hopk ins w as ab l e t o t ak e j oy in t he pe r c ep t ion o f na tu r a l f o rms o r

i n s cap es becaus e t hey w ere a med ium th rough w h ich he cou ld s ee Chr i s t :

“G od’s u t t e r ance o f h ims e l f i n h ims e l f i s G od the Word , ou t s ide h i ms e l f i s

t h i s wor ld” ( SD 129 ) .

N a tu ra l l y, H opk ins w an ted to sha re h i s expe r i en ce o f t he beau ty,

Ch r i s t , who i s p r e s en t eve ryw here w i th o the r s and he chos e poe t ry a s h i s

med ium. Hopk ins ’ s ac r a men ta l v i ew o f l anguage enab led h im to t r u s t

l angu age to ca r ry t he en f l e s hed Word he found in na tu r e . The poem beco mes ,

i n t h i s s ens e , t he body o f Chr i s t . The poe t i nca rna t e s i n poe t ry t he Inca rna t e

Chr i s t , t he en f l e s hed Logos w ho i s t he founda t ion o f t he wor ld and the

w ord . A s Hopk ins p roc l a ims : “A l l t h ings a r e cha rged w i th l ove , a r e cha rged

w i th God and i f w e know how to t ou ch them g ive o f f s pa rks , t ake f i r e , y i e ld

d rops and f l ow, r i ng and t e l l o f h im ” ( SD 195 ) .

H e s aw poe t ry a s l angu age me an t t o ca r ry i n s cap e ; and many o f h i s

poems have an expe r i ence o f i n s cape a s t he i r t h eme . Convey ing in s cape and

in s t r e s s ing the beau ty o f Chr i s t i s u l t ima te ly wha t H opk ins a imed fo r poe t ry.

I n t h i s s ens e h i s poe t ry becom es a s ac r am en t bec aus e h i s poems ca r ry t he

p r e s ence o f Chr i s t . They t e l l o f h im and l ead the hea r e r o r r eade r t o t he l i f e

o f g r ac e w h ich i s t he f ru i t o f eve ry s ac r am en t . H ence Ba l l i nge r d r ive s home

h i s po in t :

I be l i eve t ha t he [H opk ins ] saw the poe t ’s t a s k a s c r a f t i ng poe t i c

l angu age in such a w ay tha t i t s ac r a men ta l l y ‘ ca r r i ed ’ t he

p r e s ence o f Chr i s t and encou raged the r ecep t ion o f t h i s p r e s ence

by the hea re r. I n H opk ins ’ mind , t h i s i s a ccomp l i s hed by th e poe t

t h rough poe t i c a l l y i n s t r e s s ing Chr i s i t i c i n s capes i n s uch a w ay

tha t t hey ‘b id ’ t he hea re r t o en t e r more deep ly i n to t he l i f e o f

g r ac e . Th i s pa r a l l e l s t he ob j e c t ive , s o t o s peak , o f t he s ac r amen t s

i n Chr i s t i an f a i t h . I t i s i n t h i s s ens e I have conc luded tha t

H opk ins s aw the poem as s ac r amen t (Ba l l i nge r 237 ) .

N ixon ’s G er ard Man ley H opk ins and h i s Con tem por ar i e s t r i e s t o

exp lo r e t he poe t ’s r e l a t i ons h ip w i th h i s ow n t im es . The a r t o f au tob iog raphy

in Hopk ins ’ poems have been g iven a s p i r i t ua l con tex t i n K eyne ’s s tudy,

Coun t r y Pars ons , Coun t r y Poe t s Wh ich Makes a Com par a t i ve S tudy be tween

G eorge H er ber t and Hopk ins . The p rob lema t i c s o f t h e au tho r ’s r e l a t i ons h ip

t o h i s t ex t s ha s been app roached f rom the l ogocen t r i c ang l e i n C l a rk M .

Br i t t a in ’s P h .D the s i s , L ogos , Crea t ion , and Ep iphany in t he Poe t i c s o f

G er ard Man ley H opk ins . Va r i a t i ons o f t he s ame the me a r e t o be no t ed in

E l eano r J . M c lVees ’ s tudy, Euchar i s t i c Po e t r y : T he Search fo r Pres ence i n

t he Wr i t i ngs o f John D onne , G er ard Man ley Hopk ins , D y lan T hom as , and

G eo f f rey H i l l . The d i a l e c t i c s o f t he con t a inm en t o f au tho r i a l de s i r e t h rough

the r ep re s s ive modes o f as ce t i c i s m and co r r e s pond ing impu l s e t ow ards

f r eedo m has been d i s cus s ed by J u l i a F rances S av i l l e i n he r s tudy Seduc t ions

o f Su f f e r ing : T he H om oero t i c As ce t i c i s m o f G er ard Man ley H opk ins . H e r

d i s s e r t a t i on p r e s en t s a new r ead ing o f a s ce t i c i s m tha t does no t advoc a t e o r

conde mn i t s p r ac t i c e . Wha t i s needed , she a rgues , i s a r ead ing tha t exp la in s

f i r s t t he d i a l ec t i ca l c apa c i ty o f a s ce t i c i s m to cons t r a in and to l i b e r a t e , t o

caus e d i s comfo r t and to g ive s a t i s f ac t i on , and s econd , t he e th i ca l va lue o f

r ecogn iz ing and encou rag ing th i s d i a l ec t i ca l ope ra t i on . L oves cape Cr uc i f i ed ,

A S tud y o f G er ard Man ly Hopk ins by S oumya j i t h S aman ta , cove r s an

impor t an t a s pec t o f t he l a t e n ine t een th cen tu ry Br i t i s h poe t ry and a l s o o f f e r s

an i n s igh t i n to H opk ins ’ r e l i g ious poe t ry. I t con ta in s a f a i r l y comprehens ive

b ib l iog raphy on Hopk ins ’ ae s th e t i c s and r e l i g ion in t h e l i gh t o f l a t e

n ine t een th cen tu ry deve lop men t s i n s c i ence and idea l i s t ph i lo s ophy. V.S .

A n tony ’s doc to r a l t he s i s T he Im p l i ca t ions o f t he Concep t s o f I nd i v idua l i t y

and Syn th es i s i n t he Poe t r y o f G er ard Man ley Hopk ins r eve a l s t he s t r uc tu r e

o f H opk ins ’ poe t ry a t t he concep tu a l l eve l . Th e s tudy e s t ab l i s hes t ha t t he

conc ep t s o f i nd iv idua l i t y and syn thes i s a r e deep ly imp l i ed i n t he poe t ry o f

H opk ins . The inves t i ga t ion d i f f e r en t i a t e s t he i nd iv idua l i t y o f f o rm f rom the

i nd iv idua l i t y o f an ob j ec t .

H opk ins ’ s ucces s l i e s i n t he f ac t t ha t h i s ba s i c be l i e f s , l i t e r a ry

t e chn iques , t heo log ic a l m e thods , a l l conve rge . He w as a p r i e s t by p ro fe ss ion

bu t a poe t by t a l en t and t a s t e . A s P i ck r i gh t ly obs e rves :

The in t e r ac t ion be tw een h i s s e rmons and h i s poems w as

obv ious ly ve ry deep . The pa th o f i n f luence w as no t i n one

d i r e c t i on : s e rmon m igh t i n f luence poem o r t he r eve r s e m igh t

happen . I ndeed , a t t im es appa ren t ly bo th were be ing compos ed a t

once (P i ck 86 ) .

H opk ins wro t e ex t ens iv e ly on va r i ed s ub jec t s . The d i a r i e s , s ke t ch

books , and l e t t e r s t h row much l i gh t on h i s t emp eramen t and t a s t e s . They a r e

a r eco rd , bo th s ecu l a r ( ae s the t i c and acad emic ) and s p i r i t u a l o f h i s l i f e .

They s how h i s l ove o f na tu r e , h i s g i f t f o r f r i ends h ip , t he r ange o f h i s

i n t e r e s t s , and the s ingu la r e a rnes tnes s o f h i s cha rac t e r. The d i a r i e s s how h i s

eag e r pe r cep t ion o f i mages and words , h i s appe t i t e f o r de t a i l a s w e l l a s h i s

j oy i n t he un ique con f igu ra t i on o f t he s ens uous ly t r ans i en t . H i s ske t ches o r

d r aw ings s how h i s r emarkab l e t a l en t f o r minu te k ind o f a r t and a s u r e s ens e

o f o rgan ic de s ign . H i s poems s how h i s ze s t f o r exp re s s ion w h ich l ed h im on

to eve r new l i t e r a ry en t e rp r i s e s —mono logu es , l y r i c s , pa s to r a l s and p l ays —

though he ha rd ly co mple t ed any o f h i s p ro j ec t s . Bu t a lmos t eve ryw here he

p r e s en t s h i s doub l e v i s ion : t he v i s ion o f t he r e l a t i ons be tw e en G od and man

—G od bo th p r e s en t i n t he sou l o f e ach ind iv idua l human be ing , and G od

pe rvad ing the who le un ive r s e . F o r H opk ins G od means a l s o t he s on o f God ,

Chr i s t , t he Word th rough w hom eve ry th ing w as made .

A l i t e r a ry f i gu re l i ke H opk ins s hou ld be j udged by l i t e r a ry s t anda rds

on ly. I n a l e t t e r t o Robe r t B r idg es wr i t t en on A ugus t 14 , 1879 , Hopk ins s a id :

“F o r i t s eems to m e tha t t he poe t i ca l l angu age o f an age s hd . [ s i c ] be t he

cu r r en t l anguag e he igh tened , t o any deg ree he igh t ened and un l ike i t s e l f , bu t

no t an obs o l e t e one” ( L RB 89) .

H opk ins d id he igh t en th e l anguag e o f h i s poe t ry wh ich i s r i ch i n

me tapho r s , im ages and s ymbo l s w h ich a r e t aken in to ac coun t i n t h i s s t udy to

t he ex t en t t ha t t hey se rve t o p rove the t hem e o f t h i s t he s i s . A s men t ioned

ea r l i e r, H opk ins was a p r i e s t by p ro fe s s ion and na tu r a l l y he s how ed a

r e l i g ious ove r ton e in h i s w r i t i ngs . Bu t he w as ab l e t o f i nd a pe r f ec t

i n t eg ra t i on be tw een h i s r e l i g io s i t y and poe t ry. As P i ck sums up :

S uch w as t he i n t eg ra t i on o f p r ea che r and p r i e s t a t t a ined by

G era rd M an ley H opk ins . H is poems had been mou ld ed and s haped

by h i s pe r s ona l p r ac t i ce o f t h e S p i r i t u a l Exe r c i s e s , w h i l e i n h i s

s e rmons he had sough t more d i r e c t l y t o mou ld t he s ou l s o f h i s

pen i t en t s t o t he s ame idea l s e rv i ce t o G od . A l l we re exp re s s ions

o f t he s ame man and o f t he s ame e f fo r t (P i ck 86 ) .

The p r e s en t t he s i s dw e l l s on the s p i r i t ua l con ten t o f h i s w r i t i ngs w i th

a spec i a l f ocus on the r edemp t ive d imens ion o f vo lun ta ry human s u ff e r ing .