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Renowned Hopkins expert Joseph J. Feeney, SJ, offers a fresh take on Gerard Manley Hopkins which shakes our understanding of his poetry and his life and points towards the next phase in Hopkins studies. While affirming the received view of Hopkins as a major poet of nature, religion, and psychology, Feeney finds a pervasive, rarely noticed playfulness by employing both the theory of play and close reading of his texts. This new Hopkins lived a playful life from childhood till death as a student who loved puns and jokes and wrote parodies, comic verse, and satires; as a Jesuit who played and organized games and had "a gift for mimicry;" and most significantly, as a poet and prose stylist who rewards readers with unexpected displays of whimsy and incongruity, even, strikingly, in "The Wreck of the Deutschland," "The Windhover," and the "Terrible Sonnets." Feeney convincingly argues that Hopkins's distinctive playfulness is inextricably bound to his sense of fun, his creativity, his style, and his competitiveness with other poets. In unexpected images, quirky metaphors, strange perspectives, puns, coinages, twisted syntax, wordmusic, and sprung rhythm, we see his playful streak burst forth to adorn those works critics consider his most brilliant. No one who absorbs this book's radical readings will ever see and hear Hopkins's poetry and prose quite the way they used to.
Renowned Hopkins expert Joseph J. Feeney, SJ, offers a fresh take on Gerard Manley Hopkins which shakes our understanding of his poetry and his life and points towards the next phase in Hopkins studies. While affirming the received view of Hopkins as a major poet of nature, religion, and psychology, Feeney finds a pervasive, rarely noticed playfulness by employing both the theory of play and close reading of his texts. This new Hopkins lived a playful life from childhood till death as a student who loved puns and jokes and wrote parodies, comic verse, and satires; as a Jesuit who played and organized games and had "a gift for mimicry;" and most significantly, as a poet and prose stylist who rewards readers with unexpected displays of whimsy and incongruity, even, strikingly, in "The Wreck of the Deutschland," "The Windhover," and the "Terrible Sonnets." Feeney convincingly argues that Hopkins's distinctive playfulness is inextricably bound to his sense of fun, his creativity, his style, and his competitiveness with other poets. In unexpected images, quirky metaphors, strange perspectives, puns, coinages, twisted syntax, wordmusic, and sprung rhythm, we see his playful streak burst forth to adorn those works critics consider his most brilliant. No one who absorbs this book's radical readings will ever see and hear Hopkins's poetry and prose quite the way they used to.
Gerard Manley Hopkins was among the most innovative writers of the Victorian period. Experimental and idiosyncratic, his work remains important for any student of nineteenth-century literature and culture. This guide to Hopkins’ life and work offers: a detailed account of Hopkins life and creative development an extensive introduction to Hopkins’ poems, their critical history and the many interpretations of his work cross-references between documents and sections of the guide, in order to suggest links between texts, contexts and criticism suggestions for further reading. Part of the Routledge Guides to Literature series, this volume is essential reading for all those beginning detailed study of Hopkins’ work and seeking not only a guide to the poems, but a way through the wealth of contextual and critical material that surrounds them.
'O let them be left, wildness and wet' As Kingfishers Catch Fire is a selection of Gerard Manley Hopkins' incomparably brilliant poetry, ranging from the ecstasy of 'The Windhover' and 'Pied Beauty' to the heart-wrenching despair of the 'sonnets of desolation'. Introducing Little Black Classics: 80 books for Penguin's 80th birthday. Little Black Classics celebrate the huge range and diversity of Penguin Classics, with books from around the world and across many centuries. They take us from a balloon ride over Victorian London to a garden of blossom in Japan, from Tierra del Fuego to 16th-century California and the Russian steppe. Here are stories lyrical and savage; poems epic and intimate; essays satirical and inspirational; and ideas that have shaped the lives of millions. Gerard Manley Hopkins (1844-1889). Hopkins' Poems and Prose is available in Penguin Classics.
Machine generated contents note: Introduction; Part I. Forms of Devotion: 1. Bibles; 2. Prayer; Part II. Models of Faith: 3. The soldier; 4. The martyr; Part III. Last Things: 5. Death and judgement; 6. Heaven and hell
Wordplay can be seen as a genuine interface phenomenon. It can be found both in everyday communication and in literary texts, and it can fulfil a range of functions – it may be entertaining and comical, it may be used to conceal taboo, and it may influence the way in which the speaker’s character is perceived. Moreover, wordplay also reflects on language and communication: it reveals surprising alternative readings, and emphasizes the phonetic similarity of linguistic signs that also points towards relations on the level of content. Wordplay unravels characteristics of literary language in everyday communication and opens up the possibility to analyze literary texts from a linguistic perspective. The first two volumes of the series The Dynamics of Wordplay therefore aim at bringing together contributions from linguistics and literary studies, focusing on theoretical issues such as basic techniques of wordplay, and its relationship to genres and discourse traditions. These issues are complemented by a series of case studies on the use of wordplay in individual authors and specific historical contexts. The contributions offer a fresh look on the multifaceted dynamics of wordplay in different communicative settings.
In Victorian Poetry: Poetry, Poetics and Politics, Isobel Armstrong rescued Victorian poetry from its longstanding sepia image as ‘a moralised form of romantic verse' and unearthed its often subversive critique of nineteenth-century culture and politics. In this uniquely comprehensive and theoretically astute new edition, Armstrong provides an entirely new preface that notes the key advances in the criticism of Victorian poetry since her classic work was first published in 1993. A new chapter on the alternative fin de siècle sees Armstrong discuss Michael Field, Rudyard Kipling, Alice Meynell and a selection of Hardy lyrics. The extensive bibliography acts as a key resource for students and scholars alike.
From the introduction by Joyce Carol Oates: Between them, our great visionary poets of the American nineteenth century, Emily Dickinson and Walt Whitman, have come to represent the extreme, idiosyncratic poles of the American psyche.... Dickinson never shied away from the great subjects of human suffering, loss, death, even madness, but her perspective was intensely private; like Rainer Maria Rilke and Gerard Manley Hopkins, she is the great poet of inwardness, of the indefinable region of the soul in which we are, in a sense, all alone.
This pioneering study offers dynamic new answers to Christian Jacob's question: 'What are the links that bind the map to writing?'