Poems of Gerard Manley Hopkins

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Title: Poems of Gerard Manley Hopkins
Now First Published
Author: Gerard Manley Hopkins
Editor: Robert Bridges
Release Date: August 26, 2007 [EBook #22403]
Language: English
Character set encoding: ISO-8859-1
? START OF THIS PROJECT GUTENBERG EBOOK POEMS OF GERARD MANLEY HOPKINS ***
Produced by Lewis Jones
Hopkins, Gerard Manley (1918) "Poems"
_Poems_
of
Gerard Manley Hopkins
now first published
Edited with notes
by
ROBERT BRIDGES
Poet Laureate
LONDON
HUMPHREY MILFORD
_CATHARINAE_
HVNC LIBRVM
QVI FILA EIVS CARISSIMI
POETAE DEBITAM INGENIO LAVDEM EXPECTANTIS
SERVM TAMEN MONVMENTVM ESSET
ANNVM AETATIS XCVIII AGENTI
VETERIS AMICITIAE PIGNVS
D D D
_R B_
Transcriber's notes: The poems of Gerard Manley Hopkins contain unconventional English, accents and horizontal lines. Facsimile images of the poems as originally published are freely available online from the Internet Archive. Please use these images to check for any errors or inadequacies in this electronic text.
The editor's endnotes refer to the page numbers of the?Author's _Preface_ and to the first page of the _Early Poems_. I have therefore inserted these page numbers in round brackets: (1), (2), etc. up to (7). For pages 1 to 7 the line numbers in this electronic version are the same as those referred to in the editor's endnotes.
After page 7 this text mainly follows the editor's endnotes which, apart from the occasional page reference, refer to the poems by their numbers. For example:
5. PENMAEN POOL.
In poem _26_ I have retained the larger than normal spacing between the first and second words of the eighth line.
In poem _36_ I have rendered the first word of line 28 as "óne." In the original the accent falls on the second letter but I did not have a text character to record this accurately.
The editor's notes contain one word and, later, one phrase from the ancient Greek; these are retained but the Greek letters have been Englished.
CONTENTS
Author's Preface?Early Poems?Poems 1876-1889?Unfinished Poems & Fragments
EDITORIAL
Preface to Notes?Notes
OUR generation already is overpast,?And thy lov'd legacy, Gerard, hath lain?Coy in my home; as once thy heart was fain?Of shelter, when God's terror held thee fast?In life's wild wood at Beauty and Sorrow aghast;?Thy sainted sense tramme'd in ghostly pain,?Thy rare ill-broker'd talent in disdain:?Yet love of Christ will win man's love at last.
Hell wars without; but, dear, the while my hands?Gather'd thy book, I heard, this wintry day,?Thy spirit thank me, in his young delight?Stepping again upon the yellow sands.?Go forth: amidst our chaffinch flock display?Thy plumage of far wonder and heavenward flight!
Chilswell, Jan. 1918.
(1) AUTHOR'S PREFACE
THE poems in this book* (*That is, the MS.?described in Editor's preface as B. This?preface does not apply to the early poems.)?are written some in Running Rhythm, the common?rhythm in English use, some in Sprung Rhythm,?and some in a mixture of the two. And those in?the common rhythm are some counterpointed,?some not.
Common English rhythm, called Running Rhythm?above, is measured by feet of either two or three?syllables and (putting aside the imperfect feet at the?beginning and end of lines and also some unusual?measures, in which feet seem to be paired together and?double or composite feet to arise) never more or less.
Every foot has one principal stress or accent, and?this or the syllable it falls on may be called the Stress?of the foot and the other part, the one or two unaccented?syllables, the Slack. Feet (and the rhythms made out?of them) in which the stress comes first are called?Falling Feet and Falling Rhythms, feet and rhythm?in which the slack comes first are called Rising Feet?and Rhythms, and if the stress is between two slacks?there will be Rocking Feet and Rhythms. These?distinctions are real and true to nature; but for purposes?of scanning it is a great convenience to follow the?(2) example of music and take the stress always first, as?the accent or the chief accent always comes first in?a musical bar. If this is done there will be in common?English verse only two possible feet--the so-called?accentual Trochee and Dactyl, and correspondingly?only two possible uniform rhythms, the so-called?Trochaic and Dactylic. But they may be mixed and then?what the Greeks called a Logaoedic Rhythm arises.?These are the facts and according to these the scanning?of ordinary regularly-written English verse is very?simple indeed and to bring in other principles is here?unnecessary.
But because verse written strictly in these feet and?by these principles will become same and tame the?poets have brought in licences and departures from?rule to give variety, and especially when the natural?rhythm is rising, as in the common ten-syllable or?five-foot verse, rhymed or blank. These irregularities?are chiefly Reversed Feet and Reversed or Counterpoint?Rhythm, which two things are two steps or degrees?of licence in the same kind. By a reversed foot?I mean