63:. Inscape has been rendered variously as: external design, aesthetic conception, intrinsic beauty, the intrinsic form of a thing, a form perceived in nature, the individual self, the expression of the inner core of individuality, the peculiar inner nature of things and persons, expressed in form and gesture, and an essence or identity embodied in a thing. These twin concepts are what his most famous poems are about.
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various conclusions. For
Hopkins, living in a rising tide of disbelief, no simple answer could be given, perhaps because any valid answer needed to be lived rather than declared, and as he lived his life through to the period of the last 'terrible sonnets' he became more human and more prone to despair and less inclined to write about inscape.
71:, the distinctive design that constitutes individual identity. This identity is not static but dynamic. Each being in the universe 'selves,' that is, enacts its identity. And the human being, the most highly selved, the most individually distinctive being in the universe, recognizes the inscape of other beings in an act that Hopkins calls
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In this poem inscape is exemplified by the kingfisher doing its unique kingfishery thing, each stone and each bell is heard making its own unique sound: unique because each stone and each bell is different. The judge does his judgey thing, and inscape is seen to come into being through performance of
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This falcon is not a delightful lamb-like animal, but a ruthless and proud killing machine whose inscape it is to destroy other inscapes of lesser animals. How can this relate to the Prince of Peace to whom the poem is dedicated? Poets from different generations have wrestled with this problem with
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While it is true that "logos" also means "word" in the conventional sense of "speech", in John it refers not to the "divine fiat" ("Let there be Light" etc.), but to Christ as the second person of the
Trinity. As the first quotation from the Norton Anthology states: "Ultimately, the inscape of
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Hopkins's poems which delineate inscape and instress typically celebrate how an immutable Deity continually creates and recreates a living world of infinite variety and change. For
Hopkins, this world of ostensible mutability paradoxically points to the unchanging God who “fathers forth.” The
83:. A logocentric theology of creation is based on correlation of the Genesis account and John 1. Since all creation is by the Word (divine fiat) human identity in God's image is grounded in God's speech and no two creation words are ever spoken alike. This idea is reflected by
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continually combine and recombine to produce a living world of infinite variety and change. Modern readings of
Hopkins's poems stress this correspondence without necessarily resolving the inherent contradiction of reading religious poetry from an agnostic standpoint.
75:, the apprehension of an object in an intense thrust of energy toward it that enables one to realize specific distinctiveness. Ultimately, the instress of inscape leads one to Christ, for the individual identity of any object is the stamp of divine creation on it.
131:"No two created beings are exactly alike. And their individuality is no imperfection. On the contrary, the perfection of each created thing is not merely its conformity to an abstract type but in its own individual identity with itself."
215:” is one of “perpetual motion.” For Hopkins, the responsibility of establishing and maintaining order within the physical world does not lie with the individual observer as Pater maintained, but rather with the eternal Creator himself.
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religious aspects of inscape are not simply nailed onto his Oxford tutor's ideas of individuation from which they were derived: they are nailed through the hands of Christ onto the cross. This tutor,
523:"Ignatian Inscape and Instress in Gerard Manley Hopkins's "Pied Beauty," "God's Grandeur," "The Starlight Night," and "The Windhover": Hopkins's Movement toward Ignatius by Way of Walter Pater"
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vocare for "voice") in two ways. First, God creates through the word; and second, when being responds rightly to God's speech by expressing his unique word the result is
Holiness.
436:
474:
Bump, Jerome. 1990. Poet of Nature. In
Critical Essays on Gerard Manley Hopkins. Edited by Alison G. Sulloway. Boston: G. K. Hall, pp. 61–91. Quoted in
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each individual's perfect birthright. Eyes are lovely because each is unique and leads us to God by ten thousand different routes.
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In a highly relevant way, this paradox echoes that of modern-day naturalists who celebrate how the immutable building blocks of
138:. To the extent that any "thing" (including humans) honors God's unique idea of them they are holy. Holiness thus connects to "
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who compares the
Creator to a perfect prism and creation to the refraction of perfect light. Tolkien writes,
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For example, William Blake in his dialogue with his Tyger asks "Did He who made the Lamb make thee?"
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are complementary and enigmatic concepts about individuality and uniqueness derived by the poet
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Merton equates the unique "thingness" of a thing, its inscape, to sanctity. Merton writes,
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The result is that holiness itself is grounded in God's creation, his call, and not in a
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582:"Literary theory: Gerard Manley Hopkins' inscape and instress from Crossref-it.info"
451:"Hopkins's Poetry: "As Kingfishers Catch Fire, Dragonflies Draw Flame" | SparkNotes"
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Chevigny, Bell Gale. Instress and
Devotion in the Poetry of Gerard Manley Hopkins
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The Split World of Gerard Manley
Hopkins: an essay in semiotic phenomenology
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felt that everything in the universe was characterized by what he called
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As a skate's heel sweeps smooth on a bow-bend: the hurl and gliding
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dom of daylight's dauphin, dapple-dawn-drawn Falcon, in his riding
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Stirred for a bird, – the achieve of, the mastery of the thing!
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Brute beauty and valour and act, oh, air, pride, plume, here
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Of the rolling level underneath him steady air, and striding
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Stones ring; like each tucked string tells, each hung bell's
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Buckle! AND the fire that breaks from thee then, a billion
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Stephen
Greenblatt et al., Ed. "Gerard Manley Hopkins."
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High there, how he rung upon the rein of a wimpling wing
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No wonder of it: shéer plód makes plough down sillion
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Times told lovelier, more dangerous, O my chevalier!
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Bow swung finds tongue to fling out broad its name;
185:To the Father through the features of men's faces.
170:Selves — goes itself; myself it speaks and spells,
158:As kingfishers catch fire, dragonflies draw flame;
181:ChrĂst — for Christ plays in ten thousand places,
91:'Dear Sir,' I said – 'Although now long estranged,
79:This is related to a logocentric theology and the
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272:Fall, gall themselves, and gash gold-vermilion.
177:Keeps grace: thát keeps all his goings graces;
166:Each mortal thing does one thing and the same:
168:Deals out that being indoors each one dwells;
154:"As kingfishers catch fire" by G. M. Hopkins:
106:through whom is splintered from a single White
422:, CS Lewis Ed. (Grand Rapids: Eerdmans, 1978)
252:In his ecstasy! then off, off forth on swing,
244:I caught this morning morning's minion, king-
112:in living shapes that move from mind to mind.
100:and keeps the rags of lordship once he owned:
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183:Lovely in limbs, and lovely in eyes not his
179:Acts in God's eye what in God's eye he is —
97:Dis-graced he may be, yet is not de-throned,
394:The Norton Anthology of English Literature.
59:from the ideas of the medieval philosopher
27:Poetical concepts of Gerard Manley Hopkins
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270:Shine, and blue-bleak embers, ah my dear,
256:Rebuffed the big wind. My heart in hiding
172:Crying Whát I dó is me: for that I came.
94:Man is not wholly lost nor wholly changed
353:. Catholic University of America Press.
337:Vol. 9, No. 2 (Dec., 1965), pp. 141–153.
124:who admired both Scotus and Hopkins. In
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160:As tumbled over rim in roundy wells
109:to many hues, and endlessly combined
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175:I say mĂłre: the just man justices;
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126:New Seeds of Contemplation
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681:Everett, Glenn (1988). "
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455:www.sparknotes.com
294:Epiphany (feeling)
240:To Christ our Lord
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227:The central enigma
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120:and author
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321:References
205:Conclusion
150:An example
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288:Inscape
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