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Informationen zum Autor Gerard Hopkins Klappentext Closer to Dylan Thomas than Matthew Arnold in his 'creative violence' and insistence on the sound of poetry, Gerard Manley Hopkins was no staid, conventional Victorian. On entering the Society of Jesus and the age of twenty-four, he burnt all his poetry and 'resolved to write no more, as not belonging to my profession, unless by the wish of my superiors.' The poems, letters, and journal entries selected for this edition were written in the following twenty years of his life and published posthumously in 1918. His verse is wrought from the creative tensions and paradoxes of a poet-priest who wanted to evoke the spiritual essence of nature sensuously, and to communicate this revelation in natural language and speech-rhythms while using condensed, innovative diction and all the skills of poetic artifice. Intense, vital, and individual, his writing is the 'terrible crystal' through which the soul-the inscape, the nature of things-may be illuminated. Zusammenfassung Closer to Dylan Thomas than Matthew Arnold in his creative violence and insistence on the sound of poetry, the author was no staid, conventional Victorian. On entering the Jesuit order the age of twenty-four, he burnt all his poetry and 'resolved to write no more, as not belonging to my profession, unless by the wishes of my superiors'. Inhaltsverzeichnis Poems and ProseIntroduction Note to Tenth Impression SECTION A - POETRY Four Early Poems (1865-1866) 1. The Alchemist in the City 2. "Let me be to Thee as the circling bird" 3. Heaven-Haven 4. The Habit of Perfection Poems (1876-1889) Author's Preface (with explanatory notes by the Editor) 5. The Wreck of the Deutschland 6. Penmaen Pool 7. The Silver Jubilee 8. God's Grandeur 9. The Starlight Night 10. Spring 11. The Lantern out of Doors 12. The Sea and the Skylark 13. The Windhover 14. Pied Beauty 15. Hurrahing in Harvest 16. The Caged Skylark 17. In the Valley of the Elwy 18. The Loss of the Eurydice 19. The May Magnificat 20. Binsey Poplars 21. Duns Scotus's Oxford 22. Henry Purcell 23. Peace 24. The Bugler's First Communion 25. Morning, Midday, and Evening Sacrifice 26. Andromeda 27. The Candle Indoors 28. The Handsome Heart 29. At the Wedding March 30. Felix Randal 31. Brothers 32. Spring and Fall 33. Inversnaid 34. "As kingfishers catch fire, dragonflies draw flame" 35. Ribblesdale 36. The Leaden Echo and the Golden Echo 37. The Blessed Virgin compared to the Air we Breathe 38. To what serves Mortal Beauty? 39. Spelt from Sibyl's Leaves 40. (The Soldier) 41. (Carrion Comfort) 42. "No worst, there is none. Pitched past pitch of grief" 43. "To seem the stranger lies my lot, my life" 44. "I wake and feel the fell of dark, not day" 45. "Patience, hard thing! the hard thing but to pray" 46. "My own heart let me more have pity one; let" 47. Tom's Garland 48. Harry Ploughman 49. That Nature is a Heraclitean Fire and of the comfort of the Resurrection 50. St. Alphonsus Rodriguez 51. "Thou art indeed just, Lord, if I contend" 52. "The shepherd's brow, fronting forked lightning, owns" 53. To R. B. Some Unfinished Poems and Fragments (1876-1889) 54. Moonrise 55. The Woodlark 56. Cheery Beggar 57. "The furl of fresh-leaved dogrose down" 58. St. Winefred's Well 59. (Margaret Clitheroe) 60. "Repeat that, repeat" 61. On a Piece of Music 62. Ash-boughs 63. "Thee, God, I come from, to thee go" 64. On the Portrait of Two Beautiful Young People 65. Epithalamion SECTION B - PROSE From Note-Books, Journal, Etc. Early Diary (1863-1864) From "On the Origin of Beauty: A Platonic Dialogue" (1865) From the Journal (1866-1875) Sermon: on Luke ii. 33 (Nov. 23, 1879)...
Auteur
Gerard Hopkins
Texte du rabat
Closer to Dylan Thomas than Matthew Arnold in his 'creative violence' and insistence on the sound of poetry, Gerard Manley Hopkins was no staid, conventional Victorian. On entering the Society of Jesus and the age of twenty-four, he burnt all his poetry and 'resolved to write no more, as not belonging to my profession, unless by the wish of my superiors.' The poems, letters, and journal entries selected for this edition were written in the following twenty years of his life and published posthumously in 1918.
His verse is wrought from the creative tensions and paradoxes of a poet-priest who wanted to evoke the spiritual essence of nature sensuously, and to communicate this revelation in natural language and speech-rhythms while using condensed, innovative diction and all the skills of poetic artifice. Intense, vital, and individual, his writing is the 'terrible crystal' through which the soul-the inscape, the nature of things-may be illuminated.
Résumé
Closer to Dylan Thomas than Matthew Arnold in his creative violence and insistence on the sound of poetry, the author was no staid, conventional Victorian. On entering the Jesuit order the age of twenty-four, he burnt all his poetry and 'resolved to write no more, as not belonging to my profession, unless by the wishes of my superiors'.
Contenu
Poems and ProseIntroduction
Note to Tenth Impression
SECTION A - POETRYFour Early Poems (1865-1866)