Poetry Nothing Is beautiful As Spring
“Nothing is beautiful as Spring”. This Italian sonnet was written to describe a natural world. God’s presence is identified as an electrical current that runs through the earth. God’s presence runs like the refracted glinting of light produced by metal foil, whenever it is moved quickly. The sonnet quotes God to be like rich oil. Oil is very rich and thick. Oil is needed every where around the world. If you don’t believe it, drive your car month after month without getting an oil change or even oil in general.
With God being identified as oil, he is measured as greatness. Given these strong proofs of Gods divine presence the poet that wrote this particular sonnet how and why do humans fail to recognize his presence and his divine authority. God’s authority is described as the “rod”. This sonnet also deals with the state of human life. It also deals with human nature. God crated all things in earth and above heaven. This sonnet talks and deals with human life. Why don’t people recognize the things that God has placed in the world? He gave us these things to use for our needs
Permeating the world is a deep “freshness” that testifies to the continual renewing power of God’s creation. The power of renewing is seen during the morning always waits on the other side of the darkness of the night. This final image is one of God guarding the impending of the world and containing within Him the power and assurance of rebirth. Gerard Manley Hopkins is one of the most phenomenal 19th-century poets of religion, of nature, and of inner anguish. His view of nature and the world is like a book written by God himeslf.
In this poem God expresses himself completely, and it is y “reading” the world that humans can approach God and learn about Him. Hopkins therefore sees the environmental crisis of the Victorian period as vitally linked to that era’s spiritual crisis, and many of his poems have become man’s indifference to the destruction of sacred natural and religious order. This poet harbored an acute interest in the scientific and technological advances of his day; he saw new discoveries as further evidence of God’s deliberate hand, rather than as refutations of God’s existence.
Hopkins wrote mostly in the sonnet form. He preferred the Italian r Petrarchan sonnet, which contains of an octave followed by a sestet, with a turn in argument or change in tone occurring in the second part. Hopkins normally uses the octave to present some account of personal or sensory experience and then employs the sestet for philosophical reflection. While Hopkins enjoyed the structure the sonnet form imposes, with its fixed length and rhyme scheme, he nevertheless he constantly stretched and tested its limitations. One of Hopkins major innovations was a new metrical form, called sprung rhythm.
In sprung rhythm, the poet counts the umber of accented syllables in the line, and places no limit on the total number of syllables. As opposed to syllabic meters (such as the iambic), which count both stresses and syllables, this form allows for greater freedom in the position and proportion of stresses. English verses have traditionally alternated, stressed and unstressed syllables with occasional variation, Hopkins was free to place multiple stressed syllables one atter another or to run a large number ot unstressed syllables together (as in “Finger of a tender of, O of a feathery delicacy’ from Wreck of the
Deutschland). This gives Hopkins great control over the speed of his lines and their dramatic effects. Another unusual poetic resource Hopkins favored is “consonant chiming,” a technique he learned from Welsh poetry. The technique involves detailed use of alliteration and internal rhyme; in Hopkins’s eyes this creates an unusual thickness and resonance. The close linking of words through sound and rhythm complements Hopkins’s themes of finding a guide and design everywhere.
Hopkins’s form is also characterized by a stretching of the convention of grammar and sentence structure, o that newcomers to his poetry must often strain to parse his sentences. Deciding which word in a given sentence is the verb, for example, can often involve significant interpretive work. In addition, Hopkins often invents words, and draws his vocabulary freely from a number of different registers of diction. This leads to a surprising mix of neologisms and archaisms throughout his lines. Yet for all his innovation and disregard of convention, Hopkins’ goal was always to bring poetry closer to the character of natural, living speech.
