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According to Hopkins’s theory of inscape, all living things
have a constantly shifting design or pattern that gives each object
a unique identity. Hopkins frequently uses color to describe these
inscapes. “Pied Beauty” praises God for giving every object a distinct
visual pattern, from sunlight as multicolored as a cow to the beauty
of birds’ wings and freshly plowed fields. Indeed, the word pied means
“having splotches of two or more colors.” In “Hurrahing in Harvest,”
the speaker describes “azourous hung hills” (
Many of Hopkins’s poems feature an ecstatic outcry, a
moment at which the speaker expresses his transcendence of the real
world into the spiritual world. The words ah, o,
and oh usually signal the point at which the poem
moves from a description of nature’s beauty to an overt expression
of religious sentiment. “Binsey Poplars” (
To express inscape and instress, Hopkins experimented
with rhythm and sound to create sprung rhythm, a distinct musicality
that resembles the patterns of natural speech in English. The flexible
meter allowed Hopkins to convey the fast, swooping falcon in “The
Windhover” and the slow movement of heavy clouds in “Hurrahing in
Harvest.” To indicate how his lines should be read aloud, Hopkins
often marked words with acute accents, as in “As Kingfishers Catch
Fire” and “Spring and Fall.”
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