Complete Text
As kingfishers catch fire, dragonflies
dráw fláme;
As tumbled over rim in roundy wells
Stones ring; like each tucked string tells, each
hung bell’s
Bow swung finds tongue to fling out broad its
name;
Each mortal thing does one thing and the same:
Deals out that being indoors each one dwells;
Selves—goes itself; myself it speaks and spells,
Crying Whát I do is me: for that I came.
Í say móre: the just man justices;
Kéeps gráce: thát keeps all his goings graces;
Acts in God’s eye what in God’s eye he is—
Chríst—for Christ plays in ten thousand places,
Lovely in limbs, and lovely in eyes not his
To the Father through the features of men’s faces.
Summary
The kingfisher, one of the most colorful birds in England,
“catches fire” as the light brings its plumage to a bright radiance.
Similarly, the iridescent wings of the dragonfly glint with a flame-like
beauty. These two optical images are followed by three aural ones:
the tinkling sound of pebbles tossed down wells, the plucking of
strings on a musical instrument, and the ringing of bells as the
“bow” swings like a pendulum to strike the metal side. Each of these
objects does exactly what its nature dictates, in a kind of (unwilled)
self-assertion. More generally, every “mortal thing” might be thought
to do the same: to express that essence that dwells inside (“indoors”)
of it. “Selves” (assumedly from the infinitive “to self,” or “to
selve,”) is Hopkins’s coined verb for that self-enacting, and he
elaborates upon this process in the lines that follow: to “self”
is to go oneself, to speak and spell “myself,” to cry, “What I do
is me: for that I came.”
The next stanza extends this concept from object to man.
“Justices” (from the made-up infinitive “to justice”) becomes the
verb for that which the just man does or enacts. He harbors a grace
(bestowed by God) that reveals itself in all his “goings” or everyday
activities. And he acts before God as the being that God sees him as,
which is Christ, who is both man and God. Christ dwells everywhere—in
bodies and in the expressions of human eyes. It is the beauty lent
by Christ’s presence that makes “the features of men’s faces” lovely
in God’s sight.
Form
The poem is an Italian (or Petrarchan) sonnet: 14 lines
divided into an octave and a sestet. Hopkins’s variations on straight
iambic pentameter enhance the ideas the poem expresses, and the
poem provides one of the best examples of his dexterous use of musical
effects. For example, examine the third line: “As tumbled over rim
in roundy wells.” While the line is neat iambic pentameter, the
iambs fall in such a way that they split the words “tumbled,” “over,”
and “roundy.” This splitting (which Hopkins called “counterpoint”)
effects a regular, quick, and broken feel, and re-creates beautifully
the reverberations of stones plunking down a well. The pattern by
which the consonants and vowels are repeated and varied replicates
the subtle but discernible change in pitch as pebbles of different
shapes and sizes strike the water below. Contrastingly, the even
accents in the phrase “each tucked string tells” issue forth in
plucking regularity and sonorousness. In the poem as a whole, the
disproportionately large number of accented words complements the
conceptual emphasis on the “thisness,” or individuality, of each
thing.
Commentary
This poem offers perhaps the most direct illustration
of Hopkins’s theory of “inscape.” The term is hard to define precisely—even
Hopkins struggled to articulate it—and critics have carped at length
over its exact meaning. Coined on the model of the word “landscape,”
the term refers to the unifying designs by which the unique interior
essences of a thing are held together. The word does not merely
refer to what is particular and individual about an object, but
posits a kind of inner order or pattern by which these individual
essences form a kind of harmonious composition. Moreover, inscapes
imply a creator; by paying close enough attention to observe inscapes,
one might hope to be lifted to a closer contemplation of God. Hopkins
often took the idea of inscape as a standard for the kind of order
and beauty that poetry might hope to achieve. The rich density and careful
patterning of his poems reflect, therefore, a theological belief
in a world whose character is one of subtle and magnificent design.
As with many of Hopkins’s sonnets, this poem turns from
a physical first part to a spiritual, moral, or theological second
part. More specifically, the poem shifts its focus from being (the
mere passive possession of essential, defining characteristics)
to the more active notion of self-expression, and then to action
itself. Hopkins first draws on the physical being of kingfishers,
dragonflies, and stones: each aspect he describes is a part of the
unchanging nature of the object. However, the sound of the bell
moves us more into the realm of deliberate self-expression. Hopkins
uses the word “tongue” to link the involuntary ringing to the conscious
power of speech. The bell’s ringing is equivalent to a “fling[ing]
out of its broad name,” because the sound is so unique to the bell
that it defines the object the way a name defines a thing. All of
the world’s objects possess and assert uniqueness in the way the
bell does, Hopkins declares. And though the objects he has mentioned
so far are all insensate or unconscious, he prepares us for the
next stanza by extending the characteristic to “each mortal thing.”
The use of “selves” as a verb is one of the most remarkable things
about this poem; by making the noun “self” into an action word,
Hopkins enacts his thematic shift from the idea of substance or
essence to a phase of activity and purpose.
Now in the sestet Hopkins makes the promised extension
from inanimate object to human being; yet the self-asserting that
seemed such an inevitable process for the objects described in the
octave takes on a different character when applied to man. The process
is complicated for human beings, because human beings possess a
moral capacity. Thus the enacting of the self cannot happen unconsciously
or automatically; rather, it means becoming one’s highest self,
or acting to the highest of one’s capacity. A man is not just, Hopkins
asserts, until he behaves justly, or “justices.” Furthermore, the
implication is that he is not fully a man unless he does so—that
being just is part of the essence of man, insofar as the striving
for moral perfection is part of his basic existence. Hopkins then
extends this concept to the theological idea of God’s immanence
in the world, and the Christian belief that Christ dwells within
the hearts of men. It is by the grace of God that humans are what they
are; more specifically, it was through divine grace that Christ
came to redeem men from sin. Hopkins therefore asks that men “keep
grace.” This phrase describes the humble acceptance of God’s grace
that is the first gesture of Christian life. This acceptance will
lend grace to their everyday comings and goings, and will allow
man to act “in God’s eye what in God’s eye he is”—that is, to become
one with Christ and so fulfill the purpose of his being. Through
Christ, this daily activity can become truth, and the loveliness
of bodies and faces can correspond to a loveliness of soul in a
perfect Christian inscape.
