ellauri095.html on line 86: Gerard Manley Hopkins SJ (28 July 1844 – 8 June 1889) was an English poet and Jesuit priest, whose posthumous fame established him among the leading Victorian poets. His manipulation of prosody – particularly his concept of sprung rhythm – established him as an innovative writer of verse, as did his technique of praising God through vivid use of imagery and nature. Only after his death did Robert Bridges begin to publish a few of Hopkins's mature poems in anthologies, hoping to prepare the way for wider acceptance of his style. By 1930 his work was recognised as one of the most original literary accomplishments of his century. It had a marked influence on such leading 20th-century poets as T. S. Eliot, Dylan Thomas, W. H. Auden, Stephen Spender and Cecil Day-Lewis.
ellauri095.html on line 129: Hopkins studied classics at Balliol College, Oxford (1863–1867). He began his time in Oxford as a keen socialite and prolific poet, but seems to have alarmed himself with resulting changes in his behaviour. There he forged a lifelong friendship with Robert Bridges (later Poet Laureate of the United Kingdom), which would be important to his development as a poet and in establishing his posthumous acclaim.
ellauri095.html on line 139: According to John Bayley, "All his life Hopkins was haunted by the sense of personal bankruptcy and impotence, the straining of 'time's eunuch' with no more to 'spend'... " a sense of inadequacy, graphically expressed in his last sonnets. Toward the end of his life, Hopkins suffered several long bouts of depression. His "terrible sonnets" struggle with problems of religious doubt. He described them to Bridges as "the thin gleanings of a long weary while."
ellauri095.html on line 149: During his lifetime, Hopkins published few poems. It was only through the efforts of Robert Bridges that his works were seen.
ellauri095.html on line 153: Despite Hopkins burning all his poems on entering the Jesuit novitiate, he had already sent some to Bridges, who with some other friends, was one of the few people to see many of them for some years. After Hopkins's death they were distributed to a wider audience, mostly fellow poets, and in 1918 Bridges, by then poet laureate, published a collected edition; an expanded edition, prepared by Charles Williams, appeared in 1930, and a greatly expanded edition by William Henry Gardner appeared in 1948 (eventually reaching a fourth edition, 1967, with N. H. Mackenzie).
ellauri095.html on line 161: Timothy d´Arch Smith, antiquarian bookseller, ascribes to Hopkins suppressed erotic impulses which he views as taking on a degree of specificity after Hopkins met Robert Bridges´s distant cousin, friend, and fellow Etonian Digby Mackworth Dolben, "a Christian Uranian". Ei siis Plutosta kuten Heinleinin matonaamat.
ellauri095.html on line 167: Hopkins composed two poems about Dolben, "Where art thou friend" and "The Beginning of the End". Robert Bridges, who edited the first edition of Dolben's poems as well as Hopkins's, cautioned that the second poem "must never be printed," though Bridges himself included it in the first edition (1918). Another indication of the nature of his feelings for Dolben is that Hopkins's high Anglican confessor seems to have forbidden him to have any contact with Dolben except by letter. Hopkins never saw Dolben again after the latter's short visit to Oxford during which they met, and any continuation of their relationship was abruptly ended by Dolben's drowning two years later in June 1867. Hopkins's feeling for Dolben seems to have cooled by that time, but he was nonetheless greatly affected by his death. "Ironically, fate may have bestowed more through Dolben's death than it could ever have bestowed through longer life ... for many of Hopkins's best poems – impregnated with an elegiac longing for Dolben, his lost beloved and his muse – were the result." Hopkins's relationship with Dolben is explored in the novel The Hopkins Conundrum.
ellauri095.html on line 169: Some of Hopkins´s poems, such as The Bugler´s First Communion and Epithalamion, arguably embody homoerotic themes, although the second poem was arranged by Robert Bridges from extant fragments.
ellauri095.html on line 184: Hopkins was a supporter of linguistic purism in English. In an 1882 letter to Robert Bridges, Hopkins writes: "It makes one weep to think what English might have been; for in spite of all that Shakespeare and Milton have done... no beauty in a language can make up for want of purity." He took time to learn Old English, which became a major influence on his writing. In the same letter to Bridges he calls Old English "a vastly superior thing to what we have now."
ellauri095.html on line 238: The decision to convert estranged Hopkins from his family and from a number of acquaintances. After graduating in 1867, he was provided by Newman with a teaching post at the Oratory in Birmingham. While there he began to study the violin. On 5 May 1868 Hopkins firmly "resolved to be a religious." Less than a week later, he made a bonfire of his poetry and gave it up almost entirely for seven years. Fortunately he did not burn his Bridges like Savonarola. He also felt a call to enter the ministry and decided to become a Jesuit. He paused first to visit Switzerland, which officially forbade Jesuits to enter.
ellauri095.html on line 514: Nevertheless, although The Wreck of the Deutschland was a great breakthrough to the vision of God immanent in nature and thus to the sacramentalism that was to be the basis of the great nature poems of the following years, when Hopkins sent the poem to his friend Robert Bridges, Bridges refused to reread it despite Hopkins’s pleas. The poem was also rejected by the Jesuit magazine the Month, primarily because of its new “sprung” rhythm, and many subsequent readers have had difficulty with it as well.
ellauri095.html on line 520: Competition and collaboration between father and son continued even long after Hopkins left home to take his place in the world. In 1879, for instance, Gerard Manley Hopkins wrote to Bridges, “I enclose some lines by my father called forth by the proposal to fell the trees in Well Walk (where Keats and other interesting people lived) and printed in some local paper.” Two months later Hopkins composed “Binsey Poplars” to commemorate the felling of a grove of trees near Oxford. Clearly, competition with his father was an important creative stimulus.
ellauri282.html on line 599: Vuonna 1930 Robert Bridgesin kuoltua tarvittiin uusi runoilijavoittaja. Pääministeri Ramsay MacDonaldin suosituksesta kuningas George V nimitti Masefieldin, joka pysyi virassa kuolemaansa saakka vuonna 1967. Ainoa henkilö, joka piti virkaa pidempään, oli Alfred, Lord Tennyson. 2 riittävän isänmaallista myötäsukailijaa ja kylmäpäistä sotapropagandistia.
ellauri282.html on line 601: Robert Seymour Bridges OM (23. lokakuuta 1844 – 21. huhtikuuta 1930) oli englantilainen runoilija, joka oli runoilijavoittaja vuosina 1913–1930. Koulutukseltaan lääkäri, hän saavutti kirjallisuuden mainetta vasta myöhään elämässään. Hänen runoissaan näkyy syvä kristillinen usko, ja hän on monien tunnettujen hymnien kirjoittaja. Bridgesin ponnisteluilla Gerard Manley Hopkins saavutti kuolemanjälkeisen maineen.
xxx/ellauri166.html on line 102: Bridges
15