Chapter Biography of The Collected Poems - Study Guide by Gerard Manley Hopkins

Felix Randall concerns the death of one of Hopkins’ parishioners, a farrier by the name of Felix Randal. If criticism must be leveled at Hopkins, then it is that he often sacrifices human feeling at the expense of style. Hopkins’ sorrow at Randal’s death seems oddly strained: "Felix Randal the farrier, O he is dead then? My duty all ended… ". There are several issues to consider here. It is probable that Hopkins was a homosexual. Critics have used his obsession with the word "pied" as evidence of his love of things ambiguous. Hopkins, of course, would never have acknowledged these feelings, and would have been horrified at the thought that they even existed. The sorrow Hopkins feels for the loss of Felix is more based around the loss of his physical presence than any sense of friendship: "his mould of man, big- boned and hardy-handsome… ". Hopkins feels conflict at the emotions he harbours for this man. These conflicts are evidenced as much in the strained rhythm of the poem as in the language. Hopkins seems strangely removed from the human experience, not seeing Randal’s death as part of a greater human tragedy, but as an individual experience in the life of Gerard Manley Hopkins; a suitable subject for a poem and nothing more.

"Carrion Comfort"

This is the first, and perhaps the best of Hopkins’ last, despairing Terrible Sonnets. Written as Hopkins pined, ill and lonely, contemplating his own death. It is almost ironic that it is only in these last, beautiful sonnets that Hopkins manages to coordinate style and language to create his most affecting and enduring poetry. The resolution at the beginning of "Carrion Comfort" is inspiring in its refusal to give in:

"Not, I’ll not, carrion comfort, Despair, not feast on thee;

Not untwist – slack they may be – these last strands of man

In me or, most weary, cry I can no more. I can;"

The emphasis on the stressed "Not" at the beginning of the poem highlights not only Hopkins’ resolve not to give in, but also the strength of the temptation itself. Carrion comfort represents despair – the comfort of being able to abandon all hope. When Hopkins’ says he "kissed the rod", this signifies the acceptance of a Christian that despair and depression are sent by God to test us and that it is only by enduring them that we can attain true happiness.

The struggle here is reminiscent of the battle between God and Hopkins at the beginning of "The Wreck of the Deutschland". However, here it is Hopkins attempting to vanquish despair rather than God trying to vanquish Hopkins. The battle here is won with the victorious "I can".

Hopkins relates his own struggle with despair to the nuns’ struggle onboard the Deutschland:

"Why? That my chaff might fly; my grain lie, sheer and clear.

Nay in all that toil, that coil, since (seems) I kissed the rod,

Hand rather, my heart lo! lapped strength, stole joy, would laugh, cheer."

The enthusiasm here is tempered by Hopkins’ questioning spirit, which in the next line asks: "Cheer whom though?" Hopkins does doubt the power of his own faith. It is the strength of his face which poses him with such complicated moral dilemmas; Hopkins is always trying to find perfection in religion. This is not always possible. As the Terrible Sonnets progress, we are voyeurs in the slow unraveling of Hopkins’ faith. The strength of this faith, however, is demonstrated by his refusal to give in to carrion comfort.

Style

‘Sprung rhythm’ is a rhythmic style which Hopkins uses to great effect in much of his poetry, specifically when he wants to convey moments of great emotional intensity. English poetry is usually iambic, and much of the poetry of the nineteenth century (especially Romantic verse) was written in iambic form.