By James I. Wimsatt
Although nearly unknown in his lifetime, Gerard Manley Hopkins (1844-1889) is counted this day one of the nice nineteenth-century poets. His poetry used to be accrued and released posthumously through his good friend Robert Bridges in 1917, and for that reason Hopkins's popularity flowered, notwithstanding extra as a contemporary author than as Victorian, and intensely little as a poetic theorist. but the physique of Hopkins's serious writing finds sharp perception into the topic of poetics, and provides an cutting edge conception that locates fundamental poetic which means in 'figures of speech sound.'
These 'figures of speech sound' give you the concentration for James I. Wimsatt's erudite and unique research. Drawing from Hopkins's diaries, letters, scholar essays, and correspondence with poet-friends, Wimsatt illuminates Hopkins's concept that the sound of poetic language contains an emotional, now not purely logical and grammatical, which means. Wimsatt concentrates his learn on Hopkins's writings approximately 'sprung rhythm,' 'lettering,' and 'inscape,' - his coinages - and makes ample connection with Hopkins's verse, exhibiting the way it exemplifies his language thought. A well-researched and hugely particular book, Hopkins's Poetics of Speech Sound asserts significant importance for a comparatively missed element of this crucial poet's writings.
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Extra resources for Hopkins’s Poetics of Speech Sound: Sprung Rhythm, Lettering, Inscape
Sample text
Hopkins’s analysis of Burns and of the strength of dialect use is not especially compelling, but his further discussion of the instress characteristic of Dorset is appealing and it is enlightening for his concept. Instress comparable to that in Barnes’s poetry, he asserts, characterizes diverse phenomena: non-dialect songs and verse of southwest England, the regional landscapes, and the pleasant odours of the local flora: ‘His poems use to charm me also by their Westcountry “instress,” a most peculiar product of England, which I associate with airs like Weeping Winefred, Polly Oliver, or Poor Mary Ann, with Herrick and Herbert, with the Worcestershire, Herefordshire, and Welsh landscape, and above all with the smell of oxeyes and applelofts: this instress is helped by particular rhythms and these Barnes employs; as, I remember, in “Linden Ore” and a thing with a refrain like “Alive in the Spring”’ (LI 88).
Hopkins here is recalling Barnes from early contact with his verse, but six years later (1885) he is still warmer in his defence, motivated by more extensive and recent reading of the poems in an edition that Coventry Patmore had lent him: ‘I hold your [Bridges’s] contemptuous opinion an unhappy mistake: he is a perfect artist and of a most spontaneous inspiration; it is as if Dorset life and Dorset landscape had taken flesh and tongue in the man ... ’ (LI 221). He manifests his esteem by composing music for two of Barnes’s poems (229).
Parole] is never carried out by the collectivity: it is always individual, and the individual is always master of it’ (1986, §30). The purview of langue is determined by a system of negative contrasts of distinctive sound features that differentiate language meanings, both grammatical and lexical. The positive values of linguistic sound, under the purview of parole, have no value in themselves for systematic language meaning. Parole is ‘always individual,’ that is, it lacks norms, and whatever significance it has is in control of the speaker.