Index of Gerard Manley Hopkins Archive 2002 with lectures on Julien Green; the Oxford Movement with Pusey etc; St. Gertrude; Saint Augustine,Hopkins and God! Lecturers include: Michael O Dwyer ; Peter Milward SJ; Nesbitt; James Finn Cotter; and James Mackey.
' . . my main contention in this paper is that Green's reading of Hopkins is, in fact, a reading of himself and of his own preoccupations as a person and as a writer. What Green reads or rather highlights and singles out for comment in his reading of Hopkins can be seen to be a mirror of his own deepest concerns.'
Read about Gerard Manley Hopkins and Julien Green
The author sees the whole of Hopkins's life as person and poet in terms of a search for Self, partly by means of, partly at the expense of the Other. This is what inclines him at Oxford to form one of a close circle like-minded friends and what draws him to the remnants of the old Oxford Movement led by Edward Pusey and Henry Liddon and to read Newman's Apologia pro Vita Sua soon after its publication in 1864. For my text let me take three of the sonnets composed by Gerard Manley Hopkins at Dublin during his dark year of 1885 . . .
Dr. Fabbroni-Gianotti Nesbitt focuses at length on Hopkins's understanding of grace in the poem and in his commentary because it is my intention to establish a correspondence of his intention with that of the historical St. Gertrude in her writings.
Dr. Cotter discusses Augustine's influence on some of Hopkins' central ideas: the Great Sacrifice, the Incarnation, the blessings of creation, the experience of beauty, and the notion of inscape as a Christic and Trinitarian act of perception.
. . . imagination and its characteristic vision already encompasses the concept of revelation, and does so at any depth or height of reality we may care or dare to visit. To put the matter in the terms of Hopkins' own metaphysic and epistemology of instress/inscape: some power of being (perhaps what Dylan Thomas called 'the force that through the green fuse drives the flower'?) Read the rest of this Lecture Hopkins and God
The unique achievement of Gerard Manley Hopkins (1844-89) has long been recognized. One of the most outstanding English poets of the late nineteenth century, he made poetry read like a prayer, offering a profound insight into the world of the spirit, into the mystery of the Word "instressed" and "stressed" by word(s). For years now the critics have been concerned with exploring numerous aspects of the poet's doGerard Manleyatic Christianity (Leavis, 85), yet although they often emphasize the Christocentric character of his work, only a few seem to realize how crucial, and in fact indispensable, for his poetry and the religious quest it offers to the privileged reader (cf. Delli-Carpini, viii) is Hopkins's preoccupation with the Marian theme, represented in every major phase of his poetic life.
Western writers have made very extensive use of the poetry of Horace. In speaking of this process, we tend to glibly employ nouns such as 'tradition', 'influence', 'legacy', and 'heritage', but the metaphors involved in these nouns require interrogation. The Oxford English Dictionary definitions of these nouns - respectively 'The action of handing over to another'; 'The action or fact of flowing'; 'anything handed down by an ancestor'; 'that which has been or may be inherited' - clearly show that, from the perspective of modern people, a passive process is being described. But when a modern person make use of Greek or Roman material, the process is, from their point of view, active.
Thomas Aquinas affirms, "God is virtually everything," an idea that is capital in Gerard Manley Hopkins poetry. It is our contention that no one has ever better expressed in literature the Thomistic conception of creation than Gerard Manley Hopkins, well expressed in "Pied Beauty" Hopkins rejects the philosophy of St. Thomas Aquinas in favor of Duns Scotus, the Franciscan logician and theologian. It is the contention of this paper that on further analysis there is a deep "parenté" between Aquinas and Hopkins that is empirically verifiable. Read 'Pied Beauty' . . .
First, instead of a definition, I would like to offer a paradiGerard Manley experience of contemplation, that of Isaiah of Jerusalem, sometimes called First Isaiah: "In the year of King Uzziah's death, I saw the Lord seated on a high and lofty throne; his train filled the sanctuary" (Is. 6:1). Not only does Isaiah see the Lord, but he is literally dumb-founded, that is, mute before the vision, managing only to hear the Seraphim stammer out the phrase, "Holy, holy, holy, is Yahweh Sabaoth. Heaven and earth are filled with His glory."
It is with some foreboding and not a little feeling of 'mauvaise foi' that I take the floor at this year's Hopkins' Summer School. Because, you see, Hopkins isn't someone whom I enjoyed reading as a young student. I realise now why that may have been the case. He is a complex and difficult poet who, in order to be understood, requires readers who have endured hardship and despair in their own lives. In this he resembles Jean Sulivan (1913-1980), a writer whom I know somewhat better. I had the privilege of translating into English Sulivan's memoir of the death of his mother, Devance tout adieu or Anticipate Every Goodbye (Veritas, 2000), by its English title. . .
Julien Green is perhaps best known to the general reader as the first non-French national to have been elected to the Académie française in 1971 where he succeeded François Mauriac. Born in Paris in 1900 of American Protestant parents, his mother being from Savannah, his father from Virginia, Green has always cherished his American nationality. His early years were nourished by his mother's stories of the American Civil War, the Secession and the sense of belonging to the Sud (South). His mother's stories, which were to have a profound effect on the young Green were tainted with nostalgia and melancholy because "the South had lost the war".
It is ironic that in the midst of the present cacophony of vying moral, spiritual, and social authorities, poetry is in most intellectual quarters regarded as a species of discourse which can no longer - perhaps never could express universal truths since its meaning, we say, varies from reader to reader, culture to culture, age to age, and so forth.
Contemplation in Hopkins Poetry || Hopkins and God || Hopkins and Teilhard de Chardin || Saint Aquinas, Thomism and Gerard Manley Hopkins || Saint Gertrude in Hopkins Poetry || Influence of Horace onHopkins ||