Index of The Gerard Manley Hopkins Archive 2003 includes Lectures on Hopkins and Walker Percy as Language Theorists; how Hopkins prayed; an examination of literature and spirituality; death and the transcendent examined with Jean Sulivan; on Flannery O'Connor, Gerard Manley Hopkins, and Silence; on Gerard Manley Hopkins and Hart Crane and on Hopkins's Climb to Transcendence
Walker Percy, American novelist and essayist, was an admirer of Gerard Manley Hopkins. Samway examines the spiritual lives of these two noted Catholic writers, one a priest and the other a physician. First, the Jesuit connection..
Of course Gerard Hopkins prayed: he was a committed Christian layman, then a Jesuit, then a priest Here, Father Feeney poses a rarely asked question, "How did Hopkins pray?" His answer considers how he prayed in public, in poetry, and in private.
Literature and Spirituality Michael O'Dwyer explores the manner in which Christian writers of fiction integrate spiritual themes into the fabric of a literary work.This paper exploree three ways in which this is done by the use of the diary form and epistolary form as well as through the symbolic use of space.
Eamon Maher concentrates on French writer, Jean Sulivan's award-winning memoir, Anticipate Every Goodbye, a memoir that deals with the theme of death and the transcendent.
Southern writer Flannery O'Connor and Jesuit poet Gerard Manley Hopkins, though a century apart, were fellow travelers in their belief in, and demonstration of, lit-erature's ability to guide the reader into an experience of God's transcendence. Both devout Catholics, they used their writing to reflect their conviction that God's grace was palpably evident in the created world.
G.M.Hopkins and Dionysian American Modernist Hart Crane - visionary poets and witnesses of their time: how can one imagine two more different directions, two more different lives?
A culture, like a house, cannot in and of itself be lost; but the individuals who comprise that culture, like that small child, certainly can be. . .
Cyprian Kamil Norwid, now generally considered the best Polish poet of the second half of the nineteenth century, was born in 1821. He left Warsaw as a young man of twenty-one and lived abroad, mainly in Paris (where he died in penury, almost forgotten in 1883). Although his first poems were published in Polant, his talent as poet and painter unfolded only in exile; a talent, moreover, which was not fully recognized by his contemporaries. (...) Read the rest of this
My talk today is the offspring of a paper I had started to prepare last year for the Hopkins Summer School the theme of which, as those of you who were here will remember, was "otherness" in Hopkins' poetry. For one reason or another I didn't manage to finish the paper in time and promised to put things right this year. Now the only problem there was that I already had two thirds of the paper on Hopkins, MacNeice and "otherness" planned and the prospect of sitting down and starting again on a theme for this year which might well be totally unrelated to either MacNeice, MacNeice and Hopkins or "otherness" was not an entirely happy one, but perhaps just punishment for not doing the work last year . ..
If, as John Wain proposes, Hopkins seems lonely and idiosyncratic compared with Bridges, poet Laureate and resident of Boar's Hill, then compare him with Baudelaire, Rimbaud, Verlaine, and Laforgue, and one sees a major artist moving naturally among his peers. Like them, he was writing the new poetry, had faced the problems, carried out the initial reassesment of the means that were to hand, and had already started on the task: arguably, from this point of view, Hopkins was strengthened, rather than crippled, by the fact of his being a Jesuit and thus isolated in the most literal, physical sense.
Images of metaphysical transcendence in either the form of earth, air, fire, water, and/or archetypes abound throughout Gerard Manley Hopkins' writings, including his poems, letters, journals, essays, sermons and correspondence with friends and colleagues.
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.
"Transcendence", with its everyday sense of surpassing excellence, and its theological meaning of existence outside the bounds of the created world and freedom from the limitations of matter, is a word that clearly touches some key tensions in Hopkins's life and poetry. There is the gap between the natural and supernatural worlds, for example, or between matter and mind, or body and spirit, as well as between will and action, including political action. I want to begin, however, with just its ordinary meaning of extraordinary, of climbing beyond the normal earthly level of things, and to stay close to that as a way of reading the poetry.
|| Scottish View of Poetry of Gerard Manley Hopkins || Explore other areas of The Hopkins Archive || Gerard Manley Hopkins and the Climb to Transcendence || Hart Crane and Gerard Manley Hopkins | How Father Hopkins SJ Prays || Oscar Wilde and Gerard Manley Hopkins || Flannery O Connor and Hopkins || Levelling with God || || || Polish writer Norwid and Hopkins influence || Walker Percy and Gerard Manley Hopkins ||