April 11, 2023

God’s Grandeur
By: Gerard Manley Hopkins (1877)

The world is charged with the grandeur of God.      It will flame out, like shining from shook foil;      It gathers to a greatness, like the ooze of oil Crushed. Why do men then now not reck his rod? Generations have trod, have trod, have trod; 5      And all is seared with trade; bleared, smeared with toil;      And wears man’s smudge and shares man’s smell: the soil Is bare now, nor can foot feel, being shod. And for all this, nature is never spent;      There lives the dearest freshness deep down things; 10 And though the last lights off the black West went      Oh, morning, at the brown brink eastward, springs— Because the Holy Ghost over the bent      World broods with warm breast and with ah! bright wings.

Introduction

Gerard Manley Hopkins’ poem “God’s Grandeur,” composed in 1877 and published posthumously in 1918, reflects his deep religious faith and his distinctive approach to poetry. The poem is influenced by Hopkins’ Jesuit beliefs, which emphasized the presence of God in the natural world and the idea of divine immanence. This religious context informs the poem’s central theme of the enduring power of God’s presence despite the impact of human industry and neglect.

The poem is written as an Italian, or Petrarchan, sonnet, consisting of an octave and a sestet, with a rhyme scheme of ABBAABBA in the octave and a more flexible rhyme pattern in the sestet. The octave introduces the theme of God’s grandeur, stating, “The world is charged with the grandeur of God.” This line suggests an inherent, electrifying presence of divinity in the world, which is contrasted with the destructive influence of human activity. The sestet shifts to a more hopeful tone, asserting that, despite human actions, “nature is never spent,” because “the Holy Ghost over the bent / World broods with warm breast and with ah! bright wings.”

Hopkins’ use of language in “God’s Grandeur” is characterized by his innovative technique of “sprung rhythm,” which allows for varied stress patterns within lines, creating a dynamic and expressive rhythm (see note 1). This technique, along with his use of alliteration, as in “shining from shook foil,” and internal rhyme, as in “And all is seared with trade; bleared, smeared with toil,” gives the poem a musical quality that enhances its thematic impact. The poem’s diction, combining the archaic and the modern, reflects Hopkins’ attempt to bridge traditional and contemporary expressions of faith.

The major themes of the poem include the relationship between God and nature, the impact of human activity on the environment, and the resilience of divine grace. Hopkins laments the way “all is seared with trade; bleared, smeared with toil,” indicating a critique of the industrialization and environmental degradation of the Victorian era. However, the poem also conveys a message of hope, emphasizing the continual renewal of nature and the enduring presence of God’s grace.

Victorian literary characteristics are evident in the poem’s focus on religious faith, its response to the challenges of industrialization, and its exploration of the tension between doubt and belief. Hopkins’ work stands out for its linguistic experimentation and the intensity of its religious vision, setting it apart from much Victorian poetry while still engaging with the era’s central concerns.

“God’s Grandeur” remains relevant for its exploration of environmental themes and its affirmation of spiritual resilience. The poem’s concern with the impact of human actions on the natural world resonates with modern ecological awareness, while its expression of faith in the enduring presence of divine grace speaks to ongoing spiritual inquiries.

Questions for Consideration

1. How does Hopkins convey the theme of God’s presence in the natural world? Analyze how the imagery of light, electricity, and nature contributes to this theme.
2. In what ways does the poem reflect a critique of industrialization and human impact on the environment? Consider lines like “all is seared with trade; bleared, smeared with toil.” How does Hopkins contrast this with the resilience of nature?
3. How does Hopkins’ use of sprung rhythm influence the poem’s tone and meaning? Choose a specific line or lines where this rhythm is particularly effective and discuss its impact on the reader’s experience.
4. Explore the religious symbolism in the poem, particularly in the sestet. How does Hopkins use the image of the “Holy Ghost” brooding over the world to suggest renewal and hope?
5. Discuss how the structure of the Italian sonnet (octave and sestet) shapes the development of the poem’s themes. How does the shift between the octave and sestet influence the overall message of the poem?
6. Analyze Hopkins’ use of imagery and alliteration in the poem. How do phrases like “shining from shook foil” or “smudge and shares man’s smell” enhance the poem’s thematic concerns and its musical quality?
7. How does Hopkins portray nature? Consider the contrast between the damaged world described in the octave and the resilient, renewing nature in the sestet. What does this suggest about his view of the natural world?
8. How does the poem reflect the concerns and characteristics of Victorian literature, particularly in relation to faith and the effects of industrialization? In what ways does Hopkins’ approach differ from or align with his contemporaries?
9. How can the themes of “God’s Grandeur” be seen as relevant in a contemporary context, especially in light of modern environmental concerns? What does the poem offer to readers today who are grappling with issues related to nature and human impact?
10. How do you interpret the final lines of the poem, “Because the Holy Ghost over the bent / World broods with warm breast and with ah! bright wings”? What emotions or thoughts do these lines evoke, and how do they contribute to the overall effect of the poem?

Notes & Commentary