Gerard Manley Hopkins distinguished and approved “sequences of feeling and phrase” in his friend Robert Bridges’s sonnets. A close reading of “The Windhover” reveals Hopkins’s own use of these sequences with a remarkable shift between the octave, developed by a series of adverbial and adjectival participial and prepositional phrases, and the sestet which proceeds as a series of declarative-exclamatory statements. The first half of the sonnet follows the kestrel’s flight as it “hovers” (hence its name) into a fixed position either by beating its wings (“hurl”) or by sitting still (“gliding”). This act of hovering is then transferred from the bird “there” to the poet’s own heart “here” by the verb “Buckle,” with its meaning of joining, bending, putting on, and holding back. This shift in action occurs also in place and time, from past to present, outdoors to an indoor chapel where the poet attended Mass each May morning. The action itself incorporates inscape as catching sight of the pattern of the kestrel’s flight in the morning of Christ’s created light and instress as the heart’s response in thought and being to Christ’s uplifting grace in the fire of redemption. “As kingfishers catch fire” reverses the sequences of feeling and phrase in “The Windhover” as it too moves from the physical (“each mortal thing”) to the supernatural as the “just man” becomes an after-Christ.

中文翻译：

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“ The Windhover”中的短语和感觉序列

杰拉德·曼利·霍普金斯（Gerard Manley Hopkins）在他的朋友罗伯特·布里奇斯（Robert Bridges）的十四行诗中脱颖而出并认可了“感觉和短语的序列”。仔细阅读《 The Windhover》，可以发现霍普金斯自己对这些音序的使用，它在由一系列副词和形容词及介词短语所形成的八度音阶与作为一系列陈述性-感叹性陈述而发展的sestet之间发生了显着变化。十四行诗的前半部分跟随着茶est的飞行，因为茶ating通过打动翅膀（“晃动”）或坐着不动（“滑行”）“徘徊”（因此得名）到固定位置。然后，这种悬停动作通过动词“ Buckle”从鸟“那里”转移到诗人自己的心脏“ here”，其含义是接合，弯曲，穿上和后退。从过去到现在，这种行动也发生在时间和地点，在户外到一个室内小教堂，诗人于每年五月的早晨参加弥撒。动作本身并入了风景，以捕捉基督创造光明和压力的早晨茶est的飞行模式，这是心灵对思想的反应，也是在救赎之火中对基督令人振奋的恩典的回应。当“翠鸟着火”时，“风行者”中的感觉和短语顺序颠倒了，因为当“正义者”成为后基督之后，风行者也从身体（“每个凡人的事物”）转变为超自然现象。