"... heart's blood spilt Out of heart's anguish, high heart, all-hoping heart, Child-innocent, clean heart, of guile or guilt, But heart storm-tried, fire-purged, heaven chastened ..." --Monk Gibbon, "The Poetry of Gerard Manley Hopkins" (1) I Exchanging letters in 1879, Hopkins and his friend R. W. Dixon took issue with Tennyson's poems for their lack of heart. Dixon complained about the "versification" of "Locksley Hall": "It had the effect of being artificial & light: most unfit for intense passion, of which indeed there is nothing in it, but only a man making an unpleasant & rather ungentlemanly row." (2) Hopkins agreed: not only Locksley Hall but Maud is an ungentlemanly row and Aylmer's Field is an ungentlemanly row and the Princess is an ungentlemanly row. To be sure this gives him vogue, popularity, but not that sort of ascendancy Goethe had or even Burns, scoundrel as the first was, not to say the second; but then they spoke out the real human rakishness of their hearts and everybody recognised the really beating, though rascal, vein. (Correspondence, 1: 347) The fervour of Hopkins's response might feel surprising, but Dixon has touched a chord which reverberates to the very core of Hopkins's art. Hopkins's comments remember Hazlitt's judgment that Burns "had a real heart of flesh and blood beating in his bosom": of all Victorian poets, Hopkins most resoundingly bears out Hazlitt's assertion that "by a great poet, we mean one who gives ... the utmost force to the passions of the heart." (3) There is no more vital image in poetry than the heart--and, one might say, none more susceptible to cliche. "The essence of all poetry," said John Keble in his Oxford Lectures on Poetry (1844), "is to be found, not in high-wrought subtlety of thought, nor in pointed cleverness of phrase, but in the depths of the heart and the most sacred feelings of the men who write." (4) If Victorian tastes had not quite arrived at T. S. Eliot's visceral disdain for Sidney's injunction to "look into thy heart, and write" ("that is not looking deep enough ... One must look into the cerebral cortex, the nervous system, and the digestive tracts"), (5) nineteenth-century writers were nonetheless alert to the dangers of speaking "vaguely and diffusely" of the heart, as John Beer puts it in his account of the heart's importance to Wordsworth, and were increasingly responsive to its physiological as well as symbolic existence. (6) The organ's varied medical, poetic, and religious significance for the poets of the middle of the century has been fleshed out by Kirstie Blair in Victorian Poetry and the Culture of the Heart, and much of what I have to say extends her discussion of Victorian poetry's "intense and oddly pathological concentration on the heart" to Hopkins. (7) Hopkins's poems return again and again to the heart: in doing so they activate a range of overlapping significances which will lend shape to what follows. The heart was a focus for Hopkins's thinking about poetic rhythm and inspiration; it assumed devotional significance in the form of the Catholic symbol of the Sacred Heart; in some of his most affecting poems it serves as an object of interrogation and companionship as well as a source of expression. Yet if Hopkins's concern with the heart shares in what Jason R. Rudy calls the "astonishing physicality" of Victorian poetry, the special intensity of that concern was crucial to Hopkins's independence from his contemporaries, too. (8) Hopkins's poetry brings "high-wrought subtlety" to bear upon its expression of the heart's "depths." It stands apart for its ability to endow this most universal of images with individual character--to speak, as he felt Tennyson's didn't, from a "real human" heart. II The heart, for Hopkins, was the seat of character, and it was the job of style to make that character manifest. His and Dixon's objections to the lack of "heart" in "Locksley Hall" are common enough, but they illuminate a matter crucial to Hopkins's differences with his contemporaries. …

中文翻译：

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霍普金斯之心

“……心脏的血液溢出了内心的痛苦，高昂的心，满怀希望的心，天真无邪，干净的心，狡猾或内疚，但心风暴尝试，火焰净化，天堂惩戒……”- Monk Gibbon, "The Poetry of Gerard Manley Hopkins" (1) I 在 1879 年交换信件，Hopkins 和他的朋友 RW Dixon 对 Tennyson 的诗缺乏心性提出异议。狄克逊抱怨《洛克斯利大厅》的“改编”：“它有人造光的效果：最不适合强烈的激情，其中确实没有任何东西，但只是一个令人不快且相当不绅士的争吵.” (2) 霍普金斯同意：不仅洛克斯利大厅而且莫德是一个不正派的行，艾尔默的领域是一个不正派的行，公主是一个不正派的行。可以肯定的是，这给了他时尚和知名度，但没有像歌德甚至伯恩斯那样的优势，像第一个一样坏蛋，更不用说第二个了。但随后他们说出了他们内心真正的人类狂妄，每个人都认出了真正在跳动但无赖的静脉。(Correspondence, 1: 347) 霍普金斯的热情回应可能会让人感到惊讶，但迪克森触动了一种回荡在霍普金斯艺术核心的和弦。霍普金斯的评论记住了黑兹利特的判断，即伯恩斯“怀里有一颗真正的血肉之心”：在所有维多利亚时代的诗人中，霍普金斯最响亮地证实了黑兹利特的断言：“一位伟大的诗人，我们指的是一个给予......最大的力量去激发内心的激情。” (3) 诗歌中没有比心灵更生动的形象——而且，可以说，没有人更容易受到陈词滥调的影响。“所有诗歌的精髓，”约翰·凯布尔在他的牛津诗歌讲座（1844 年）中说，“不是在思想的高度精巧中，也不是在措辞的尖锐巧妙中，而是在内心深处以及写作者最神圣的感情。” (4) 如果维多利亚时代的品味还没有完全达到 TS Eliot 对 Sidney 的命令“深入你的内心，并写作”的发自内心的蔑视（“这还不够深入......人们必须深入研究大脑皮层，神经系统, 和消化道”), (5) 19 世纪的作家仍然对“含糊不清地”谈论心脏的危险保持警惕，正如约翰·比尔在他关于心脏对华兹华斯的重要性的描述中所说的那样，并且对它的生理和象征性存在越来越敏感。(6) 科斯蒂·布莱尔在维多利亚时代的诗歌和心灵文化中充实了该器官对本世纪中叶诗人的各种医学、诗歌和宗教意义，我要说的大部分内容都扩展了她的讨论维多利亚时代诗歌“对心脏的强烈而奇怪的病态集中”给霍普金斯。(7) 霍普金斯的诗一次又一次地回到内心：在这样做的过程中，他们激活了一系列重叠的意义，这将为接下来的事情塑造形状。心脏是霍普金斯关于诗的韵律和灵感的思考的焦点；它以天主教圣心象征的形式呈现出虔诚的意义；在他的一些最感人的诗歌中，它既是审问和陪伴的对象，也是表达的源泉。然而，如果霍普金斯对心脏的关注与杰森·鲁迪所说的维多利亚时代诗歌的“惊人的肉体”相同，那么这种关注的特殊强度对于霍普金斯独立于同时代的人也至关重要。(8) 霍普金斯的诗歌在表达内心的“深度”时，赋予了“高度的精妙”。它之所以与众不同，是因为它能够赋予这种最普遍的图像以个性——可以说，正如他认为丁尼生所没有的那样，来自“真正的人类”心脏。II 对霍普金斯来说，心脏是性格的所在地，而风格的工作就是让性格表现出来。他和狄克逊 对“洛克斯利大厅”缺乏“心”的反对意见已经足够普遍，但它们阐明了霍普金斯与同时代人之间差异的关键问题。…