• Gerard Manley Hopkins
• Adrian Grafe (bio)

Highly specialized, intricate scholarly approaches to the poet combined in 2019 with more popular, mixed-media ones.

The weekly BBC Radio 4 program In Our Time (“Gerard Manley Hopkins,” March 21, 2019, https://www.bbc.co.uk/programmes/m0003clk) brought together three academic specialists of the poet—Martin Dubois, Catherine Phillips, and Jane Wright—to discuss Hopkins’s life, poetry, and legacy, as well as the social and literary environments in which he lived and wrote. This was rather a tall order for a forty-minute radio program on a poet whom the presenter, Melvyn Bragg, citing Leavis, called “the greatest Victorian poet.” Bragg’s questions were thoroughly researched and yet were the kind that the listener who was not a specialist of the poet, or even of poetry, but who was curious, would have liked to ask. The program thus stressed Hopkins’s difference: difference from the rest of his family and from most of his Oxford tutors and friends—future poet laureate Robert Bridges, for one—in his decision to convert to Roman Catholicism; difference from other post-Romantic Victorian poets in the high degree of experimentalism he brought to his art; and difference from his working-class parishioners in Glasgow and Liverpool in particular, due to his upper-middle-class English background. By alluding to the “danger” that [End Page 350] adhered to Catholicism during Hopkins’s time at Oxford, Bragg, discerningly if perhaps inadvertently, put his finger on one of the great attractions of the Catholic faith for Hopkins, who was instinctively a contrarian and risk-taker.

Bragg termed Hopkins a writer of “nature poetry.” Hopkins may, in fact, be deemed to have adopted the Scotist view of the univocity of nature and supernature. From this point of view, nature is certainly worthy of celebration in and for itself. But nature for Hopkins is a site—perhaps for him the supreme site—in which God reveals Himself to the poet: “he is under the world’s splendour and wonder” so “I greet him the days I meet him, and bless when I understand” (from stanza 5 of “The Wreck of the Deutschland,” The Poetical Works of Gerard Manley Hopkins, ed. N. H. MacKenzie [Oxford: Clarendon Press, 1990], p. 120; this volume is hereafter abbreviated to PW). Hopkins’s post-Romantic worldview inherited the Romantics’ view of nature while Christianising it. The argument propounded by certain critics, Seamus Heaney¹ among them, that some of Hopkins’s sonnets are made up of an octave of natural description followed somewhat artificially by a sestet of Christian doctrine (as though to do penance, as it were, for the octave) needs to be adjusted in the light of the imagery of poems which appear to conform to this view, but which, in reality, contain imagery in the octave that can be said to express a religious perspective. But it is also true that Hopkins’s faith and austere religious life gave him the freedom or “license”—one of his favorite words, as was pointed out in the program—to revel in the beauties of the natural world.

Jane Wright caught something of the specificity of Hopkins’s poetry when she referred to his “spotty language” as it appears in “Pied Beauty,” or described “sprung rhythm” as “boingy” [sic]. Catherine Phillips stressed the fact that Hopkins took a keen interest in the literary production of his time, especially the Pre-Raphaelites, writing a poem in answer to one of Christina Rossetti’s (cf. below) and corresponding with his friend Canon Richard Dixon who was himself associated with the Brotherhood (as was another friend and correspondent of Hopkins’s, Coventry Patmore).

In this respect, Heather McAlpine, in her clear and thoughtful study, Emblematic Strategies in Pre-Raphaelite Literature (Leiden, Netherlands: Brill Rodopi, 2019), makes a case for Hopkins as “a participant in the Pre-Raphaelite movement,” while a sentence further on in the same paragraph begins, “For Hopkins, as for other Pre-Raphaelites” (p. 147). One may be tempted to feel these phrases—explicitly including Hopkins within the Pre-Raphaelite “movement,” though not the Brotherhood—slightly overstate (Christina Rossetti referred to the movement as “our ‘school...

• 杰拉德·曼利·霍普金斯
• 阿德里安·格拉夫（生物）

这位诗人的高度专业化，复杂的学术方法于2019年与更流行的混合媒体方法相结合。

BBC Radio 4每周节目在我们的时代（“杰拉德·曼利·霍普金斯”，2019年3月21日，https：//www.bbc.co.uk/programmes/m0003clk）召集了诗人的三位学术专家马丁·杜波依斯，凯瑟琳·菲利普斯和简·赖特—讨论了霍普金斯的生活，诗歌和遗产，以及他生活和写作的社会和文学环境。对于一位诗人进行长达四十分钟的广播节目，这是一个很高的要求，主持人梅尔文·布拉格（Melvyn Bragg）援引利维斯（Leavis）称其为“维多利亚时代最伟大的诗人”。布拉格的问题经过了详尽的研究，但是，即使不是诗人，甚至不是诗文专家，但好奇的听众也很想问这种问题。因此，该计划强调了霍普金斯大学的与众不同之处：与他的家人以及他的大多数牛津大学导师和朋友-未来诗人得主罗伯特·布里奇斯（Robert Bridges），其中之一是他决定to依罗马天主教；他对艺术的高度实验主义与其他后浪漫主义维多利亚时代的诗人有所不同；并且由于他具有中上层英语背景，因此与他在格拉斯哥和利物浦的工人阶级教区居民有所不同。通过提到“危险”[末页350]在霍普金斯在布拉格牛津大学期间坚持天主教信仰，他敏锐地意识到（也许是无意间）将天主教信仰视为霍普金斯的一大吸引力，他本能地是一个逆势而冒险的人。

布拉格称霍普金斯为“自然诗”的作家。实际上，可以认为霍普金斯已经采纳了斯科特主义关于自然与超自然的统一性的观点。从这个角度来看，自然本身就值得庆祝。但是，对于霍普金斯大学来说，大自然是一个场所，也许对他而言是一个最高的场所，在那里上帝向诗人展示了自己：“他在世人的光辉与奇观中”。因此，“我见到他的日子向他打招呼，当我理解他时就祝福他”（摘自“德国残骸”的第5节，Gerard Manley Hopkins的诗歌作品， NH MacKenzie编辑[牛津：Clarendon Press，1990年]，第120页；此卷此后缩写为PW）。霍普金斯的后浪漫世界观在基督教化的同时继承了浪漫主义者的自然观。某些评论家Seamus Heaney ¹提出的论点是，霍普金斯的十四行诗是由自然描述的八度组成的，其后有些人为地加入了基督教教义（似乎是在为八度作苦修） ）必须根据看似符合这种观点的诗歌意象进行调整，但实际上，这些意象包含八度的意象，可以说表达了宗教观点。但是，霍普金斯的信仰和严谨的宗教生活也确实给了他自由或“执照”（如程序中所指出的那样），他沉迷于自然世界的美。

简·赖特（Jane Wright）提到霍普金斯的诗歌时，谈到了“斑点美女”中出现的“杂乱无章的语言”，或将“弹簧跳动的节奏”形容为“ Boyy” [ sic ]。凯瑟琳·菲利普斯（Catherine Phillips）强调说，霍普金斯对当时的文学作品特别是拉斐尔前派（Ra-Raphaelites）产生了浓厚的兴趣，他写了一首诗来回应克里斯蒂娜·罗塞蒂（Christina Rossetti）的一首诗（见下文），并与他的朋友佳能·理查德·狄克森（Canon Richard Dixon）相对应。他本人与兄弟会有联系（也是霍普金斯大学考文垂·帕特莫尔的另一个朋友和通讯员）。

在这方面，希瑟·麦卡芬（Heather McAlpine）在清晰而周到的研究《拉斐尔前派文学中的文艺策略》（荷兰莱顿：布里尔·罗多比，2019年）中为霍普金斯辩解为“拉斐尔前派运动的参与者”，在同一段中的另一句开始：“对于霍普金斯人，与其他拉斐尔前派人士一样”（第147页）。可能有人会想过这些短语-明确地将霍普金斯包括在拉斐尔前派的“运动”中，尽管不是“兄弟会”-轻描淡写了（克里斯蒂娜·罗塞蒂（Christina Rossetti）将该运动称为“我们的学校...