We are always in Freud’s view,
blocking his visions
trying to contain ,
attempting to define,
an uncontainable luxuriant over inflated
example of this.
Another green or hot -housed is the
the book itself and its cover
Becoming Freud ,the concept ‘s behind his birth
is part of Yale’s
Lives of the Quaint
which requires of the author not only
a present of Freud
but even goes off side
to make it “Jewish” as well.
There being no ingenious way,
he was so far
round this issue,
Phillips gives Freud’s
Jewishness a conveniently
At times so unscientific
as to be indeterministic,probably.
You know what I seem
A window is the wind’s eye.
This article is by Carol Rumens
Poem of the week: The Windhover by Gerard Manley Hopkins
This time, Hopkins’s astonishing control of his wildly experimental form is as awe-inspiring as its subject matter
Gerard Manley Hopkins wrote “The Windhover” in May, 1877. He had been a student at St Bueno’s Theological College for three years, and this was a productive period: the year of “God’s Grandeur”, “Spring” and “The Starlight Night”, among others. “The Windhover” is the most startlingly experimental of this gorgeous tranche of sonnets. Hopkins seems at ease, fully in control of the energies of his sprung rhythm and effortlessly folding the extra-metrical feet he called outrides (see line two, for example) into the conventional sonnet form. He recognised his own achievement, and, sending a revised copy to his friend Robert Bridges, declared that this was the best poem he’d ever written.
Much discussed and interpreted, “The Windhover” plainly begins with, and takes its rhythmic expansiveness from, a vividly observed kestrel. That the bird is also a symbol of Christ, the poem’s dedicatee, is equally certain. Perhaps too, its ecstatic flight unconsciously represents for Hopkins his own creative energy. When he exclaims “How he rung upon the rein…” his image might extend to the restraints and liberations of composition. The phrase means to lead a horse in a circle on the end of a long rein held by its trainer, and it certainly makes a neat poetic metaphor.
What a marvellous sentence Hopkins sets soaring across the first seven lines of the octet: I particularly like those cliff-hanger adjectives summoned “in the riding/ Of the rolling level underneath him steady air”. The diction throughout is rich and strange: “wimpling” (rippling and pleating), “sillion” (a strip of land between two furrows), “the hurl”, “the achieve”. There are resonant ambiguities: “buckle” for example could be imperative or indicative, and it could mean any of three things: to prepare for action (an archaic meaning), to fasten together, or to bend, crumple and nearly break (“buckled like a bicycle wheel” as William Empson remarked when analysing the poem in Seven Types of Ambiguity).
The metaphysics may be complex but the imagery of riding and skating are plain enough. The wheeling skate brilliantly inscapes the bird’s flight-path. It’s important to our sensation of sheer, untrammelled energy that we see only the heel of the skate, and not the skater. Empson wrote that he supposed Hopkins would have been angered by the bicycle-wheel comparison, but I am not at all sure he would have been: the poem welcomes ordinary physical activity, and a cyclist has his heroic energies and painful accidents like any other athlete.
Christ’s Passion is central to the poem, the core from which everything else spirals and to which everything returns. The plunge of the windhover onto its prey suggests not simply the Fall of man and nature, but the descent of a redemptive Christ into the abyss of human misery and cruelty. References to equestrian and military valour (the dauphin, the chevalier) evoke the Soldier Christ, a figure to be found in the Spiritual Exercises of St Ignatius of Loyola which Hopkins devotedly practised. The swoop of this hawk-like dove is essentially spiritual, of course. But the poem doesn’t forget or devalue the “sheer plod” of the farm-labourer – another alter ego, I suspect.
It’s remarkable how the sestet slows down without losing energy. Instead of flight there is fire: is this a reference to Christ’s post-mortem descent into Hell? The adoring “O my Chevalier” softens to a Herbert-like, tender “Ah my dear”. And now the great impressionist painter, having so far resisted any colour beyond that suggestive “dapple-dawn”, splashes out liberally with the “blue-bleak” embers and the “gold-vermilion” produced by their “gall” and “gash” (both words, of course, associated with the Crucifixion). Again, there is terra firma as well as metaphysics. The earth is broken by the plough in order to flare gloriously again, and the warm colours suggest crops as well as Christ’s redemptive blood. Beyond that, we glimpse some other-worldly shining, a richness not of earth alone. As always in Hopkins’s theology, Grace in the religious sense is not to be divorced from athletic, natural, often homoerotic, grace. In fact, it is fuelled by it.
To Christ Our Lord
I caught this morning morning’s minion, king-
dom of daylight’s dauphin, dapple-dawn-drawn Falcon, in his riding
Of the rolling level underneath him steady air, and striding
High there, how he rung upon the rein of a wimpling wing
In his ecstasy! then off, off forth on swing,
As a skate’s heel sweeps smooth on a bow-bend: the hurl and gliding
Rebuffed the big wind. My heart in hiding
Stirred for a bird, – the achieve of, the mastery of the thing.
Brute beauty and valour and act, oh, air, pride, plume, here
Buckle! AND the fire that breaks from thee then, a billion
Times told lovelier, more dangerous, O my chevalier!
No wonder of it: shéer plód makes plough down sillion
Shine, and blue-bleak embers, ah my dear,
Fall, gall themselves, and gash gold-vermilion.