Introduction
Gerard Manly Hopkins, an English Jesuit clergyman, and novelist wrote the sonnet “God’s Grandeur.” Hopkins composed the poem in 1877, but it was not published until nearly 30 years after his demise in 1889, as was the case for most of his writings (O’Donnell 1). The term “grandeur” implies magnificence or greatness. In “God’s Grandeur,” the author, Hopkins, expresses his admiration for the splendor of God and His creation, as well as his dismay at how humankind lost sight of the special relationship between God and the natural world during the Second Era of the Industrial Revolution. Hopkins utilizes literary devices such as metaphors, imagery, repetition, and symbolism to address the social theme of the lack of connection between people and God, which resulted in the exploitation of nature.
Background of the Poem
The life of Gerard Manly Hopkins coincided with the second industrial revolution, which indicated a rise in manufacturing and extensive use of machines which alleviated the toil of millions of workers. Moreover, the rapid pace of technological progress of the period ultimately lifted many people from poverty and allowed them to live decently. Yet, although the revolution had many other benefits, including boosting the economy and loosening social limitations through infrastructural developments, its impact on the environment was an issue which could not be ignored even by the most passionate proponents of industrial activity. Namely, the use of machines, large-scale extraction of natural resources such as oil which fueled industries, had translated into devastating effects on the environment. Pollution and destruction of natural habitats of wild animals, as well as contamination of water and air and urbanization, had replaced pristine landscapes in an instant. One of the greatest achievements of humanity in the 19th century also meant a tragedy for nature.
Hopkins was one of the witnesses of these unfolding events and was particularly emotionally affected by the erosion of the environment, which he believed was created by God and given to people as a gift. This reflects the main idea conveyed by Hopkins in “God’s Grandeur,” the loss of connection to God through the destruction of his creation. Hopkins did not write simply about the destruction and pollution of nature, instead, he used it as a pretext for stressing how his contemporaries lost their faith in a higher power. As Kilmer (243) noted, “His religion was the basis of his writing, and that writing a piece on a secular topic was unthinkable.” Thus, with “God’s Grandeur,” Hopkins wanted to remind the audience of the social issue of lack of belief in God in society and used the theme of the evils of the industrial revolution to highlight this topic.
Metaphors used in “God’s Grandeur”
Of all literary devices, metaphors tend to produce the most powerful effect on the reader since they immediately make the audience conjure up an image in their minds which amplifies the messages of poems. Hopkins avidly used this literary device in his writing, and “God’s Grandeur” was not an exception. Before describing the first metaphor, which the author uses to highlight the disintegration of people from God, it is important the main metaphor of the poem. Namely, the first line, “The world is charged with the grandeur of God” (Hopkins 6). This line sets the tone for the whole poem and conveys the idea that God is present everywhere in the world. Yet, Hopkins (6) wonders, “Why do men then now not reck his rod?” The phrase “reck his rod” serves here as a metaphor for following God’s teachings. Hopkins poses a rhetorical question and asks why people no longer believe in God and have forgotten his role as the creator of the world in which they live.
Nature is the manifestation of God’s will and the environment through which people can connect to the divine power by enjoying its beauty. Yet, instead, they decide to mutilate it and subsequently try to escape God and become oblivious to his existence. Hopkins (6) uses a line which contains three powerful metaphors “all is seared with trade; bleared, smeared with toil.” These metaphors stress the impact of people’s industrial activity on the planet, which they exploit to gain profits. Hopkins wants to show that humanity, by pursuing technological progress and economic returns, simultaneously distances itself away from God. Instead of living in harmony with nature and God, people simply take advantage of it. Humanity destroys existence by “smear[ing], “sear[ing],” ” and “blear[ing]” it, undermining God’s conception and cutting its own link to God. Moreover, mankind is not only degrading nature but also swapping the pristine colors, noises, and smells of the universe with God’s “charge” inside it—with human smell and smudge.
Imagery, Repetition, and Symbolism in “God’s Grandeur”
Apart from metaphors, Hopkins also uses a plethora of other literary devices, including imagery. For instance, he writes, “The soil is bare now, nor can foot feel, being shod” (Hopkins 6). He portrays soil as being depleted of its riches due to people’s activity, such as oil extraction. Additionally, he presents humanity’s lack of connection with nature through the imagery of a foot dressed in a shoe. Hopkins shows that people have produced artificial objects such as footwear which ultimately hinder their ability to enjoy the pleasure of sensing the earth and thus uniting themselves with God.
Repetition is another literary device used by Hopkins in the poem in question, and despite it being utilized only once, it serves as a significant element for allowing the reader to understand the main message. Hopkins (6) writes, “Generations have trod, have trod, have trod.” Here, repetition once again underscores the idea of people consistently exploiting nature for their own gain. They do not use it to grow spiritually closer to God but simply satisfy their own trivial needs with it.
Finally, symbolism is the literary device which Hopkins utilizes at the end of the poem. McCulloch (12) states that Hopkins’ vibrant divine symbolism is aimed at conveying a unique and magnificent experience of absolute inspiration. Hopkins portrays God, specifically, the Holy Ghost, as a bird that acts as a mother and keeps its children protected. He writes, “the Holy Ghost over the bent world broods with warm breast and with ah! bright wings” (Hopkins 6). The imagery “warm breast” and “bright wings” function as symbols of God’s care for the world and the beings that inhabit it. Despite the destructive nature of people’s actions, God is forgiving, and he continues to provide them with shelter and love.
Conclusion
Gerard Manly Hopkins, in his poem “God’s Grandeur,” uses a set of literary devices to highlight the notion of how his contemporaries have become disconnected from God. The author utilizes metaphors to demonstrate the way how people over centuries took advantage of nature, God’s gift to humanity. As a result, humanity’s obsession with technological progress enabled them to cut their ties with the divine power. Yet, using symbolism, Hopkins portrays God as a mother-bird who loves her children and continues to care for them.
Works Cited
Hopkins, Gerard Manley. Poems. William Ralph Press. 2014.
Kilmer, Joyce. “The Poetry of Gerard Hopkins.” Nineteenth-Century Literature Criticism, edited by Janet Mullane, vol. 17, Gale, 1988. Gale Literature Resource Center, Web.
McCulloch, Andrew. “‘God’s grandeur: Andrew McCulloch analyses Hopkins’s poetic expression of his spiritual vision.” The English Review, vol. 15, no. 3, 2005, p. 10+. Gale Literature Resource Center.
O’Donnell, Mary. “Gerard Manley Hopkins.” The Poetry Ireland Review (1998): 30-32.