Abstract:
The main purpose of this paper is to show how the imagery of Gerard Manley Hopkins' verse is drawn from the notes in his Journal and to study the evolution to the fixed and definite forms of his imagery. Although Hopkins was a discriminating writer, even in recording his first impressions in a notebook, he entered more raw material than he actually used in writing poems. A passion for detail and analysis which was to become a poetic characteristic can be observed in studying the images and comparisons. "Hopkins used his Journal to fix images in the first heat of delighted perception, and it is instructive to see how the sense-impressions incorporated in the poem had been casually garnered over a period of from fourteen to eighteen years. “Most of the studies on Hopkins deal with a critical analysis and interpretation of his poetry or technique. It should be of interest to every enthusiast of Hopkins to trace the origin, method, and application of imagery which qualified his poetry with a depth, intensity, and richness in an unparalleled degree. In the artistry of Hopkins, poetic image evolved into more than a delightful sensory impression: it was an insight into the ultimate reality, seeing the image in things from God's side. The "Journal” and "Notes” from which this study is drawn are taken from The Note -Books and Papers of Gerard Manley Hopkins edited with notes and a preface by Humphrey House, published in full for the first time in 1937. Extracts had appeared previously in the Jesuit periodical Letters and Notices edited by Father MacLeod, in 1906 and 1907, and in Gerard Manley Hopkins by Father Lahey, in 1930. W. H. Gardner's edition of Poems of Gerard Manley Hopkins is used throughout. It remains to thank the authorities and friends, whose assistance and advice, generously given, were of incalculable value to the writer. I wish to thank the Reverend Burke O'Neill, S. J., and Mr. C. Carroll Hollis of the University of Detroit, Mr. John Pick of Marquette University, and Sister Catherine Racconigi, O. P.
