GOD’S GRANDEUR

GOD’S GRANDEUR

The poem is expressive of God’s presence in the natural world even though

man’s exploits have served to destroy nature and its freshness and purity. To the

poet, God’s grandeur is ever pervasive, revealing itself like ‘flame from shook

foil’. The word ‘flame’ is significant as it conveys the brilliance of God as the

shining light the foil gives off.

The poet employs the image of an electric charge, which develops into a flame

or a light suggesting the power of His greatness. God’s light assumes a richness like the ‘ooze of oil crushed’ or pressed to it finest quality. As the oil gathers strength to richness so too does God’s greatness. The images are all interwoven and expanded to express the grandeur of God.

In stanza 2, though man is aware of God’s greatness, he still exploits it through

commerce and industrialization, blemishing the earth and destroying the

freshness of nature.

The repetition, ‘generations have trod, have trod, have trod’ conveys man’s

persistence in his ruthless exploitation. The persistent repetition of the words

‘have trod’ leading to ‘smeared and bleared’, tells of the poet’s resentment and

disgust at man’s actions. ‘Man’s smudge’ and ‘smell’ are expressive of a polluted

and squalid environment, all due to man’s uncaring attitude. Unthinking man

cares not about the destruction he leaves; he seems not aware of what he

has done to nature as expressed in the words ‘nor can foot feel being shod.’

The natural sensation of walking barefooted is lost.

The language of stanza one (1) lines 5-8, reveals a protest against man’s

ruthlessness. The poet reacts to man’s inhumanity and indignity with reasoned

calmness, a protest without rage or anger for he is consoled by nature’s presence

as described in stanza two (2).

In stanza two(2), the poet tells that God’s presence or power through nature

is renewable and invigorating in spite of man’s destructive nature. Nature is

described as indestructible or inexhaustible.

“For all this, nature is never spent

There lives a dearest freshness deep down things.”

The poem ends on a positive note, an assurance that springs from the poet’s

faith as he is convinced of the Holy Ghost’s presence with vitality and life and all

that is luminous,

“warm breath and bright wings”

Test Yourself

1. Using your own words, express in about two to three lines the theme of the

poem.

2. State the central contrast which this poem presents between God and man.

Explain it fully with reference to specific details.

3. Select one metaphor used in the poem and show how it is expanded.

4. Explain in your own words the meaning of the following lines.

(a) Why do men now not reck his rod?

(b) And for all this, nature is never spent.

5. The poet uses the following devices. Select one example of each and

comment on its effectiveness:

(a) simile (b) alliteration (d) repetition


FURTHER READING

The first four lines of the octave (the first eight-line stanza of an Italian sonnet) describe a natural world through which God’s presence runs like an electrical current, becoming momentarily visible in flashes like the refracted glintings of light produced by metal foil when rumpled or quickly moved. Alternatively, God’s presence is a rich oil, a kind of sap that wells up “to a greatness” when tapped with a certain kind of patient pressure. Given these clear, strong proofs of God’s presence in the world, the poet asks how it is that humans fail to heed (“reck”) His divine authority (“his rod”).

The second quatrain within the octave describes the state of contemporary human life—the blind repetitiveness of human labor, and the sordidness and stain of “toil” and “trade.” The landscape in its natural state reflects God as its creator; but industry and the prioritization of the economic over the spiritual have transformed the landscape, and robbed humans of their sensitivity to the those few beauties of nature still left. The shoes people wear sever the physical connection between our feet and the earth they walk on, symbolizing an ever-increasing spiritual alienation from nature.

The sestet (the final six lines of the sonnet, enacting a turn or shift in argument) asserts that, in spite of the fallenness of Hopkins’s contemporary Victorian world, nature does not cease offering up its spiritual indices. Permeating the world is a deep “freshness” that testifies to the continual renewing power of God’s creation. This power of renewal is seen in the way morning always waits on the other side of dark night. The source of this constant regeneration is the grace of a God who “broods” over a seemingly lifeless world with the patient nurture of a mother hen. This final image is one of God guarding the potential of the world and containing within Himself the power and promise of rebirth. With the final exclamation (“ah! bright wings”) Hopkins suggests both an awed intuition of the beauty of God’s grace, and the joyful suddenness of a hatchling bird emerging out of God’s loving incubation.

Form

This poem is an Italian sonnet—it contains fourteen lines divided into an octave and a sestet, which are separated by a shift in the argumentative direction of the poem. The meter here is not the “sprung rhythm” for which Hopkins is so famous, but it does vary somewhat from the iambic pentameter lines of the conventional sonnet. For example, Hopkins follows stressed syllable with stressed syllable in the fourth line of the poem, bolstering the urgency of his question: “Why do men then now not reck his rod?” Similarly, in the next line, the heavy, falling rhythm of “have trod, have trod, have trod,” coming after the quick lilt of “generations,” recreates the sound of plodding footsteps in striking onomatopoeia.

Commentary

The poem begins with the surprising metaphor of God’s grandeur as an electric force. The figure suggests an undercurrent that is not always seen, but which builds up a tension or pressure that occasionally flashes out in ways that can be both brilliant and dangerous. The optical effect of “shook foil” is one example of this brilliancy. The image of the oil being pressed out of an olive represents another kind of richness, where saturation and built-up pressure eventually culminate in a salubrious overflow. The image of electricity makes a subtle return in the fourth line, where the “rod” of God’s punishing power calls to mind the lightning rod in which excess electricity in the atmosphere will occasionally “flame out.” Hopkins carefully chooses this complex of images to link the secular and scientific to mystery, divinity, and religious tradition. Electricity was an area of much scientific interest during Hopkins’s day, and is an example of a phenomenon that had long been taken as an indication of divine power but which was now explained in naturalistic, rational terms. Hopkins is defiantly affirmative in his assertion that God’s work is still to be seen in nature, if men will only concern themselves to look. Refusing to ignore the discoveries of modern science, he takes them as further evidence of God’s grandeur rather than a challenge to it. Hopkins’s awe at the optical effects of a piece of foil attributes revelatory power to a man-made object; gold-leaf foil had also been used in recent influential scientific experiments. The olive oil, on the other hand, is an ancient sacramental substance, used for centuries for food, medicine, lamplight, and religious purposes. This oil thus traditionally appears in all aspects of life, much as God suffuses all branches of the created universe. Moreover, the slowness of its oozing contrasts with the quick electric flash; the method of its extraction implies such spiritual qualities as patience and faith. (By including this description Hopkins may have been implicitly criticizing the violence and rapaciousness with which his contemporaries drilled petroleum oil to fuel industry.) Thus both the images of the foil and the olive oil bespeak an all-permeating divine presence that reveals itself in intermittent flashes or droplets of brilliance.

Hopkins’s question in the fourth line focuses his readers on the present historical moment; in considering why men are no longer God-fearing, the emphasis is on “now.” The answer is a complex one. The second quatrain contains an indictment of the way a culture’s neglect of God translates into a neglect of the environment. But it also suggests that the abuses of previous generations are partly to blame; they have soiled and “seared” our world, further hindering our ability to access the holy. Yet the sestet affirms that, in spite of the interdependent deterioration of human beings and the earth, God has not withdrawn from either. He possesses an infinite power of renewal, to which the regenerative natural cycles testify. The poem reflects Hopkins’s conviction that the physical world is like a book written by God, in which the attentive person can always detect signs of a benevolent authorship, and which can help mediate human beings’ contemplation of this author.