What Are The Business Of Both Music And Poetry?

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Hopkins saw plainsong as a form of recitative, characterised by its primary intention of the delivery of words, by a restricted tonal range and by irregular rhythmic units, including very long ones.

The relationship between this and his three most chant-like, long-lined poems, The Leaden Echo and the Golden Echo (1882), That Nature is a Heraclitean Fire (1888), Spelt from Sibyl's Leaves (1886), is clear, even visually. These poems look to sprawl, a mass of language, across the page, the lines at first barely distinguishable.

To write like this in the 1880s shows the distance Hopkins had travelled from his conventional early poems. Perhaps we should add to this group 'To what serves mortal beauty' (1885) and the sonnet on Purcell (1879), both notable for risks taken with the line as unit.

In all these poems the overall pace is slow, stressed, emphatic, but nowhere is there a hint of any mechanism of units or stop-start movements; line, ...
... Cartier Jewelry rhyme and sonnet form are totally absorbed into full and sometimes urgent diction which follows its own rhythm.

To call these poems 'musical' is somehow crass, but it points out the fundamental difference between Hopkins's practise and the common generalisation that sets 'sound' against 'sense'. These poems are not fluid and not easy, and none of their diction relates to pure sound.

Sound is sense, because that is at the root of language, as Hopkins knew, and pause, silence and stress, dissonance and resolution, cumulative and local rhythms are the business of both music and poetry.

The intensity of Hopkins's thought and the rhythms it generates slow and reorders conventional reading habits. This is made clear by a basic analysis of the structure of any one of the poems, i.e. the number, length and sequence of their phrase and line units, considered simply by the number of end-stopped lines and the number of unbroken lines.

An average Victorian sonnet runs smoothly in mainly unbroken lines: Hopkins roughens this fluency with sub-clauses, interjections and multiple-broken lines, even in the sonnets considered by Bridges as metrically the most standard and therefore, for him, the most accessible of the poems.

Compare Alice Meynell's sonnet 'Renouncement', published in 1893, a standard Italian sonnet: 12 of the 14 lines are end-stopped, 9 of them unbroken. The same sonnet form, Hopkins's 'To RB', written 1889, has 9 end-stopped lines, of which only 4 are unbroken.

Meynell's sestet flows thus: But when sleep comes to close each difficult day, When night gives pause to the long watch I keep, And all my bonds I needs must loose apart, Must doff my will as raiment laid away, With the first dream that comes with the first sleep I run, I run, I am gathered to thy heart.

For Hopkins standard five-foot ten-syllable lines simply will not do the job. Even in the 'standard rhythm' sonnets of the 1870s the lines Jewelry Store begin to lengthen, break-up, and roughen. Because of this move away from the visual and aural conventions of verse punctuation becomes the chief means by which the poem controls its reader's delivery and thus its reception.

The high number of pauses of different weight, dashes, the hyphenated words and run-on lines are an attempt at total control of the reader: our attention is fixed by this process as the singers' attention is fixed on the cantor's hand. He makes a significant distinction between his ever-changing and uncertain system of stress marking and his punctuation.