The Development of Theme in “God’s Grandeur”
by Alexandra Morozov
God’s Grandeur
by Gerard Manley Hopkins
. . .
The world is charged with the grandeur of God.
It will flame out, like shining from shook foil;
It gathers to a greatness, like the ooze of oil
Crushed. Why do men then now not reck his rod?
Generations have trod, have trod, have trod;
And all is seared with trade; bleared, smeared with toil;
And wears man’s smudge and shares man’s smell: the soil
Is bare now, nor can foot feel, being shod.
. . .
And for all this, nature is never spent;
There lives the dearest freshness deep down things;
And though the last lights off the black West went
Oh, morning, at the brown brink eastward, springs —
Because the Holy Ghost over the bent
World broods with warm breast and with ah! bright wings.
. . .
(1887)
WHEN ONE OBSERVES American culture, the striving of man to explore and create is obvious. From technology like rockets shooting into space, to self-driving cars, to ordering groceries without leaving the house, the culture is steeped in innovation and production. Though Gerard Manley Hopkins wrote the poem “God’s Grandeur” over one hundred fifty years ago, the question of how God’s nature and man’s invention coincide is still pertinent today. Hopkins uses structure, imagery, diction, and metaphor to illustrate his theme: that even though man has made his technological imprint on the earth, God’s handiwork in nature still professes His majesty.
Structure
The poem’s structure moves from observations of God’s magnificence to a question about man’s recognition of God’s splendor, and then from the answer of the question to an illustration of God’s comforting omnipresence. In the first stanza, the narrator draws comparisons of the majesty of God then pivots to the question, “Why do men then now not reck his rod?” (line 4, Hopkins, 1877). The answer in the next four lines is, in other words, that man has tarnished the world with his labor and now does not grasp God’s beauty in nature. The poem continues: despite man’s stain, freshness and vitality persist in nature (lines 9–10). The reason that the sun rises again after it sets is that the Holy Spirit keeps close watch over the earth (lines 11–14). The poem ends the way it begins, with a description of the character of God, giving the reader a sense of spiritual comfort and an impression of structural unity.
Imagery
The imagery in this poem highlights man’s industrial inventions compared to God’s creation. Instead of comparing God’s glory to natural phenomena such as vast fields or turbulent seas, Hopkins chooses to use technological advancements used in modern man’s labor. God’s grandeur is compared to light reflecting from foil (line 2), as well as to the gathering of oil (line 3). The references to production materials reflect the setting of the Second Industrial Revolution (1870–1914), which is when Hopkins wrote this poem. Hopkins’s unexpected comparison punctuates the gap between the mere trinkets humans produce compared to a holy Creator God.
Diction
Hopkins’s diction in the repetition of sounds and phrases punctuates humankind’s drudgery in life, despite their technological efforts. The phrase “Generations have trod, have trod, have trod” (line 5) reminds the reader of the steady cadence of footsteps. The repetition of the long e sound connects “seared,” “bleared,” and “smeared,” emphasizing the pervasiveness of the ruin humans have caused the earth: “And all is seared with trade; bleared, smeared with toil” (line 6). Hopkins’s diction illustrates the mechanical, predictable nature of man’s life compared to the active, almighty God he serves.
Metaphor
Hopkins assigns metaphors of dirt and filth to humans while attributing metaphors of light, warmth, and freshness to God, highlighting the chasm between Creator and creation. Many men “have trod” the soil, and humans’ “smudge” and “smell” pervades the environment (line 5–6). Humanity does not understand that they have stripped the soil — their man-made shoes prevent them from feeling the ground. The “smudge” that humans spread can be interpreted as spiritual; filth is a symbol for the sin that destroys man and the world around him. In contrast to the misery of the man’s spiritual condition, God’s glory “flame[s]” out (line 2). God’s presence illuminates and purifies, while sin’s presence corrupts and decays its object. In the last stanza, the Holy Ghost watches over the earth with “warm breast” and “bright wings” while the sun rises after a black night (line 14). Hopkins shows that despite humankind’s corrupt nature, a merciful, caring God sustains life on earth and watches over His creation.
Parting Thoughts
Instead of praising humankind’s labor, “God’s Grandeur” mourns that man’s activities have caused him to forget natural beauty and the original, supreme Creator. Hopkins’s unified structure contains a theological question that explores the theme of man’s work and God’s creation. The vivid imagery of comparing God’s glory to foil and oil highlights the insignificance of man’s production, while the diction underscores man’s steady, dreary journey through life. Finally, Hopkins uses metaphor to paint God as a bright and warm being, encouraging the reader to take refuge in the watchful, caring Creator.
(2020)
