He describes the colors of the sky…. All things counter, original, spare, strange; Whatever is fickle, freckled who knows how? The next line is especially fun as Hopkins thanks God for 'all things counter out of the ordinary , original, spare extra or strange. Then there are different kinds of industry, with their neat and well-maintained equipment and apparatus. He also describes how falling resemble coals bursting in a fire, because of the way in which the chestnuts' reddish-brown meat is exposed when the shells break against the ground. He likes their very fickleness that is, their irregularity in duration , and their freckled or speckled appearance which implies an irregularity in pattern. Here, pied beauty itself is the theme.
This provides a mild irony in the poem and also surprises the readers. All said and done, Hopkins real modernity lies in the way he has fused the binaries of religious fervor and poetic excitement into a single entity. Dharmender Kumar Dharmender is a writer by passion, and a lawyer by profession. Hopkins has a different form. He means brindle as in striped with different colors this is unusual but a very good way to describe the sky.
The aesthetic and ascetic mingle beautifully within the single matrix of the poem. Gerard Manley Hopkins was born in 1844 and was the eldest of nine children. The poem can be taken as a form of hymn of creation. S Pupils in Jesuit schools follow the practice of writing the former motto A. In this rhythm the focus is on accents or stresses without much care about the number of syllables. In this brief exhortation, everything in the poem, as in the world of Nature, is drawn to a point, in which all creatures contribute, as well by their varied sounds as by their show of pied beauty, to the grand symphony of praise in honour of their Creator.
Awe and wonder, in conclusion, In this way, we can see how Hopkins creates a powerful poem that skillfully describes and praises the beauty Of nature. So ends the sestet, a packed stanza with heavy punctuation semi-colons at the end of most lines and unusual rhythms, giving the reader an insight into all things pied, as inspired by the speaker's God. With swift, slow; sweet, sour; adazzle, dim; He fathers-forth whose beauty is past change: Praise him. And the way fallen chestnuts look like red coals in a fire. With swift, slow; sweet, sour; adazzle, dim; He fathers-forth whose beauty is past change: 10 Praise him. The last four-and-a-half lines reverse this movement, beginning with the characteristics of things in the world and then tracing them back to a final affirmation of God.
Multiplicity is there in the pattern, somewhere there is alliteration. In elementary school, he won a poetry contest, and it was evident early on in his life that he was a gifted writer. There is only good in the world because it is not evil, and evil is necessary in order to define good. The concrete and vivid imagery undergoes an organic assimilation with the poem. He achieves this through carefully chosen images that economically portray natural images whilst structuring a reverent piece of almost religious quality. In his poem, Hopkins compares the sky to a brinded cow, meaning the sky can have many colors.
Hopkins also comments on the variation in colours and the beauty of the small finch. Pied Beauty is a special sonnet consisting of a sestet + quintain, the last line of which is shortened. He admires the co-existence of contrary things: he admires their uniqueness and originality, their rarity which makes them precious, and their oddness which differentiates each from the others. Earthly beauty may be dappled; but in its dappleness there is something that reminds us of Him who is perfectly simple and without differentiation. In this short poem, Hopkins appreciates the strength of the god in the universe. Next, he mentions the windfalls from chestnut trees: having fallen on the ground they break open, revealing the reddish brown nut within, looking like fresh fire-coal.
Sprung rhythm is a poetic pattern resembling to general speech with each foot having one stressed syllable that is followed by changing the number of unstressed syllables. Hopkins was living in North Wales when he wrote this poem and loved to walk from his house to a nearby church through meadows and fields. Hopkins shows us that the colorful beauty of Nature bears testimony to the aesthetic greatness of God. Instead of being an ornament of the poem or an illustration, the images become the poem and carry with them the force of ideas that Hopkins has tried to convey in this piece, making the imagery yet another modern element of this piece. N the second stanza, Hopkins becomes more general, listing the ways things are different:… Counter, original, spare, strange;Whatever Is fickle, freckled… Walt swift, slow; sweet, sour; dazzle, dim… Then, the last two lines turn our attention back to God, where Hopkins began. Both Darwin and Hopkins were aware of the bewildering variety of design in nature - Hopkins saw this as evidence of the 'soul of the deity' and created his own spiritual poetry to help express his own inner feelings. The vicissitude of his creations and their continuous flux in nature is juxtaposed with the changeless nature of God.
The parallelism of the beginning and end correspond to a larger symmetry within the poem: the first part the shortened octave begins with God and then moves to praise his creations. Manley embraces the difficult, the shadow and the light. Hopkins is stopping to appreciate the small, useful things we tend to take for granted each day. All the modern elements that Hopkins has introduced in Pied Beauty are a by-product of his theory of inscape — the particularized beauty of an object or its essence. All things counter, original, spare, strange; Whatever is fickle, freckled who knows how? This fusion of modernity and religious fervor is what makes this poem a modern hymn. However, he was devoutly religious and actually burned his early poems, feeling that writing poetry was too worldly a pursuit.