Gerard Manley Hopkins, Plainsong and the Performance of Poetry
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Auteurs : Pamela CorenSource :
- The Review of English Studies [ 0034-6551 ] ; 2009-04.
Abstract
This article examines the effects of Hopkins's devotion to plainsong on his poetry and theory of poetry. It is written for literary specialists and students of Hopkins's poetry, requiring no specialist musical knowledge, and does not discuss the relationship of music and poetry or Hopkins's own compositions. It places his interest in early music in the context of his aesthetic development generally and proposes that Hopkins's knowledge of the unmeasured and unbarred music of plainsong provided an impetus to his move away from standard verse rhythms and his development of sprung rhythm. Its second proposition is that Hopkins's declamatory or rhetorical models of poetry and his placing of poetry in the context of performance also stem from his belief in plainsong as ‘perfect recitative’. It is based on a study of the letters and journals and contains some discussion and analysis of the poems and Hopkins's own directions on reading them.
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DOI: 10.1093/res/hgn107
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