Gods Grandeur [revised]
The line “Why do men then now not reck his rod?” from Hopkins’ Gods Grandeur has undergone much scrutiny over time. Some believe that this line as the main turning point, or vulta, of the poem, serves to show that this poem is centered in God and his relationship to his people. They see this poem being full of poignantly biblical imagery to reach the overall theme of the poem, which is the unconditional, ultimate love of God for his creation., Others see God as man and science in the naturalistic sense. Through some careful analysis, I believe that it becomes plain that Hopkins is indeed showing the love of a creator for his creation. As we work through the poem discussing diction, symbolism, and meter, the claims of a supernatural inspiration for Hopkins work will become clearer.
Gods Grandeur is filled with symbols which help to express the anguish of the worlds darkness and the joy of knowing God loves in the world even though people forget him. The sacrifice of Christ and Gods ongoing work of creation is eluded to in line one of the poem. Hopkins refers to the world as charged by the glory of God. “Charged” conjures images of electricity or a spark that implies that the world is continuously vitalized by the energy that is God. In lines three and four, Hopkins speaks of Christ as oil, “gather[ing] to greatness, like the ooze of oil”. At the time of Christ oil was at its height in value. And in the next line, “Crushed”. Christ made the ultimate sacrifice for humanity when he was “crushed” on the cross.
Following these symbols showing Gods awesomeness, Hopkins contrasts them with symbolisms of mans delinquency in forgetting God and his goodness. To show this Hopkins uses the demise of the world when people live for themselves. Here is the turning point marked by the line, “Why do men then now not reck his rod?”. Reck his rod here refers to heeding the authority of God according to our Norton literature anthology. Following this question Hopkins answers it as he laments the “generations” that have “seared with trade;bleared, smeared with toil”. The natural world is literally “smeared” and wears the “smudge” of mans industry, so much so that now even the “soil” is bare. And her Hopkins also comment on the “soil” or the “soul” of man. All these endeavors have made mans soul bare and have shod his feet without him knowing. “nor can foot feel, being shod”. The opposite of shod or bound is freedom. Man has unknowingly gone into slavery away from the freedom found in God. “Just as feet with shoes cannot feel the earth, so a soul distracted loses its closeness to God.”
In the concluding sestet, Hopkins uses bright and refreshing imagery to show that despite mans shortcomings, God still loves the world deeply. After seeing the mans destruction of the natural world, Hopkins looks to the supernatural Lord in whom, “nature is never spent”. And in that Lord lives “dearest freshness”, speaking to the eternal, never dying aspect of God. Although humans are capable of great destruction, we cannot destroy our inner nature, which mirrors the creator. Hopkins strengthens his image of Gods supernatural power in this final sestet by rhyming in a more soft way. By changing to the more soothing, C D C D C D rhyme scheme. Whereas in the first section the pattern is A B B A A B B A, a rhythm showing the pattern of mans folly, this final departure from that pattern gives a sense of reassurance and comfort even in the face of mans destruction. In the final two lines of the poem, Hopkins uses the symbol of the bird to describe God’s care for the world. God, over the world, “broods with warm breast and with ah! bright wings”. Hopkins uses the image of a bird, nesting over her young, keeping them warm and embracing them with her wings, to describe God’s unconditional love for mankind. In this we can truly see, I believe, Hopkins true mission in this poem. He has taken a seat in the theater playing the feature titled, “the tumultuous relation between the Creator and the created”. In that last line we find that Hopkins has finished the film and “ah! Bright wings.” The film has a happy ending.
“God’s Grandeur” finds fulfillment of mankind’s universal desire for unconditional love. The symbols and word choice, are used throughout the poem help to illustrate the poem’s central idea. Though the world turns its back on the glory of God, God continues to embrace and soothe the world. Dark and painful symbols, and unpleasant cacophony help to illustrate the pain and great error in humanity turning its back on God. Similarly, beautiful symbols of the natural world, euphony, and smooth, flowing meter add to the poem’s rejoicing in God’s unconditional love for the world.

Gods Grandeur, Mans Failing
“Why do men then now not reck his rod?” This line from Hopkins Gods Grandeur has undergone much scrutiny over time. Some believe that this line is the main turning point, or vulta, of the poem. As they see this poem being full of poingnantly biblical imagery to reach the overall theme of the poem, which is the unconditional, ultimate love of God for his creation., Others see God as man and science in the naturalistic sense. Through some careful analysis, I believe that it becomes plain that Hopkins is indeed showing the love of a creator for his creation. As we work through the poem discussing diction, symbolism, and meter, the claims of a supernatural inspiration for Hopkins work will become clearer.
Gods Grandeur is filled with symbols which help to express the anguish of the worlds darkness and the joy of knowing God loves in the world even though people forget him. The sacrifice of Christ and Gods ongoing work of creation is eluded to in line one of the poem. Hopkins refers to the world as charged by the glory of God. “Charged” conjures images of electricity or a spark that implies that the world is continuously vitalized by the energy that is God. In lines three and four, Hopkins speaks of Christ as oil, “gather[ing] to greatness, like the ooze of oil”. At the time of Christ oil was at its height in value. And in the next line, “Crushed”. Christ made the ultimate sacrifice for humanity when he was “crushed” on the cross.
Following these symbols showing Gods Awesomeness, Hopkins contrasts them with symbolisms of mans delinquency in forgetting God and his goodness. To show this Hopkins uses the demise of the world when people live for themselves. Here is the turning point marked by the line, “Why do men then now not reck his rod?”. Reck his rod here refers to heeding the authority of God according to our Norton literature anthology. Following this question Hopkins answers it as he laments the “Generations” that have “seared with trade;bleared, smeared with toil”. The natural world is literally “smeared” and wears the “smudge” of mans industry, so much so that now even the “soil” is bare. And her Hopkins also comment on the “soil” or the “soul” of man. All these endeavors have made mans soul bare and have shod his feet without him knowing. “nor can foot feel, being shod”. The opposite of shod or bound is freedom. Man has unknowingly gone into slavery away from the freedom found in God. “Just as feet with shoes cannot feel the earth, so a soul distracted loses its closeness to God.”
In the concluding sestet, Hopkins uses bright and refreshing imagery to show that despite mans shortcomings, God still loves the world deeply. After seeing the mans destruction of the natural world, Hopkins looks to the supernatural Lord in whom, “nature is never spent”. And in that Lord lives “dearest freshness”, speaking to the eternal, never dying aspect of God. Although humans are capable of great destruction, we cannot destroy our inner nature, which mirrors the creator. In the final two lines of the poem, Hopkins uses the symbol of the bird to describe God’s care for the world. God, over the world, “broods with warm breast and with ah! bright wings”. Hopkins uses the image of a bird, nesting over her young, keeping them warm and embracing them with her wings, to describe God’s unconditional love for mankind. In this we can truly see, I believe, Hopkins true mission in this poem. He has taken a seat in the theater playing the feature titled, “the tumultuous relation between the Creator and the created”. In that last line we find that Hopkins has finished the film and “ah! Bright wings.” The film has a happy ending.
“God’s Grandeur” finds fulfillment of mankind’s universal desire for unconditional love. The symbols and word choice, are used throughout the poem help to illustrate the poem’s central idea. Though the world turns its back on the glory of God, God continues to embrace and soothe the world. Dark and painful symbols, and unpleasant cacophony help to illustrate the pain and great error in humanity turning its back on God. Similarly, beautiful symbols of the natural world, euphony, and smooth, flowing meter add to the poem’s rejoicing in God’s unconditional love for the world.

Pound for Pound, this is one of the best poems EVER!

vy

As we pose the question,: is this even actually a poem, i would like to throw out a couple definitions for the word "poem".

- a work in meter or free verse employing figurative language

- a form of art in which language is used for its aesthetic or evocative qualities

- an arrangement of words in an artistic aim

- an organization of lines of text on a page

Four definitions there, all taking slightly different angles and vantage points.  i believe that looking at the last definition, we would have to agree that station of the metro is indeed a poem.  the third definition as well lends poem status to Pounds writing, as does the second in my assessment.  The first definition begs for us to take a closer look at this writing.  But Pounds work here is free verse and does employ figurative language thus, under four "poem telescopes" this -in a station of the Metro-  IS indeed a poem.

in a station of the metro

the apparition of these faces in the crowd

petals on a wet, black bough

i like this poem.  my interpretation of this poem involves including the title in the verse because it makes vastly more sense and fits perfectly almost like a haiku.  although traditionally haiku is Japanese poetry composed of three unrhymed lines of five, seven, and five syllables.  so in the formally meaning of what a haiku is, this would not fit.  but when you read it, the flow is similar to that of a haiku.

As i analyze the imagery in this piece, i cant help but be drawn to the date of the poem.  1913.  

in this time, especially in europe, the trench coat and top hat was extremely popular.  Pound was originally from the USA but became disenchanted with america, calling it later in life a "lunatic insane asylum".  Also metros were first established in europe.  when i read this poem i see a multitude waiting at the metro on a wet rainy day, like black dark petals of winter death (in black top hat and trench coat). each person seemingly an apparition of the next; similar in someways externally, but diverse in destination and thought.  But still that hard external giving off the similarity as all wait for the train.  just like pedals from a bough are similar but at the same time different.  

anyway, i am sure nobody else has ever thought that maybe Pound intended for his title to be the hidden first line to this work and he wanted us the reader, to figure that out.  

I can just see the headline, "Pound Americanizes the Haiku Secretly".

what an image...is a picture worth a thousand words?

Rich is fantastic in this poem. She is almost deceptively sutle in her message thus making it easy for the reader to be drawn in. As if she is an actual diver of the seas. In this poem the personal imagery is incredible. every available personal pronoun is used in this pronoun and for various purposes. " i put on", "my flippers", "we know", "you breathe differently", "we dive...i am he: i am she". these are just a few.
these instances really reinforce Rich's sense of being that i believe metamorphosis throughout the poem. After learning that she is a staunch feminist, these identity issues are given much greater significance.
the imagery in this poem is very realist. no embellishment is found here.
"threadbare beauty"
even when addressing mermaids and mermen, her approach remains very realist. 

some other interesting imagery that she uses is found in her utilities for the "dive".  her book of myths, her knife, her camera, and even her flippers carry symbolic imagery.  in my interpretation of her poem, the overarching imagery of the sea as being society, a huge, churning vastness, and the wreck as her life at the hands of this brutal society is evident.  The dive is her endeavour to salvage herself before its too late.  the camera is great imagery representing her past memories and her effort to document the "rebuild "about to occur.  the knife shows that she isn't playing. she is ready to do work and cut away all those undesirable things in her old self.  the book of myths stands for beliefs that she had always held on to as something that helped to define her.  she has brought this with her so that she can change it as well. and she does for at the end of the poem. the book has transformed in its use to her, the old one in which "our names shall never appear".  she has found her identity in something else now.  the flippers are great imagery, in their bulky akwardness, for the things in herself that she must overcome as she dives into the blackness.

overall this poem and its powerful imagery paint a picture of someone embarking upon an endeavor, the outcome of which is unknown.  this bravery combined with some sense of desperate urgency, is what makes the poem stand out in my mind as an extraordinary piece of writing which i thoroughly enjoyed reading.

ttyl...my bff  8 a bug!!!   omg wtf!!

you have just witnessed above not a kindergarten alphabet class but the communication of young adults in this day and age.  in the modern technological era of the cell phone--no the iphone, texting instant messaging, and internet it seems that personal communication is becoming antiquated and these aforementioned substitutes are taking its place.  this is a shame. and thats why i have titled this blog as i have.

almost all important happenings throughout the span of human life include communication. (at least the parts that have to do with the people around us, which is usually a pretty big chunk)

communicating well to others is a skill that is  definitely lacking more and more among young people today.  this is tragic.  first, thanks to alexander graham bell it became, "well ill call instead of going over to jimmies to ask him this question". Now, it has further evolved to "ill just text jimmy instead of calling him."  As communication becomes more and more impersonal, more problems arise and relationships are weakened.  i cant name the huge number of times ive become distraught over a misunderstood text message. and the whole situation would have been avoided if only the person had called me.  texting has become a cop out and a thing of convenience.  that is why someone actually showing up to ask in person shows an authentic amount of interest.  

idk- see there i go...haha

 anyway, i just wish people would learn to communicate.  its the backbone to every relationship that you will ever have, and it is respected by others.  i would argue that it is necessary for success.  just cus everyone else takes the easy road doesnt mean that you have to as well.

 those are just a few thoughts but its all for now.

peace