Gerard Manley Hopkins, S.J. (28 July 1844 – 8 June 1889), was an English poet, Roman Catholic convert, and Jesuit priest, whose 20th-century fame established him posthumously among the leading Victorian poets. His experimental explorations in prosody (especially sprung rhythm) and his use of imagery established him as a daring innovator in a period of largely traditional verse. He was educated at Highgate School from 1854 to 1863 and then Balliol College, Oxford, where he studied classics. Hopkins was an unusually sensitive student and poet, as witnessed by his class-notes and early poetic pieces. It was at Oxford that he forged a friendship with Robert Bridges (eventual Poet Laureate of England) which would be of importance in his development as a poet, and his posthumous acclaim. Hopkins began his time in Oxford as a keen socialite and prolific poet, but he seemed to have alarmed himself with the changes in his behaviour that resulted, and he became more studious and began recording his "sins" in his diary. As an undergraduate he engaged in friendships that may be viewed as romantic, though they tended to be idealised and spiritualised. In particular, he found it hard to accept his sexual attraction to other men - including a deep infatuation for Digby Mackworth Dolben. There is nothing to suggest, however, any physical consummation and indeed he seems to have remained celibate throughout his life. However, he began to exercise strict self-control in regard to his homosexual desire, especially after he became a follower of Henry Parry Liddon and of Edward Pusey, the last, lingering member of the original Oxford Movement. It was during this time of intense scrupulosity that Hopkins seems to have especially begun confronting his strong homoerotic impulses. (See section below on Erotic influences)[1]. In 1866, following the example of John Henry Newman, he converted from Anglicanism to Roman Catholicism. This decision estranged him from both his family and a number of his acquaintances. After his graduation in 1867 Hopkins was provided a teaching post at The Oratory School by Newman, but the following year he decided to enter the priesthood, pausing only to visit Switzerland, which officially forbade Jesuits to enter[2]. Hopkins's attempts at poetry began at an early age, influenced by his father's own attempts at the art. His decision to become a Jesuit led him to burn much of his early poetry as he felt it incompatible with his vocation. Writing would remain something of a concern for him as he felt that his interest in poetry prevented him from wholly devoting himself to his religion. He continued to write a detailed journal until 1874. Unable to suppress his desire to describe the natural world, he also wrote music, sketched, and for church occasions he wrote some "verses," as he called them. He would later write sermons and other religious pieces. While he was studying in the Jesuit house of theological studies, St Beuno's, near St Asaph in North Wales, he was asked by his religious superior to write a poem to commemorate the foundering of a German ship in a storm. So in 1875 he was moved to take up poetry once more and write a lengthy poem, The Wreck of the Deutschland. This work was inspired by the Deutschland incident, a naval disaster in which 157 people died including five Franciscan nuns who had been leaving Germany due to harsh anti-Catholic laws (see Kulturkampf). The work displays both the religious concerns and some of the unusual meter and rhythms of his subsequent poetry not present in his few remaining early works. It not only depicts the dramatic events and heroic deeds but also tells of the poet's reconciling the terrible events with God's higher purpose. The poem was accepted but not printed by a Jesuit publication, and this rejection fuelled his ambivalence about his poetry. Most of his poetry remained unpublished until after his death. Hopkins chose the austere and restrictive life of a Jesuit and was at times gloomy. The brilliant student who had left Oxford with a first class honours degree failed his final theology exam. This failure almost certainly meant that, though ordained in 1877, Hopkins would not progress in the order. Though rigorous and sometimes unpleasant, his life during Jesuit training had at least some stability; the uncertain and varied work after ordination was even harder on his sensibilities. In 1874 he returned to Manresa House to teach classics. He then went to St Beuno's College in North Wales for three years of theological studies. He served in various parishes in London, Chesterfield, Oxford, Liverpool and Glasgow. Whilst ministering in Oxford he became a founding member of Oxford University Newman Society, a society established in 1878 for the Catholic members of Oxford University. He taught Greek and Latin at Mount St Mary's College, Sheffield, and Stonyhurst College, Lancashire. In 1884 he became professor of Greek literature at University College Dublin. His English roots and his disagreement with the Irish politics of the time, as well as his own small stature (5'2"), unprepossessing nature and personal oddities meant that he was not a particularly effective teacher. This as well as his isolation in Ireland deepened his gloom and his poems of the time, such as I Wake and Feel the Fell of Dark, reflected this. They came to be known as the "terrible sonnets," not because of their quality but because according to Hopkins's friend Canon Dixon, they reached the "terrible crystal," meaning that they crystallized the melancholy dejection which plagued the later part of his life. After suffering ill health for several years and bouts of diarrhea, Hopkins died of typhoid fever in 1889 and was buried in Glasnevin Cemetery, Dublin. Although he probably suffered from what today might be diagnosed as either bipolar disorder or chronic unipolar depression, and battled a deep sense of anguish throughout his life, upon his death bed he evidently overcame some of that despondency, at times stygian in its intensity: his last words were "I am so happy, I am so happy." Much of Hopkins's historical importance has to do with the changes he brought to the form of poetry; which ran contrary to conventional ideas of metre. Prior to Hopkins, most Middle English and Modern English poetry was based on a rhythmic structure inherited from the Norman side of English literary heritage. This structure is based on repeating groups of two or three syllables, with the stressed syllable falling in the same place on each repetition. Hopkins called this structure "running rhythm", and though he wrote some of his early verse in running rhythm he became fascinated with the older rhythmic structure of the Anglo-Saxon tradition, of which Beowulf is the most famous example. Hopkins called his own rhythmic structure sprung rhythm. Sprung rhythm is structured around feet with a variable number of syllables, generally between one and four syllables per foot, with the stress always falling on the first syllable in a foot. In reality, it more closely resembles the "rolling stresses" of Robinson Jeffers, another poet who rejected conventional meter. Hopkins saw sprung rhythm as a way to escape the constraints of running rhythm, which he said inevitably pushed poetry written in it to become "same and tame." In this way, Hopkins can be seen as anticipating much of free verse. His work has no great affinity with either of the contemporary Pre-Raphaelite and neo-romanticism schools, although he does share their descriptive love of nature and he is often seen as a precursor to modernist poetry or as a bridge between the two poetic eras. Several problems conspired to depress Hopkins's spirits and restrict his poetic inspiration during the last five years of his life. His work load was extremely heavy. He disliked living in Dublin, away from England and friends. His general health deteriorated as his eyesight began to fail. He felt confined and dejected. As a devout Jesuit, he found himself in an artistic dilemma. To subdue any egotism which would violate the humility required by his religious position, he decided never to publish his poems. But Hopkins realized that any true poet requires an audience for criticism and encouragement. This conflict between his religious obligations and his poetic talent caused him to feel that he had failed them both. The language of Hopkins’s poems is often striking. His imagery can be simple, as in Heaven-Haven, where the comparison is between a nun entering a convent and a ship entering a harbour out of a storm. It can be splendidly metaphysical and intricate, as it is in As Kingfishers Catch Fire, where he leaps from one image to another to show how each thing expresses its own uniqueness, and how divinity reflects itself through all of them. He uses many archaic and dialect words, but also coins new words. One example of this is twindles, which seems from its context in Inversnaid to mean a combination of twines and dwindles. He often creates compound adjectives, sometimes with a hyphen (such as dapple-dawn-drawn falcon) but often without, as in rolling level underneath him steady air. This concentrates his images, communicating the instress of the poet’s perceptions of an inscape to his reader. Added richness comes from Hopkins’s extensive use of alliteration, assonance, onomatopoeia and rhyme, both at the end of lines and internally as in: Hopkins was influenced by the Welsh language that he acquired while studying theology at St Beuno's College near St Asaph. The poetic forms of Welsh literature and particularly cynghanedd with its emphasis on repeating sounds accorded with his own style and became a prominent feature of his work. This reliance on similar sounding words with close or differing senses mean that his poems are best understood if read aloud. An important element in his work is Hopkins's own concept of "inscape" which was derived, in part, from the medieval theologian Duns Scotus. The exact detail of "inscape" is uncertain and probably known to Hopkins alone but it has to do with the individual essence and uniqueness of every physical thing. This is communicated from an object by its "instress" and ensures the transmission of the item's importance in the wider creation. His poems would then try to present this "inscape" so that a poem like "The Windhover" aims to depict not the bird in general but instead one instance and its relation to the breeze. This is just one interpretation of probably Hopkins's most studied poem and one which he called his best.[2]