This study attempts to correlate two facts about Gerard Manley Hopkins: that he was an avid musician, who theorised about and composed music; and that his poetry is characterised by its highly complex, evocative sounds and by its relation of form to meaning, sound to sense. This study is an attempt to prove that Hopkins is a "musical" poet in a specific and literal sense--that his musical knowledge and interests influenced his poetry in specific and discernible ways, making his work "musical" in a sense that other poetry of his age is not (or to an extent that other poetry is not), and resulting in much of what we consider to be characteristic in his verse. The study is divided into two parts, the first (I-III) analysing the role music plays in his theoretical writings, the second (IV-VI) tracing these musical influences through to the musical and poetic art itself. In Part One, Chapter I presents Hopkins the musician, the biographical details and philosophical background behind his musical interest; Chapter II relates this to Hopkins as priest and theologian, demonstrating music's role as central to his Scotus-based position; Chapter III then shows this musical philosophy in more detail in his theories of language and art, resulting in an ideal art of song epitomised by the art of Hopkins' favourite composer, Henry Purcell. Part Two then looks at Hopkins' art itself, shown as following this Purcellian musical ideal: Chapter IV differentiates the requirements of songs from those of poetry, and demonstrates the particular aims and techniques of Hopkins' own songs; Chapter V reveals principles of musical or song-structure behind Hopkins' concepts of sprung rhythm and other characteristic poetic devices; finally, Chapter VI analyses the poems to discover their radically musical nature. The study concludes with a brief question on the nature of "the music of poetry" generally.

This thesis examines the nature of what I have termed "the sacramental vision" of Gerard Manley Hopkins and David Jones: it is an exploration of the mutually sustaining relationship between poetry and religion; or, as Jones puts it, between art and sacrament. The key to the relationship is to be found in language: the inherited language of theologian and poet is saturated with metaphor, sign and symbol, linguistic forms of a particularly resistant and irreducible kind. In literature, as in religion, such forms represent ultimate points of vision, to which in trust we assent, and from which we infer belief, that is, we are required to convert what begins as "an impression upon the Imagination" into a belief which may be tested by reason. The poet's renewal of such sacramental signs is a necessary exercise of the religious imagination if each generation is to remake the beliefs it has inherited. The opening chapter is an examination of the origins of Hopkins's and Jones's use of the sacramental sign and the subsequent chapters scrutinise the value of sign-making to the development of the poetic method of both poets. I suggest that this method is best elucidated through three controlling principles: the Coleridgean view of the sacramental potential of language helps to define the verbal content of the poem; the Thornist sacramental schema instresses the form of the poem; and the Newmanesque process of notional and real assent determines the grammar or inscape of the total oeuvre as a chronicle of the development of the poet's spiritual growth. Hopkins and Jones deepen our understanding of a grammar common to faith and belief, shared by poet and theologian, by claiming that poetry should be the tranforming crucible of the encounter between the experience of the poet, the reader and the divine.

In 1880 Gerard Baldwin Brown (1849-1932) was appointed by Edinburgh University as its first Watson Gordon Professor of Fine Art. Over the fifty-year period that he held the professorship he was to become well-known as a scholar of Anglo-Saxon art and culture, preparing the first comprehensive study of Anglo-Saxon church architecture in England as part of a six volume study of the arts in early England. In 1905 he produced a monograph, The Care of Ancient Monuments (Cambridge, 1905) which provided a comprehensive assessment of the protective systems in place across Europe and America for the protection of ancient buildings and monuments and made strong recommendations for the strengthening of the protective measures in Britain. These recommendations led amongst other things to the creation of Britain’s first national inventory bodies but Baldwin Brown’s call for the protection of occupied ancient buildings to be improved was not successful. Although The Care of Ancient Monuments appeared to be a departure from Baldwin Brown’s usual interests, this research suggests that it formed part of the author’s longer-term commitment to the protection of long-lived elements of the built environment, and that his views were strongly influenced by his experience of pursuing preservation campaigns in Edinburgh’s Old and New Towns. This study draws on a detailed study of Baldwin Brown’s preservation-related campaigns in Edinburgh to trace the coalescence of an urban preservation movement in the city in the late nineteenth and early twentieth centuries. It draws on a range of information sources including a hitherto unidentified collection of letters to the press, reports of lectures and published papers to trace the development of his preservation philosophy and the nature and scope of his preservation campaigns. It also explores the mechanisms available to would-be preservationists in the absence of effective legislation, and it assesses Baldwin Brown’s broader significance in the development of the urban preservation movement.

The discovery of Gerard Manley Hopkins's poetry in the twentieth century was a revelation for postwar poets, who discovered in both Hopkins's style and subject matter a voice seemingly bottled for their own time. This influence has not faded in the twenty-first century; in fact, it has grown all the more pervasive as poets from many backgrounds and nations have found, in the voice of this nineteenth-century Jesuit, a revolutionary way of addressing contemporary concerns relating to human imagination, ecology, "green" ethics, the role of art, and individual spirituality. The poets collected in The World Is Charged: Poetic Engagements with Gerard Manley Hopkins engage with Hopkins in diverse ways. Some mention Hopkins or address some aspect of his life. Others channel his innovative poetics or address important Hopkinsian themes. All demonstrate the centrality of his influence in contemporary poetry. Unfortunately, critics have mostly neglected the importance of Hopkins as a contemporary model, instead pinning his influence to the early twentieth century. In a climate where high modernism, Whitmanic free verse, and the confessional lyric are often held up as contemporary poetry's dominant forerunners, this book proposes a more complex genealogy, tracing back to Hopkins and his influential early admirers current strands of emotional and spiritual openness, pleasure in word play and sonic textures, and veneration of the dynamic material world. / https://dc.etsu.edu/etsu_books/1156/thumbnail.jpg

Thesis (BPhil)--Open University.

Thesis (M.A.)--University of Hong Kong. / Type-written copy.

Diss.--München, 1956. / Bibliography: p. 11-16.

Thesis (M.A.)--University of Hong Kong, 1957. / Also available in print.

Proefschrift Protestantse Theologische Universiteit, Utrecht, Kampen, Leiden. / Includes bibliographical references.

Diss.--München, 1956. / Bibliography: p. 11-16.