Gerard Manley Hopkins had eight siblings and was born of Manley and Catherine Smith Hopkins. His parents were Anglicans that followed the Catholic tradition in sacraments and papacy. By instilling the theological values, faith and morals into Gerard, he became heavily influenced by his family. His parents taught him, as well as their other children to love God. Gerard guaranteed his mother that he would strengthen his connection with God and familiarize himself with the Scripture, so Gerard began to read the New Testament at school. Manley, his father, was an officer of the laity and helped out at the Church. He taught children at the Sunday school including his own son Gerard. Other relatives influenced his faith, too. His uncle was a clergyman and helped Gerard’s father write a renowned book of faith. John Smith, his uncle on his mother’s side, was an officer of the laity; he fortified the religious tradition and teaching within the family and in the community. Through the guidance of his parents and his father and mother’s relatives, Gerard Hopkins developed a strong, binding connection with God.
Aside from Gerard’s religious influences he was encouraged and introduced to art and language through his family, friends, and others. His mother enjoyed reading books dealing with German literature and philosophy, along with novels. His mother’s sister developed his ability to sketch. Anne Eleanor Hopkins instructed Gerard on how to paint, sketch and play music. She cultivated his interest in the visual arts. However, the main influence on Gerard’s love for poetry came from his father. Manley Hopkins relished music and literature. He passed on this appreciation for words and art to Gerard. Gerard benefitted from this and soon adopte...
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The publication history of all of John Clare’s work is, in the end, a history about editorial control and influence. Even An Invite to Eternity, written within the confines of a mental institution seemingly distant from the literary world, is not an exception to this rule, for it and Clare’s other asylum poems do not escape the power and problem of the editor. And, further, this problem of the editor is not one confined to the past, to the actions of Clare’s original publisher John Taylor or to W.F. Knight, the asylum house steward who transcribed the poetry Clare wrote during his 20 odd years of confinement. In fact, debates continue and rankle over the role of the editor in re-presenting Clare’s work to a modern audience: should the modern editor present the unadulterated, raw Clare manuscript or a cleaned up, standardized version as Taylor did? Only exacerbating and exaggerating this problem o...
A deeply pious man, John considers the Bible a sublime source of moral code, guiding him through the challenges of his life. He proclaims to his kid son, for whom he has written this spiritual memoir, that the “Body of Christ, broken for you. Blood of Christ, shed for you” (81). While John manages to stay strong in the faith and nurture a healthy relationship with his son, his relationship with his own father did not follow the same blueprint. John’s father, also named John Ames, was a preacher and had a powerful effect on John’s upbringing. When John was a child, Father was a man of faith. He executed his role of spiritual advisor and father to John for most of his upbringing, but a shift in perspective disrupted that short-lived harmony. Father was always a man who longed for equanimity and peace. This longing was displayed in his dealings with his other son, Edward: the Prodigal son of their family unit, a man who fell away from faith while at school in Germany. John always felt that he “was the good son, so to speak, the one who never left his father's house” (238). Father always watched over John, examining for any sign of heterodoxy. He argued with John as if John were Edward, as if he were trying to get Edward back into the community. Eventually, John’s father's faith begins to falter. He reads the scholarly books
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For it is a commonplace of our understanding of the period that the Victorian writer wanted above all to “stay in touch.” Comparing his situation with that of his immediate predecessors, he recognized that indulgence in a self-centered idealism was no longer viable in a society which ever more insistently urged total involvement in its occupations. The world was waiting to be improved upon, and solved, and everyone, poets, included had to busy themsel...
Strand, Mark and Evan Boland. The Making of a Poem: A Norton Anthology of Poetic Forms. New
"Two windmills", a simple poem by Geoffrey Dutton, which records the poet's memory, of living on a sheep ranch is his childhood. In depth he paints a vivid picture in the reader’s mind of the conditions in the Australian outback. This is portrayed through the use of visual and aural imagery.
Wolffe, J. 1997. Religion in Victorian Britain. Manchester: Manchester University Press in association with the Open University
Poems, Poets, Poetry: An Introduction and Anthology. 3rd ed. Ed. Helen Vendler. Boston: Bedford/St. Martin’s,
Furneaux, Holly. "Victorian Sexualities." Literature Compass. Blackwell Publishing Ltd, 12 Oct. 2011. Web. 23 Feb. 2014.
Buzard, James, Linda K. Hughes. "The Victorian Nation and its Others" and "1870." A Companion to Victorian Literature and Culture. Ed. Herbert F. Tucker. Malden: Blackwell Publishers, 1999. 35-50, 438-455.
Mays, Kelly. "Poems for Further Study." Norton Introduction to Literature. Eleventh Edition. New York: W.W. Norton and Company Inc., 2013. 771-772. Print.
Astell, Mary. "A Serious Proposal To The Ladies." The Broadview Anthology of British Literature: The Restoration And The Eighteen Century. Joseph Black [et all]. Peterborough, Ontario: Broadview Press, 2006. Print. Pages 291-296.
As the great Philosopher Nietzsche proclaims boys always resembles their father. Thus I have analyzed the similarities and the traces of parents on their off-springs. And literary creations of them seem to me that they are the mirrors of their real selves. As Oscar Wilde reveals in De Profundis: "Art is a symbol, because man is a symbol." (93) so art symbolizes man. And his art is the symbol of his personality just as Marius the Epicurian is the symbol of Walter Pater's. Consequently, art harbours not only readers and life but also the creators of them. In fiction, Words speak two times; one reveals plot, the other reveals author; whatever a literary men writes, he writes himself but nothing else...
The Norton Anthology of Poetry, ed. Margaret Ferguson, Mary Jo Salter, Jon Stallworthy, 5th edn (London: W. W. Norton & Company, 2005)
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