by Gerard Manley Hopkins
My own heart let me more have pity on; let
Me live to my sad self hereafter kind,
Charitable; not live this tormented mind
With this tormented mind tormenting yet.
I cast for comfort I can no more get
By groping round my comfortless, than blind
Eyes in their dark can day or thirst can find
Thirst's all-in-all in all a world of wet.
Soul, self; come, poor Jackself, I do advise
You, jaded, let be; call off thoughts awhile
Elsewhere; leave comfort root-room; let joy size
At God knows when to God knows what; whose smile
's not wrung, see you; unforeseen times rather — as skies
Betweenpie mountains — lights a lovely mile.
Today is the birthday of English poet and Jesuit priest Gerard Manley Hopkins (1844) (books by this author), born in Stratford, Essex. He won a poetry prize in grammar school and then received a grant to study at Balliol College, Oxford, where he studied Classics and continued to write poetry. His academic record was outstanding, earning him the approbation of one of his masters, who called him "the star of Balliol." While he was at Oxford, Hopkins (who had been raised in the Anglican Church) converted to Roman Catholicism. His experience was so profound that he decided to become a Jesuit priest in 1868, and he burned all his poetry, feeling it was not befitting his profession as a clergyman. He did continue to keep a journal, however, and in 1875, he returned to poetry. He was living in Wales, and found its landscape and its language inspirational. When five Franciscan nuns died in a shipwreck, he was moved to write a long poem, The Wreck of the Deutschland. Once he was ordained in 1877, he worked as a parish priest in the slums of Manchester, Liverpool, and Glasgow. He lived in Dublin from 1884 until his death of typhoid fever in 1889. Overworked, exhausted, and unwell, he wasn't happy there, and his poetry reflects his unhappiness. Called the "terrible sonnets," they show the poet's struggles with spiritual and artistic matters. Most of his poetry wasn't published in his lifetime, and it was so innovative that most people who did get to read it didn't understand it. As he wrote in a letter to Burns, "No doubt, my poetry errs on the side of oddness ..." But it influenced such 20th-century poets as W.H. Auden, Dylan Thomas, and Charles Wright