“Holy Ghost” is an allusion to the Holy Spirit, which in the Christian faith is God’s spirit present among those on Earth. The phrase “the bent / World” suggests a world out of alignment with nature and with God. The two lines are united through enjambment and the alliteration of the “B” sound in “Because,” “bent,” “broods,” “breast” and “bright.” The alliteration drives the rhythm of the lines, which strays from iambic pentameter, and creates a melodious sound.
"the dearest freshness deep down things..."See in text(Text of the Poem)
Hopkins’s innovative, creative poetic language in expressing ideas is illustrated in this line through its diction and syntax. The alliteration of the “D” sound in “dearest,” “deep,” and “down” unites the words as adjectives describing “things” that live in nature, despite humankind’s defilement of the natural world. “Dearest” and “deep down” suggest things of infinite value that are inherent in nature and beyond the destruction of humans. The “things” referenced in the line are then identified in the following lines. The word “freshness,” a noun that interrupts the sequence of adjectives describing “things,” commands attention as it introduces a second idea—that freshness is ever present in nature, which implies continual renewal and regeneration.
"And for all this, nature is never spent..."See in text(Text of the Poem)
The poem is an example of a Petrarchan sonnet with an octave of 8 lines followed by a 6-line sestet. This line marks the beginning of the sestet. The abbaabba rhyme scheme of the octave now changes to the sestet’s cdcdcd rhyme scheme. The first line of the sestet also changes the focus and tone of the poem once again as Hopkins moves from a meditation of the world defiled by modern humanity to a contemplation of the natural world, created by God and infused with his presence, that always endures.
"man's smudge and shares man's smell: the soil..."See in text(Text of the Poem)
The alliteration of the “S” sound in “smudge,” “shares,” “smell,” and “soil” is continued in the following line with “shod.” Through the alliteration, Hopkins continues to stress the destructive effects of industrialization upon the natural world. The enjambment in the first of the two lines emphasizes the destruction, while the following phrase, “nor can foot feel, being shod,” implies that humans have become disconnected from nature. The alliteration of the “F” sound in “foot feel” draws attention to physically experiencing the natural world, and in the context of the phrase, it reinforces the idea of disconnection from it.
"seared with trade; bleared, smeared with toil..."See in text(Text of the Poem)
Parallelism is employed here, as “seared with trade” is parallel in construction with “bleared, smeared with toil.” The internal rhymes—“seared,” “bleared,” and “smeared” emphasize the negative connotations of the words in describing the natural world as having been defiled by humans. Also, the “T” sound in “trade” and “toil” alliterates with “trod” in the previous line, creating a relationship between the ideas in the two lines.
"have trod, have trod, have trod;..."See in text(Text of the Poem)
Through repetition, Hopkins emphasizes the idea that generations of people have relentlessly trampled the world underfoot, a metaphor suggesting a relentless assault on God’s creation.
"like the ooze of oil
Crushed..."See in text(Text of the Poem)
In the context of Hopkins writing as a priest, the simile, “like the ooze of oil / Crushed,” may be interpreted as an allusion to holy oil used in the Catholic church in anointing the bodies of the sick and in administering the sacraments of confirmation, baptism, and holy orders. Olive oil, which has been blessed, is placed by a priest on the forehead and hands of the anointed. The enjambment in the first of the two lines emphasizes the word “Crushed,” drawing attention to the act of anointment, a most holy practice in the church.
"gathers to a greatness..."See in text(Text of the Poem)
The alliteration of the “G” sound in “gathers” and “greatness” echoes the previous alliteration in “God’s grandeur,” again stressing the power and glory of God. An active verb, “gathers” sets the grandeur of God into motion, supporting the dynamic nature of the metaphor and the simile in the previous lines.
"It will flame out, like shining from shook foil..."See in text(Text of the Poem)
In the context of the previous line, “flame out” refers to throwing off bursts of bright light. The light of God’s grandeur is then described with a simile, comparing it to the shining light reflected from a piece of foil. The foil’s being “shook” suggests that it catches the light when it is moved and thus creates a dynamic image.
"The world is charged..."See in text(Text of the Poem)
“The world is charged” introduces an indirect metaphor that compares God’s grandeur to an electric current infusing the world, implying that God is a powerful, continuing presence in the world.
"the grandeur of God..."See in text(Text of the Poem)
Two ideas central to the poem’s themes are found in the first line. God is described as a being of “grandeur,” meaning magnificence, glory, splendor, and majesty. The alliteration of the “G” sound in “the grandeur of God” emphasizes the idea.
