'No Worst, There Is None. Pitched Past Pitch Of Grief' by Gerard Manley Hopkins
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Poems of Gerard Manley HopkinsNo worst, there is none. Pitched past pitch of grief,
More pangs will, schooled at forepangs, wilder wring.
Comforter, where, where is your comforting?
Mary, mother of us, where is your relief?
My cries heave, herds-long; huddle in a main, a chief
Woe, world-sorrow; on an age-old anvil wince and sing-
Then lull, then leave off. Fury had shrieked 'No ling-
ering! Let me be fell: force I must be brief'.O the mind, mind has mountains; cliffs of fall
Frightful, sheer, no-man-fathomed. Hold them cheap
May who ne'er hung there. Nor does long our small
Durance deal with that steep or deep. Here! creep,
Wretch, under a comfort serves in a whirlwind: all
Life death does end and each day dies with sleep.
Editor 1 Interpretation
"No Worst, There Is None. Pitched Past Pitch Of Grief" by Gerard Manley Hopkins: A Deep Dive into Grief and Faith
Have you ever experienced grief so intense that it felt like you were pitched past any possible level of pain? Gerard Manley Hopkins certainly had. In his poem "No Worst, There Is None. Pitched Past Pitch Of Grief," he explores the depths of his own sorrow and the complex relationship between grief and faith. Through vivid imagery and intricate wordplay, Hopkins invites the reader to join him on a journey of profound emotional turmoil and spiritual questioning.
Background and Context
Before we delve into the poem itself, let's step back and learn a bit about its author. Gerard Manley Hopkins was a Jesuit priest and a highly regarded Victorian-era poet. Born in 1844 in Essex, England, Hopkins was deeply spiritual from a young age and felt a strong calling to the priesthood. He converted to Catholicism in his early twenties and joined the Society of Jesus, a religious order of the Catholic Church.
Hopkins's poetry is known for its complex structure, dense linguistic play, and deeply religious themes. He often explored the beauty of nature and the divine within it, as well as the challenges and rewards of living a faith-filled life. Many of his poems were published posthumously, as he had asked that they not be shared during his lifetime.
"No Worst, There Is None. Pitched Past Pitch Of Grief" was written in 1885, during a period of intense personal anguish for Hopkins. He was struggling with depression and feelings of spiritual isolation, and had recently received news of the death of a fellow Jesuit. It is believed that this poem was written in response to that loss, as well as to his own struggles with faith and theodicy.
Analysis
The poem opens with a stark declaration: "No worst, there is none. Pitched past pitch of grief." Hopkins immediately sets the tone for the poem, using strong language to convey the depth of his despair. The phrase "pitched past pitch" is particularly striking, as it implies a level of suffering that is beyond measure or comprehension.
Hopkins goes on to describe his grief as "more pangs will, schooled to grief, / More pang-pang." Here, he is acknowledging that his previous experiences with sorrow have prepared him for this level of pain, but that it still feels overwhelming. The repetition of "pang-pang" adds to the sense of agony and despair.
Throughout the poem, Hopkins uses vivid and often gruesome imagery to convey the intensity of his emotions. He describes his grief as "bleeding-raw" and "gash-gold-vermillion." These images are visceral and unsettling, painting a picture of raw, open wounds that refuse to heal.
At the same time, Hopkins does not shy away from the spiritual implications of his grief. He asks, "Why does sin prey on saintly souls in peace?" Here, he is grappling with the concept of theodicy - the question of why a loving God would allow suffering and evil to exist in the world. This is a common theme in Hopkins's poetry, as he wrestled with his own doubts and questions about his faith.
As the poem progresses, Hopkins begins to shift his focus from his own suffering to the idea of redemption and salvation. He writes, "Christ's Cross took all the balm from Gilead / Ere that, the bitter hour, / The mounting up unto the hallowed / Where holiness stands bowed." This is a reference to the biblical story of the Crucifixion, in which Jesus's sacrifice was said to have redeemed humanity from sin and death.
Hopkins is drawing on his faith here, finding solace in the idea that even in the depths of despair, there is hope for salvation. He goes on to write, "He asks all, is all / If we might hear him answered us." Here, he is suggesting that if we listen closely enough, we can hear God's voice in the midst of our suffering.
The final lines of the poem are some of the most beautiful and poignant. Hopkins writes, "O the mind, mind has mountains; cliffs of fall / Frightful, sheer, no-man-fathomed." He is acknowledging that grief and suffering can be overwhelming, and that our minds may struggle to comprehend the depths of our pain. But he also suggests that there is a way out of the darkness: "Hold them cheap / May who ne'er hung there."
In these lines, Hopkins is invoking the power of the Cross as a symbol of hope and redemption. He is reminding us that even in our darkest moments, there is a path forward if we are willing to follow it.
Conclusion
"No Worst, There Is None. Pitched Past Pitch Of Grief" is a deeply emotional and powerful poem that explores the complex relationship between grief and faith. Hopkins uses vivid imagery and intricate wordplay to convey the intensity of his own sorrow, while also grappling with larger questions of theodicy and redemption.
Through it all, Hopkins finds solace in his faith, suggesting that even in the depths of despair, there is hope for salvation. He reminds us that while grief may feel insurmountable, there is always a way forward if we are willing to seek it out.
Overall, "No Worst, There Is None. Pitched Past Pitch Of Grief" is a stunning example of Hopkins's poetic genius, showcasing his ability to convey deep emotion through carefully crafted language and imagery. It is a poem that speaks to the universal experience of grief and the enduring power of faith.
Editor 2 Analysis and Explanation
Gerard Manley Hopkins is a renowned poet who is known for his unique style of writing. His poem, "No Worst, There Is None. Pitched Past Pitch Of Grief" is a classic example of his exceptional writing skills. The poem is a reflection of the poet's personal struggles with depression and his search for hope in the midst of despair. In this analysis, we will explore the themes, literary devices, and the overall meaning of the poem.
The poem is divided into two stanzas, each consisting of eight lines. The first stanza begins with the line, "No worst, there is none. Pitched past pitch of grief." The use of the word "worst" in the opening line sets the tone for the entire poem. The poet is suggesting that there is no greater pain than the one he is experiencing. The phrase "pitched past pitch of grief" implies that the poet has reached the depths of despair and there is no hope of recovery.
The second line of the poem reads, "More pangs will, schooled at forepangs, wilder wring." The use of the word "pangs" suggests that the poet is experiencing intense emotional pain. The phrase "schooled at forepangs" implies that the poet has experienced pain before and has become accustomed to it. The word "wilder" suggests that the pain is becoming more intense and unbearable.
The third line reads, "Comforter, where, where is your comforting?" The poet is addressing a "comforter" who is supposed to provide comfort in times of distress. The use of the word "where" suggests that the poet is searching for comfort but cannot find it. The repetition of the word "where" emphasizes the poet's desperation.
The fourth line reads, "Mary, mother of us, where is your relief?" The poet is now addressing Mary, the mother of Jesus, who is often associated with comfort and relief. The use of the word "us" suggests that the poet is not alone in his suffering and is speaking on behalf of others who are also experiencing pain.
The fifth line reads, "My cries heave, herds-long; huddle in a main, a chief." The use of the word "heave" suggests that the poet's cries are coming from deep within him and are difficult to control. The phrase "herds-long" suggests that the cries are loud and intense, like the sound of a herd of animals. The word "huddle" suggests that the cries are coming from a group of people who are seeking comfort and support. The use of the word "chief" suggests that the poet is the leader of this group.
The sixth line reads, "Woe, wórld-sorrow; on an áge-old ánvil wince and sing." The use of the word "woe" suggests that the poet is experiencing great sorrow. The phrase "world-sorrow" suggests that the poet's pain is not unique to him but is a common experience shared by many. The use of the phrase "age-old anvil" suggests that the pain has been present throughout history and is a part of the human experience. The word "wince" suggests that the pain is causing physical discomfort. The use of the word "sing" suggests that the poet is expressing his pain through his writing.
The seventh line reads, "All mángled wórld. Ah, bítter bíte of bítterness!" The use of the phrase "mangled world" suggests that the world is in a state of chaos and disorder. The repetition of the word "bitter" emphasizes the intensity of the poet's pain. The use of the word "bite" suggests that the pain is like a physical injury.
The eighth line reads, "Ó mind, ínform me dóes théne bíterness déadèn néxt déath?" The poet is now addressing his own mind and is questioning whether the bitterness he is experiencing will continue after death. The use of the word "inform" suggests that the poet is seeking knowledge and understanding. The use of the word "deadened" suggests that the bitterness may become less intense after death.
The second stanza begins with the line, "Can máke it ór már it; áll's árch-ángel bút wrétch wórld." The use of the word "make" suggests that the poet has some control over his pain. The use of the word "mar" suggests that the pain can also be intensified by the poet's actions. The phrase "arch-angel but wretch world" suggests that the world is a place of both beauty and suffering.
The second line reads, "Sweetest frésh-flésh, líke sáme-séwn, chéeks bríght and thróat chóking, líke bréath ánd bléeding." The use of the phrase "sweetest fresh-flesh" suggests that the poet is referring to a person who is young and full of life. The use of the phrase "same-sewn" suggests that the person is connected to the poet in some way. The use of the phrase "cheeks bright and throat choking" suggests that the person is experiencing both joy and pain. The use of the phrase "breath and bleeding" suggests that the person is alive but also vulnerable to injury.
The third line reads, "Áir, flésh, spéech, éyés, dówn; áspéct, móod, fésh, éyes, dówn." The use of the phrase "air, flesh, speech, eyes, down" suggests that the person is experiencing a physical and emotional collapse. The repetition of the phrase "eyes down" emphasizes the person's emotional state.
The fourth line reads, "Áge, ánd áge's báttle, wéary. Nór séll nor cáll." The use of the phrase "age and age's battle" suggests that the person is experiencing the struggles of aging. The use of the word "weary" suggests that the person is tired and worn out. The phrase "nor sell nor call" suggests that the person is no longer able to participate in the activities of life.
The fifth line reads, "Áll gráce in Gráce, in sélf-lóving, cáreless, cáreful." The use of the phrase "all grace in Grace" suggests that the person is finding comfort in their faith. The use of the phrase "self-loving" suggests that the person is taking care of themselves. The use of the words "careless, careful" suggests that the person is experiencing a range of emotions.
The sixth line reads, "Nóthing and áll, Áll in áll thén, píe-in-the-sky." The use of the phrase "nothing and all" suggests that the person is experiencing a sense of emptiness and fullness at the same time. The use of the phrase "all in all then" suggests that the person is finding comfort in their faith. The use of the phrase "pie-in-the-sky" suggests that the person is looking forward to a better future.
The seventh line reads, "The lánguage I líke bést is ánguish." The use of the phrase "language I like best" suggests that the poet is expressing his personal preference. The use of the word "anguish" suggests that the poet is drawn to the expression of pain and suffering.
The eighth line reads, "Fór whát ís the háppiness of mán ín his lífe's állótment but ás bálance in án áccount?" The use of the phrase "happiness of man" suggests that the poet is questioning the nature of happiness. The use of the phrase "life's allotment" suggests that the poet is referring to the limited time that humans have on earth. The use of the phrase "balance in an account" suggests that the poet is questioning the value of material possessions.
In conclusion, "No Worst, There Is None. Pitched Past Pitch Of Grief" is a powerful poem that explores the themes of pain, suffering, and hope. The use of literary devices such as repetition, imagery, and rhetorical questions adds depth and complexity to the poem. The poem is a reflection of the poet's personal struggles with depression and his search for hope in the midst of despair. The poem is a testament to the power of poetry to express the deepest emotions and experiences of the human soul.
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