Nothing is so beautiful as Spring —
When weeds in wheels, shoot long and lovely and lush;
Thrush’s eggs look little low heavens, and thrush
Through the echoing timber does so rinse and wring
The ear, it strikes like lightnings to hear him sing;
The glassy peartree leaves and blooms, they brush
The descending blue; that blue is all in a rush
With richness; the racing lambs too have fair their fling.
What is all this juice and all this joy?
A strain of the earth’s sweet being in the beginning
In Eden garden. — Have, get, before it cloy,
Before it cloud, Christ, lord and sour with sinning,
Innocent mind and Mayday in girl and boy,
Most, O maid’s child, thy choice and worthy the winning.
As we know Hopkins wrote The Terrible Sonnets but here we have one of the best of his ‘bright sonnets’ in which he celebrates the beauty of nature and the glory of God. Hopkins loved to use the sonnet because he felt it suited his style. He wrote ‘Spring’ in May 1877 while studying theology in North Wales. ‘Spring’ is a Petrarchan sonnet, consisting of an octet which is primarily descriptive, and a sestet which is typically more reflective. The sonnet can only be described as being quintessential Hopkins.
The octet describes nature and Hopkins’ appreciation of it shines through in his descriptive language. He gives many examples of how beautiful and fresh the world is, such as weeds, birds’ eggs, lambs, blue skies and lush greenery. Many of Hopkins’ poems read like sermons and homilies and this is not unusual seeing as he was a Jesuit priest. So we are not surprised, therefore, when he compares the beauty which surrounds him to the Garden of Eden. The sestet reflects upon the meaning of this wonderful nature. As I said earlier there is always a spiritual dimension to Hopkins’ poetry and in the sestet he reflects on the sorry end of the Garden of Eden and he uses the last lines of the poem to ask God to protect the innocence of spring and also that of young children.
Many of the trademark conventions which define Hopkins’ poetry are to be found in this poem, such as alliteration, assonance, inscape, instress and sprung rhythm. We are presented with an innovative and technically accomplished poem which is written in a unique and distinctive way.
It might be important to define some of these concepts because some of them are unique to Hopkins’ poetry:
Inscape: For Hopkins, every single thing in the universe was unique. Everything contained qualities that helped to define that uniqueness, and to distinguish it from all other things. He called this inscape. Hopkins believed that God was responsible for each unique thing. For him, inscape was the essential essence of each thing, that unique quality that set it apart from everything else.
Instress: Hopkins also believed that each living thing had its own unique energy which was also derived from God. In the octet of this sonnet, therefore, he tries through language and imagery to capture the instress, the unique energy that defines Spring.
Sprung Rhythm: Hopkins invented this unique kind of rhythm and used it extensively in his poetry. Basically, Hopkins stresses the important word in a line of poetry and this can be surrounded by any number of unstressed syllables e.g. the line ‘When weeds in wheels shoot long and lovely and lush’.
Hopkins begins the poem with a very bold statement of his philosophy. He won’t listen to any debate or argument as he declares with absolute conviction that Spring is the most beautiful season of the year. He then proceeds to give evidence in support of this contention, by presenting the reader with a series of images, which try to capture both the beauty and vibrancy of Spring.
When weeds, in wheels, shoot long and lovely and lush;
He immediately surprises us by celebrating the beauty of weeds, a type of plant we traditionally frown upon. He uses alliteration and sprung rhythm to capture both the essence (inscape) and energy (instress) of these particular plants. The word ‘wheel’ causes us to pause as we try to understand what he means. It may be the way briars and other weeds send out tendrils to curl around other shrubs and plants as they climb or indeed it may be a reference to the cyclical nature of the seasons, each one giving way to the next.
He then describes the thrush in the next few lines. Again he tries to capture for us in words the inscape and instress of the birds as they build their nests and lay their eggs. The bird’s eggs are compared to the heavens, as Hopkins subtly introduces a spiritual dimension to the poem. There are examples of sensuous imagery in evidence also, while the onomatopoeic “wring” further captures that elusive inscape. Notice his constant use of alliteration, ‘rinse and wring’. There is a very clever metaphor in the third line when he compares the speckled thrush’s eggs to the heavens at night. It nearly would have been easier for him to use the simile, Thrush’s eggs look (like) little low heavens, but he resists the temptation!
He does use a simile in lines four and five when he tries to describe the effect of birdsong on the human ear,
… it strikes like lightnings to hear him sing
Further intense images follow, as Hopkins champions this particular season. We are told “that blue is all in a rush,” as he tries to capture the instress, the energy, that defines that season. The final line, with its rather quaint, colloquial language, is also designed to produce a similar effect.
By the end of the octet, the reader has been swept along by Hopkins in his description of nature. His use of sprung rhythm , coupled with the absence of any full-stops in the entire octet, ensure that the reader is made fully aware of the breathtaking beauty and vitality associated with Spring.
The poem becomes much more reflective in the sestet. Hopkins begins by posing a question: What does all of this beauty of nature actually signify? This rhetorical question signifies the poet’s own confusion and uncertainty. The reader is invited to slow down and contemplate the answer to this question. Hopkins suggests to us that springtime is an image of what the world would have been like in the beginning, in the Garden of Eden, before the fall of Adam and Eve and the entrance of sin into our world.
In a series of complex and very theological images, Hopkins manages to suggest what is wrong with the world, provides a vision of the type of world he would like to see, and advocates a return to that time of innocence in Eden Garden. He suggests our loss of innocence by using the image of fruit becoming overripe and decaying.
Traditionally also it must be remembered that May was always linked to Mary the Mother of God – the month of May was Mary’s month. He proceeds to use different images of innocence to present his image of the world he would like to see, and finally, he advocates a return to that world of innocence. In my mind’s eye I can see children innocently dancing around the traditional Maypole on an English village green when I read these final lines. For his English audience there would have been no better representation of childhood innocence!