E349S April 17: The End is Near

Only as a Queen does Alice have the power and restraint to rule her life. 

Over the course of the Queen Alice" chapter," Alice is clearly portrayed as a mature, young lady, significantly different from the child who journeyed in Wonderland. She is challenged with a final task of outwitting the nonsensical Red and White Queens. The two queens coerce and bombard Alice with insane riddles. Looking in retrospect, during Alice's first adventure in Wonderland, she could not handle difficult situations, breaking down because of the poor nature of her state. Now, Alice can handle conflict and difficult situations with ease, holding firm to her word. Because "she's in that state of mind," she has the right mentality and perception of the encounter with the Queens, appropriately responding to their endless riddles (252). She navigates her way through encounter with the Queens smoothly. This triumph over the incessant riddles symbolizes her transition from childhood to adulthood, and she is crowned as Queen, crossing the bridge into the adult world. 

The end of the world is on the rise. Bask in its glory.

Just as the chapter highlights the inevitable end of Alice's journey to maturity, Hopkins' poem, "Spelt from Sybil's Leaves,"  depicts the end of life. He utilizes dark imagery and a depressing mood to create a somber tone and image of life and its bleak end. Man and nature alike are doomed to destruction and the end of all ends. Life itself will "disremembering, dismembering" as a result of the oncoming and unavoidable end (Hopkins 175). He utilizes dark and gritty imagery to portray the disheartening and dismal truth of life--all life comes to an end. 

Both Carroll and Hopkins portray the transitions of life, whereas one brings child to adulthood and the other from life to nonexistence. 

Our fate is sealed. Our End will come. 

E349S May 3: Eternal and Timeless

Solitude

Lewis Carroll's poem "Solitude" highlights the beauty of nature as he "love[s] the stillness of the wood/ [he] love[s] the music of the rill" for it is in nature, in solitude, here "from the world [he] win[s] release"[1]. Carroll was fascinated with youth and childhood naivety, and thus, this sense of isolation amongst nature's embrace frees him from his adulthood, as he looks towards the "golden hours of Life's young spring"[2]. Carroll's poetry helps the reader dive into the psyche of Carroll's closed mind. Through his childhood embrace and nostalgic tone, the reader finds Carroll as a simple man who attempts to find peace in an ever-changing world and appreciation for what he has.   His poem implies Carroll's inner child and his desire to return to memories of the past, to separate himself from the world he reside in, to explore his own childish instinct lost over the years. 

The Good 'ole Days

On the other hand, Hopkins focuses on the comparison of a flame to man. His poem reads "Man, how fast his firedint/ his mark on mind, is gone," for both are "in an unfathomable, all is in an enormous dark/ drowned"[3]. The imagery is almost paradoxical considering Hopkins links fire to darkness. Fire is magnificent, associated with intensity and tremendous light, whilst his imagery depicts drowning and darkness. 

Real Flame

Hopkins flame

Professor Bump's Gerard Manley Hopkins argues that "the cutting away [of the diamond], the ascetic commitment to the imitatio of Christ" made "Hopkins compress so much meaning into the seemingly endless echoes and extraordinary allusive metaphors of his poem, with the result that they do indeed seem to shine like multifaceted diamonds"[4]. Prior to the depiction of the magnificent diamond, Hopkins describes "a beacon, an eternal beam/ flesh fade and mortal trash"[5]. Thus, the diamond and fire are very similar, illustrious in quality, immortal and eternal, neither destroyed by the test of time and man. The poem praises the multi-faceted mysteries of God, and his universality in the world, for God is timeless, eternal and immortal like the fire and diamond. While Carroll implies that fond memories are timeless while Hopkins is triumphantly resurrected, illuminated. 

Diamonds are Forever.

Works Cited

1. Jerome Bump, "Gerard Manley Hopkins," Carroll and Hopkins, (Austin: 2012), 478.

2.Jerome Bump, "Gerard Manley Hopkins," Carroll and Hopkins, (Austin: 2012), 479.

3.Gerard Manley Hopkins, The Major Works Including all the Poems and Selected Prose (New York: Oxford University Press, 2002), 181.

4. Jerome Bump, "Gerard Manley Hopkins," Carroll and Hopkins, (Austin: 2012), 441.

5. Gerard Manley Hopkins, The Major Works Including all the Poems and Selected Prose (New York: Oxford University Press, 2002), 181.

E349S May 1: A Pig's Death and A Man's Spiritual Death

And these little piggies jumped and died.

Sylvie and Bruno features the poem, "The Pig-Tale," which tells the story of a sorrow-stricken, plump pig "that sat alone" because "he could not jump"[1].  Only once the Frog teaches the Pig to jump does the enormous character "[rush], full whack/ Against the ruined Pump" and die due to the "fatal jump"[2]. The poem features an act of death, and given Carroll's role as a children's author, he has no restrictions with discussion death. The pig foolishly ignores the rules of nature because he is too large to jump, and thus, he dies. His death ties back to Alice in Wonderland and the theme of childhood naivety. Children live in a sheltered reality, with no adherence to the laws and rules of man.

Children live in a world without rules.

In essence, because children have innocence and naivety, their world is far more dangerous than meets the eye due to their irresponsibility and lack of understanding of the rules that construct the real world. His novel, Alice in Wonderland, also features references to death during her fall down the rabbit-hole, whereupon Alice thinks "after such a fall like this, [she] shall think nothing of tumbling down stairs" [3]. Carroll tends to treat death as a humorous topic, as seen in both Alice and Sylvie and Bruno.

Hopkins felt isolated after his familial loss and religious exile.

Whilst Carroll discusses the death in a humorous method throughout his children's literature, Hopkins poem "To seem the stranger" focuses on alienation and Hopkins' "depression and inner anguish"[4] he faces during a darker period in his spiritual and personal life. The title itself strikes an image of isolation as he is the stranger depicted in the poem;  "to seem the stranger lies [Hopkins'] lot, [his] life"[5].Because of the "social stigma he felt as a Roman Catholic," Hopkins moved to Ireland after "his family disowned him" because many in England "took a similarly negative and suspicious view of Catholics"[6]. Not only does Carroll face religious persecution and doubt in his religious devotion, but in "To seem the stranger," "Stragirius's problem "is exacerbated by the fact that he is exiled from his family"and a sense of "exile, estrangement, and impotence"[7] is expressed throughout his work in Ireland. This same sense of isolation is paralleled in Hopkins' personal life from the church and his family. The poem evokes darker imagery and tones focusing on his trials and tribulations in Ireland just as Carroll speaks of darker topics such as death in his children's literature. 

Loss of family.

Works Cited

1. Jerome Bump, "Gerard Manley Hopkins," Carroll and Hopkins, (Austin: 2012), 503.

2.Jerome Bump, "Gerard Manley Hopkins," Carroll and Hopkins, (Austin: 2012), 504-505.

3. Lewis Carroll, The Annotated Alice: The Definitive Edition, (New York: W.W. Norton & Company, Inc, 2000), 13.

4. SparkNotes, "Hopkins Poetry: "Carrion Comfort"." Accessed May 13, 2012. http://www.sparknotes.com/poetry/hopkins/section7.rhtml.

5. Gerard Manley Hopkins, The Major Works Including all the Poems and Selected Prose (New York: Oxford University Press, 2002), 166.

6. Meglio, Leila. The Victorian Web, "Stranger Among Strangers: Hopkins' Isolation from Society and God." Last modified April 19, 2011. Accessed May 12, 2012. http://www.victorianweb.org/authors/hopkins/meglio.html.

7. Jerome Bump, "Gerard Manley Hopkins," Carroll and Hopkins, (Austin: 2012), 439.

E349S April 26: Sylvie's Perfection and God's Imperfection

Dead Hare

Lewis Carroll's "Sylvie and Bruno" portrays motifs of perfection and its inescapable grasp. Sylvie is undeniably perfect, aiding everyone, chastising gently yet sternly, and never does anything wrong. She is essentially the embodiment of good, and thus, an unchanging character. However, once Sylvie approaches the dead hare, she "[flings] herself down at its side in such agony and grief" that was rare in "so young a child" [1]. 

Sylvie is perfect. Mankind is not.

Sylvie's perfection and innocence affects her, leading to her grief, for it is not death that moves Sylvie but her inability to realize the world cannot be as perfect as she is. Even in the case of hunting, Sylvie feels disgust towards those who hunt animals for sport, just as Lewis Carroll chastises animal cruelty. Sylvie seemed "so good and gentle"[2] and the harsh realization that mankind can be so cruel stirs her soul to its very core. Being so young and naive, she is unable to comprehend the idea of hunting as a sport, considering its cruel consequences, and thus, I believe Carroll parallels his own beliefs through Sylvie, a young and naive girl who dislikes animal cruelty. 

Hopkins' Loss of Faith

Hopkins takes a different route with his perfection, that being the perfection of God and all his creation. Whilst most of his poetry praises the natural world and its association with the Almighty and divine creation, his darker poems such as "Carrion Comfort" portrays the imperfection and doubt associated with God. As described in our course anthology, "Carrion Comfort" depicts Stagirius as "a passive victim of various tortures and one who battles with God Himself in nightmares"[3]. Stagirius is "wresting with ([his] God)"[4] just as Hopkins struggles internally with his isolation from God. In essence, Religion "brought Gerard Manley Hopkins conviction and inspiration throughout his life"[5]. Due to his religious doubt as a Roman Catholic and familial exile, he wrote this sonnet "at a time when he had just emerged from a long period of depression and inner anguish"[6]. The poem is designed to dramatize the speaker's recognition of his own spiritual struggle. Both authors create a sense of desired perfection and lack thereof in different forms. 

Hopkins must have felt despair during his dark isolation.

Works Cited

1. Jerome Bump, "Gerard Manley Hopkins," Carroll and Hopkins, (Austin: 2012), 500.

2.Jerome Bump, "Gerard Manley Hopkins," Carroll and Hopkins, (Austin: 2012), 491.

3. Jerome Bump, "Gerard Manley Hopkins," Carroll and Hopkins, (Austin: 2012), 439.

4. Gerard Manley Hopkins, The Major Works Including all the Poems and Selected Prose (New York: Oxford University Press, 2002), 168.

5. Meglio, Leila. The Victorian Web, "Stranger Among Strangers: Hopkins' Isolation from Society and God." Last modified April 19, 2011. Accessed May 12, 2012. http://www.victorianweb.org/authors/hopkins/meglio.html.

6. SparkNotes, "Hopkins Poetry: "Carrion Comfort"." Accessed May 13, 2012. http://www.sparknotes.com/poetry/hopkins/section7.rhtml.

E349S April 19: God-Fearing and Snark-Fearing

Hopkins' Isolation

What to do?

In the poem "No worst," Hopkins creates a very dark and negative atmosphere as the poem opens with "no worst, there is none" and ends with "life death does end and each day dies with sleep"[1]. The reader can clearly see the shift in the author's mentality as his spiritual essence has departed, leaving him as an empty vessel of God's supposed will and testament. Hopkins questions Mother Mary and God, wondering, "where is [God's] comforting" and "where is [Mary's relief"[2]? The poem's questions imply Hopkins has been abandoned by God. As stated by Leila Meglio, Hopkins "terrible poems emerged from [a] period of despair,"  and Hopkins utilized his "isolated situation in life to echo his internal feelings of isolation from God"[3].  

In God, We do not trust.

Thus, unlike Hopkins' earlier poems, his darker "terrible" poems creates a clear dichotomy between Hopkins the poet and Hopkins the man. As described in our class anthology, the "ultimate result of God's withdrawal from the soul and consequent darkness" [4]is the temptation to despair. Hopkins' poetry throughout his isolation provides a reader with a glimpse into the internal struggle he felt in regards to his religious devotion and identity.

SNARK!

Like Hopkins, Carroll also takes a darker route with The Hunting of the Snark. Of course, Carroll's work is nowhere near as dark and gloomy as Hopkins "terrible poems," but death is a clear theme within the Snark. Carroll's work tends to be light-hearted and whimsical, yet this poem is disturbing, especially during the last Fit. After countless misadventures, the hunters find the Baker had "softly and suddenly vanished away- For the Snark was a Boojum, you see"[5]. A character dies, one supposedly based on Carroll himself. The poem takes a darker route than the majority of Carroll's work, following similar paths as Hopkins' dark poetry follows. 

What do you fear?

As Chris had mentioned, Carroll did not know what  a Snark was, though Carroll supposed it was a fusion of a snail and shark with snake features as well. Given the unknowing nature of the snark, it is increasingly scarier for the audience, especially since man fears the unknown. In essence, the ambiguity of the Snark gives it a strong undertone of mystery and resulting fear from readers. Each individual perceives fear differently, and thus, each reader will picture a different creature, specific to his or her own fears. 

Works Cited

1. Gerard Manley Hopkins, The Major Works Including all the Poems and Selected Prose (New York: Oxford University Press, 2002), 167.

2. Hopkins, The Major Works, 167.

3. Meglio, Leila. The Victorian Web, "Stranger Among Strangers: Hopkins' Isolation from Society and God." Last modified April 19, 2011. Accessed May 12, 2012. http://www.victorianweb.org/authors/hopkins/meglio.html.

4. Jerome Bump, "Gerard Manley Hopkins," Carroll and Hopkins, (Austin: 2012), 440.

5. Lewis Carroll, The Annotated Alice: The Definitive Edition, (New York: W.W. Norton & Company, Inc, 2000), 477.

E349S April 10: A Knight's Tale

In Lewis Carroll's chapter, "It's My Own Invention," Alice encounters the White Knight. The hero attempts to save Alice from the Red Knight, who is mistaken for taking Alice's position on the chessboard. In reality, the White Knight perceives the situation incorrectly but still comes to Alice's rescue. The White Knight and Red Knight essentially fight over nothing, emphasizing the incredulity and nonsensical nature of the setting and series of events. In my opinion, Carroll's White Knight represents adulthood. Alice has never seen such a "strange-looking soldier in all her life"[1].

The White Knight

Whilst Alice journeys throughout Wonderland without any necessary inventions or protective means, the knight is overly-prepared. Historically, a knight is tied to a code of chivalry, as he "promise[s] to defend the weak, be courteous to all women, be loyal to their king, and serve God at all times"[2]. Given the societal pressures and demands, a knight must be prepared for anything, ready to take arms or find religious strength to overcome any obstacle he must face. Just the same, the White Knight is covered in armor and carries countless inventions in preparation for any trial or tribulation. As adults, we prepare ourselves for every situation possible. Through innovation and invention, humans attempt to prevent any sense of loss, failure, injury, etc.

You can never be too prepared.

 Adult tend to prepare for the unknown, constantly living in the future rather than the "now". In contrast, Alice lives in the present. She acts like most children, lacking in preparation for the future. Alice continues along her journey, taking it one step at a time. The Knight has difficulty maintaining his balance because he is so distracted by the obstacles and future challenges he must face. He is focused on the future rather than the present, and thus, he constantly falls. He prepares for what may happen rather than what is.

The Mother Mary

In Hopkins poem, "The Blessed Virgin compared to the Air we Breathe," the author utilizes metaphors to emphasize the depth and beauty of the bond between Mary and man. He references Mary "As if with air; the same/ Is Mary, more by name"for "her life [is] as life does air"[3]. Hopkins emphasizes that the Mother Mary is as necessary to humans as air is to our lungs. Mary is referenced as a metaphor for holy providence, implying Mary's influence on man and her subsequent universality in our lives. Just as the this poem implies the need for religious sentiment in our lives, the poem "Ad Matrem Virginem" acts as a communion hymn to Mother Mary. The poem celebrates Mary's undying love for her son and her religious loyalty. only Mary can "teach [us] about [God]  and "teach [us] to love"[4] . In both cases, Mary acts as a figure of praise and influence significant to Mankind's religious devotion.

Nature's Dependence on Mother Mary

1. Lewis Carroll, The Annotated Alice: The Definitive Edition, (New York: W.W. Norton & Company, Inc, 2000), 236.

2. Oracle ThinkQuest, "The Medieval Knight." Accessed May 13, 2012. http://library.thinkquest.org/10949/fief/medknight.html.

3. Gerard Manley Hopkins, The Major Works Including all the Poems and Selected Prose (New York: Oxford University Press, 2002), 159.

4. Hopkins, The Major Works, 329.