Inklings Forever Volume 8 A Collection of Essays Presented at the Joint Meeting of The Eighth Frances White Ewbank Article 7 Colloquium on C.S. Lewis & Friends and The C.S. Lewis & The Inklings Society Conference

5-31-2012 "Between Two Strange Hearts": Spiritual Desolation in the Later of Gerard Manley Hopkins & Charles Williams Sørina Higgins Lehigh Carbon Community College

Rebecca Tirrell Talbot North Park University

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Recommended Citation Higgins, Sørina and Talbot, Rebecca Tirrell (2012) ""Between Two Strange Hearts": Spiritual Desolation in the Later Poetry of Gerard Manley Hopkins & Charles Williams," Inklings Forever: Vol. 8 , Article 7. Available at: https://pillars.taylor.edu/inklings_forever/vol8/iss1/7

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INKLINGS FOREVER, Volume VIII A Collection of Essays Presented at the Joint Meeting of

The Eighth FRANCES WHITE EWBANK COLLOQUIUM ON C.S. LEWIS & FRIENDS and

THE C.S. LEWIS AND THE INKLINGS SOCIETY CONFERENCE Taylor University 2012 Upland, Indiana

Between Two Strange Hearts: Spiritual Desolation in the Later Poetry of Gerard Manley Hopkins & Charles Williams

Sørina Higgins & Rebecca Tirrell Talbot Lehigh Carbon Community College & North Park University

Higgins, Sørina and Rebecca Tirrell Talbot. “Between Two Strange Hearts: Spiritual Desolation in the Later Poetry of Gerard Manley Hopkins & Charles Williams.” Inklings Forever 8 (2012) www.taylor.edu/cslewis

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“Between Two Strange Hearts”: Spiritual Desolation in the Later Poetry of Gerard Manley Hopkins & Charles Williams

Sørina Higgins & Rebecca Tirrell Talbot Lehigh Carbon Community College & North Park University

Introduction These poems are fresh, original, and musical. Glen Cavaliero writes: “the Spiritual desolation, while a influence of Hopkins becomes apparent: perennial human experience, is expressed enjambment, internal rhymes, in historically-determined diction, , irregular stress meters, above influenced by poetic and religious all, the deployment of monosyllables and predecessors. Gerard Manley Hopkins a judiciously arcane vocabulary. and Charles Williams, two Anglo/Catholic Williams’s editing of Hopkins’s poems poets, are an interesting case study, obviously has much to do with this” especially as Hopkins helped shape (Cavaliero 98). Stephen Dunning writes Williams’s later prosody. Today, we are that in 1938, Williams was “a writer in the sharing our findings on only two forms of throes of a major stylistic revolution” and spiritual darkness in the later poetry of that “the new verse is distinctively these two writers: Ignatian desolation Hopkinsesque” (112). and the crisis of schism. Charles Williams’s early poems Hopkins’s Ignatian Desolation are frequently called “pastiche” (see, for instance, Dunning 113), and employ rigid, During 1885, Gerard Manley archaic, juvenile rhyme schemes and Hopkins (1844-1889) composed six metrical patterns. Then, according to — “Carrion Comfort,” “No worst, Anne Ridler, he “re-read Hopkins at the there is none,” “To seem the stranger,” “I right moment—the moment when he was wake and feel,” “Patience, hard thing!” able to make use of certain technical and “My own heart”—that have been effects which were much better suited to called both “desolate” and “terrible” his needs than the elaborate stanzas and sonnets. Calling them “desolate” the too-well-used blank verse forms evidences scholars’ desire for these which he had been employing” (Ridler sonnets to fall within the safe boundaries lxi). of a spiritual tradition. Spiritual writers What had happened? In July of including Bernard of Clairvaux, Dante, 1930, asked Williams to and John of the Cross have all vividly edit the second edition of Hopkins’s described experiencing both God’s poems. He did so, and also wrote the comforting presence and the feeling that critical introduction. This volume was this presence has withdrawn (Bump 177). published by that Significantly, Ignatius Loyola, who same year (Ridler lxi, 49). Then, in 1938, influenced the Jesuit Hopkins, gives these Williams’s Taliessin Through Logres two tides of the spiritual life both names appeared in 1938. The change is startling. and definitions. He defines desolation as

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contrary to the love for God that Hopkins’s spiritual directors had consolation excites (Sermons 203), and counseled him about desolation by using describes its symptoms as: it (S 205), its influence cannot be dismissed. Thus, even though others have Darkness and confusion of soul, proposed other spiritual fathers who may attraction toward low and earthly have influenced the way Hopkins thought objects, disquietude caused by of his desolation (Downes suggests John various agitations and temptations, of the Cross and Thomas à Kempis; 131 which move the soul to diffidence and 132-36; 138-145), Ignatian without hope and without love, so desolation must remain the logical stating that it finds itself altogether point. “All his ideas,” says Christopher slothful, tepid, sad, and as it were Devlin, “stem from the making of the separated from its Creator and Lord Spiritual Exercises” (Sermons 109). (qtd. in Sermons 204). The fact that Hopkins was Both the description and the experience working on a commentary on the Spiritual would have been familiar to Jesuits who Exercises during the same decade he examined their souls in Ignatian composed his “inspirations unbidden” concentration. (Sermons 107; Letters 221) further Though desolation and con- solidifies the connection. Though no copy solation are well-established as patterns of the commentary itself exists (Downes in the spiritual life, the question remains: 34), lengthy notes for it do exist and offer do the six sonnets fit within this tradition, an unpolished and perhaps therefore or is this just a comforting way of dealing more honest insight into the connections with spiritual crisis and even loss of faith? between Hopkins’s desolate poetry and Scholars disagree, with David A. Downes spiritual desolation. One particular concluding that Ignatian spirituality “is has been noted for the similarity clearly evident in much of the mature of its diction and Hopkins’s commentary poetry of the Jesuit period except those notes (Sermons, n. 135), and it is on “My sonnets of the last years usually own heart” that this study will focus. designated as the ‘terrible sonnets’” (11), Furthermore, scholars have noted how Daniel A. Harris describing the sonnets as heavily the first week of Ignatius’s an “abrupt... alteration” that “entail Exercises, rather than later weeks, weighs nothing less than Hopkins’s unwilled into Hopkins’s meditations (Downes 146), submission to solipsism” (3), and Jerome so this can further narrow this study’s Bump, on the other hand, placing them scope. within the existing framework of Ignatian Colloquy medieval acedia and spiritual desolation (167-196). In the first week of Ignatius’s One logical way of investigating Spiritual Exercises, the retreatant the question is to look closely at scrutinizes his conscience for particular Hopkins’s notes for his Spiritual Exercises and general sins, cataloguing and commentary he was writing in the 1880s repenting of all his sins, year by year, for and to compare their diction with the his entire past, and meditating upon sin desolate sonnets’ diction, composed that and hell. This leads the retreatant to a same decade. This will bring us closer to colloquy overflowing in loving gratitude understanding whether or not there is a for God’s mercy. Ignatian colloquy is a connection between Ignatian desolation blend of “imagining Christ our Lord and the desolate sonnets. Since the present” and “reflecting on myself” Spiritual Exercises was the guidebook for (Ignatius qtd. in Sermons 132). Hopkins Jesuit retreats, and since it is known that found a harmony between colloquy and

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sonnet that gave further form to his prayer, and the speaker can often be poetry (Harris 4). The desolate sonnets, heard relating back to himself what Christ likewise, show the colloquial structure has already said: the self mediating with that is “made properly,” says Ignatius: self as if the divided self has become a wise spiritual director. Like a wise by speaking as a friend speaks to a spiritual counselor, he comforts the friend, or as a servant to his master, Jackself, or common man (Johnson 159), at one time asking for some favour, using the comfort with which he has been at another accusing oneself of some comforted by God ( 2 Cor. 1:4). He evil done, at another informing him NKJV, has not skipped a link; rather, that link of one’s affairs and seeking counsel happens outside of the poem while concerning them. (Sermons 132) leaving the poem to bear witness of it. As “My own heart” begins, the speaker initiates the colloquy by asking “for some Particular Diction favour”: more pity, self-kindness, and self- charity. In this case, the speaker must be Not only the poem’s colloquial addressing Christ because it is clear that structure, but also its diction, is Ignatian. he has not yet found enough pity, Hopkins’s “My own heart” and his kindness, and charity within himself. “My commentary notes for the first week of own heart let me more have pity on,” he the Exercises both use the words heart, requests, “let/Me live to my sad self pity, blind, dark, and thirst in sections hereafter kind,/Charitable.” Then, that are significant enough to be well Hopkins enacts the second part of the worth comparing. colloquy by accusing himself, and In his commentary, as he reflects specifically by picturing his prior casting on the most beneficial way to meditate on about for comfort within his own one’s lifetime of sin, Hopkins’s word “comfortless,” a state so empty it has choice is similar to that of the voice that become a noun—a “dramatic coinage to counsels his own heart in the sonnet: define the absence of any consoling “There is a way of thinking of past sin presence of Jesus” (Cotter 229). such that the thought numbs and kills the Finally, in the sestet, the speaker heart, as all this Week of the Exercises diverges from the Ignatian pattern of will do if care is not taken in giving it” “seeking counsel concerning” one’s (Sermons 134). Thus, putting himself in affairs, and instead, presents a self that the role of spiritual director, Hopkins will has already received this counsel. James care for his heart, rather than permitting Finn Cotter concludes that this indicates it to grow numb and die. Ultimately, his “an absence of all sensible spiritual attitude will be one of pity, since he goes comfort” (231). In Inspirations Unbidden, on to say in the same paragraph that the Harris takes this a step further, arguing Christian should have the same feelings that since Fr. John Roothan, who toward his sin that Christ and Mary have translated the Spiritual Exercises, has toward it: made the point that no link—even the For they turn from sin by nature… link of God’s answer to the colloquy—can and finding it embodied with a be left out of the chain of meditation, this thing they love find it infinitely desolate sonnet’s promise lies unfulfilled. piteous: ‘O the pity of it!’ and why Yet Hopkins has not skipped a link in the should it ever have been?—these chain of meditation by self-counseling, are the sort of words that express nor does this indicate an absence of it. So that we may pity ourselves in spiritual comfort. Throughout Hopkins’s the same way, that such a thing as sonnets, self-reflection blends with

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sin should ever have got hold of us. stress or energy of the whole being (Sermons 134) that is thus balked (Sermons 137). Devlin rightly connects this passage with Hopkins indicates that not seeing is a “My own heart” (n. Sermons 135), and greater punishment than seeing. The Bump concurs that rooting out sin is a sense of “foiled action” that also haunted primary concern of the desolate sonnets Hopkins in his private life is inherent in (169). In connecting the rooting out of sin both of these passages, since in the and the attitude of pity toward one’s own sonnet, day and water may both exist but heart, Hopkins contextualizes his cannot be perceived. comfortless state as part of his continuing In the final stanza, the resolution quest to understand and develop his of the colloquy offers an image that does spirituality within an Ignatian framework. not depart from the diction of the In the commentary, a meditation commentary notes, yet offers far more on hell is the section that immediately hope. In the final stanza, we see the follows the one in which Hopkins reflects speaker delivered from hell because the on attitudes toward sin. Do we find an action of sight is no longer foiled. The imaginative descent into hell in the speaker perceives the sky, sees what has sonnet, too? Its diction is certainly been unforeseen, and sees light that revealing, showing that Hopkins, in his extends not just in the path in front of “tormented” and “tormenting” mind, has him, but along a lovely mile. As Cotter lost himself in an exact earthly replica of puts it, “Hopkins begins the slow ascent what the commentary notes imagine hell upward from his Inferno to the dawn of is like: blindness and constraint. The Easter Day” (230). From this final stanza, sonnet reads: we might even hope that, ascending from his hell, the speaker has come to an even I cast for comfort I can no more get greater assurance of forgiveness and finds By groping round my comfortless, true pity for his heart. than blind The words found in the desolate Eyes in their dark can day or thirst sonnets have often been considered can find shocking and hopeless enough to be thirst’s all-in-all in all a world of labeled anomalies. They should not be so wet (Poems 111). surprising to encounter, though, in a poet who had absorbed the language of the The comfortless state of the speaker’s Exercises’ first week. They are not the mind is remarkably close to the vision of words of a madman, nor of one who had the torment the fallen angels will suffer, completely lost faith. They are the words the suffering with which the Ignatian of a poet who, in his desolation, uses the meditation begins (Sermons 131). Though words, structure, and imagery of his own their torment will be greater than spiritual tradition. Bringing a personal humans’ because “the higher the nature desolation, a “darkness and confusion of the greater the penalty” (Sermons 138), soul” (Sermons 204), to the first week’s the vision of hell Hopkins presents in his meditations, Gerard Manley Hopkins commentary notes is telling: makes sense of the hell of his tormented mind and finds, in appropriating Christ An imprisonment in darkness, a and Mary’s pity, comfort enough to find being in the dark; for darkness is day and to find thirst’s all-in-all. the phenomenon of foiled action in

the sense of sight. But this constraint and this blindness will be most painful when it is the main

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Williams’s Crisis of Schism Poetic Mind 24-25) Notice the words conflict, contraries, revolution, Charles Williams, on the other subversion, and wound. hand, does not turn to a particular Incidentally, for all his claims of Christian tradition for comfort in impersonality, there may have been an desolation. Instead, he turns to aesthetics autobiographical catalyst in the formation and a kind of monistic holism he learned of Williams’s theory of schism. All the in an occult society. The particular kind of evidence of his correspondence and desolation he seeks to resolve is not, or at circumstances suggests that Williams least not primarily, personal. Instead, it is himself experienced this crisis personally, literary. This type of spiritual darkness and his own poetic oeuvre can be read in seems to be peculiar to Williams. Williams its light. As Cavaliero summarizes: “The gives an extended account of this “crisis of personal crisis arose from Williams’s own schism” in The English Poetic Mind discovery of divided loyalties, even of (1932). divided truth” when he fell in love with someone other than his wife (25), and The Nature of the Schism then later when the woman fell in love

with someone else (Bosky 15, Hadfield What is this schism? Grevel 83-4). This double personal tragedy, Lindop describes it as “a moment when according to Glen Cavaliero, “seems to [poets] perceive a fundamental conflict or have caused a self-questioning that was to contradiction within their most cherished result in the release of his full creative values.” Williams says it occurs when powers. It forced upon him the tragic “Entire union and absolute division are awareness of a division within the good” experienced at once” (English Poetic Mind (emphasis added). Williams himself 42). It is a sense that something at once described it in these terms in a letter: cannot be, and yet is. Reality clashes with “there is a street in South London I have reality when the poet exclaims at once “It walked through quicker (almost literally) cannot be; it is impossible” (English Poetic than the wind because of pain; and the Mind 45), and “It is.” Williams judges other girl...O ...! the rending agony” and “It poetic success by how well the poet is eighteen [years] now since my own confronts and surmounts this small Impossibility began…. Madness and impossibility. pain and horror—and inexorable beauty In explaining this crisis, Williams still” ( 43, 55-56). Notice claims that “The crisis ...is one common to Letters to Lalage there the words rending, implying a all men…. It is that in which every nerve tearing apart, and Impossibility (a term of the body, every consciousness of the he coined in 1943 in his introduction to mind, shrieks that something cannot be. the letters of Evelyn Underhill; Cavaliero Only it is” (English Poetic Mind 59-60). 26). These two terms are essential for The essential words to notice in that understanding the nature of Williams’s quote are cannot be, is, and crisis. This crisis. This idea of divided loyalties within crisis is intense, and the way each poet the self and a sense of division from and confronts it in his verse, Williams argues, within metaphysical reality permeates determines his greatness or mediocrity. Williams’ writing, especially the later “In the poets,” he claims, “the poetic mind works. is the most intense and enduring thing for good or evil, and they must feel such a The Crisis in Williams’s oeuvre conflict, such a revolution and subversion, in their genius. That genius is their soul; The crisis permeates Williams’s the wound is dealt to their soul.” (English work. It is clearly articulated in his second

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book, Poems of Conformity, which was writes: “The simultaneous consciousness published in 1917—the year he got of a controlled universe, and yet of married, and the year he joined the division, conflict, and crises within that Fellowship of the Rosy Cross. The universe, is hardly so poignantly narrative persona of Poems of Conformity expressed in any other English poets reveals a “deeply-divided ego” (Dunning than” in Hopkins and Milton (xiv-xv; 5) where the soul “trod a dangerous cleft,” emphasis mine). Here he uses the same “dropped to separating depths, / And diction as in The English Poetic Mind, drifted there alone” (“Richmond Park,” l. making it absolutely clear that he thought 10, Poems of Conformity 18). the spiritual desolation of these sonnets is Williams’s third book of poetry, the crisis of schism. He goes on to say that Windows of Night, focuses on the poet’s Milton and Hopkins both have a “sense of tormented self-consciousness, bordering division and pain, of summons and effort” on madness. In this volume, says Dunning, and that “Both their imaginations... felt “In addition to the avoidance and the universe as divided within them and repression he uses to keep self- without them” (ibid.). Finally, Williams knowledge in check, he occasionally says that Hopkins has “a passionate relegates problematic aspects of the self intellect which is striving at once to to the ‘not-me’” (Dunning 10, 11). This recognize and explain both the singleness idea of the divided self-consciousness, of and division of the accepted universe….” the not-me, will be of prime importance (xiv-xv; emphasis mine). presently in comparing Williams’s later This seems a pretty fair catalog of poetry to Hopkins’s desolate sonnets. all the diction of despair encountered in The divided consciousness is other parts of Williams’s work: division, personified and dramatized in one of conflict, and crises. Perhaps the most Williams’s late novels, Descent into Hell significant clause is the claim that (1937). The protagonist, Pauline, is Hopkins felt the universe divided both tormented by a doppelganger: perhaps within himself (the split self) and outside the clearest literary expression of a sense of himself (the division from God). of divided self. When she is finally granted Williams’s word choice the courage to face this fear, it turns out characterizes both the ontological nature that the other self is her real self, her and the emotional experience of this sanctified and glorified self, and she finds particular crisis as it was known and felt spiritual healing by unifying with her by the poetic persona. They are quite other half. different from Hopkins’s Ignatian diction of heart, pity, blind, dark, and thirst. They The Schism in Hopkins are more abstract, Latinate, political, and holistic. Even when speaking of Hopkins’s desolate sonnets in The English Poetic Occult Monism in “The Prayers of the Pope” Mind, Williams uses his unique diction: “those sonnets awake our sense of a I speculate that William’s diction capacity for so much suffering that the of an abstract, universal division came only possibility is to ‘not choose not to from the ten years he spent in A.E. Waite’s be’” (English Poetic Mind 198). Hopkins occult Fellowship of the Rosy Cross: a could still choose to believe—or at least Christian, alchemical, cabbalistic, choose not to commit suicide—in the face hermetic society. An essential principle of of the crisis. hermeticism is the idea of In his introduction to the second “correspondence,” a form of monism. edition of Hopkins’s poems, Williams According to the “Emerald Tablet” of

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Hermes Trismagistus, a formative ...everywhere in mind and body document in Rosicrucian thought, “What the terrible schism of identity. is below is like that which is above, and (128-30, 135-36). what is above is similar to that which is below to accomplish the wonders of the Notice the key words here: divide, schism one thing” and “As all things were (twice). The Pope himself is experiencing produced by the mediation of one being, the personal crisis of division within his so all things were produced from this one sense of selfhood, but he is also the locus by adaption.” In other words, all things of a much more terrible division. The are one. The worst crisis, then, is a political, historical division of the Empire division within that unity. represents the human separation from Glen Cavaliero believes this God. Hence, it symbolizes damnation. The concept of crisis was so central to result is the most dreadful catastrophe Williams’s mental and emotional life that that could possibly befall the human race: he was “obsessed” by it (25). Stephen “Against the rule of the Emperor the Dunning examines Williams’s entire body indivisible / Empire was divided; of work and whole system of thought therefore the Parousia suspended / its through the lens of this crisis. Williams coming, and abode still in the land of the works this crisis into the plot, characters, Trinity” (145-7). The sins of Arthur and geography, and diction of his two his kingdom have postponed the second published collections of Arthurian verse, coming of Christ! This is the ultimate Taliessin Through Logres (1938) and The separation: the division of the human race Region of the Summer Stars (1944). from its Creator. One example will suffice. The crisis and its resolution occur in the very Reading Hopkins Through Williams

last poem of The Region of the Summer Since Williams evaluates the : “The Prayers of the Pope.” In this Stars success of poets by how they face and poem, the Byzantine Empire (the setting overcome this schism, it is important to of his Arthurian myth) is falling apart. examine how Williams writes about this Islamic armies are attacking it from crisis in Hopkins’s desolate sonnets. Let without; Christian heresies are splitting it us turn, then, to “My Own Heart” and read apart from within. King Arthur and it as Williams might have done. Lancelot are at war against one another in The concept of the split self is France while Mordred torments the rampant throughout the sonnet. The kingdom of Logres at home. In Rome, a narrator carries on a colloquy with young pope watches all of this and prays himself throughout the poem. Some parts before celebrating the Christmas of this colloquy are self-reflection, and Eucharist: “The Pope saw himself—he some parts are prayer and evidence of sighed and prayed— / as a ruin of the Christ’s comfort. The narrator’s talking to Empire; he died in a foreboding” (ll. 126- himself suggests a bi-partite identity in 7). He pictures himself as a microcosm of which one self occupies the position of the empire and foresees himself/itself insight and has the right to address, split apart as its provinces were divided: cajole, chastise, and encourage the sorrier He felt within himself the themes self. In line 1, “me” needs to have pity on divide, each “my own heart.” There are two selves dreadfully autonomous in its own there: the one having pity, and the one corporeal place, being pitied. In line 2, the “me” needs to its virtue monopolized, its grace be kind to “my sad self.” The heart, then, prized, in schism, is the sad self. In lines 3 and 4, the picture

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becomes more complex: there are two Conclusions tormented minds, one of which (the “me” of lines 1-2, presumably) is tormenting The schism or division that the other. Who is tormenting the Williams saw in Hopkins verse is, in “My tormenter remains an open question. Own Heart,” represented by the two The sestet introduces a shift to a “Betweenpie mountains.” Picture one sweeter, softer tone. The sad-self-heart mountain to the north, one to the south, becomes the “Soul” and the “Jackself.” each signifying one half of the split self. There are, then, two selves within the But the two halves are in colloquy, speaker, in colloquy with each other and creating a rainbow-bridge in the sky with God, Who has the power to “let” one between them. This rainbow is God’s pity the other. The first self is “Me” and smile, which unites the two. It is not “I”: the other is the soul-self-heart- “wrung”: it is one “lovely mile.” Jackself. Both have tormented minds. Yet Similarly, “The Prayers of the it is clear that the Me/I self is the Ignatian Pope” ends with a “hope” that God will advisor, pointing the Jackself’s attention “Bestow now the double inseparable towards God’s smile. wonder, / the irrevocable union.” Notice As noted above, self is mediating that both poems end with hope of a future with self as if the divided self, or at least resolution to their desolation. In “My Own one half of it, has become a wise spiritual Heart,” the directing self is advising the director. Except for the three references Jackself to take comfort; the Jackself has to torment, however, Hopkins’s narrator’s not yet done so. In “The Prayers of the divided self does not seem the same as Pope,” the prayer has not yet been the “not-me” bordering on madness that answered. But notice, too, that “My Own haunts Williams’s early verse (Dunning Heart” ends in the present tense: God’s 11). Instead, is more like the divided Pope smile already lights a lovely mile, here at the end of Williams’s poem, praying for and now. “The Prayers of the Pope” ends hope in the form of “a promulgation of in the past tense, where “The gnosis of sacred union.” separation in the Pope’s soul / had It would seem, then, from become”—already—“a promulgation of Williams’s point of view, that Hopkins sacred union” and the “consuls and lords faced up to the great crisis of schism, within the Empire” already “felt the wrote his way through it in the form of Empire / revive in a live hope.” the narrative persona in the desolate In conclusion, while Williams sonnets, and took his place within the shows no direction connection to Ignatian canon of English poets through his spirituality, he did absorb some of that particular kind of spiritual courage. It ethos via a trickle-down effect: Ignatian took courage to seem a stranger, look that desolation is the most important kind of carrion comfort Despair in the face, desolation Hopkins deals with in his wrestle with God to a pitch past pitch of sonnets, which in turn makes his sonnets grief, and still not chose not to be. stronger. Williams, encountering these sonnets, strengthens his poetry, expresses his own schism in verse, and possibly finds consolation, as well. Both poets end these poems in hope, pointing beyond the split existence of the here and now to an eternal, consolatory unity.

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Works Cited - - - . The Sermons and Devotional Writings of Gerard Manley Hopkins. Ed. Christopher Devlin. London: Oxford Borchet, Donald M. editor-in-chief. University Press, 1959. Print. Encyclopedia of Philosophy, 2nd ed, vol 3. Farmington Hills, MI: Thomson Johnson, Wendell Stacy. Gerard Manley Gale, 2006. Print. 503. Hopkins: The Poet as Victorian. Ithica, NY: Cornell, 1968. Print. Bump, Jerome. Gerard Manley Hopkins. Boston: Twayne Publishers, 1982. Lindop, Grevel. “Charles Williams and the Print. Poetic Mind.” Address to the Annual General Meeting of the Charles Cavaliero, Glen. Charles Williams: Poet of Williams Society. Message to the Theology. Grand Rapids, MI: author. 22 July 2007. E-mail. Eerdmans, 1983. Print. Ridler, Anne. Introduction to Charles Williams: Cotter, James Finn. Inscape: The Christology The Image of the City and Other and Poetry of Gerard Manley Hopkins. . Berkeley, CA: Apocryphile Pittsburgh: University of Pittsburgh, Essays Press, 2007. Print. 1972. Print. Williams, Charles. Introduction to Poems of Downes, David A. Gerard Manley Hopkins: A Gerard Manley Hopkins, 2nd ed.. Study of His Ignatian Spirit. New York: Robert Bridges, ed. Oxford UP, 1933. Bookman Associates, 1959. Print. Print. Dunning, Stephen. The Crisis and the Quest: A - - - . The English Poetic Mind. NY: Russell & Kierkegaardian Reading of Charles Russell, 1963. Print. Williams. Milton Keynes, UK: Paternoster Press, 1999. Print. - - - . The Image of the City. Anne Ridler, ed. Berkeley, CA: Apocryphile Press, “The Emerald Tablet of Hermes.” Trans. 2007. Print. Madame Blavatsky. Internet Sacred Texts Archive. sacred-texts.com. © - - - . Letters to Lalage: The Letters of Charles copyright 2010, John Bruno Hare. Williams to Lois Lang-Sims. Kent State Web. 10/28/2011. UP, 1989. Hadfield, Alice Mary. Charles Williams: An - - -. To Michal from Serge: Letters from Charles Exploration of His Life and Work. Williams to his wife, Florence, 1939- Oxford UP, 1983. Print. 1945. Roma King, Jr., ed. Kent & London: The Kent State UP, 2002. Harris, Daniel A. Inspirations Unbidden: The Print. Terrible Sonnets of Gerard Manley Hopkins. Berkeley: University of - - -. Poems of Conformity. Oxford UP, 1917. California Press, 1982. Print. Print. Hewison, Robert. Under Siege: Literary Life in - - - . The Silver Stair. London: Herbert & London 1939-1945. NY: Oxford Daniel, 1912. Print. University Press, 1977. Print. - - - . Windows of Night. Berkeley, CA: The Hopkins, Gerard Manley. Correspondence with Apocryphile Press, 2007. Print. . 1935. Ed. Williams, Charles & C. S. Lewis. Taliessin Claude Colleer Abbot. London: through Logres; The Region of the Oxford University Press, 1955. Print. Summer Stars; Arthurian Torso. Grand - - - . The Letters of Gerard Manley Hopkins to Rapids, MI: Eerdmans, 1974. Print. Robert Bridges. 1935. Ed. Claude Colleer Abbott. London: Oxford University Press, 1955. Print. - - - . Poems. 3rd ed. Ed. W.H. Gardner. New York: Oxford University Press, 1948. Print.

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