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God's grandeur analysis
God’s grandeur analysis
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“God’s Grandeur” by Gerard Manly Hopkins
As a Jesuit priest, Gerard Manly Hopkins devoted many years of his life to spiritual study and instruction. As seen in his poem “God’s Grandeur”, Hopkins translated his intense spirituality into poems that explore the relationship between humans and the natural world as an expression of God’s divinity. In the poem, Hopkins presents the Victorian fixation on progress and change not as an improvement, but rather as a regression from a constructive communion with God’s glory as found in the natural world. Despite Hopkins’ negative view on the impact of man’s progression, he remains confident and appreciative of the protective power of God and the inexhaustibility of nature as further expression of God’s glory.
Hopkins sees the world as evidence of the grandeur of God. The “God’s Grandeur” of the title seems an abstract concept, yet with the opening line, “The world is charged with the grandeur of God,” Hopkins takes the earth itself to be a concrete manifestation of God’s magnificence (1). The word “charged” here assumes dual meanings. The world is “charged” with the responsibility to attest to God’s grandeur. Within the context of the technological innovations of the nineteenth century, “charged” also assumes the sense of an electrical power or force. In an age when men were discovering astounding uses for electrical energy, Hopkins reminds his audience that God is the source of such power through his use of a newly scientific term in reference to the world that attests to God’s, not man’s, majesty.
Tying to the idea of electrical energy, Hopkins continues identifying the world, the testimony of God’s grandeur, with powerful sources of light and heat...
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... When considered within the context of this comparison, men define a unique position, both powerful in physically possessing the earth, but in a larger scope, subservient as worshippers of a caring God.
Considering his poetry to be a celebration of the divine, Hopkins presents “God’s Grandeur” as a meditation on the world as a manifestation of God’s glory. Within this scope of this world, Hopkins comments on the role of men, specifically his contemporaries, warning against the obsessive pursuit of progress, which can in fact divide man from the presence of God’s grandeur. Ultimately, Hopkins celebrates the presence of God and the individual role in the divine.
Works Cited
Hopkins, Gerard Manley. “God’s Grandeur.” The Norton Anthology of English Literature. Ed. M. H. Abrams, Stephen Greenblatt, et al. New York: W. W. Norton & Co. 2000. 1651.
Anonymous, “Sir Gawain and the Green Knight” in The Norton Anthology of English Literature, eds. Abrams, et al. (New York: Norton, 1993), 200.
God and the suffering He seems to allow is the paradoxical question posed since the start of religion. Philosophy and literature alike have long struggled with the issue, and poet Countee Cullen takes yet another crack at it in the poem “Yet Do I Marvel”. Cullen uses rhyme, classical allusion, and Shakespearean sonnet form in “Yet Do I Marvel” to exhibit God’s paradoxical nature and purpose the true marvel is in the miracles of life.
We have spent a good deal of this semester concentrating on the sublime. We have asked what (in nature) is sublime, how is the sublime described and how do different writers interpret the sublime. A sublime experience is recognizable by key words such as 'awe', 'astonishment' and 'terror', feelings of insignificance, fractured syntax and the general inability to describe what is being experienced. Perception and interpretation of the sublime are directly linked to personal circumstance and suffering, to spiritual beliefs and even expectation (consider Wordsworth's disappointment at Mont Blanc). It has become evident that there is a transition space between what a traveler experiences and what he writes; a place wherein words often fail but the experience is intensified, even understood by the traveler. This space, as I have understood it, is the imagination. In his quest for spiritual identity Thomas Merton offers the above quotation to illustrate what he calls 'interpenetration' between the self and the world. As travel writers engage nature through their imagination, Merton's description of the 'inner ground' is an appropriate one for the Romantic conception of the imagination. ...
This paper is a discussion of the role played by the ideals of the Enlightenment in the invention and assessment of artifacts like the electric battery. The first electric battery was built in 1799 by Alessandro Volta, who was both a natural philosopher and an artisan-like inventor of intriguing machines. I will show that the story of Volta and the battery contains three plots, each characterized by its own pace and logic. One is the story of natural philosophy, a second is the story of artifacts like the battery, and the third is the story of the loose, long-term values used to assess achievement and reward within and outside expert communities. An analysis of the three plots reveals that late eighteenth-century natural philosophers, despite their frequent celebration of 'useful knowledge,' were not fully prepared to accept the philosophical dignity of artifacts stemming from laboratory practice. Their hesitation was the consequence of a hierarchy of ranks and ascribed competence that was well established within the expert community. In order to make artifacts stemming from laboratory practice fully acceptable within the domain of natural philosophy, some important changes had yet to occur. Still, the case overwhelmingly shows that artifacts rightly belong to the long and varied list of items that make up the legacy of the Enlightenment.
“All experiences shone differently because a God glowed from them; all decisions and prospects concerning the different as well, for one had oracles and secret signs and believed in prophecy. ‘Truth’ was formerly experienced differently because the lunatic could be considered its mouthpiece”
Lane, C, Belden.. "JONATHAN EDWARDS ON BEAUTY, DESIRE, AND THE SENSORY WORLD." Theological Studies 1(2004):44. eLibrary. Web. 17 Jan. 2012.
Kevin Killeen and Peter J. Forshaw. "The Word and the World." Biblical Exegesis and Early Modern Science, 220-225.
While we possess thee, thy changes ever lovely, thy vernal airs or majestic storms, thy vast creation spread at our feet, above, around us, how can we call ourselves unhappy? There is a brotherhood in the growing, opening flowers, love in the soft winds, repose in the verdant expanse, and a quick spirit of happy life throughout, with which our souls hold glad communion; but the poor prisoner was barred from these: how cumbrous the body felt, how alien to the inner spirit of man, the fleshy bars that allowed it to become slave of his fellows
Otto, Rudolf. The Idea of the Holy. Trans. John W. Harvey. New York: Oxford UP, 1958. Print.
Abrams, M.H., et al. ed. The Norton Anthology of English Literature. 6th ed. 2 Vols. New York: Norton, 1993.
———. Their Eyes Were Watching God. 2006. Reprint, New York: Harper Perennial: Modern Classics, 1937.
Edward Taylor’s Upon Wedlock, and Death of Children and Upon a Wasp Chilled with Cold are similar in their approach with the illustration of how beautiful and magnificent God’s creations are to humankind. However, each poem presents tragic misfortune, such as the death of his own children in Upon Wedlock, and Death of Children and the cold, enigmatic nature of human soul in Upon a Wasp Chilled with Cold. Taylor’s poems create an element of how cruel reality can be, as well as manifest an errant correlation between earthly life and spiritual salvation, which is how you react to the problems you face on earth determines the salvation that God has in store for you.
Despite Dylan Thomas’ often obscure images, he expresses a clear message of religious devotion in many of his poems. He creates images that reflect God’s connection with the earth and body. In “And death shall have no dominion,'; Thomas portrays the redemption of the soul in death, and the soul’s liberation into harmony with nature and God. Thomas best depicts his beliefs, though abstract and complicated, to the reader with the use of analogies and images of God’s presence in nature. Appreciating the virtue of humility in “Shall gods be said to thump the clouds,'; Thomas associates God with thunder, rainbows, and night only to remind us that He is even more present in a simple stone as He is in other great entities. In “The force that through the green fuse drives the flower,'; Thomas again makes the connection of body and earth, implying that there is only one holy force that has created all motion and life on this planet. This force, because it is so pure and boundless, is present in the shadows and poverty of our world, as depicted in “Light breaks where no sun shines.'; God’s sacred presence in the body and earth is the ultimate theme within these chosen poems.
...near the earthly warmth and materialistic passions and to coagulate and fall if near the heavenly chill and spiritual abstinence. By repeatedly manipulating this image pattern of the clouds as the medium between heaven and earth, Joyce tirelessly illustrate the nature of artistry as the compromise between the abstemious religion and the materialistic agnosticism.
Abrams, M.H., ed. The Norton Anthology of English Literature. 6th ed. Vol. 2. New York: Norton, 1993.