“Spring” by Gerard Manley Hopkins: A Critical Analysis

“Spring” by Gerard Manley Hopkins first appeared in 1918 in the collection Poems of Gerard Manley Hopkins, edited by Robert Bridges.

Introduction: “Spring” by Gerard Manley Hopkins

Table of Contents

“Spring” by Gerard Manley Hopkins first appeared in 1918 in the collection Poems of Gerard Manley Hopkins, edited by Robert Bridges. This vibrant poem, written in 1877, showcases Hopkins’s signature sprung rhythm and innovative use of language. It captures the essence of spring’s renewal and the exuberance of nature through vivid imagery and sound devices. The poem’s religious undertones reflect Hopkins’s devout faith, as he marvels at God’s creation and urges the reader to praise Him. “Spring” stands as a testament to Hopkins’s unique poetic style and his ability to evoke a profound sense of awe and wonder in the reader.

Text: “Spring” by Gerard Manley Hopkins

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.

Annotations: “Spring” by Gerard Manley Hopkins

Line	Annotations
Nothing is so beautiful as Spring –	Hyperbolic opening establishes the beauty and supremacy of spring.
When weeds, in wheels, shoot long and lovely and lush;	Alliteration (“weeds,” “wheels”) and assonance (“long,” “lovely”) highlight the visual and tactile abundance of the season. “Wheels” suggests the cyclical nature of growth.
Thrush’s eggs look little low heavens, and thrush	Metaphor compares thrush eggs to miniature skies, emphasizing their beauty and potential. The repetition of “thrush” creates a sense of musicality and anticipation.
Through the echoing timber does so rinse and wring	The thrush’s song “rinses and wrings” the ear, suggesting its powerful effect. “Echoing timber” highlights the resonating sound of the bird’s call.
The ear, it strikes like lightnings to hear him sing;	Simile compares the impact of the thrush’s song to the sudden, electrifying strike of lightning.
The glassy peartree leaves and blooms, they brush	Visual imagery of the pear tree’s leaves and flowers brushing against the blue sky. “Glassy” suggests the reflective quality of the leaves.
The descending blue; that blue is all in a rush	The sky’s blue descends, filled with the “rush” of spring’s vibrant energy and the richness of its beauty.
With richness; the racing lambs too have fair their fling.	The lambs, like everything else in spring, are full of energy and joy, participating in the season’s abundance.
What is all this juice and all this joy?	A rhetorical question inviting reflection on the source and meaning of the overwhelming beauty and vitality of spring.
A strain of the earth’s sweet being in the beginning	Spring is described as a “strain” or echo of the original beauty and purity of the Garden of Eden.
In Eden garden. – Have, get, before it cloy,	The speaker urges the reader to seize and appreciate the beauty of spring before it becomes overwhelming or spoiled.
Before it cloud, Christ, lord, and sour with sinning,	The speaker turns to Christ, acknowledging the threat of sin and decay that can spoil innocence and joy. “Cloud” suggests the potential for darkness to overshadow the brightness of spring.
Innocent mind and Mayday in girl and boy,	The speaker desires to preserve the innocence of children, symbolized by “Mayday,” a celebration of spring and renewal.
Most, O maid’s child, thy choice and worthy the winning.	The speaker appeals to Christ, the “maid’s child,” to protect and preserve innocence, recognizing that it is the most valuable and “worthy the winning” of all things.

Literary And Poetic Devices: “Spring” by Gerard Manley Hopkins

Device	Example	Explanation	Function
Alliteration	“When weeds, in wheels”	Repetition of the initial consonant sounds “w” in “weeds” and “wheels.”	Creates a musical effect and emphasizes the lushness and vitality of spring.
Allusion	“Eden garden”	Reference to the Garden of Eden from the Bible.	Connects the beauty of spring to the divine and perfect state of nature before the Fall.
Anadiplosis	“Thou, lord, and sour with sinning, / Innocent mind”	Repetition of the word “sinning” at the end of one line and “Innocent” at the beginning of the next.	Creates a link between the ideas of sin and innocence, highlighting the contrast.
Anaphora	“Have, get, before it cloy, / Before it cloud”	Repetition of “before it” at the beginning of consecutive lines.	Emphasizes the urgency and the fleeting nature of spring’s beauty.
Assonance	“Thou, lord, and sour with sinning”	Repetition of the vowel sound “o” in “lord” and “sour.”	Creates a musical quality and emphasizes the contrast between the purity of spring and human sin.
Caesura	“In Eden garden. – Have, get”	A pause in the middle of a line, indicated by the dash.	Creates a natural break in the line, emphasizing the shift from description to invocation.
Consonance	“The glassy peartree leaves and blooms, they brush”	Repetition of the consonant sound “s” in “glassy,” “peartree,” “leaves,” and “blooms.”	Adds to the musicality and fluidity of the line, reflecting the gentle movement of spring.
Enjambment	“Through the echoing timber does so rinse and wring / The ear, it strikes like lightnings to hear him sing;”	The continuation of a sentence without a pause beyond the end of a line.	Creates a sense of continuity and fluidity, mirroring the flow of the thrush’s song.
Hyperbole	“Strikes like lightnings”	Exaggeration of the effect of the thrush’s song.	Emphasizes the powerful and electrifying impact of the bird’s song.
Imagery	“The glassy peartree leaves and blooms, they brush / The descending blue”	Vivid description appealing to the senses.	Creates a clear and beautiful picture of the spring scene, enhancing the reader’s experience.
Internal rhyme	“When weeds, in wheels”	Rhyme within the same line.	Adds to the musicality and rhythm of the poem.
Metaphor	“Thrush’s eggs look little low heavens”	Comparison of thrush’s eggs to little heavens without using “like” or “as.”	Highlights the beauty and perfection of nature in spring.
Onomatopoeia	“rinse and wring”	Words that imitate the sound they describe.	Adds auditory imagery, making the scene more vivid and engaging.
Oxymoron	“innocent mind and Mayday”	Combination of contradictory terms “innocent” and “Mayday” (a distress signal).	Highlights the contrast between purity and the impending loss of innocence.
Paradox	“Before it cloud, Christ, lord, and sour with sinning”	A statement that appears contradictory but reveals a deeper truth.	Suggests the fleeting nature of innocence and purity, which can be marred by sin.
Personification	“The descending blue; that blue is all in a rush”	Giving human qualities to non-human things.	Enhances the vividness and liveliness of the spring scene.
Simile	“it strikes like lightnings”	Comparison using “like” or “as.”	Emphasizes the sudden and powerful impact of the thrush’s song.
Symbolism	“Thrush’s eggs”	Use of an object to represent a larger idea.	Represents new life and the potential of spring.
Synesthesia	“echoing timber”	Description of one sense in terms of another (hearing described in terms of timber).	Enhances the sensory experience and richness of the imagery.
Zeugma	“they brush / The descending blue”	A figure of speech where a word applies to multiple parts of the sentence.	Creates a compact and efficient way of describing the interaction between the leaves and the sky.

Themes: “Spring” by Gerard Manley Hopkins

The Beauty of Nature: Hopkins vividly captures the splendor of the natural world in spring. The poem opens with the line, “Nothing is so beautiful as Spring,” setting the tone for a celebration of nature’s rebirth. The imagery of “weeds, in wheels, shoot long and lovely and lush” and “Thrush’s eggs look little low heavens” emphasizes the freshness and visual delight of the season. This theme underscores the idea that nature, in its purest form, is a manifestation of divine beauty, worthy of admiration and reflection. Hopkins’ use of rich, sensory language allows readers to experience the lushness and vitality of spring firsthand.
The Fleeting Nature of Innocence: The poem juxtaposes the transient beauty of spring with the concept of innocence, suggesting that both are ephemeral. Hopkins writes, “Have, get, before it cloy, / Before it cloud, Christ, lord, and sour with sinning,” indicating that the purity of spring and innocence must be cherished before they are tainted by sin. This theme highlights the inevitability of change and the loss of innocence, urging readers to appreciate the present moment. The reference to “Eden garden” alludes to the biblical fall of man, reinforcing the idea that innocence is fleeting and must be protected.
The Divine in the Natural World: Hopkins often explores the presence of the divine in nature, a theme evident in “Spring.” The poem likens natural phenomena to heavenly attributes, such as in the line “Thrush’s eggs look little low heavens.” This comparison suggests that the beauty of nature is a reflection of God’s creation. The invocation of “Christ, lord” towards the end of the poem further reinforces the connection between the natural and the divine. Hopkins implies that the joy and vibrancy of spring are expressions of God’s love and creativity, inviting readers to see the sacred in the everyday.
Joy and Renewal: The poem exudes a sense of joy and renewal, characteristic of spring. The lively imagery of “The glassy peartree leaves and blooms, they brush / The descending blue; that blue is all in a rush / With richness” captures the exuberance of the season. The “racing lambs” having “fair their fling” symbolizes the boundless energy and renewal that spring brings. This theme emphasizes the cyclical nature of life, where spring represents a time of rebirth and new beginnings. Hopkins’ celebration of spring’s “juice and all this joy” suggests that renewal and joy are integral to the human experience, mirroring the natural world’s cycles.

Literary Theories and “Spring” by Gerard Manley Hopkins

Literary Theory	References from the Poem	Critique
New Criticism (Formalism)	– Sprung rhythm (irregular stress patterns) – Alliteration and assonance (“weeds, in wheels”; “long, lovely, and lush”) – Vivid imagery (“Thrush’s eggs look little low heavens”) – Metaphor (“strikes like lightnings to hear him sing”)	Focuses on the poem’s intricate form and sound devices, highlighting its musicality and evocative imagery. Neglects historical context and authorial intent, potentially limiting a broader understanding of the poem’s themes.
Ecocriticism	– Celebration of nature’s beauty and vitality (“Nothing is so beautiful as Spring”) – Imagery of flourishing plant and animal life (“weeds…shoot long and lovely and lush”; “racing lambs”) – Religious undertones of Edenic imagery	Emphasizes the poem’s engagement with the natural world and its underlying spiritual dimension. May overlook the poem’s broader thematic concerns about innocence, sin, and redemption.
Psychoanalytic Criticism	– Focus on innocence and the threat of its loss (“Have, get, before it cloy…sour with sinning”) – Religious imagery as a projection of psychological states (Eden, Christ) – Appeal to Christ for protection of innocence	Explores the poem’s underlying anxieties about sin and decay, suggesting a subconscious desire for purity and redemption. May neglect the poem’s formalistic achievements and ecological concerns in favor of a psychological interpretation of its themes.

Critical Questions about “Spring” by Gerard Manley Hopkins

How does Hopkins’s use of sound and form contribute to the poem’s meaning?
Hopkins’s innovative use of sprung rhythm and alliteration creates a symphony of sound that mirrors the vibrancy and unpredictability of spring. The irregular stress patterns in lines like “weeds, in wheels, shoot long and lovely and lush” mimic the natural world’s wild growth, while the alliteration of “w” sounds amplifies the sense of abundance. This auditory experience immerses the reader in the dynamic energy of the season, making it a fully embodied encounter rather than just a visual one.
How does the poem explore the tension between beauty and decay?
“Spring” is a delicate dance between celebrating nature’s fleeting beauty and acknowledging the ever-present shadow of decay and sin. The speaker revels in the “juice and joy” of the season but also urges the reader to “have, get, before it cloy,” recognizing that beauty is transient. This tension is heightened by the religious imagery of Eden, evoking a paradise lost and the potential for corruption. Hopkins thus captures the bittersweet reality of existence, where beauty and joy are always tinged with the awareness of their impermanence.
What is the significance of the concluding appeal to Christ?
The concluding appeal to Christ, the “maid’s child,” serves as a plea for divine intervention to preserve innocence and beauty. The speaker recognizes the vulnerability of “innocent mind and Mayday in girl and boy” to the “souring” effects of sin. By invoking Christ, the embodiment of purity and redemption, Hopkins suggests a hope for spiritual renewal and the possibility of transcending the cycle of decay. This appeal adds complexity to the poem, highlighting the conflict between earthly joys and the longing for eternal salvation.
How does the Edenic imagery contribute to the poem’s themes?
The Edenic imagery in “Spring” is a double-edged sword, simultaneously celebrating the vibrancy of nature and lamenting its loss of pristine innocence. By evoking the Garden of Eden, Hopkins creates a sense of nostalgia for a lost paradise, where nature existed in perfect harmony. This imagery enhances the poem’s celebration of spring’s beauty but also introduces a melancholic undertone. The reader is reminded that the world is no longer Eden, and the joy of the present moment is tempered by the awareness of a fallen world.

Literary Works Similar to “Spring” by Gerard Manley Hopkins

“To Autumn” by John Keats
A rich and detailed celebration of the autumn season, Keats’ poem captures the beauty and abundance of nature, akin to Hopkins’ depiction of spring.
“Lines Written in Early Spring” by William Wordsworth
This poem reflects on the harmony and beauty of nature, as well as the deep connection between the natural world and human emotion, much like Hopkins’ “Spring.”
“I Wandered Lonely as a Cloud” by William Wordsworth
Wordsworth’s famous poem about the beauty of daffodils and the joy they bring mirrors the appreciation of nature’s beauty found in Hopkins’ “Spring.”
“Pied Beauty” by Gerard Manley Hopkins
Another work by Hopkins, this poem praises the variety and richness of God’s creation, focusing on the unique and beautiful aspects of nature.
“Ode to the West Wind” by Percy Bysshe Shelley
Shelley’s ode explores the transformative power of nature, particularly the wind, and its influence on both the natural world and the poet’s inner life, paralleling the themes of renewal in “Spring.”

Representative Quotations of “Spring” by Gerard Manley Hopkins

Quotation	Context	Theoretical Perspective
“Nothing is so beautiful as Spring”	Opening line of the poem, setting the tone for a celebration of the season’s beauty.	Aestheticism – Emphasizes the appreciation of beauty in nature.
“Thrush’s eggs look little low heavens”	Describing the beauty of thrush’s eggs in spring, comparing them to miniature heavens.	Symbolism – Thrush’s eggs symbolize purity and the divine.
“The glassy peartree leaves and blooms, they brush / The descending blue”	Vivid imagery capturing the interaction of peartree leaves and the sky, emphasizing the richness of spring.	Imagism – Focuses on clear, precise images to evoke sensory experiences.
“A strain of the earth’s sweet being in the beginning / In Eden garden”	Refers to the pure and untainted beauty of spring, likening it to the Garden of Eden.	Biblical Allusion – Connects the natural world’s beauty to religious themes.
“Before it cloud, Christ, lord, and sour with sinning”	A plea to cherish the innocence and beauty of spring before it is tainted by sin.	Religious Allegory – Reflects on the transient nature of innocence and the impact of sin.

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