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By Willems, Brian; Heidegger, Martin; Hopkins, Gerard Manley

Hopkins and Heidegger is a brand new exploration of Gerard Manley Hopkins' poetics during the paintings of Martin Heidegger. extra noticeably, Brian Willems argues that the paintings of Hopkins does not less than suggest recommendations to a couple of hitherto unresolved questions relating to Heidegger's later writings, vitalizing the techniques of either writers past their neighborhood contexts. Willems examines a few cross-sections among the poetry and considered Hopkins and the philosophy of Heidegger. whereas neither author ever without delay addressed the other's paintings - Hopkins died the yr Heidegger used to be born, 1899, and Heidegger by no means turns his innovations on poetry to the Victorians - a few similarities among the 2 were famous yet by no means fleshed out. Willems' readings of those cross-sections are targeted on Hopkins' innovations of 'inscape' and 'instress' and round Heidegger's examining of either appropriation (Ereignis) and the fourfold (das Geviert). This research might be of curiosity to students and postgraduates in either Victorian literature and Continental philosophy.

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Extra info for Hopkins and Heidegger

Sample text

Man’ is just as removed from the real as darkness, night and stars are, because all of them are images. And this brings the argument back to ‘man, who is called the image of God’ (my emphasis). It is ‘man’ who calls ‘man’ the image of God – humanity calls itself the image because it has turned the image, which has become a screen, into an easier-to-understand linear representation. In other 22 Hopkins and Heidegger words, in order to understand the image that has become too difficult to comprehend, humanity has called itself into action by putting the image into words.

The rope seems to be pulling down, but it also saves one from falling: it is both the problem and its solution. What is enacted here is a movement similar to the greeting described above, in which in order to be open one first has to fail, to be afraid, or in the words of the stanza above, ‘a drift’. An editorial decision made by Robert Bridges (and repeated in most standard editions of Hopkins’ poems), actually detracts from this sense of steep peril. In the second to last line, as R. J. C. Watt reports, the word ‘flanks’ is, in the surviving manuscripts (the original is lost), actually ‘planks’.

317) Literary critic Terry Eagleton has developed a similar (although more two-dimensional) reading of the ‘fall’ in Hopkins. In his essay ‘Nature and the Fall in Hopkins’, Eagleton, looking at the early poem of Hopkins’ ‘Spring’, writes the lines dexterously avoid equating Nature as it is with unfallenness, while at the same time contrasting it favourably with man’s tendency to sin. Moreover, the sense of this strained, fragile survival within nature then leads on to a suggestion of how likely the Eden of man’s own past – his childhood – is to sour .

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