Abstract
On 10 February 1888 Gerard Manley Hopkins sat down to write to his friend Robert Bridges. It appeared that neither Bridges nor the two poets’ mutual friend, Canon Dixon, had been able to make much sense of the poem ‘Tom’s Garland’, which Hopkins had enclosed with a previous letter. Explanations were therefore needed, and Hopkins was anxious to supply them. He wrote:
It means then that, as St Paul and Plato and Hobbes and everybody says, the commonwealth or well ordered human society is like one man; a body with many members and each its function; some higher, some lower, but all honourable, from the honour which belongs to the whole. The head is the sovereign, who has no superior but God and from heaven receives his or her authority: we must then imagine the head as bare (see St Paul much on this) and covered, so to say, only with the sun and stars, of which the crown is a symbol, which is an ornament but not a covering; it has an enormous hat or skull cap, the vault of heaven. The foot is the daylabourer, and this is armed with hobnail boots, because it has to wear and be worn by the ground; which again is symbolical; for it is navvies or daylabourers who disfigure, ‘mammock’ the earth and, on a small scale, singly and superficially stamp it with their footprints. And the ‘garlands’ of nails they wear are therefore the visible badge of the place they fill, the lowest in the commonwealth. But this place still shares the common honour, and if it wants one advantage, glory or public fame, makes up for it by another, ease of mind, absence of care; and these things are symbolised by the gold and iron garlands. (O, once explained, how clear it all is!) Therefore the scene of the poem is laid at evening, when they are giving over work and one after another pile their picks, with which they earn their living, and swing off home, knocking sparks out of mother earth not now by labour and of choice but by the mere footing, being strongshod and making no hardship of hardness, taking all easy. And so to supper and bed. Here comes a violent but effective hyperbation or suspension, in which the action of the mind mimics that of the labourer — surveys his lot, low but free from care; then by a sudden strong act throws it over the shoulder or tosses it away as a light matter. The witnessing of which lightheartedness makes me indignant with the fools of Radical Levellers. But presently I remember that this is all very well for those who are in, however low in, the Commonwealth and share in any way the Common weal; but that the curse of our times is that many do not share it, that they are outcasts from it and have neither security or splendour; that they share care with the high and obscurity with the low, but wealth or comfort with neither. And this state of things, I say, is the origin of Loafers, Tramps, Cornerboys, Roughs, Socialists and others pests of society.1
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Notes
For an account of the Conservative party’s attempts in the 1880s to launch an’ single-nation’ Toryism see my essay on ‘Conservatism and Revolution in the 1880s’ in John Lucas (ed.), Literature and Politics in the Nineteenth Century (London: Methuen, 1971 and 1974) esp. pp. 173–82.
The best general study is still F. W. Burrow, Evolution and Society, (Cambridge: Cambridge University Press, 1966.)
For a detailed discussion of these novels see my essay, ‘Conservatism and Revolution,’ op. cit. For a very different fictionalised view of the riots, see Margaret Harkness (‘John Law’), Out of Work (London: Merlin Press reprint 1990)
There is a good account of the march and its aftermath in C. Tsuzuki, H. M. Hyndman and British Socialism (London: Oxford, 1961) pp. 73–4.
The best account of the events of these years is to be found in E. P. Thompson, William Morris: Romantic to Revolutionary (London: Merlin Press, revised edn 1977) pp. 393–403.
Gerald Roberts (ed.) G. M. Hopkins: Selected Prose (Oxford: Oxford University Press, 1980) pp. 157–8.
Coventry Patmore, ‘A Prefatory Study in English Metrical Law’ [1856], Collected Poems (London: George Bell and Son, 1886).
Walt Whitman, ‘Democratic Vistas’ in Walt Whitman, Prose Works, 1892 ed. Floyd Stoval (New York: New York University Press, 1964) pp. 361–426.
R. K. R. Thornton (ed.), Poetry of the Nineties (Harmondsworth: Penguin, 1970) p. 58.
Max Nordau, Degeneration (London: Heinemann, 1895). See esp pp. 17–19.
Arthur Symons, The Symbolist Movement in Literature, (New York: E. P. Dutton, 1958) p. 47.
W. B. Yeats, Autobiographies (London: Macmillan, 1955) p. 318.
Arthur Symons, Figures of Several Centuries (London: Constable, 1916) pp. 368–9.
Clive Scott, ‘Symbolism, Decadence and Impressionism’, in M. Bradbury and J McFarlane (eds), Modernism (Harmondsworth: Penguin, 1976) p. 215.
Arthur Symons, London: A Book of Aspects (Minneapolis: privately printed by Edmund D. Brooks, 1908) p. 66.
Arthur Symons, London Nights (London: Leonard Smithers, 1895).
George Moore, A Mummer’s Wife (London: Vizetelly and Co., 1887) p. 86.
Although I cannot accept Linda Dowling’s argument that Symons persuasively insists upon ‘the visceral, animal knowledge of the blood’ as a way of ‘challenging verbal language’ I do accept that this may well be an intention of such poems as ‘Nora on the Pavement’. But the intention is undermined by the poem’s self-reflexiveness, its ability to escape from Symons’s own condition as spectator. See Linda Dowling, Language and Decadence in the Victorian Fin de Siècle (Princeton, New Jersey: Princeton University Press, 1989) p. 219.
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© 1992 John Lucas
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Lucas, J. (1992). Hopkins and Symons: Two Views of the City. In: Fin de Siècle/Fin du Globe. Warwick Studies in the European Humanities. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-22421-0_4
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