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Poems for study » Carrion Comfort » Structure and versification in Carrion Comfort

An expanded sonnet

The sonnet form has been expanded from the regular pentameter pattern to a hexameter. Sometimes this has been called the alexandrine, technically a 12 syllable line. Many lines here are 12 or 13 syllables in length, but a number are significantly longer, and thus the term is best avoided of this sonnet. The sentence structure goes very tightly with the quatrain/tercet structure.

Counterpointing

However, there are significant enjambements, setting up strong counterpointing especially in the second quatrain and second tercet. This is where Hopkins’ own agony cannot be contained in the set lines of the sonnet and spills over. Caesurae are apparently dotted haphazardly, again giving the idea of broken-up lines, which are not able to hold a regular pattern.

Metre

The metre begins as predominantly falling, with the dramatic stress on the first word ‘Not’, an unusual word to stress, re-enforcing Hopkins’ emphasis by a second ‘Not’ beginning the following line. The third line appears to begin with two unstressed syllables, but, according to Hopkins’ sprung rhythm, the foot really begins with the previous ‘man’ and the two unstressed syllables follow that, to make the dactyl. The same thing can be done in l.7, taking the first two unstressed syllables back to the previous ‘scan’, and in ll.8,13,14.

Investigating Carrion Comfort
  • Try reading the sonnet very slowly, taking long pauses at the question marks.
    • Do you find your voice naturally adopts any particular tone or voice.
    • Does this help to bring out Hopkins’ own emotions?
  • Overall, would you say that this was a cry for help, or a particularly honest description of a certain state of mind and spirit?
A sonnet is a poem with a special structure. It has fourteen lines, which are organised in a particular manner, usually characterised by the pattern of rhyming, which changes as the ideas in the poem evolve.
A line containing five stressed syllables or feet.
A line of poetry containing six feet or stresses (beats).
A line of verse containing twelve syllables.
The smallest sound fragment of a word, consisting of one vowel sound, with attached consonants if any.
A 4-line stanza, usually rhyming.
A 3-line unit of verse, usually forming part of a sestet. Sometimes it rhymes within itself, sometimes it has the same rhyme scheme as a following tercet.
The technique used in blank verse and other verse forms in which the sense of a line runs on without a pause to the next one; this often gives a sense of greater fluency to the lines.
In music, the playing of two tunes at the same time, allowing them to interweave. In poetry, the use of two rhythms at the same time, for example, one being based on the metre, and one on the grammatical structure of the sentence.
The smallest sound fragment of a word, consisting of one vowel sound, with attached consonants if any.
A term given by Gerard Manley Hopkins to his versification. It does have a regular basic metre, but contains additional feet or outriders and other planned irregularities.
A unit of metre or foot, consisting of a stressed syllable followed by two unstressed ones. It is thus a falling metre, like the trochaic.

Not, I'll not, carrion comfort, Despair, not feast on thee;
Not untwist--slack they may be--these last strands of man
In me ór, most weary, cry I can no more. I can;
Can something, hope, wish day come, not choose not to be.
But ah, but O thou terrible, why wouldst thou rude on me
Thy wring-world right foot rock? lay a lionlimb against
me? scan
With darksome devouring eyes my bruisèd bones? and fan,
O in turns of tempest, me heaped there; me frantic to
avoid thee and flee?

Why? That my chaff might fly; my grain lie, sheer
and clear.
Nay in all that toil, that coil, since (seems) I kissed the rod,
Hand rather, my heart lo! lapped strength, stole joy,
would laugh, chéer.
Cheer whom though? the hero whose heaven-handling
flung me, fóot tród
Me? or me that fought him? O which one? is it each
one? That night, that year
Of now done darkness I wretch lay wrestling with (my
God!) my God.

 
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