Glory be to God for dappled things—
For skies of couple-colour as a brinded cow; For rose-moles all in stipple upon trout that swim; Fresh-firecoal chestnut-falls; finches' wings; Landscape plotted and pieced—fold, fallow, and plough; And áll trádes, their gear and tackle and trim. All things counter, original, spare, strange; Whatever is fickle, freckled (who knows how?) With swift, slow; sweet, sour; adazzle, dim; He fathers-forth whose beauty is past change: Praise him. In this poem, “Pied Beauty” by Gerard Manley Hopkins, he uses a verse form that he himself tries to create from nothing. If I were to guess, this would be a form of free verse. However; it is actually a form that Hopkins attempted to make call “sprung rhythm.” This style focuses on feet that contain a varied number of syllables per foot. The syllables in a foot usually range from one to four, and the first syllable is generally always stressed. I believe the reasoning for this style, which resembles much of free verse, is used to show that the beauty of the meaning of the words or lines are within the pushed together syllables and feet, hence the name “Pied Beauty.” It shows that you don’t have to have an elegant form or beautiful words, but you can use small words that you find meaning behind to take you a long way. Just like how the syllables and feet are pushed together, the poem talks about things that God made that have more than one thing to its outside appearance that still make it beautiful. The things he brings up are the different colors of the skies, the different colors on a cow, different textures and spots on a rose mole trout, and more. By using these as examples, they serve to strengthen the form of the poem as they themselves resemble the meaning and form of it.
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October 2014
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