The Poem

Gerard Manley Hopkins’s “Binsey Poplars” contains two irregular stanzas of eight and sixteen lines which mourn the loss of a stand of poplars to the woodsman’s axe. These remembered trees, which are addressed in the first line, grew along the bank of the Thames River as it meandered from Oxford to the small village of Binsey, a charming walk of two miles that Hopkins often followed as a student at Balliol College, Oxford. The Thames, sometimes called the Isis in the Oxford area, is very narrow in the Binsey area; hence Hopkins recalls the slow-moving water and “weed-winding bank.” The poet depicts the trees as “airy cages” that captured the sun in their leaves and supported a child dangling a sandal over the water, then reports their utter destruction, with none spared.

The second stanza chastizes humanity for its destructive impact on nature, which the poet calls “country” and personifies as both a young girl and an eyeball. Just as pricking an eyeball renders it sightless and unable to perform its proper function, even minor alterations to nature, including ones intended to aid it can destroy it and render it selfless. By investing nature and the Binsey poplars with “self,” Hopkins exemplifies one of his most important concepts, that of the “inscape” of all living things, a sort of fluid DNA, which is made dynamic by the “instress” of God in the world. Hopkins emphasizes that it takes so little to irreparably alter...

(The entire section is 454 words.)

Forms and Devices

Perhaps because Hopkins’s poetry was not published until 1918, under the aegis of his friend and classmate Robert Bridges, who was then poet laureate, his work has often been seen as more modern than its Victorian dates of composition would indicate. Indeed, many twentieth century poets cite Hopkins as a strong influence on them, chiefly because of his experiments with “sprung rhythm” (his term) and his compressed imagery. Hopkins developed the idea of sprung rhythm, in which each poetic foot includes at least one stressed syllable and a varying number of unstressed ones; this form gives Hopkins’s poetry more elasticity than traditional metric schemes while affording it a form not available in free verse. The indentations and overall shape of “Binsey Poplars,” especially in the first stanza, suggest the number of stresses in each line.

The first stanza is written with the eye of an artist as Hopkins describes not only the trees themselves but also the negative space created by their branches, quelling and quenching the sun, which appears to leap as its angle changes and the leaves move. Negative space is suggested again in the image of a child swinging his legs and “sandalled” feet over the water from the branch of a tree, thereby creating a shadow in the river, which can be seen to sink or swim.

Hopkins uses end-rhyme, interior rhymes, and alliteration to tie the poem together. Many critics have noted that he uses more...

(The entire section is 474 words.)