The Caged Skylark Analysis
by Gerard Manley Hopkins

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The Caged Skylark Analysis

"The Caged Skylark" by Gerard Manley Hopkins is a Petrarchan or Italian sonnet with a rhyme scheme of ABBAABBA in the octave and CCDCCD in the sestet. The small number of end-rhyme sounds adds intensity and concentration to the conceit that occupies most of the poem. There is a particularly striking contrast in the feminine end rhyme, "prison" and "risen." As is common with Hopkins’s sonnets, the rhyme scheme is strictly regular but the meter frequently varies from its baseline of iambic pentameter, using sprung rhythm in lines that are generally eleven or twelve syllables long. Alliteration, consonance, and assonance also contribute to the highly musical quality of the verse.

The poem begins with the image of "a dare-gale skylark scanted in a dull cage." The word "scant" is seldom used as a verb, and its strangeness contributes to the unnatural image of the brave bird in a state of neglect and imprisonment. The conceit—or extended metaphor—that supplies the poem's major theme emerges in the second line. The human spirit is trapped within the body as a bird is in a cage. The simile is exact. “Man's mounting spirit” is capable of flight, like a bird, but is imprisoned in a “bone house,” an Anglo-Saxon kenning for a skeleton. Man’s skeleton—a synecdoche for his corporeal existence—is compared to the bird-cage, for it, too, prevents the spirit from soaring. Hence the poet calls it a "mean house."

The spirit, like the bird, has been imprisoned so long that it cannot remember a time when it was free. The alliteration here highlights the contrast between the “free fells”—which refers both to avian aerial swoops and to open hilly terrain—that are now forgotten and the "drudgery, day-labouring" which are an everyday reality. The term "free fells" applied to the spirit also recalls the story of the Fall of Man, the cause of this imprisonment. Although it cannot remember flight, the soul still retains the other great attribute of a bird: song. Like the bird, it will sometimes sing “the sweetest, sweetest spells,” a term which imparts magic as well as sweetness to the song of the spirit. Such spirited song is what we are reading now, for poetry is one of the clearest ways for the caged soul to sing. The poet's soul seeks freedom in art and finds it temporarily. The octave ends, however, with the other possible responses of both the soul and the bird: despair and anger. The soul droops in its cell or beats against the bars in rage.

The sestet begins with a contrast and a comparison. The free bird is like the caged bird in that he cannot sing all the time, but must sometimes "drop down" in his nest as the imprisoned bird does in his cage. However, he rests in "his own nest, wild nest, no prison," and he stops singing because...

(The entire section is 729 words.)