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JEFFREY B. LOOMIS / 313 JEFFREY B. LOOMIS On the publishing horizon are several Hopkinsian books of likely key importance--especially, the new multi-volume Oxford University Press editions of Hopkins' Collected Works--including poems, journals, sermons, and letters. Meanwhile, however, the probably central new Hopkinsian monograph of 2006 is James I. Wimsatt's Hopkins's Poetics of Speech Sound: Sprung Rhythm, Lettering, Inscape (Univ. of Toronto Press). Wimsatt's book is one of the rare volumes about Hopkins providing truly helpful discussions of Hopkins' sprung rhythm, and doing so with very ample detail but no needlessly obscure probing of the most esoteric technicalities. Still, Wimsatt's work assuredly highlights just how vital sprung rhythm was for Hopkins, as he sought "to reconcile the irregular rhythms of speech with the regular rhythms of verse" (p. 125). Noting how previous scholarship has privileged the analysis of Hopkins' "discursive content" (p. 12), Wimsatt resolutely believes it imperative for us to recognize that the Highgate-reared Jesuit, while definitely not "disregard[ing] coherent verbal meaning" (p. 131), was still very firmly convinced, like Julia Kristeva, that "poetic language" primarily proves "affective" (p. 127), and, like Steven Katz, that "verbal music" provides for poems a "sensory meaning" preceding any paraphrasable semantics
Victorian Poetry – West Virginia University Press
Published: Nov 15, 2007
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