By Gerard Manley Hopkins
Toward Dylan Thomas than Matthew Arnold in his 'creative violence' and insistence at the sound of poetry, Gerard Manley Hopkins was once no staid, traditional Victorian. On getting into the Society of Jesus on the age of twenty-four, he burnt all his poetry and 'resolved to write down not more, as no longer belonging to my occupation, except via the desires of my superiors'. The poems, letters and magazine entries chosen for this variation have been written within the following two decades of his existence, and released posthumously in 1918. His verse is wrought from the artistic tensions and paradoxes of a poet-priest who desired to evoke the religious essence of nature sensuously, and to speak this revelation in ordinary language and speech-rhythms whereas utilizing condensed, leading edge diction and all of the talents of poetic artifice. severe, very important, person, his writing is the 'terrible crystal' wherein the soul, the inscape, the character of items, might be illuminated.
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In 1818 Sidmouth prematurely wrote, ‘The combination at Manchester, & c. ’7 However, as E. P. Thompson relates, ‘One by one they were forced to release the reformers. . The released men refused to lie down: they addressed meetings, attended dinners in their honour, and attempted to sue the Government for illegal arrest’ (The Making: 736). Evidence of Bamford’s potential for unreliability occurs in his two accounts of this arrest. In Passages, Bamford claims to have been interviewed by Lord Sidmouth and Viscount Castlereagh no less.
The released men refused to lie down: they addressed meetings, attended dinners in their honour, and attempted to sue the Government for illegal arrest’ (The Making: 736). Evidence of Bamford’s potential for unreliability occurs in his two accounts of this arrest. In Passages, Bamford claims to have been interviewed by Lord Sidmouth and Viscount Castlereagh no less. He describes Castlereagh as ‘a good looking person in a plum-coloured coat, with a gold ring on the small finger of his left hand, on which he sometimes leaned his head as he eyed me over: This was Lord Castlereagh’ (Passages: 83).
Hazlitt’s words were utilised by the Hunt brothers in the post-Peterloo backlash against the state, and specifically against the Regent’s remarks on the event, which were revealed to the public in The Examiner of 29 August 1819, when Leigh Hunt printed a letter from Lord Sidmouth to the Earl of Derby forwarding the Regent’s congratulations to the magistrates who had instructed the Manchester Yeomanry: I have been commanded by His Royal Highness to request that your Lordship will express to the Magistrates of the county palatine of Lancaster, who attended on that day, the great satisfaction derived by His Royal Highness from their prompt, decisive, and efficient measures for the preservation of the public tranquillity.