Rhythm and Dictions in Gerard Manley Hopkins' "Spring and Fall"

In Gerard Manley Hopkins Spring and Fall, the speaker of the numbers describes the changing phases of an individuals understanding around loss and death from a childhood to maturity. Throughout the poem, the childs naturalness is gradually lost over time as her nodding for the dying leaves turns into express feelingsing for her own mortality. As if putting on a play for his accepters, the poet incorporates visual images as well as aural effects into his poem. In Spring and Fall, Hopkins uses rhythm, newsworthiness choice, and alliteration to plenteousy integrate the readers, as if the readers were right conterminous to Margaret as she undergoes these changes.

Spring and Fall is a short poem in one stanza; however, Hopkins choice of rhythm divides the poem into cardinal distinct sections. The first section illustrates the childlike mind, while the plump for section portrays the grown-up perspective. In the first octette lines, the speaker addresses to Margaret, a puppylike girl weeping over falling leaves. These octonary lines contain a lyrical rhythm in dyad form. The beats are straightforward and do not find accents to fall in unusual places. For example, By and by, nor spare a sigh / Though worlds of wanwood leafmeal lie; (7-8) acquit a really even, four beats per line measure.



In fact, when these lines are read out loud, their rhyming pattern is similar to a nursery rhyme. Since nursery rhymes usually have a sing-song effect, these first eight lines suggest a livelier tone. This is allows the readers to feel the lively spirit of young Margaret.

On the other hand, the last seven lines do not have this light lyrical effect. In fact, lines 9-15 have very jagged beats and sudden breaks in continuity. For example, in will weep (9) and no matter, child, the name: (10), the accented...

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