GERARD MANLEY HOPKINS is a singular figure in English-language literature. No other poet has achieved such major impact with so small a body of writing. His mature work consists of only forty-nine poems – none of which he saw published in his lifetime. Even when one adds the two dozen early poems written at Oxford and various fragments found in notebooks after his death, his literary oeuvre is meager in size, even for a writer who died in his forties.

Yet Hopkins occupies a disproportionally large and influential place in literary history. Invisible in his own lifetime, he now stands as a major poetic innovator who, like Walt Whitman and Emily Dickinson, prefigured the Modernist revolution. A Victorian by chronology, Hopkins belongs by sensibility to the twentieth century – an impression strengthened by the odd fact that his poetry was not published until 1918, twenty-nine years after his death. This posthumous legacy changed the course of modern poetry by influencing some of the leading poets, including W. H. Auden, Dylan Thomas, Robert Lowell, John Berryman, Geoffrey Hill, and Seamus Heaney.

As W. H. Gardner and N. H. MacKenzie observed in the fourth edition of The Poems of Gerard Manley Hopkins (1970), “The steady growth and consolidation of the fame of Gerard Manley Hopkins has now reached a point from which, it would seem, there can be no permanent regression.” There is a mixture of relief and wonder in their statement. No one would have predicted the poet’s exalted position when the first edition was published, not even its editor, Robert Bridges, who spent much of his introduction apologizing for the poet’s eccentricities and obscurities. Hopkins currently ranks as one of the most frequently reprinted poets in English. According to William Harmon’s statistical survey of existing anthologies and textbooks, The Top 500 Poems (1992), Hopkins stood in seventh place among English-language poets – surpassed only by Shakespeare, Donne, Blake, Dickinson, Yeats, and Wordsworth (all prolific and longer-lived writers). His poetry is universally taught and has inspired a mountain of scholarly commentary. Despite the difficulty of his style, he is also popular among students.

Hopkins is one of the great Christian poets of the modern era. His verse is profoundly, indeed almost totally, religious in subject and nature. A devout and orthodox convert to Catholicism who became a Jesuit priest, he considered poetry a spiritual distraction unless it could serve the faith. This quality makes his popularity in our increasingly secular and anti-religious age seem paradoxical. Yet the devotional nature of his work may actually be responsible for his continuing readership. Hopkins’s passionate faith may provide something not easily found elsewhere on the current curriculum – serious and disciplined Christian

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