[1] Publications (October 24, 1995) To conclude,[1] Publications (October 24, 1995) To conclude,

1 Hopkins
, Gerald. ‘God’s Grandeur and Other Poems.’ Dover Thrift editions; Dover
Publications (October 24, 1995)

conclude, having explored several Victorian authors responses to impingements
on freedom, many authors such as Tennyson, Browning, and Rosetti respond to
impingements on freedom, by firstly demonstrating what causes the impingements,
and secondly highlighting the consequences of freedom being impinged. Tennyson discusses
limitations on freedom through the idea of physical entrapment, whereby if you
cannot escape therefore you cannot seek freedom. He further responds to
impingements on freedom by linking the psychological impingement to a cause.
For example, in Mariana, the trigger for being psychologically impinged is the
disappearance of her lover, whilst the curse within ‘The Lady of Shallot’
impinged her freedom as death would be inevitable. Rosetti responds to
‘limitations’ on freedom with a more physical approach, whereby The Blessed
Damozel can’t physically alter her situation at all, therefore she physically
cannot achieve the freedom she so desires, consequently resulting in her lack
of embracement of heaven. However, of the three authors Hopkins responded
alternatively by exclaiming that freedom cannot be impinged and demonstrates not
only the freedom of human’s, but how even human’s freedom towards nature cannot
unintentionally act as an impingement towards the Earth’s beauty and freedom. Some
Victorian writer’s response to impingement on freedom is the implication that
life cannot be impinged, and everybody has some form of freedom in life. However,
a plethora of Victorian writers agree that there can be impingements on freedom,
and respond through use of imagery and intricate detailing of their
surroundings and situation, focusing on a vulnerable character; who appears to
have lost their freedom because of somebody. Thus, resulted in a domino effect,
whereby the protagonist is physically impinged, and therefore becomes psychologically
impinged because of the trigger.

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contrasts with the consensus of Victorian writers within his poem, ‘God’s
Grandeur’1, by instead implying that
life can’t be impinged and displays the freedom of life and the freedom of our
Earth. Hopkins offers an alternative response to impingements on freedom,
exclaiming how life or nature can’t be an impinged. Through Hopkins using the
word ‘charged’ (God’s Grandeur, 1.1)
within the first line, there are connotations of electric and full of life
conjured up, and the implication that our world is full of greatness,
influenced by God. However, the word ‘charged’ (God’s Grandeur, 1.1) suggests that it needs some form of
maintenance to look after it and thus could suggest that human’s need to
essentially care for their world. Hopkins could be demonstrating that humans
obtain freedom, and perhaps too much of it, for the world and nature still
needs repairing. ‘Generations have trod, have trod, have trod’ (God’s Grandeur, 1.5), again emphasises
that through too much freedom, our generations of humans are damaging our
nature. Hopkins approach towards impingements on freedom differs in that he
discusses that humans have too much freedom and therefore are perhaps impinging
nature’s growth. Despite this, Hopkins exclaims ‘nature is never spent'(God’s Grandeur, 2.9), signifying that
despite human selfishness perhaps, or intentional ruination of nature, it’s
efforts are unsuccessful. The final line of the stanza summarises the poem, the
‘world broods with warm breast’ (God’s Grandeur,
2.14) suggests that the world is constantly turning and renewing, with relation
to ‘broods’ of which holds connections to a bird brooding when sitting in her
nest, when wanting her eggs to hatch. The use of ‘world’ (God’s Grandeur, 2.14) and ‘broods’ (God’s Grandeur, 2.14) together, could liken the world to an egg
about to hatch, thus the world is reborn in a constant cycle. Hopkins
demonstrates the simplicity of the world and despite human ignorance towards
nature, as demonstrated in the first stanza, the human’s do not act as an
impingement towards the Earth’s freedom as it keeps turning and forever