Hopkins and Whitehead

8/20/2019 Hopkins and Whitehead

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Nature’s Bonfire, Million-fueled: The Poetic Cosmologies of

G. M. Hopins and !. N. "hitehead

#o$ert %. &oud

Pasadena Cit' College

The purpose of this article is to pro(ide suggestions to aid in the critical interpretation

of Gerard Manle' Hopins’ poetr' and (ision of realit' $' comparing some of his focal

ideas )ith those of !lfred North "hitehead. More is at stae in Hopins than the )riting

of poetr' and the in(ention of a Christian poetics. Percei(ing inscapes and feeling

instresses* lies at the heart of the human (ocation of gi(ing glor' to God. The' are part of

a discernment process that deepens and e+tends the )or of t. gnatius o'ola. The' are

part of the poet’s personal pro/ect of finding God in all things.

This article is not so much a$out the poetr' of Hopins, as it is a$out his poetic ideas,

his Christological cosmolog', his (ision of realit', his underl'ing influences and

con(ictions. This article is a fusion of hori0ons $et)een Hopins and "hitehead. t

intends to impro(e the understanding of each $' comparison to and correlation )ith the

other. This leads ine(ita$l' to a $etter understanding of Hopins’ poems, $ut it is not on

the )hole an anal'sis of or commentar' on particular poems. t terminates, ho)e(er, in

an appreciati(e consideration of 1The "indho(er,2 $' )a' of correlation )ith

"hitehead’s notion of concrescence.

*


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Hopins does not )rite )ith the accurac' or consistenc' of a philosopher or

theologian, $ut his uni3ue and idios'ncratic terminolog' and conceptualit' tempt the

philosopher and theologian to pro$e his )ors for an underl'ing s'stematic unit'. ome

of the colorful and engaging terms familiar to readers of Hopins are: dappled, inscape,

instress, stress, outstress, selftaste, rhyming, chiming, selving, pitch, sake, scape, interest,

catch, and se(eral others. These terms all seem to ha(e to do )ith the (ariet' of things in

nature, their inner energ', the uni3ue inner pattern each thing has, and the patterned

impression the' $esto) upon the mind )hen communicating )ith it. Humans, )ith

sensation, consciousness, and the a$ilit' to appreciate $eaut', are present in the )orld to

recei(e the impressions gi(en off $' natural o$/ects and $' scenes composed of se(eral

o$/ects in con/unction.

4or Hopins, the accumulation of poetic perceptions, fused )ith the attendant

sufferings and sacrifices re3uired in a particular (ocation, is the tas of the Christian. n

Hopins’ (ie), God’s goodness o(erflo)s into the a$undance of creation, m'steriousl'

re3uiring suffering, $ut promising re)ard $e'ond this life. The neo-Platonic, #omantic,

and 4ranciscan principle of plentitude is important as $acground $ehind Hopins’

delight in the fecund a$undance, differences, (ariet', and uni3ueness in a )orld )hose

deepest structures are imprinted )ith the face of Christ. The )ord dappled 5 is the s'm$ol

in the poem 1Pied Beaut'2 for the profusion and di(ersit' of entities in creation,

suggesting the m'riad of actual entities or actual occasions6 present in the uni(erse at

an' instant in "hitehead’s cosmolog'.

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Glor' $e to God for dappled things --

4or sies of couple-color as a $rindled co)7

4or rose-moles in all stipple upon trout that s)im . . .

ome of the "hiteheadian or process ideas used here are: creativity, actual entity,

concrescence, prehension, subjective form, initial aim, subjective aim, the reformed

subjectivist principle, the four phases of concrescence, transmutation, and the t)o

natures of God 8 primordial and consequent 9. ome of the comparisons or correlations

)ored out in this article include: creativity in "hitehead )ith instress in Hopins,

concrescence in "hitehead )ith inscape in Hopins, style in "hitehead )ith inscape and

selving in Hopins, selftaste )ith satisfaction, and transmutation in "hitehead )ith

rhyming in Hopins.

Selving corresponds )ith the process $' )hich the initial aim $ecomes the subjective

aim in "hitehead7 it is also closel' related to his reformed subjectivist principle. Sake,; as

used $' Hopins, corresponds to the anticipation an actual entit' entertains or

e+periences as to its inclusion and rele(ance in future concrescences. The term interest <

as used $' Hopins is a function of the )a' in )hich )orldl' occasions $ecome

e(erlasting, or o$/ecti(el' immortal. The' are preser(ed and enhanced in God’s

consequent nature. Rhyming ,= a term also used idios'ncraticall' $' Hopins,

appro+imates to "hitehead’s categor' of transmutation.> #h'ming also suggests the

harmoni0ing of the (er' man' subjective forms or affective tones )ithin each actual

entit'.

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nfluences on the )or of Hopins include t. gnatius o'ola, t. 4rancis of !ssisi,

&uns cotus, Parmenides, Heraclitus, and the Ne) Testament. "e refer to !rthur ?.

o(e/o'’s The Great Chain of Being for understandings of Plato’s theolog', Neo-

Platonism, the principle of plentitude, and #omanticism. o(e/o' points to the principle

of plentitude@ in #omanticism, and this sho)s up strongl' in Hopins’ appreciation of the

(ariet' of species and indi(iduals, all of )hich ha(e inscapes that are also Christscapes. *A

4or o(e/o', there are notions of fecundit', (ariet' and di(ersit' that connect Platonism

and #omanticism, and pla' important parts in the definition of #omanticism.

i !gnatius, Scotus, and !nscape

The gnatian influence in Hopins is central and per(asi(e. t has to do )ith gi(ing

$ac to God an appreciation for all that God has gi(en to us.** t also has to do )ith

1maing it )orth God’s )hile to ha(e created us.2 *5 Hearing the phrase 1)orth God’s

)hile2 might mae a "hiteheadian thin of 1the conse3uent nature of God,2 *6 that is, the

preser(ing aspect of God to )hich )e mae our constant and uni3ue contri$utions. t is a

metaph'sical condition in "hitehead that all finite achie(ement rushes $ac into God for

e(erlasting preser(ation. There is also an idea of spiritual po(ert' in gnatius, $' )hich

de(otees should gi(e e(er'thing the' possess $ac to God. 1Gi(e $eaut' $ac . . . $ac

to God, $eaut'’s self and $eaut'’s gi(er.2*

Beaut' and glor' are (irtuall' the same for Hopins7 $oth are placed in nature and

destined for return to God, and it is the dut' of humanit' to achie(e the latter. Bo'le


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treats of $oth as heinah, the o(ershado)ing presence of God that ho(ers o(er the ar of

the co(enant and o(er Mar' in t. ue’s gospel.*; !mong other places, heinah )as in

the smoe from the censer of the high priest )hich hung o(er the merc' seat in the

temple in erusalem. n the a$$ala, this heinah is associated )ith the re(elator' and

redempti(e descent of God into humanit' as it is created.*


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the )orld is also related to a certain hol' indifference, or spiritual li$ert', as regards the

particular circumstances in )hich one is called to ser(e.

4used )ith the gnatian spiritualit' of glor' and sacrifice, )hich is con(erted into a

poetic sensi$ilit' $' Hopins, is the 4ranciscan5* spiritualit' of greeting the image or

(estige of God in all created things, the nearness of God and the gentleness of God’s

lo(ing )ill. t is thus that Hopins resonates )ith the een sense of the indi(idualit' of

the particular, as $ased in the cotist notion of haecceitas.55 This particularit' of each

creature in each no(el circumstance is appreciated in cotus’ haecceitas and in gnatius’

discernment of spirits.

?n the 3uestion of particularit', a "hiteheadian might refer to The "ims of

#ducation,56 )here "hitehead )rites of style as the 1fashioning of po)er, 8and9 the

restraining of po)er.2 n "hitehead, st'le com$ines the aesthetic sense )ith the

foreseeing of ends to $e attained. t'le implies an e+3uisite fit $et)een means of

e+pression and content e+pressed. t'le has to do )ith the appropriate use of creati(e

po)er, )ithout )aste, stinting, or tri(ial application. n "hitehead, po)er is directed,

restrained, and shaped, as it is $rought under the principle of limitation $' the process of

concrescence. o, st'le is not the po)er or energ' itself, $ut the fashioning of po)er as in

concrescence. t'le is nothing if not com$ined )ith self-determination, gi(ing to the

indi(idual its uni3ueness in function and production. t'le )ould then in(ol(e discretion

and discernment in the gnatian sense. "hitehead’s st'le has to do )ith the internal


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structure and organi0ation of a thing, the particularit' of a thing’s self-patterning, and

thus corresponds to Hopins inscape or selving

nscape can thus $e characteri0ed as st'le, structure, design, or pattern. !nscape as

structure re(eals instress as the energ' of the thing itself and as the energ' of God in the

act of creating. The m'riad forms of nature are uni3ue, $oth self-inscaped and

indi(iduall' inscaped $' God. %ach thing, from the lo)est piece of inanimate matter to

the most 1highl' pitched, sel(ed and distincti(e2 thing in creation, the human mind, has

its o)n inscape, )hich gi(es it its o)n self or identit'.

"hen Hopins speas of a landscape, seascape, or e(en a lovescape,5 he is speaing

of the e+terior or outer manifestation of something, of )hich the interior, organi0ing

realit' is the inscape. The outer scape sho)s itself to the poet in such a )a' as to re(eal

the inscape and the instress of )hat is $eheld. 4urthermore, this manifestation stirs or

e+cites the poet’s a)areness of his or her personal instress. n a moment of poetic insight,

this contemplation stirs the resonating a)areness of se(eral attuned instances of instress

into intense harmon', called rhyme

ii !nstress as Creativity

!nstress in Hopins is the underl'ing energ' that organi0es nature into pattern and

unit'. nstress also runs through the human mind 8)hich is part of nature9, ena$ling it to

mae sense of the )orld. t underlies all particular inscapes of natural structures, /ust as

the total life and personalit' of the artist lies $ehind an' particular )or of art he or she

=


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ma' produce. Dltimatel', this $eing or creati(e po)er must $e a di(ine energ': 1creation

is not altogether a separation, $ut that God remains in things $' his essence, presence,

and po)er, as the inmost $eing of things.25; 4or Hopins, instress is the creati(e energ'

and acti(it' of God )ithin things.

B' contemplation of simple o$/ects E flo)ers, trees, streams, and landscapes E

Hopins )as at times raised to ecstas', $ecause he reali0ed that the hidden energ'

8instress9 molding things into shapes, colors, and patterns 8inscapes9 )as the (er' energ'

of God. This out)ard and (isi$le $eaut' )as to him the reflection of the energ' and

in(isi$le $eaut' of God. o, in this sense all of nature )as sacramental to him E the

(isi$le sign of an in(isi$le, intelligent, and creati(e energ'.

nstress is the undercurrent of creati(e energ' that supports and $inds together the

)hole of the created )orld, gi(ing things shape and form, and gi(ing /o' and meaning to

the $eholder. nstress comes closest of all of Hopins terms to an e3uation )ith

"hitehead’s term creativity. "ithout this current of instress )hich runs through the

outside )orld and through the percei(ing mind, there )ould $e no $ridge $et)een the

t)o, and the )orld )ould $e unintelligi$le.

There )ould $e no $ridge, no stem of stress

$et)een us and things to $ear us out and

carr' the mind o(er.5<

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nstress or creati(it', the uni(ersal energ' of creation, aims at fierce intensit' and

idios'ncratic haecceit'. nscape then refers to the patterns and perspecti(es in nature, to

the inner 1la) of shapes2 and designs in all things. Hopins loos at a handful of

$lue$ells, a chestnut tree, a dead tree, a fine sunset, or the $reaers on the shore, and tries

to find a uni3ue perspecti(e )hich /oins together all the elements of the scene in the

ecstas' of the moment. n each of these e+periences a great deal of detail is fused into a

no(el $lend of instantaneous en/o'ment. n such an ecstas' the inscape of the )hole is

percei(ed and the instress gi(ing it its inner energ' it is appreciated.

!ll creatures ha(e an inner and an outer aspect, according to )hich the' e+press

themsel(es in order to $ecome themsel(es: 1the' necessaril' e+press themsel(es in order

to attain their o)n nature.25= There is an in(isi$le realit' in things )hich manifests itself

through a (isi$le outer realit'. "alter ?ng5> )rites of Hopins’ o)n personal inscape. n

"hitehead, the o$/ecti(e realit' of an actual occasion is preceded $' phases of inner self-

generation and su$/ecti(e satisfaction. 4or "hitehead, this inner aspect of realit' defeats

the thesis of mechanism, and maes his a philosoph' of organism. The stages of

concrescence, especiall' the inner stages of process and satisfaction, as descri$ed $'

"hitehead, correspond to the inscape of natural realities in Hopins.

nscape, that is, free internal self-constitution, is 1the (er' soul of art,2 according to

Hopins. !rt is not the reproduction of a surface realit'. "hat matters is the internal self-

shaping of the )or of art, not its correspondence to an'thing outside itself. 4or Hopins,

the )or of art e+ercises its o)n inner, organic, e(en self-generating realit'. The

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s'mpathetic e+perience of this process as it happens in the self-constituting )or of art is

our no)ledge of inscape. The )or of art, the poem, is $oth organic and s'm$olic,

e+pressing itself in order to $ecome itself.

The appreciation of real particulars in nature, )ith their inscapes and instresses, maes

us and them glo) )ith intensit' and the fire of ecstas'. %ach poem is also a real

particular or consrescence, and has its o)n inscape that is read' to communicate itself to

the attenti(e listener. %(er'thing in the )hole scale of creation stri(es, in its o)n )a', to

reali0e )hat &uns cotus called haecceitas E its o)n self-crafted, God-created, and

Christ-filled identit', uni3ueness, particularit', and selfhood. n doing this each thing

gi(es glor' to God. Hopins )rote of all things $eing charged 8in (irtue of their instress9

)ith lo(e and )ith God7 1if )e no) ho) to touch them, the' gi(e off spars and tae

fire . . .25@

iii $articulars and $lentitude

%ach thing in inanimate nature $roadcasts its o)n inner identit', $ut does not

consciousl' gi(e glor' to God. t needs to $e completed $' contemplation in human

consciousness. The human realit' alone is conscious, has freedom of choice, and can

therefore choose to return glor' to God. "e e+perience oursel(es to $e 1more highl'

pitched, sel(ed and distincti(e than an'thing in the )orld.26A

%ach mortal thing does one thing and the same:

*A


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&eals out that $eing indoors each one d)ells7

el(es E goes itself7 myself it speas and spells,

Cr'ing %hat ! do is me& for that ! came.6*

el(ing in Hopins is the e' function of each $eing or nature, there$' $ecoming

complete, genuine, or authentic. To a "hiteheadian, $ecoming something lie a self

)ould suggest the transformati(e process )here$' the God-gi(en initial aim $ecomes the

subjective aim'( during concrescence. The su$/ecti(ist principle pro(ides that all entities

)hatsoe(er are inchoatel' su$/ects.

66

This means that, for the "hiteheadian, as for

Hopins, all creatures, e(en inanimate ones, are capa$le of at least primiti(e mental

functions, that is, sel(ing.6

ingfishers and dragonflies gi(e glor' to God, $ut the' are not a)are of their

function or contri$ution. %m$odied human consciousness percei(es and enhances the

glor', and offers it $ac to God. The $asis of this incarnational realit' is the cosmic

Christ7 that is, the Bod' of Christ made manifest in and through the $odies of those )ho

do God’s )ill, )ho choose God’s glor'. t is important to Hopins that this $e the $odil'

realit' of the human Christ, and not simpl' the eternal ogos, the Hol' pirit, or God

functioning in an' )a' lacing the full humanit' demanded $' the m'ster' of the

incarnation.

n the spirit of &uns cotus, Hopins shares the empirical temper that is the mar of

British thought and sensi$ililt'. n the thought of cotus, the importance of the $odil'

**


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humanit' of Christ, and its permanent significance for our redemption, is $ased on the

significance of matter. Matter has an essence of its o)n, independent of all form,

according to cotus. Matter is for him a constituent of e(er' created $eing, e(en the

angels, in )hom spiritual matter is present. 4or cotus, matter is $' itself a positi(e

entit', not a pure potenc', and can e+ist e(en in a condition of formlessness. !t its initial

creation, matter is prolepticall' charged )ith the realit' of the incarnation.

?n the cotist (ie), in creating primordial matter God alread' had in (ie) the di(ine

incarnation of the eternal ogos in esus Christ. The redemption of the )orld is thus a

secondar' reason for the incarnation, and the incarnation itself is the primar' reason for

creation. Bo'le points out that, for Hopins, 1God’s first intention and his first creati(e

product is the humanit' of Christ.26; %(er'thing else )as created in, through, and for the

human Christ.

That is Christ pla'ing at me pla'ing at

Christ, onl' that it is no pla' $ut truth7 That is

Christ being me and me $eing Christ.6<

f matter is a primordial and essential element in God’s plan for cotus, then there is

something more re3uired to account for the uni3ue indi(idualit' of e(er' particular

creature. 4or him, neither form nor matter can account for the particularit' of indi(idual

$eings.6= cotus supplied this further element in his notion of haecceitas or thisness.

"hat finall' maes a form real, as God creates a particular thing, is not the form’s unit'

*5


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)ith matter, $ut a further principle )hich completes the indi(idual form and is ultimatel'

responsi$le for the actualit' of each particular $eing. t is this haecceit' that Hopins

intends his inscape to $e. ! "hiteheadian )ould thin that the transformation of the

initial aim into the su$/ecti(e aim is also at )or here. t is God’s aim or intention for

each thing or scene in nature that it sho) itself forth in its o)n particular $eaut'. t is the

appreciation of this inscape and this transformation of initial aim into su$/ecti(e aim that

gi(es glor' to God in poetr'.

The importance of the no)ledge of concrete singular $eings in cotus anticipates the

empirical interest in later British philosoph'. t also anticipates the cele$ration of nature

in all of its (ariet' and particularit' in #omantic poetr'. !rthur ?. o(e/o' 6> finds in

#omanticism an inheritance of the Platonic principle of plentitude, 1that di(ersit' itself is

of the essence of e+cellence,2 and 1that the $est of all possi$le )orlds is the most

(ariegated.2 n this neo-Platonic perspecti(e, the o(erflo)ing fecundit' and generati(it'

of the di(ine essence produces the m'riad of species and indi(iduals in nature. The

human imagination and the human facult' for language and e+pression e+tend this

plentitude )ith creati(it' and generati(it' of their o)n.

!ccording to o(e/o',6@ cotus accepted the di(ine fecundit', the principle of

plentitude, and the great chain of $eing. Gardner sa's: 1indi(idual su$stances, according

to the metaph'sical richness of their $eing, mae up one (ast hierarch' 8or chain9 )ith

God as their summit.2A "hat Hopins did not accept )as a necessitarian interpretation of

*6


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plentitude7 God freel' created all things out of an o(erflo)ing a$undance and personal

lo(e. t )as freel' gi(en lo(e and not necessit' that moti(ated the di(ine creati(e )ill.

&enis &onaghue* agrees )ith the placement of Hopins )ithin #omanticism in

1constantl' rene)ed delight in the plentitude of the )orld.2 o(e/o' adds to this idea the

dictum of "illiam Blae as archromantic: 1%+u$erance is $eaut'.2 Plentitude, di(ersit',

and e+u$erance, and the constant no(el arising of these mae up the #omantic sensi$ilit'.

These also constitute the dominant thematic and tonalit' of "hitehead’s cosmolog'.

4or "hitehead, the essence of #omanticism lies in its organic rather than mechanical

)a' of modeling realit'.5 t lies in the intuition of the solidarit' or interrelatedness in

nature. !ll things are internall' related for "hitehead, and each modicum of realit'

contains at its center something lie the sensiti(it' and su$/ecti(it' en/o'ed $' humans.

Hopins meets and matches "hitehead’s reformed subjectivist principle )ith his notion

of selving , )hich applies to su$human species and inanimate entities as )ell. el(ing

adds something to the idea of inscape, continuing the theme of haecceit', $' placing a

seed of su$/ecti(it' )ithin each and e(er' $eing.

&onoghue credits Hopins for his intimac' of contact )ith the )orld, seeing his

no)ledge of the )orld 1$' attending to its fullness and indi(idualit'.2 6 Hopins feels

the organic $ond $et)een God, )ider nature, and humanit', and thins at times 1of the

natural )orld as a great $od' mediating $et)een himself and God.2 The reticular or

inter)o(en relationship $et)een God, )orld, and humanit' tends at times to melt into

*


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near identit', as in other #omantic poetr'. Fet, Hopins’ stronger de(otion, lie Blae’s,

is gi(en at length to 1minute particulars rather than to general truths.2;

iv $armenides and )eraclitus

Mil)ard finds in Hopins’ ecstatic e+periences of inscape a ind of percei(ing in

)hich inscape holds man' parts together as one.


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is an e+perience of intimate self-possession, uni3ue particularit', and munificent

e+u$erance.

Balancing the Parmenidean perception of $eing e(er')here in Hopins, Mil)ard

discerns as )ell the Heraclitean flu+, the ri(er of passing time, )hich s)ells into the

parado+ical images of $oth )ater and fire. Comparing 1The "rec of the &eutschland2

)ith 1Heraclitean 4ire,2 Mil)ard finds images of time flo)ing a)a' and the )orld

$urning a)a'.

Million-fueled, nature’s $onfire $urns on.

>

The "hiteheadian is not )ithout categories for understanding the Hopinsian

e+tremes of $oth flu+ and permanence. Hopins’ poem on 1Heraclitean 4ire2 could ser(e

as a h'mn to proclaim "hitehead’s doctrine of perpetual perishing . The perishing@ of

actual occasions, especiall' )hen these actual occasions are eenl' felt as one’s o)n, can

also $e felt )ith the su$/ecti(e form of terror. ?ne can feel terri$l' isolated, a$andoned

and forlorn, as does Hopins in the terrible sonnets. %speciall', the one-time enraptured

m'stic can feel utterl' separated from God, long after one’s connection )ith God has

$ecome the supremel' important and defining (alue in the spiritual life.

&a(id &aiches;A points to the financial meaning of the )ord interests in The *antern

out of +oors Christ is interested in us, and he adds to the (alue of )hat )e do. !s

redemption and ransoming are financial terms, so is interest Perhaps Hopins also

intended the idea of inter 8$ur'9 to lin )ith the )ord mould in the follo)ing (erse. "e

*


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meet Christ in d'ing, and he is beteen 8in atin: inter est 9 us and our re)ard. Christ here

is lie "hitehead’s conse3uent nature of God,;* crediting us )ith an increase, )hile

preser(ing our holdings e(erlastingl'.

v -rganicity and Concrescence

o(e/o';5 $egins his tracing of the path of the principle of plentitude in "estern

thought )ith Plato’s theolog'. o(e/o' sees t)o gods in Plato. !s the dea of the good, or

the form of the good, God for Plato )as the apotheosis of unit' and the source of all other

forms. The demiurge, $' contrast, an inferior deit' or aspect of di(init', )as the part of

the godhead that entrapped the forms or souls in matter, thus initiating di(ersit',

fecundit', and particularit'. Haecceit' )ould ha(e $een, for Plato, due to the unfortunate

meddling of a lesser aspect of di(init'. 4or Hopins, haecceit' is the $lessed acme of

di(ine creati(it'. 4ecundit' and particularit', for Hopins, re(eal the true $ount' and

genius of the di(ine.

n Neo-platonism, the first God, lie the God of later Christian theolog', )as the goal

of the ascent of souls as the' mo(ed $ac to their true source. !ccordingl', the li$erated

soul turned from all finite and created things, and ascended $ac to the immuta$le

perfection in )hich it then found rest and identit'. The other or lesser god )as the source

and energ' of the descending process $' )hich $eing flo)s through all the le(els of

realit', e(er more diluted and deri(ed, do)n to the (er' lo)est. The first God in(ited

*=


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li$erating flight from the man' to the one, leading to true delight. The second deit'

offered the false delight of emanation into the man' and a)a' from the one.

This tension, or something related to it, sho)s up in "hitehead, )ho also $ases his

theodic' in the Timaeus of Plato. "hitehead produces in speculation a dipolar deit', )ho

has $oth a primordial nature;6 and a conse3uent nature. The primordial nature en/o's the

classical attri$utes associated )ith transcendence, )hile the conse3uent nature a$sor$s

$ac into itself the di(ersit' of perfections reali0ed $' the finite entities of the )orld. n

"hitehead, it is God, operating from the primordial nature, )ho supplies in e(er' instant

a m'riad of initial aims as seeds initiating )hat God sees as the self-creation of all the

entities in the uni(erse.

n "hitehead, each actual entit' or actual occasion, e(en the most tri(ial and

inanimate, en/o's a modicum of feeling and satisfaction. ust as God is dipolar, ; each

entit' is dipolar,;; )ith mental as )ell as ph'sical aspects. %ach entit' constitutes itself in

(irtue of a decision;


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constantl' ne) entities are at once self-creating and then perishing in the uni(erse. 4or

"hitehead, God, as the principle of limitation, is the chief supplier of order or discipline

in the uni(erse. 4or him, creati(it' is a principle independent of God, )ith it o)n

initiati(e, energ', and a$ilit' to construct itself into concrescences.;> ! Christian

philosopher )ith "hiteheadian s'mpathies must criticall' recogni0e discrepancies

$et)een the "hiteheadian cosmolog' and a Christian metaph'sics in )hich God is sole

creator.

To the e+tent that God supplies the order or discipline of the uni(erse, creati(it' is that

)hich is disciplined. 4or "hitehead, God supplies discipline and direction in the uni(erse

and functions as the principle of limitation.;@ 4or "hitehead, creati(it' is infinite

fecundit', and is the principle of plentitude. 4ecundit' is a s'non'm for plentitude.

4ecundit' here ma' not $e unlimited7 it ma' $e simpl' la(ish, generous, and profuse, and

still $e limited. God, for "hitehead, is a creature and supreme instantiation of this

fecundit' or creati(it'7 )hereas, for traditional Christianit', God is the creator of

creati(it' and director of its proliferation. "hitehead esche)s the term matter , $ut, to the

Christian, his creati(it' seems to function as a material principle, not as pure potenc' or

passi(e recepti(it', $ut as an acti(e energ'


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n "hitehead, e(er' self-creating actual entit' en/o's at least a modicum of

su$/ecti(it'. t also e+ercises freedom or self-determination, and has a stage of decision

as part of its concrescence. God supplies to e(er' actual entit' an initial aim


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of the past flo) in upon a ne)l' concrescing occasion to tae their places in its internal

constitution. n the process phase, each of the occasions included in the ne) occasion or

entit' are assigned a place and a (alue. n the decision phase, the ne) occasion, no longer

ne), $ecomes an o$/ect for inclusion in successor occasions, anticipating the influence it

)ill ha(e as an ingredient. n the satisfaction phase, the satisfaction is identified )ith the

completed actual entit', and is super/ect,


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! prehension is made up of an entit' that is prehended and the entit' that is

prehending that entit'. #elating and com$ining the t)o is a su$/ecti(e form


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1The "indho(er2


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no) reconciled. !ll data, that is, prehensions of actual entities, buckle together, and the

no(el set of relations, the self-integrated composition of the no(el occasion of e+perience,

is achie(ed. Here $eaut' is manifested as a function of the relatedness of all contri$utors.

4urthermore, the su$/ecti(e forms $' )hich each of the data are prehended are indled at

this point, and the' include affections of /o', ecstas', rapture, or consolation. n Hopins’

poem, the impression of Christ, latentl' present in each and e(er' prehended datum, is

no) manifested from )ithin the concrescing modicum of no(el $eing. Christ is no) the

scape or inner constitution of the emergent poem, and ho(ers intensel' in the electrified

air as the (alue also distilled out of all the data and prehensa.

n The %indhover , $ucling most liel' has to do )ith the $ird locing in upon its

pre' and immediatel' taing the posture that $egins its stoup. Here $eaut' is caught as a

glimpse of glinting sun against the $ird and against the $acground of a gra' s'. n the

same moment, Christ is caught in a glimpse that suggests his redempti(e descent to catch

souls in general, or to catch up the poet in ecstas'. Christ is the one caught and the one

)ho does the catching. ! "hiteheadian thins of the $ucling together of all the data in

the process phase of concrescence. The stoup or di(e of the falcon is the inesis and

enosis that occurs as the initial aim $ecomes the su$/ecti(e aim in the heart of

concrescence.

The third phase is that of satisfaction. Here emerges the poet’s heart in hiding . The

poet’s /o' is the satisfaction recorded in the poem. !ctuall', a dou$le satisfaction is

suggested here, as if the poet en/o's a self-feeling 8. . my heart in hiding . Stirred for a

5


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bird .9 in function of Christ’s en/o'ment, s'm$oli0ed as the $ird’s ecstasy. This

suggests t)o concrescences: one of the poet, and one of Christ. t suggests as )ell a

communion in )hich the poet prehends Christ’s satisfaction or completed actual occasion

)ith the same sense of intimac' )ith )hich he en/o's his o)n actual occasion. "hat is

presented here are t)o satisfactions $eing en/o'ed simultaneousl', the ecstas' of Christ

and the stirring heart of the poet, $oth recorded in the poem.

t is in the satisfaction phase that sel(ing primaril' taes place. Here the initial aim,

)hich is gi(en to each occasion in the uni(erse $' God as its instigation to $ecome and

its pacage of possi$ilities for reali0ation, is appropriated and transformed $' freedom

into the su$/ecti(e aim, )hich is uni3ue and freel' de(eloped $' each occasion. f

satisfaction is selftaste, then the su$/ecti(e aim maes the occasion the chief participant

in its o)n creation. 4urthermore, this re(eals God’s )ill to ha(e freedom as a part of the

self-enactment of e(er' creature.

The fourth phase is the one in )hich gold-(ermillion flame $ursts out of $lue-$lea

em$ers. The o$/ectified entit' no) reaches its final phase, satisfaction or anticipation, in

)hich it offers itself as a ne) datum for inclusion into the composition of successor

occasions. Here it gi(es itself $ac )ith all that is has achie(ed to God and to the

uni(erse. This is the phase of sacrifice in )hich )hat is returned registers e(erlastingl' in

the conse3uent nature of God. "e remind oursel(es of the heinah or di(ine presence,

and, the a$$alistic doctrine, in )hich em$ers signif' the radiant di(ine presence that

5;


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hides and a$ides )ithin the Temple. 4rom the em$ers, the smoe of the sacrificial incense

/oins the cloud of presence ho(ering o(er the sanctuar'.

The success of comparing Hopins and "hitehead lies in reaching greater insight into

the cosmological (ision and hori0on of $oth for ha(ing compared them one to the other.

%ach poem of Hopins is a confluence of man' influences E Parmenidean, Heraclitean,

Platonic, neo-Platonic, cotist, 4ranciscan, and gnatian. But, lie the genius of the poet,

each indi(idual poem transcends all of its influences, orchestrates and directs them from

)ithin to achie(e its o)n eminent particularit', its o)n haecceit'. t is the e+pression and

appreciation of particularit' and plentitude, and of all the comple+ multiplicit' $ecoming

one, that gi(es glor' to God. t is the cele$ration of $eing, )ith its unif'ing inscape of

Christ and its instress or creati(it' that returns to God the reflection of grandeur.

5


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* Gerard Manle' Hopins, $oems and $rose of Gerard /anley )opkins, ed. ". H. Gardner 8Ne) For:

Penguin Boos, *@>;9, ++-++ii. 1!s a name for that indi(iduall' distincti(e form’ 8made up of (arious

sense data9 )hich constitutes the rich and re(ealing oneness of the natural o$/ect, he coined the )ord

inscape: and for that energ' of $eing $' )hich all things are upheld . . . he coined the term instress.2

)ill put the technical or idios'ncratic terms of Hopins in italics the first time use them and )hen

referring to them as terms.

5 Peter Mil)ard, .., 1Hopins on Man and Being,2 The 0ine +elight , ed. 4rancis . 4ennell 8Chicago,

o'ola Press, *@>@9, *6A7 14or it is in his e'es the dappledness in form that constitutes the uni3ueness

and originalit' of things in nature, )here no t)o o$/ects are precisel' alie.2 ee also, &enis

&onaghue, The -rdinary 1niverse 8Ne) For, Macmillan, *@9, >-;, and "alter ?ng, .., )opkins,

the Self, and God 8Toronto: Dni(ersit' of Toronto Press, *@>9, *>. 1!ctual entities’ E also termed actual occasions’ -- are the final real

things of )hich the )orld is made up.2 Microscopic $uilding $locs of the uni(erse, the' perish as

soon as the' are reali0ed, and so, in e(er' instant the )orld is made up of a no(el set of occasions.

Ne(ertheless, comple+ patterns of inheritance pro(ide for endurance. ee $rocess and Reality, *>-5A7

her$urne, " 2ey to %hitehead3s $rocess and Reality 8Bloomington, N: ndiana Dni(ersit' Press,

*@


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*6 "hitehead, $rocess and Reality, 66-;*.

* Hopins, 1The Golden %cho,2 $oems and $rose, ;. ?r, Hopins, Selected $oetry 8Ne) For:

?+ford Dni(ersit' Press, *@@>9, *6@.

*;

#o$ert #. Bo'le, /etaphor in )opkins 8Chapel Hill: The Dni(ersit' of North Carolina Press, *@. 4or the connection $et)een glor' and heinah, see "alter . ?ng, . ., )opkins, the Self, and

God 8Toronto: Dni(ersit' of Toronto Press, *@>->*.

*


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5* Ballinger, The $oem as Sacrament , *AA7 1 claim Hopins )as more 4ranciscan’ than esuit.’2

"hat is more liel' the case is that gnatius and esuit spiritualit' had inherited some of its

particularism from earlier 4ranciscan and cotist influences. Hopins dra)s upon the richness of $oth

of these sources, as parts of a single continuous tradtion.55 Dm$erto %co, "rt and Beauty in the /iddle "ges, trans. Hugh Bredin 8Ne) Ha(en, CN: Fale

Dni(ersit' Press, *@>=. 1#ather, it 8haecceitas9 is a principle )hich completes a thing in its

concreteness: the ultimate specific difference is simpl' to $e different from e(er'thing else’.2 Thus

%co 3uotes cotus.

56 "hitehead, The "ims of #ducation, *57 1t 8st'le9 is an aesthetic sense, $ased on admiration for the

direct attainment of a foreseen end, simpl' and )ithout )aste.2

5 Hopins pictures Christ d'ing on the cross as 1o(escape crucified2 in his poem 1The "rec of the

&eutschland,2 ee Mil)ard, .. and #a'mond choder, .., eds., Readings of the %reck& #ssays in

Commemoration of G/ )opkins3 =The %reck of the +eutschland> 8Chicago: o'ola Dni(ersit'

Press, *@=. ee also, Todd Bender, 1cope, cape, and "ord 4ormation in the e+icon of

Hopins,2 The 0ine +elight , *55, and ". !. M. Peters, .., Gerard /anley )opkins& " Critical #ssay

toards the 1nderstanding of )is $oetry 8Ne) For: ?+ford Dni(ersit' Press, *@>9, 5.

5; #ahner, 1Panentheism,2 Theological +ictionary, trans. 8Ne) For: Herder and Herder, *@


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5= #ahner, 1The Theolog' of 'm$ol,2 Theological !nvestigations, (ol. , trans. e(in mith

8Baltimore: Helicon Press, *@


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6; Bo'le, /etaphor in )opkins, 6A. ee also, Ballinger, The $oem as Sacrament , *5A7 1. . . for

cotus, creation )as dependent on the decree of the ncarnation.2

6


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= oseph Hillis Miller, 1The Dni(ocal Chiming,2 )opkins& " Collection of Critical #ssays, ed. Geoffre'

Hartman 8%ngle)ood Cliffs, N: Prentice Hall, nc., *@;9, *A;-=.

;* "hitehead, $rocess and Reality, 6@7 1The conse3uent nature of God is the fulfillment of his

e+perience $' his reception of the multiple freedom of actualit' into the harmon' of his o)n

actuali0ation.2 God a$sor$s into himself all the perfection achie(ed $' the )orld as it perishes a)a'.

;5 o(e/o', The Great Chain of Being , >5-. o(e/o' notes the transformation of Platonism into

romanticism: 1Thus, at last, the Platonistic scheme of the uni(erse is turned upside do)n. Not onl' had

the originall' complete and immuta$le Chain of Being $een con(erted into a Becoming . . .865;-


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;= $id, 5*7 1’Creati(it'’ is the principle of no(elt'.2 !nd also, 1Creati(it' achie(es its supreme tas of

transforming dis/ointed multiplicit', )ith its di(ersities in opposition, into concrescent unit' . . .

86>9.2

;>

$id, *@. 1The four stages constituti(e of an actual entit' 8concrescence9 . . . can $e named, datum,

process, satisfaction, 8and9 decision.2

;@ o(e/o', The Great Chain of Being , 666. o(e/o' points out that "hitehead 1gi(es the name of God,

not to the nfinite 4ecundit' of emanationism, $ut to the principle of limitation.’2 o(e/o' 3uotes

"hitehead: 1God is the ultimate limitation, and his e+istence is the ultimate irrationalit'.2 ?n this, see

"hitehead, Science and the /odern %orld , *=>.


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Hopkins and Whitehead

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