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This article focuses critically on the linguistic-stylistics’ uses of art and craft of sprung rhythm in the poetry of Gerard Manley Hopkins. The efforts of researchers define and describe the technicalities of sprung rhythm adequately, and analyzes scientifically that how the linguistic- stylistics plays a vital role in the semantic orders and syntactic structure which followed in the queued lexical and figure of speeches together even in the small verse lines which illustrated it from specifically in case of his popular sonnet, The Windhover. Hopkins coined two terms – inscape, and instress to produce his theories of what organized poetry for the theological belief. However, Hopkins looks like especially charmed to use the compound, special, and coined words and the parallels of thought in the fusion of the figure of speech - metaphor, simile, antithesis, alliteration, assonance, consonance, imagery, personification, and symbol in the repeating patterns of rhythm and rhyme to connect together in the sounds and the unique sense in the innovative stylistic art and craft texture of sonnet, The Windhover.
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