a music of overtones; rhythm, but a rhythm which explicates meaning and
makes it more intense.

Between the 'May Magnificat' and these sonnets is the bulk of Hopkins's
poetical work and his peculiar achievement. Perhaps it could be regarded
as a phase in his evolution towards the 'more balanced and Miltonic
style' which he hoped for, and of which the posthumous sonnets are
precursors; but the attempt to see him from this angle would be
perverse. Hopkins was not the man to feel, save on exceptional
occasions, that urgency of content of which we have spoken. The
communication of thought was seldom the dominant impulse of his creative
moment, and it is curious how simple his thought often proves to be when
the obscurity of his language has been penetrated. Musical elaboration
is the chief characteristic of his work, and for this reason what seem
to be the strangest of his experiments are his most essential
achievement So, for instance, 'The Golden Echo':--

'Spare!
There is one, yes, I have one (Hush there!);
Only not within seeing of sun,
Not within the singeing of the strong sun,
Tall sun's tingeing, or treacherous the tainting of the earth's air,
Somewhere else where there is, ah, well, where! one,
One. Yes, I can tell such a key, I do know such a place,
Where, whatever's prized and passes of us, everything that's fresh and
fast flying of us, seems to us sweet of us and
swiftly away with, done away with, undone,
Undone, done with, soon done with, and yet clearly and dangerously sweet
Of us, the wimpled-water-dimpled, not-by-morning-matchèd face,
The flower of beauty, fleece of beauty, too too apt to, ah! to fleet,