Critics have often referred to the poetry of Gerard Manley Hopkins as odd and obscure; it Is not often, however, that these same critics have analyzed the poetry to determine what elements therein make for a poetry which they choose to call odd and obscure. Syntactical peculiarities, compression of thought, oddness of vocabulary have, only in a general way, been pointed to as elements contributing to this so-called oddity and obscurity. The present study is an attempt to consider Hopkins' vocabulary as one of the possible sources of the alleged oddity and obscurity of his verse; it is an attempt to determine whether Hopkins’ theory of poetry demanded the use of odd words, to determine to what extent the vocabulary of Hopkins’ poetry is made up of odd words, to determine In what ways the odd words are odd; that is, if they are obsolete, archaic, scientific, dialectal, or coined; and lastly, to determine to what degree Hopkins’ use of these words was odd.
","abstract_html":"<p>Critics have often referred to the poetry of Gerard Manley Hopkins as odd and obscure; it Is not often, however, that these same critics have analyzed the poetry to determine what elements therein make for a poetry which they choose to call odd and obscure. Syntactical peculiarities, compression of thought, oddness of vocabulary have, only in a general way, been pointed to as elements contributing to this so-called oddity and obscurity. The present study is an attempt to consider Hopkins' vocabulary as one of the possible sources of the alleged oddity and obscurity of his verse; it is an attempt to determine whether Hopkins’ theory of poetry demanded the use of odd words, to determine to what extent the vocabulary of Hopkins’ poetry is made up of odd words, to determine In what ways the odd words are odd; that is, if they are obsolete, archaic, scientific, dialectal, or coined; and lastly, to determine to what degree Hopkins’ use of these words was odd.</p>","abstract_has_math":false,"creators":["Maltman, M. Nichoas"],"institution":null,"degree_name":"Master of Arts","degree_level":"Master's Thesis","degree_discipline":"Humanities","degree_department":null,"school":null,"contributors":[],"advisors":[],"committee_chairs":[],"committee_members":[],"year":1949,"date_issued":"1949-01-01T07:00:00Z","date_published":"1949-01-01T07:00:00Z","updated_at":"2026-07-24T02:06:07Z","subjects":["Humanities","Arts and Humanities"],"languages":[],"rights":[],"rights_urls":[],"identifier_entries":[]},"links":{"outbound_url":"https://scholar.dominican.edu/humanities-print-theses/69","outbound_label":"Repository record","outbound_source":"dc:identifier"},"metadata_groups":[{"id":"people","label":"People","entries":[{"key":"dc:creator","label":"Author","values":["Maltman, M. Nichoas"]}]},{"id":"academic_context","label":"Academic Context","entries":[{"key":"thesis:degree_discipline","label":"Discipline","values":["Humanities"]},{"key":"thesis:degree_level","label":"Degree Level","values":["Master's Thesis"]},{"key":"thesis:degree_name","label":"Degree Name","values":["Master of Arts"]}]},{"id":"subjects_keywords","label":"Subjects and Keywords","entries":[{"key":"dc:subject","label":"Dc Subject","values":["Humanities","Arts and Humanities"]}]},{"id":"identifiers","label":"Identifiers","entries":[{"key":"dc:identifier","label":"Identifier","values":["https://scholar.dominican.edu/humanities-print-theses/69"]}]},{"id":"additional","label":"Additional Metadata","entries":[{"key":"dc:description.abstract","label":"Abstract","values":["Critics have often referred to the poetry of Gerard Manley Hopkins as odd and obscure; it Is not often, however, that these same critics have analyzed the poetry to determine what elements therein make for a poetry which they choose to call odd and obscure. Syntactical peculiarities, compression of thought, oddness of vocabulary have, only in a general way, been pointed to as elements contributing to this so-called oddity and obscurity. The present study is an attempt to consider Hopkins' vocabulary as one of the possible sources of the alleged oddity and obscurity of his verse; it is an attempt to determine whether Hopkins’ theory of poetry demanded the use of odd words, to determine to what extent the vocabulary of Hopkins’ poetry is made up of odd words, to determine In what ways the odd words are odd; that is, if they are obsolete, archaic, scientific, dialectal, or coined; and lastly, to determine to what degree Hopkins’ use of these words was odd.
"]},{"key":"dc:title","label":"Title","values":["The Odd Words in the Poetry of Gerard Manley Hopkins"]}]}],"canonical_facts":{"dc:creator":["Maltman, M. Nichoas"],"dc:description.abstract":["Critics have often referred to the poetry of Gerard Manley Hopkins as odd and obscure; it Is not often, however, that these same critics have analyzed the poetry to determine what elements therein make for a poetry which they choose to call odd and obscure. Syntactical peculiarities, compression of thought, oddness of vocabulary have, only in a general way, been pointed to as elements contributing to this so-called oddity and obscurity. The present study is an attempt to consider Hopkins' vocabulary as one of the possible sources of the alleged oddity and obscurity of his verse; it is an attempt to determine whether Hopkins’ theory of poetry demanded the use of odd words, to determine to what extent the vocabulary of Hopkins’ poetry is made up of odd words, to determine In what ways the odd words are odd; that is, if they are obsolete, archaic, scientific, dialectal, or coined; and lastly, to determine to what degree Hopkins’ use of these words was odd.
"],"dc:identifier":["https://scholar.dominican.edu/humanities-print-theses/69"],"dc:subject":["Humanities","Arts and Humanities"],"dc:title":["The Odd Words in the Poetry of Gerard Manley Hopkins"],"thesis:degree_discipline":["Humanities"],"thesis:degree_level":["Master's Thesis"],"thesis:degree_name":["Master of Arts"]},"updated_at":"2026-07-24T02:06:07Z"}