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a celebration of “ultimate sublimity” and hints that perhaps Hopkins envies
the nun’s ability to become absorbed, erotically, anonymously, into Christ as
her “chivalric savior.”^44 Hopkins, with his metrical mark, transforms the word
“nun” into both “none” and “one,” just as Christ will transform the nuns into
martyrs.^45 Like his marks on “I,” “thee,” and “not” in “O deus amo te,” here the
marks indicate that the nun, who has already lost her identity as a Bride of
Christ, will be even more subsumed into God.
Christ is the “mártyr-master” in whose “sight” the “flákes” of the storm be-
come marks or words—scroll—on the “leaves” or blank text of the nun’s bod-
ies. The nun’s salvation is “spelt” on the “leaves” of their bodies as in Hopkins’s
later poem, “Spelt from Sybil’s Leaves”; they have been already marked for sal-
vation by Christ.^46 Hopkins emphasizes that the nuns have already been
“marked” before they are physically and visually marked. He allegorizes the
five nuns who perish in the wreck, just as there are five wounds of Christ and
five marks of the stigmata.^47 With Christ watching, the poem narrates the
transformation of the nuns’ bodies into text: “in thý síght / Storm flákes were
scróll-leaved flówers” (ll. 167–68). Flakes, for Hopkins, mean sea-flint but, as
we see elsewhere in the poem, “flesh.” It is the nuns’ flesh that is “scroll-leaved,”
inscribed by their own salvation.
Five! The finding and sake
And cipher of suffering Christ 170
Márk, the márk is of mán’s máke
And the word of it Sacrificed,
But he scores it in scarlet himself on his own bespoken
Before-time-taken, dearest prizèd and priced —
Stigma, signal, cinquefoil token 175
For léttering of the lámb’s fléece, rúddying of the róse-fláke.The poet must mark the word, both sacrificing and guaranteeing its sanctity
by doing so. Hopkins used blue chalk to “score” the poem, his own “bespo-
ken” verses, knowing that the marks both litter and “letter” the purity of any
poem he writes. By this point, two-thirds of the way into the poem, we might
begin to see the stressed words in the 5th and 6th lines of the stanza—the two
lines which the rule of Hopkins’s stanza form requires to carry five stressed
syllables: “score,” “scar,” “self,” “own,” “spoke,” and “fore,” “take,” “dear,” “prized,”
“priced.” These two sets of five words spell out the mark of sacrifice and salva-
tion. All of the words in the second to last line—stigma, signal, cinquefoil,
token—are synonyms for the chalked-in mark, the arsis. The chalk mark
hovers over “man” whose “mark” must “let” the “lamb’s” “fleece,” must turn
“ruddy,” so that he, the man, mankind, might be saved. Like the shepherd
branding his flock, the nuns are owned by and have been claimed by Christ,
just as Hopkins hopes that all mankind will be marked for salvation. The
marked stress on the “let” of lettering emphasizes the bloodletting that comes