Pre-Raphaelitism, D. G. Rossetti, and the Morris Circle

with the church building: the plural noun “denote[s] a collectively shared experience of bliss,” as Mariaconcetta Costantini puts it (“Food Meta phors in Gerard Manley Hopkins,” VP 55, no. 3 [Fall 2017]: 265). However, Scholl’s remark that “the individual must become proximate to the people” (p. 120) chimes with what Costantini calls the worshipers’ “socialized identity” (p. 265). Lesa Scholl’s interpretations confirm the fecundity of the critic’s own approach, while showing that Hopkins’s pre– “Wreck of the Deutschland” poems more than repay the kind of attention Scholl brings to them. These poems, written several years before Hopkins de cided to take holy orders, already reveal a pastoral concern for the poor and needy that Scholl shows was as much material as spiritual. Work such as Scholl’s confirms that 2020 saw the publication of highquality work on Hopkins, and we look forward to further indepth research into Hopkins’s early poetry in par tic u lar, especially the longer poems like “The Escorial,” “Il Mystico,” and A Vision of the Mermaids.”