In his works, Hopkins presents a dichotomy between a religious piety found solely in nature and a state of separation from God, which results in the loss of religiosity himself. In his early works, Hopkins portrays this religious reverence and penetrating vision of the divine and the pure. Through a wave of visual images reminiscent of lush and varied nature, Hopkins draws attention to physical beauty. Furthermore, it is through metaphors of verticality and plays of sound patterns that Hopkins translates natural beauty into a spiritual unity, into a deep reverence for God. However, in his later stages of life, Hopkins transitions to a more aimless state, in where repetition and verticality change from connection to separation and only increase the unfortunate mood and feeling of desolation. In his early works, Hopkins presents a state of renewal that connects external beauty and internal landscape, a dominant feature only to be enhanced by the unity of the images. In “Spring,” Hopkins employs seemingly varied and “lush” visual images, from the “little low skies” below to the ascending auditory images of “echoing wood,” to the final “bloom” of leaves, ending in the deeper “descending blue” ”. What initially develops into an image-laden description serves only to present a complete panorama, or as a unique form resembling the work of God (Chevingy 142), of the senses (as the auditory and visual senses combine to form a emerging bridge from the physical to the symbolic). Such sublime experience in reverence towards God is only furthered by the third-person omniscient point of view, since the speaker is detached and able to venerate physical and spiritual beauty. Furthermore, while remaining detached, Hopkins exploits the verticality... the center of the paper... the physical structure of the poem and the symbolic patterns it heralds. In this case it refers to the re-emergence of the Sun, or symbol of the radiant presence of God, after the speaker's horrific description of man's misery and "toil" (a direct result of the loss of devotion), what is supposed to represent the temporary lack of God's splendor and therefore a symbolic night. Word Count: 2,000 Works Cited Chevigny, Bell. “Stress and Devotion in the Poetry of Gerard Manley Hopkins.” Victorian Poetry 9.2 (1965): 141-153. Print. Salmon, Richard. “Prayers of Praise and Prayers of Petition: Simultaneity in the Sonnet World of Gerard Manley Hopkins.” Victorian Poetry 22.4 (1984): 383-406. Print.Wolfe, Patricia. "The Paradox of the Self: A Study of Hopkins' Spiritual Conflict in the 'Terrible' Sonnets." Victorian Poetry 6.2 (1968): 85-103. Press.