Inversnaid is a very vivid poem. Hopkins involves sounds, descriptions and rhythms to portray the course of a Scottish river. The first verse is quite fast, like a stream, and the sounds are 'r's, 'c's and Ts. For example: 'The rollrock highroad roaring down' - this depicts the tumbling of the stream over its rocky bed.
             Another example is: 'In coop and in comb, the fieece of his foam'. The river is brown - ' horseback brown' shows an aspect of movement (in the horse) as well as colour, it also has 'fawn-froth'.
             The next verse is slower and more sinister. It is pitchblack or 'rounds and rounds despair to drowning'. The sounds are longer and slow it down.
             The third verse has Scottish sounding words such as 'braes', 'burns' and 'flitches', will tell us of its position.
             The beauty of such a simple scene has been proved. One can see so much in it. So Hopkins appeals that the wildness and the wet be left if it is so beautiful.
             'Long live the weeds and the wilderness yet.'
             In Spring the first line shows how Hopkins is using long sounds to portray hlkliiicss i.e. Weeds in wheels, long, lovely and lush. It is noticeable that he finds himity in weeds like in Inversnaid. He describes the thrush's eggs as 'little low lipiivcns' which reveáis part of the theme towards the end. The lambs depict 'nce i.e. 'Mayday in girl and boy'. The purpose of the poem is to show beauty and also appeal to us to appreciate it before 'spring' - a time of Kifcnce - goes i.e. 'Have, get, before it cloy, before it cloud' and 'sour with ning'.
             The Binsley Poplars Hopkins regarded as his own were felled - the use of that wnrd, a monosyllable that is repeated, emphasizes the finality of the act. His
             'dear aspens' had a luxurious beauty no one appreciated i.e.' Quenched in leaves in the leaping sun'. Their removal is described with words usually used for torture 'ii'h as 'hack' and 'rack' and his message is that 'where we mean to mend her...