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The kingfisher, one of the most colorful birds in England, “catches fire” as the light brings its plumage to a bright radiance. Similarly, the iridescent wings of the dragonfly glint with a flame-like beauty. These two optical images are followed by three aural ones: the tinkling sound of pebbles tossed down wells, the plucking of strings on a musical instrument, and the ringing of bells as the “bow” swings like a pendulum to strike the metal side. Each of these objects does exactly what its nature dictates, in a kind of (unwilled) self-assertion. More generally, every “mortal thing” might be thought to do the same: to express that essence that dwells inside (“indoors”) of it. “Selves” (assumedly from the infinitive “to self,” or “to selve,”) is Hopkins’s coined verb for that self-enacting, and he elaborates upon this process in the lines that follow: to “self” is to go oneself, to speak and spell “myself,” to cry, “What I do is me: for that I came.”
