Classic and Contemporary Poetry: Explained

In "Mercian Hymns: 5," Geoffrey Hill intertwines personal memory with historical and mythological imagery to explore themes of governance, identity, and exile. The hymn moves fluidly between reflections on England's past and the poet's own childhood, revealing a complex layering of meaning and emotion.

The opening line, "So much for the elves’ wergild, the true governance of England," juxtaposes the mythical with the political. The term "wergild" refers to a form of restitution or compensation in early Germanic law, traditionally paid to the family of someone who has been killed. By attributing this concept to the elves, Hill invokes a mythical element, suggesting that England’s governance is steeped in ancient traditions and supernatural influences. The phrase "the true governance of England" carries a weight of irony, implying that the reality of rule is far removed from its mythic or idealized forms.

"The gaunt warrior-gospel armoured in engraved stone" introduces a stark image of a warrior ethos inscribed in stone, symbolizing an enduring but rigid legacy of martial and moral values. This image evokes the stern, unyielding aspects of historical and cultural inheritance, set in contrast to the fluidity of personal memory and myth.

Hill then shifts to a more personal and introspective tone: "I wormed my way heavenward for ages amid barbaric ivy, scrollwork of fern." This passage suggests a journey of ascent or spiritual seeking through a tangled, almost wild natural landscape. The use of "wormed" conveys a sense of struggle and persistence, while "barbaric ivy" and "scrollwork of fern" evoke an intricate, untamed beauty. The phrase "heavenward for ages" hints at a long, arduous quest for enlightenment or transcendence.

"Exile or pilgrim set me once more upon that ground: my rich and desolate childhood." This line encapsulates the tension between being an outsider and a seeker, suggesting that both states have brought the poet back to the foundational experiences of his youth. The juxtaposition of "rich and desolate" captures the duality of childhood as a time of both abundance and isolation, a fertile ground for the development of a complex identity.

The hymn concludes with a poignant reflection on the poet's self-perception and how he was perceived by others: "Dreamy, smug-faced, sick on outings—I who was taken to be a king of some kind, a prodigy, a maimed one." This self-portrait is layered with irony and ambivalence. "Dreamy" and "smug-faced" suggest a child lost in his own world, perhaps with an air of self-satisfaction, while "sick on outings" implies a physical frailty or sensitivity. The line "I who was taken to be a king of some kind, a prodigy, a maimed one" reveals a deep tension between external expectations and internal reality. The poet was seen as special, even regal or gifted, yet also as damaged or incomplete.

Through these lines, Hill explores the complexities of personal identity shaped by history, myth, and childhood experiences. "Mercian Hymns: 5" weaves together the poet's introspective journey with broader reflections on cultural and historical legacies, creating a rich tapestry that invites readers to contemplate their own connections to the past and the forces that shape their sense of self.

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