Classic and Contemporary Poetry: Explained

In "Triumph of Love: 147," Geoffrey Hill delves into the complexities of seeking truth and the existential quest for meaning. This section reflects Hill's characteristic interplay between dense imagery and philosophical inquiry, drawing the reader into a contemplation of truth, identity, and the human condition.

The poem begins with the phrase, "To go so far with the elaborately-vested Angel of Naked Truth," juxtaposing the seemingly contradictory images of elaborate vestments and nakedness. This imagery suggests a journey or pursuit of truth that is simultaneously adorned and stripped bare, indicating the multifaceted and often paradoxical nature of truth. The angel, a symbol of divine or pure truth, is described in a way that highlights the tension between appearance and essence.

Hill then poses a rhetorical question: "and where are we, finally?" This question invites the reader to consider the ultimate destination or outcome of this pursuit. The following line, "Don’t say that—we are nowhere finally," immediately negates the possibility of a definitive answer or final destination. This assertion emphasizes the elusive and transient nature of truth and existence, suggesting that any sense of arrival or conclusion is illusory.

The repetition of "nowhere are you—nowhere are you—any more—more cryptic than a schoolyard truce" intensifies the sense of dislocation and ambiguity. Hill likens the state of being "nowhere" to the elusive and fragile nature of a schoolyard truce, a temporary and often insincere agreement. This comparison underscores the idea that the resolutions and truths we seek are fleeting and ultimately unsatisfying.

The poem shifts to a series of exclamations: "Cry Kings, Cross, or Crosses, cry Pax, cry Pax, but to be healed." These invocations of kings, the cross, and peace (Pax) invoke religious and historical symbols of authority, suffering, and reconciliation. Hill's repetition of "cry Pax" (peace) emphasizes a deep yearning for healing and resolution. However, the imperative to "cry" suggests a desperate, almost futile plea for solace in a tumultuous world.

The final lines, "but to be healed, and die!" conclude the poem on a stark and somber note. Hill links the desire for healing directly to the inevitability of death, suggesting that true peace or resolution can only be achieved in death. This connection between healing and death reflects a poignant acknowledgment of mortality and the ultimate limitation of human striving.

In this brief yet dense passage, Hill encapsulates the tension between the pursuit of truth and the existential reality of human impermanence. Through vivid imagery and philosophical inquiry, he explores the paradoxes inherent in the human condition, highlighting the relentless search for meaning and the ultimate inevitability of death.

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