Classic and Contemporary Poetry: Explained

Geoffrey Hill's "Funeral Music: III" continues the thematic exploration of war, suffering, and the solemn rituals that surround them. The poem is marked by its stark, vivid imagery and its contemplation of the human condition in the face of conflict and mortality.

The opening line, "They bespoke doomsday and they meant it by God," immediately sets a tone of apocalyptic seriousness. The phrase "bespoke doomsday" suggests that the participants in the scene not only predicted a catastrophic event but were also fully committed to it, invoking divine authority to underline their resolve. The "curved metal rimming the low ridge" likely refers to the weapons and armor of soldiers, creating a visual image of a fortified line bracing for battle.

Hill then reflects on the rarity of such intense moments, noting, "But few appearances are like this. Once / Every five hundred years a comet's / Over-riding stillness might reveal men / In such array, livid and featureless." The comparison to a comet underscores the extraordinary and infrequent nature of these scenes of profound stillness and grim determination. The soldiers are described as "livid and featureless," emphasizing their dehumanization and the erasure of individuality in the context of mass conflict.

The phrase "With England crouched beastwise beneath it all" evokes a vision of the nation as a primal, animalistic entity, overwhelmed by the violence and chaos of war. This personification of England adds a layer of tragedy, suggesting that the entire country is reduced to a baser state by the horrors of battle.

Hill introduces a conversational tone with the line, "'Oh, that old northern business...'" This likely refers to the historical conflicts in the north of England, particularly during the Wars of the Roses, evoking a sense of resigned familiarity with the cycle of violence. The ellipsis suggests a trailing off, as if the speaker is weary of recounting such tales.

The poet then shifts to the aftermath of battle, describing a field that "utters its own sound / Which is like nothing on earth, but is earth." This line captures the haunting silence and the eerie, otherworldly atmosphere of a battlefield after the fighting has ceased. The earth itself seems to speak, bearing witness to the carnage and serving as a testament to the horrors that have transpired.

Hill continues with imagery of vulnerable creatures emerging blindly from the earth: "Blindly the questing snail, vulnerable / Mole emerge, blindly we lie down, blindly." This repetition of "blindly" emphasizes the helplessness and instinctive nature of these actions, drawing a parallel between the natural world's response to destruction and human behavior in the face of overwhelming violence.

The poem culminates in a powerful juxtaposition: "Among carnage the most delicate souls / Tup in their marriage-blood, gasping 'Jesus'." Here, Hill contrasts the brutal carnage with the intimate, sacred act of consummation ("tup in their marriage-blood"), highlighting the coexistence of life and death, purity and violence. The invocation of "Jesus" as a final, gasping plea underscores the desperation and the search for redemption or solace amidst the chaos.

In "Funeral Music: III," Geoffrey Hill masterfully weaves together historical and natural imagery to explore the profound impact of war on both individuals and the nation. The poem's somber tone, vivid descriptions, and contemplative reflections invite readers to consider the enduring consequences of conflict and the delicate balance between life and death, civilization and barbarism.

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