Classic and Contemporary Poetry: Explained

Geoffrey Hill's "Funeral Music: V" continues the series with a vivid exploration of themes related to justice, atonement, and the soul's journey. The poem is rich with religious imagery and reflections on human suffering, creating a somber meditation on the nature of remorse and redemption.

The opening line, "As with torches we go, at wild Christmas," immediately sets a scene of ritual and celebration, juxtaposed with an underlying sense of darkness. The image of torches during Christmas, a time traditionally associated with joy and light, suggests a complex interplay between festivity and the acknowledgment of deeper, perhaps darker, truths. Hill evokes the idea of "atonement" through a series of feasts, described as "thirty feasts of unction and slaughter." This phrase blends religious sacrament ("unction") with violent imagery ("slaughter"), highlighting the tension between purification and the harsh realities of existence.

The rhetorical question, "What is that but the soul's winter sleep?" invites readers to consider the deeper significance of these rituals. Hill seems to suggest that these acts of atonement and celebration are ultimately a form of rest or dormancy for the soul, a period of introspection and reconciliation with one's actions.

Hill then shifts to the concept of "consummate justice," implying a perfect or complete form of justice. He portrays it as encompassing many things, resting "under consummate / Justice as though trumpets purified law." The metaphor of trumpets purifying law suggests a divine or majestic intervention that cleanses and elevates human law to a higher, more sacred level. The mention of "spikenard," an expensive and aromatic oil often used in religious contexts, further underscores the theme of purification and remorse. Hill posits that spikenard is the "real essence of remorse," suggesting that true remorse is rare, valuable, and deeply transformative.

As the poem progresses, Hill describes the gathering darkness of the sky, a metaphor for the encroaching realization of human sin and the need for redemption. The chant of "Ora, ora pro nobis" (Pray for us) is not answered by seraphs, the highest order of angels, but by "ourselves." This implies that the act of seeking forgiveness and offering prayers is a deeply personal journey, one that requires individuals to confront and reconcile with their own sins and guilt.

The poem concludes with a poignant reflection on the nature of suffering and tenderness among the damned. Those who are "righteously-accused" and "vengeful" are depicted as being "racked on articulate looms," suggesting a painstaking and deliberate process of suffering. Yet, even in their torment, they exhibit a "flagrant / Tenderness of the damned for their own flesh." This final image highlights a paradoxical compassion and self-awareness among those who suffer, emphasizing the complex and often contradictory nature of human emotions and the quest for redemption.

In "Funeral Music: V," Geoffrey Hill masterfully weaves together religious and poetic imagery to explore profound themes of justice, atonement, and the human condition. The poem invites readers to reflect on the nature of remorse, the process of seeking forgiveness, and the intricate interplay between celebration and suffering. Through its rich language and evocative imagery, the poem offers a deeply contemplative meditation on the soul's journey towards redemption.

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