Classic and Contemporary Poetry: Explained

Geoffrey Hill's poem "Merlin" delves into the somber contemplation of the past and the powerful, almost haunting presence of history's figures. The poem is steeped in Arthurian legend, invoking a sense of loss, legacy, and the inevitable passage of time.

Hill begins with the line, "I will consider the outnumbering dead," setting a reflective and melancholic tone. This phrase suggests a deliberate meditation on those who have passed away, acknowledging their overwhelming numbers and the impact they continue to exert on the present. The dead are described as "the husks of what was rich seed," a poignant metaphor that highlights their once vibrant existence now reduced to mere remnants. This image evokes a sense of potential that has been lost, yet also hints at the cyclical nature of life and death, where even husks once contained the promise of growth.

The poem then shifts to a hypothetical scenario: "Now, should they come together to be fed, / They would outstrip the locusts' covering tide." This vivid imagery conjures a scene of the dead rising en masse, consuming resources with a voracity that surpasses even that of locusts. This not only emphasizes their sheer numbers but also hints at an insatiable hunger for recognition or remembrance. The comparison to locusts, creatures known for their devastating swarms, suggests a destructive potential inherent in this collective memory.

Hill then names specific figures from Arthurian legend: "Arthur, Elaine, Mordred; they are all gone." By invoking these iconic characters, he anchors the poem in a mythic past that is both specific and symbolic. Their names conjure stories of heroism, love, and betrayal, encapsulating the complex human emotions and narratives that history holds. Yet, these figures are now "gone / Among the raftered galleries of bone," a powerful image that suggests a vast, silent repository of the dead, where individual identities merge into a collective anonymity.

The reference to "the long barrows of Logres" ties the poem to the ancient burial mounds of Britain, further grounding it in a sense of historical continuity and national identity. Logres, the mythical name for the realm of King Arthur, evokes a legendary past that is deeply embedded in the cultural consciousness. The dead being "made one" in these barrows implies a unity in death that transcends the divisions and conflicts of their lives.

Finally, Hill concludes with the image of "the pinnacled corn" standing over their city. Corn, a symbol of fertility and sustenance, juxtaposed with the image of the dead, suggests renewal and the enduring cycles of nature. The "pinnacled" aspect of the corn conveys a sense of elevation and reverence, as if the memory of the dead, now part of the land, nourishes new growth. This ending brings the poem full circle, from the contemplation of death to the recognition of life's persistence.

In "Merlin," Geoffrey Hill masterfully weaves together themes of memory, legacy, and the passage of time. Through evocative imagery and the invocation of Arthurian legend, he reflects on the enduring influence of the past and the inevitable blending of individual lives into the broader tapestry of history. The poem's melancholic tone is tempered by a recognition of continuity and renewal, suggesting that even as we remember the dead, life continues to flourish.

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