Classic and Contemporary Poetry: Explained

In "Church on Comiaken Hill," Richard Hugo paints a vivid and haunting picture of a dilapidated church, abandoned and left to the mercy of the elements. The poem begins with a stark, ominous image: "The lines are keen against today's bad sky / about to rain." This opening sets the tone for a meditation on the futility of human efforts to impose structure and meaning on a landscape that resists domestication.

Hugo juxtaposes the perspectives of two groups—the white settlers who built the church and the Indigenous people who once lived in the area. The whites are described as understanding "why Indians sold butter for the funds / to build this church," suggesting a certain rationalization of the economic transactions that took place. However, the next line, "We are dark / and know why no one climbed to pray," introduces a sense of foreboding and an acknowledgment that the church was never truly embraced by the land or its original inhabitants. The image of a priest "who did his best to imitate a bell" underscores the sense of futility, as if even the rituals of worship were inadequate in this setting, dwarfed by the natural forces of the river "relentless for the bay."

The poem then delves into the theme of abandonment, describing the church as "abandoned to the wind," which in turn creates "harsh music" in the ruins. This image evokes a sense of desolation, as if the very structure meant to bring people together in worship has become a symbol of their failure. The priest, who once tended to the church, is now "tending bar," a stark contrast that highlights the futility of his previous efforts. His "eyes are empty as a chapel / roofless in a storm," suggesting a loss of faith or purpose. The reference to Greek temples, which "seem the same as forty centuries ago," introduces a historical perspective, implying that such structures, no matter how grand or sacred, ultimately succumb to the same fate.

Hugo's imagery is rich with irony. He suggests that even if the ruins were repurposed for something as base as a urinal, it would not negate the possibility that worship had once taken place there. This reflects the ambiguity and complexity of the human relationship with sacred spaces—what once held deep spiritual significance can become just another ruin, its history and meaning lost to time.

The poem also reflects on the consequences of colonization, as seen in the lines, "The chickens cringe. Rain sprays chaos where / the altar and the stained glass would have gone / had Indians not eaten tribal cows / one hungry fall." Here, Hugo alludes to the hardships faced by the Indigenous people, who were forced to prioritize survival over maintaining their cultural or spiritual practices. The first mass and the introduction of modern conveniences like a "phone line" are described as having "cursed the river," suggesting that these symbols of progress and civilization brought disruption rather than salvation.

As the poem draws to a close, Hugo shifts his focus to the future, contemplating the inevitability of death and the transience of human endeavors. The image of children not waving as the speaker leaves the site, coupled with the thought that "our graves may go unmarked," underscores the idea that all things—whether people, places, or even names—will eventually be forgotten. The final lines, "These Indians— / whatever they once loved or used for God— / the hill—the river—the bay burned by the moon— / they knew that when you die you lose your name," resonate with a deep sense of loss and the recognition that, in death, all human distinctions and identities are ultimately erased.

"Church on Comiaken Hill" is a poignant exploration of the themes of abandonment, futility, and the passage of time. Through his use of rich imagery and ironic contrasts, Hugo captures the inevitable decline of both physical structures and the human ambitions they represent. The poem serves as a reminder of the transient nature of human existence and the ways in which our attempts to impose order and meaning on the world are often futile in the face of larger, more enduring forces.

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