Classic and Contemporary Poetry: Explained

In Geoffrey Hill's "The Humanist," the poet paints a vivid portrait of a scholar deeply embedded in the rich traditions and intellectual pursuits of the Renaissance, particularly reflecting the humanist movement's ideals. The poem's dense and evocative language serves to critique the complexities and contradictions inherent in the humanist ethos.

The opening line, "The Venice portrait: he," immediately sets a scene of contemplation and historical resonance. Venice, a hub of Renaissance culture, symbolizes the height of intellectual and artistic achievement. The figure in the portrait is described as brooding, a guest at "The Muses' table," suggesting he is engaged in deep thought and conversation, surrounded by the inspirations of art and learning. This image conveys both a sense of accomplishment and a weariness, as the guest is "Tired and word-perfect," implying a perfection achieved through rigorous and exhaustive study.

Hill then plays with the idea of virtue, stating "Virtue is virtù." This phrase not only echoes the Italian word for virtue but also connotes skill and excellence, essential qualities celebrated by Renaissance humanists. The "Lips debate and praise / Some rich aphorism," indicating that the discussions are not only intellectual but also refined and tasteful, akin to savoring a "delicate white meat." This metaphor suggests that their conversation is both sophisticated and indulgent, treating wisdom and aphorisms as something to be consumed and enjoyed.

The poem takes a more critical turn with the reference to "commonplace hands once / Thick with Plato's blood (Tasteless! tasteless!)." Here, Hill critiques the superficial engagement with classical texts. The hands that were once "Thick with Plato's blood" imply a deep, almost sacrificial involvement with Platonic philosophy. However, describing this involvement as "Tasteless! tasteless!" suggests that this engagement may lack genuine substance or flavor, perhaps reduced to mere intellectual exercise without true understanding or appreciation.

Finally, the image of the hands being "laid / Dryly against the robes" conveys a sense of sterility and detachment. The robes, likely representing academic or clerical garb, emphasize the formality and perhaps the rigidity of the scholar's position. The dryness indicates a lack of vitality or passion, suggesting that the humanist's pursuits, while intellectually rigorous, may ultimately be devoid of the fervor that once characterized true engagement with the classics.

In "The Humanist," Geoffrey Hill critiques the Renaissance humanist movement's potential for becoming overly focused on intellectual perfection at the expense of genuine, passionate engagement with the texts and ideas they study. The poem's rich imagery and metaphors invite readers to reflect on the true nature of scholarly pursuit and the importance of maintaining a balance between intellectual rigor and heartfelt appreciation.

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