Classic and Contemporary Poetry: Explained

In "Triumph of Love: 66" by Geoffrey Hill, the poet delves into the complexities of faith, ritual, and religious identity, blending personal reflection with theological contemplation. Hill’s verse grapples with the paradoxes inherent in religious practice, particularly within Christianity, while also touching on broader themes of forgiveness, tradition, and the endurance of belief.

Hill begins with the declaration, "Christ has risen yet again to their ritual supplication," immediately situating the poem within the context of Christian liturgical practice. This resurrection, part of the repetitive cycle of worship, seems almost surreal to the poet, as he describes it as "weird" that the "comedy never self-destructs." This use of "comedy" points to the cyclical nature of the Christian narrative of death and resurrection, which, instead of collapsing under its own weight or the repetition, is paradoxically strengthened through what Hill calls "attenuation." Here, he draws on John Donne’s metaphor of gold that becomes stronger as it is beaten thinner.

The invocation of Donne and Herbert—two significant figures in religious poetry—signals Hill’s engagement with a tradition of wrestling with faith through language. By stating, "Come back, Donne, I forgive you; and lovely Herbert," Hill expresses a complex relationship with these poets, suggesting both a reconciliation with their perspectives and an acknowledgment of their enduring influence.

Hill then shifts focus to critique the community practicing "synchronized genuflection," a phrase that evokes the mechanical and performative aspects of religious rituals. This community, which takes pride in its practices, also engages in "hazing my Jewish wife," introducing a personal and painful note to the poem. This critique underscores a theme of exclusion and the pettiness Hill perceives in certain religious behaviors.

Hill poses a critical theological question: "If Christ be not risen, Christians are petty temple-schismatics, justly cast out of the law." This conditional statement places the significance of the resurrection at the center of Christian identity and legitimacy. Without the resurrection, Christians would merely be another schismatic group, lacking true divine sanction. Yet, Hill affirms, "since he is risen, he is risen even for these high-handed underlings of self-worship." This acknowledgment extends the grace of the resurrection even to those whose behaviors he critiques, reflecting a profound, if conflicted, understanding of Christian forgiveness and redemption.

The phrase "high-handed underlings of self-worship" encapsulates Hill’s disdain for those who perform religious acts with arrogance and self-importance, missing the deeper humility and selflessness that true worship should entail. Nevertheless, Hill concludes that their proclamation of Christ’s resurrection is valid "as by obedience," suggesting that even flawed practitioners contribute to the perpetuation of faith.

In "Triumph of Love: 66," Hill masterfully intertwines personal narrative, theological reflection, and literary tradition. The poem examines the resilience of faith amid human imperfection and the ways in which ritual and belief persist despite, or perhaps because of, their inherent contradictions. Hill's engagement with the works of Donne and Herbert situates his meditation within a rich historical dialogue, while his personal reflections on his wife's experience add an intimate dimension to the broader critique. Ultimately, Hill's nuanced portrayal of faith highlights both its enduring power and the complexities it must navigate in a flawed world.

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