An Analysis of Geoffrey Hill’s Little Apocalypse :: Little Apocalypse

An Analysis of Geoffrey hills teensy-weensy Apocalypse Seamus Heaneys The Redress of Poetry reveals the idea that it is the imagination of poetry printing press back against the pressure of existence (1). The two opposing forces of imagination and reality are active in Geoffrey knolls Little Apocalypse. The rime deals with the personal spectral conflict of Friedrich Hoderlin (1770-1843), a German lyric poet. Hill focuses on Hoderlins struggle with his strong belief in classic mythology and then Contemporary Protestant theology. From this reality Hill utilizes Greek and Christian imagery. Hills imagination complements Hoderlins reality and results in an nice retelling and vivid depiction of the German poet strife. The first stanza addresses Holderlins relationship with Christianity, specifically his mothers desire for him to be a pastor. His mother was truly up front with her wishes and sent him to monastery schools at Maulbronn and the theological seminary in the University of Tubingen (Witte 1). In relation to Apocaplypse Hill writes that Holderlin is close enough to survive the suns primitive renewing fury (33). The sun represents Christianity and though its teachings as good as its unyielding methods of indoctrination (primitive renewing fury) surround him at school and home, he is close enough to his own religious beliefs grow in Greek mythology (Witte 1). The scorched vistas suggest that Holderlins perspective on religion had been modified or brought into question from his parochial education. Hill implies that Holderlin considers his classmates as injured most likely in a spiritual smell out but continue to be brave. Despite the injured, Hill asserts this man Holderlin stands shut against their injury. The image of Holderlin standing firm hugely contrasts with that of the injured and the use of besotted symbolizes that he held strong to his beliefs. The second stanza shifts to images of Greek mythology.Hermetic radiance of great suns kept in has a double meaning. On one hand, his religious convictions are sealed air tight and on the other Hill imagines him as Hermes the ancient god messenger. As the ancient messenger perfection Hill insinuates that Holderlin himself was a messenger perhaps with a religious means but confused by two different religions. The last trine lines refer to the rediscovery of Holderlins work that has established him as one of the gravid lyric poets in the German language and placed him in the ranks of the superior of German poets (Witte 2).