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: A EUROPEAN POEM
Geoffrey Hill’s long poem Speech! Speech!, published in 2000, is distinctive for
its density. It is notorious for its serried collection of references and allusions to a
broad spectrum of history and art. The poem is in many ways indicative of Hill’s
more recent work: the focus is at once blurred – through the vastness of
reference – and sharpened through Hill’s specificity and attention to detail. For
Hill, this amalgamated style is not only aesthetic, but also part of an over-arching
idea, one that has remained with him throughout his poetic career. He is
concerned primarily with the act of looking back – of remembering and recalling
the past through its redramatisation in verse. Furthermore, Hill urges his readers
to recall without softening or romanticising the reality of the past: this is the Hill
his death “in a little flutter / Of plain arrows”. 1 For Hill, the past is as real as, and
achievements and the sufferings of the past into our present that we can repay
the debt (and thus also alleviate the sense of guilt) that we owe the generations
which came before us. For Hill, remembering is everything: he urges us to live
with the dead, indeed, he has himself written of the “daily acknowledgement / of
1
From ‘The Martyrdom of Saint Sebastian’ section six of Hill’s long poem ‘On Commerce
and Society’ from New and Collected Poems 1952-1994 (Boston; New York: Houghton
Mifflin Company, 1994).
1
what is owed the dead”.2 Consequently, the present for Hill is simultaneously of
the utmost and of little importance: it is no more present in the present than the
past, and yet it is vital that we remember the past in order for it to survive into the
seriousness and gravity are juxtaposed with toilet humour and celebrity gossip.
The past is easily forgotten when its “files” are “pillaged and erased / in one
generation” (Speech! Speech!, st.1). Hill’s personal history, and certainly his
fraught with the traces of a history that stretches so far back that it relativises the
Empire and its aftermath.”3 In redramatising, Hill revitalises, and the result is a
British? Hill writes for the dead using the English language. English is notorious
for being a mongrel, hybrid language, made up of and bearing witness to the
political and social history of Britain and of the larger environs of Europe. Indeed,
Speech! Speech! can be seen to resemble the English language itself; as Peter
Ackroyd has written “it can be maintained that English art and English literature
are formed out of inspired adaptation; like the language, and like the inhabitants
of the nation itself, they represent the apotheosis of the mixed style.”4
2
Geoffrey Hill, The Triumph of Love (Boston; New York: Houghton Mifflin Company,
2000 (first 1998), CXIX.
3
Raphael Ingelbien, Misreading England: Poetry and Nationhood since the Second
World War (Amsterdam; New York: Editions Rodopi, 2002) p.34.
4
Peter Acroyd, Albion: The Origins of the English Imagination (London: Chatto and
Windus, 2002) p.xxi.
2
Englishness, then, is inherently inclusive, and open to, as well as partly made up
of, the world at large, predominantly Europe. Hill’s interest in the intricacies of
English and thus also in European languages is particularly evident in his recent
languages, as well as identify the poem, even on the page, as a European poem.
his awareness of these properties, and the way in which they affect his use of the
But what is European? It seems that, unlike Englishness, which has as its
defined against an ‘other’, the other most commonly being, at least after the
Second World War, America. Hill’s interest in Europe and Britain becomes
obvious when this American comparison is made. America is the New World;
Europe is the Old World. Europe is where the past is inescapable and all
encompassing, where historical events still impact on everyday life. For its
colonisers, America was the land of hope for a new and different future, the land
in which the past could be forgotten. It is exactly this forgetfulness against which
Hill campaigns – his poems are, in his own words, “praise-songs” (S!S!, st.99)
for the past and its martyrs; he wants, literally, to bear witness to history itself.
3
Hill, after all, is the author of the poem ‘History as Poetry’. The Americanisms in
TALK ABOUT / ANGRY” (st.10)) are often a kind of contrapuntal voice: obviously
not that of the author and of the majority of the text, they are the ‘other’ voice,
often speaking out – perhaps as Daumier’s rowdy crowd (presented on the cover
How, then, can Hill continue to produce work so obviously British and, in a wider
itself, the most portable and adaptable vessel for our history available to us, and
our strongest link to our past. Hill has been living in the United States for almost
twenty years, and yet his poems remain distinctly un-American in tone. Europe is
not Hill’s only concern (he is equally fascinated, at times, with Nigerian politics),
but the past of Europe and Britain remains, through language, his primary
concern. For Hill, the past is most present in Europe, and remains powerfully
manifest in both his own past and his own language, English.
Ann Hasan
5
Cover of Counterpoint Edition (New York: Counterpoint, 2000).