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

An Analysis of Geoffrey agglomeratesLittle Apocalypse Seamus Heaneys The Redress of Poetry reveals the composition that it is the imagination of poetry pressing back against the pressure of cosmos (1). The two fence forces of imagination and reality are active in Geoffrey mounds Little Apocalypse. The poem deals with the personal religious conflict of Friedrich Hoderlin (1770-1843), a German lyric poet. hillock focuses on Hoderlins struggle with his strong tactual sensation in Greek mythology and then Contemporary Protestant theology. From this reality Hill utilizes Greek and Christian imagery. Hills imagination complements Hoderlins reality and results in an artistic 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 very up front with her wishes and sent him to monastery schools at Maulbronn and the theological seminary in the Un iversity of Tubingen (Witte 1). In relation to Apocaplypse Hill writes that Holderlin is close enough to know the suns primitive renewing exasperation (33). The sun represents Christianity and though its teachings as well as its unyielding methods of indoctrination (primitive renewing fury) surround him at school and home, he is close enough to his confess religious beliefs rooted 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 injure most likely in a spiritual sense but continue to be brave. Despite the injured, Hill asserts this man Holderlin stands sealed against their injury. The image of Holderlin standing firm greatly contrasts with that of the injured and the use of sealed symbolizes that he held strong to his beliefs. The second stanza shifts to images of Greek mythology. tight radiance of grea t 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 God Hill insinuates that Holderlin himself was a messenger perhaps with a religious message but confused by two assorted religions. The last three lines refer to the rediscovery of Holderlins work that has established him as one of the outstanding lyric poets in the German language and set him in the ranks of the Greatest of German poets (Witte 2).