Angels and Arbiters

"The Triumph of Love" section 3

My post on Section 2 of “The Triumph of Love” is available here. See here for an introductory post on Geoffrey Hill and the poem we’re reading together, and here for a note on method.

Close reading of section 3

This section is challenging from a close reading perspective, because it includes two little-known Latin names and titles. In the interest of seeing how much we can glean from the poem itself, I have not done any outside research on those—I’ll do that for the annotation section below.

So let’s look at the section itself. Right away, we see a pattern in length of sections. Section 1, one line; section 2, two lines; now, section 3, three lines. This pattern does not hold throughout the poem, but here at the beginning it does. It gives us of accumulation; what started out as a simple observation in the outside world (that “livid rain-scarp”) has begun to spill over into multi-line speculations with more complex sentence structure (though, I will say again, the structure of that opening sentence in section 1 is worth much study).

Sections 2 and 3 speak to each other clearly. Section two spoke of guilt; section 3 asks a person with a difficult, intimidating Latin title to “take us in charge.” The title “Petronius Arbiter”, even before we know what it means, rings Roman—these are words from an empire of iron law. Many readers will recognize the word “arbiter” in this title—a word loaded with legal connotation. An arbiter is authoritative; he or she can be trusted to deal out justice.

So the speaker asks this arbiter to dispense justice out on “us.” The careful reader will notice that this is the first time the speaker has revealed himself as an actor in the poem. (The “I” of the previous section could simply be the speaker reflecting on an observation. It doesn’t necessarily mean he is in the poem.) And in doing so, the speaker implicates his readers in his own action. He does not say, “take me in charge.” Instead, he asks that all of “us” be carried to the house of correction. Coming on the heels of section 2, this implies that we—specifically the readers, and apparently all people—are guilty of grievous sin and carry guilts.

Finally, the speaker begs another character— “Angelus Silesius” —to take care of us, watch over us, while we are detained in the house of correction. The word “angelus,” or “angel”, is obvious here. I admit I am stumped by Silesius and will have to research it—all I can get is “Silesia,” which is a region of central Europe. [Note: I’m documenting this thought process so readers can see how close reading works. Grab whatever clues you can!]

But “Angelus” by itself communicates plenty. These two characters, “Petronius Arbiter” and “Angelus Silesius”, both play roles in the imprisonment that is a direct result of the sins in section 2, but these roles are distinct. The Arbiter imprisons and metes out justice; the Angelus guards, a curious word with a double meaning. A “prison guard” works to prevent escape, but a “security guard” protects something precious from attack. The two meanings of the word are clearly both at play here—we are guilty, heinously guilty, but we are still worth guarding and protecting.

I read this third section as an invocation, not unlike the invocative passages in ancient poetry where the poet dedicates his work to the divine being that gifted it to him. Here, the speaker reaches beyond himself to make specific requests—more like demands—on typological figures of justice and protection. With that in mind, it becomes clear that the “house of correction” to which we are being carried is nothing less than the rest of the poem itself. The poem will, hopefully, be the means of justice—but it will be painful, and we need the protection of angels as we go.

Annotation of section 3

The annotations for this section are revealing!

Petronius Arbiter - a courtier and close friend of Nero. He was called “arbiter” not because of any particular bent he had towards wisdom or justice, but because he loved fashion and was considered the chief judge of elegance and fashion in Nero’s court.

This puts a whole new meaning on the passage in section 3, implying that the judge here may not be trustworthy! An exciting development indeed.

Angelus Silesius - a 17th century religious poet and priest who took the name “Angelus” after converting to Catholicism from Lutheranism. Silesius (who was from the region Silesia) wrote mystical poetry and practiced medicine, along with serving in the priesthood.

A curious angel to watch over us, isn’t he? A convert from Lutheranism (the left hand of Hill’s own Anglicanism) to Catholicism (the right hand); a mystic, priest, and physician; one learned in many forms of healing, both of body, mind, and spirit. I hope we see more of him in verses to come, but whether we see him or not, he’s been invoked, and he will be there.