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My argument is that H.D.'s poetic output before writing Trilogy was marked by a constant tension between the conflicting impulses to communicate and to obscure, the ambivalent feelings of wanting and fearing free expression, and Trilogy is a continuation of that pattern. The poem initially suggests that a flood of language and ideas can be restrained, shaped by the poet to reflect the complexity of the real in a way that is both analytical and calm: everything about Trilogy's appearance, especially its 129 individually numbered sections, indicates a sense of control. However, by the end of reading, the impression changes to one that, without imposing a rigid structure onto that surge of language and ideas, the poem would become completely chaotic, overpowering both poet and audience. Words, H.D. asserts in one of Trilogy's most-quoted passages, are
Words, according to H.D., are "the blocks, the stones, the foundation of the new city" (The Walls Do Not Fall 5). They are the building blocks of a new vision, a new reality, a new city that can rise from the ashes of the old one. Words have the power to create and to destroy, to heal and to hurt, to reveal and to conceal. Words are both the means and the ends of H.D.'s poetic project.
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But words are also problematic, unreliable, and inadequate. They are subject to interpretation, distortion, and appropriation. They are limited by their historical and cultural contexts, by their associations and connotations, by their sounds and rhythms. They are always in flux, always changing, always evolving. Words can never fully capture or express the real, the divine, or the self. Words are always more and less than what they seem.
This paradox of words is at the heart of Trilogy's poetic form and content. The poem is a complex and layered text that combines different genres, languages, traditions, and references. It is a poem that challenges and invites the reader to engage with its multiple meanings and implications. It is a poem that explores the possibilities and limitations of words as tools of communication and expression. It is a poem that reflects H.D.'s own struggle and desire to find her voice in a world that is constantly changing and often hostile.
One of the ways that H.D. tries to overcome the limitations of words is by using images. Images are central to Trilogy's poetic language and imagery. They are the vehicles of H.D.'s imagination and intuition, of her vision and revelation. Images are the symbols and metaphors that convey H.D.'s message and meaning. Images are the bridges that connect the poet and the reader, the human and the divine, the past and the present.
But images are also ambiguous, elusive, and contradictory. They are subject to multiple interpretations and associations. They are influenced by their cultural and historical contexts, by their sources and origins, by their shapes and colors. They are always in motion, always shifting, always transforming. Images can never fully represent or communicate the real, the divine, or the self. Images are always more and less than what they appear.
This paradox of images is also at the core of Trilogy's poetic form and content. The poem is a rich and varied text that draws on different sources of images, such as mythology, religion, art, and nature. It is a poem that challenges and invites the reader to engage with its visual and verbal dimensions. It is a poem that explores the possibilities and limitations of images as modes of communication and expression. It is a poem that reflects H.D.'s own struggle and desire to find her vision in a world that is constantly changing and often hostile. 0efd9a6b88