The metaphorical approach of the poet in describing their combat is now extended to include the metaphor of the homeland, torn apart and bleeding even as it remains in one piece between the two acting as a glue -- a fixative that also keeps them bound to one another.
The poem's second part of the poem introduces a new metaphor, which again uses the biblical verbiage to enrich its meaning: "in the beginning is seeing" -- a reference to the Word, which is described in John's Gospel. Fisher (1985) defines it as a "narrative paradigm" that is used to construct and thematically cohesive expression of ideas (p. 74). In Krog's poem, the paradigm is shifted from the warring relationship of the two entities in the first part to a mystical expression of the sin and grace that exists within the "wounds of anger" (Krog, 2000). The metaphor used herein is one in which the wounds suffered by the two parties and by the country are what contain the whole of the past as well as the seeds for hope. By entering into the wounds and looking with the eyes -- "seeing" as Krog puts it -- and listening with the ears to the "voices" that speak for the whole of the country from out the wounds -- reflection is possible and out of reflection can come a new peace. The concept of baptism by blood -- baptism into a community -- is used to intertwine the concepts already introduced in the poem in the first part: words, violence and unity: the voices of the country are literally "baptized in syllables of blood and belonging" -- a metaphorical way of saying that the violence and fighting are not outwardly directed but inwardly directed. The fighters are only killing themselves in their attempts to kill one another. The more they spill one another's blood, the more they are staking their eternities to one another. Krog alludes to "angel hair and barbs / dew and hay and hurt" -- symbols that reference the ethereal, spiritual realm and the earthy, physical realm. Thus, Krog's second part of the poem is an extended metaphor for the wounds of the country serving as a means of transcendence -- a way for everyone to pause, reflect, and bring together the two natures of their humanity, the physical and their spiritual natures, and unite them in what is clearly another allusion to the religious allegory that underlines the poem -- that of redemption -- here suggested in the juxtaposition of symbols, "angel hair and barbs / dew and hay and hurt," all of which hint at the Incarnation (the Word that is in the beginning -- replace by Krog with seeing). Krog is pointing to the wounds that her country has suffered and like a saint in a religious icon pointing the finger not at the opponent but rather upward towards the divine. The "hay" is where the Word made Incarnate is laid -- the food of the animals made into a bed for the Lord (Sumner, 2013).
The third part of the poem begins with the narrator "speechless" as she awaits for the words to come -- the metaphor of the Word (the Incarnate Son of God who brings redemption, healing and forgiveness -- which is explicitly desired at the end of the poem) is still not yet at hand. Instead, "hell" is still all around…
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