Within the verses of “Requiem for the Plantagenet Kings,” two compelling themes intertwine seamlessly. At the forefront is the enduring concept of sic transit gloria mundi, which poignantly acknowledges that all worldly splendor succumbs to the relentless passage of time. This motif, steeped in tradition, emphasizes the inevitability of decay and the fleeting nature of human triumphs. It is vividly captured in the imagery of the Plantagenets, who lie "secure in the decay of blood," encapsulating the inevitable decline that awaits all who once basked in glory.

This lamentation finds its roots in the melancholic verses of early Anglo-Saxon poetry, such as The Seafarer, The Wanderer, and The Ruin, dating back to the mid-eighth century. Such themes resonate profoundly with medieval sensibilities, which grappled with the stark contrast between ephemeral grandeur and the grim realities of existence. The poem skillfully juxtaposes the brutalities of war—captured in images of "the sleeked groin, gored head"—against the serene elegance of "well-dressed alabaster" memorials, symbolizing the Plantagenets' enduring legacy.

Through this vivid contrast, Geoffrey Hill suggests a transformation wrought by art itself. In transmuting raw experiences into artistic expression, something of the human spirit endures beyond the ravages of time. Art, acting as an alchemical force, grants a measure of immortality to the transient beauty of human endeavors and the tumultuous histories they forge.

The exploration of history's paradoxical nature is central to Geoffrey Hill's works, particularly in "Requiem for the Plantagenet Kings," as well as in his later pieces, King Log (1968) and Mercian Hymns (1971). Hill grapples with the complex intersection of traditional views and modern understandings, reflecting the broader twentieth-century struggle to reconcile new scientific insights with historical interpretation. This era brought with it new perspectives from physics, particularly concerning space and time, challenging conventional notions and adding layers of complexity to our understanding of historical narratives.

Hill’s poetry captures the tension between these competing perspectives. His use of ambiguous diction and unresolved themes reflects the broader uncertainty and bewilderment felt by many in the twentieth century. In "Requiem for the Plantagenet Kings," this tension is embodied in a Gordian knot of contradictions, where traditional and religious views of history clash with the notion of an ever-changing reality suggested by modern physics.

The philosophical underpinnings of Hill's work echo the thoughts of Heraclitus, who posited that just as you cannot step into the same river twice, both you and the river are in constant flux. This suggests that history is transient, a mere collection of moments in time. Hill's poetry, with its simultaneous presentation of ideas, embodies the notion that the ultimate reality is one of perpetual change. Yet, there is also the possibility that humanity is part of a grander, divine plan, an idea that suggests historical events might be components of a larger, inscrutable design.

The Plantagenet kings, central to Hill’s poem, are emblematic of this paradox. Were they agents of a divine will, serving a purpose beyond human comprehension, or merely victims of time's relentless flow? Hill intimates that only the eventual end of time itself might unravel this enigma, leaving readers to ponder the intricate dance between predestination and chaos. Through his poetry, Hill invites an exploration of these enduring questions, leaving the resolution open-ended yet profoundly evocative.