Classic and Contemporary Poetry: Explained

Kenneth Patchen’s "As We Are So Wonderfully Done With Each Other" is a tender and intimate meditation on love, connection, and the quiet aftermath of passion. Known for his blending of lyrical beauty with emotional depth, Patchen here captures the delicate balance between the ephemeral nature of human relationships and the profound, almost sacred impact they leave behind. The poem reads like a whispered reflection, suffused with both the warmth of shared experience and the gentle melancholy that comes with parting or moving into separate spaces.

The opening line, "As we are so wonderfully done with each other," sets the tone for the entire poem. The phrase “wonderfully done” suggests a sense of fulfillment rather than bitterness or regret. It implies that whatever has transpired between the two lovers has reached a natural, satisfying conclusion, one that leaves both enriched rather than depleted. The word “done” could imply an ending, but Patchen’s use of “wonderfully” transforms it into something celebratory and serene. This nuanced acknowledgment of completion suggests a mature, appreciative perspective on the cyclical nature of relationships.

Following this, Patchen introduces the idea of separation with grace: "We can walk into our separate sleep / On floors of music where the milkwhite cloak of childhood lies." The notion of “separate sleep” evokes the quiet drift of two people moving apart after a shared moment, whether physically, emotionally, or metaphorically. However, the transition is gentle, almost like a dance, with “floors of music” providing a soft, harmonious foundation. The imagery of the “milkwhite cloak of childhood” suggests innocence and purity, perhaps referencing the unspoiled nature of their connection or the nostalgic simplicity of youthful love. It lies beneath them, a reminder of the foundational experiences that shape how we love and part.

Patchen’s adoration for the beloved is captured in a series of vivid, tactile images: "O my lady, my fairest dear, my sweetest, loveliest one / Your lips have splashed my dull house with the speech of flowers." The repetition of endearments—“fairest,” “sweetest,” “loveliest”—emphasizes the depth of the speaker’s affection, while the metaphor of lips “splashing” the house with “the speech of flowers” transforms the mundane into something vibrant and alive. The “dull house” represents a life that was once ordinary, now invigorated by the presence and words of the beloved. This imagery of flowers as language speaks to the transformative power of love, suggesting that it brings color, beauty, and growth into otherwise static spaces.

The poem continues with a focus on the physical, sacred aspects of intimacy: "My hands are hallowed where they touched over your / soft curving." The word “hallowed” imbues the act of touch with a sense of reverence, elevating physical connection to a spiritual experience. The “soft curving” of the beloved’s body is not merely described in sensual terms but is also framed as something sacred and life-affirming. This sanctification of the physical underscores Patchen’s broader theme of love as a divine, creative force.

In the line "It is good to be weary from that brilliant work," Patchen shifts to reflect on the exhaustion that follows intense emotional or physical connection. The “brilliant work” refers to the act of loving itself, which is portrayed not as laborious but as something luminous and rewarding. The weariness that follows is depicted as satisfying, a natural consequence of having engaged deeply and fully with another person. This notion resonates with the idea that love, while demanding, is ultimately fulfilling and life-enhancing.

Perhaps the most striking line in the poem is: "It is being God to feel your breathing under me." Here, Patchen draws a powerful connection between love and divinity. The act of feeling the beloved’s breath—a simple, everyday occurrence—is elevated to a godlike experience, suggesting that in moments of deep intimacy, we touch something eternal and transcendent. The speaker’s comparison to God highlights the profound significance of these shared moments, where the boundaries between the self and the other dissolve, and one experiences a sense of unity with the universe.

The poem concludes with a serene, domestic image: "A waterglass on the bureau fills with morning . . . / Don’t let anyone in to wake us." The waterglass filling with morning light symbolizes the passage of time and the gentle arrival of a new day, yet it also reflects the stillness and peace that lingers in the aftermath of love. The speaker’s plea—“Don’t let anyone in to wake us”—expresses a desire to preserve the sanctity of this intimate space, to remain suspended in the quiet aftermath of connection, untouched by the outside world. This final request encapsulates the poem’s central tension between the ephemeral nature of human experience and the longing to hold onto moments of profound beauty and intimacy.

Structurally, Patchen’s use of free verse and flowing, unpunctuated lines mirrors the fluidity of the emotions he explores. The gentle cadence of the poem, with its soft repetition and lyrical phrasing, creates a sense of continuity and harmony, reflecting the natural rhythms of love and parting. The imagery is both grounded in the physical world and infused with a sense of the ethereal, blurring the boundaries between the mundane and the divine.

In "As We Are So Wonderfully Done With Each Other," Kenneth Patchen captures the delicate balance between love’s intensity and its inevitable transitions. Through rich, evocative language and a deep reverence for both the physical and emotional aspects of connection, the poem celebrates the transformative power of intimacy while acknowledging the quiet beauty of moving forward. Ultimately, Patchen offers a vision of love that is both sacred and human, a force that leaves its mark even as it gently recedes, allowing us to carry its warmth into the spaces we inhabit alone.

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