Classic and Contemporary Poetry: Explained

Kenneth Patchen’s "Be Music, Night" is a lyrical, prayer-like poem that delicately weaves themes of love, nature, and spiritual transcendence. Written with a sense of reverence and quiet longing, the poem can be read as a blessing or invocation for a beloved, asking the natural world and divine forces to guide, protect, and celebrate her. Patchen, known for his experimental and emotive style, blends the earthly with the celestial, creating a tapestry of images that elevate ordinary experiences to the realm of the sacred.

The poem opens with a gentle plea: “Be music, night, / That her sleep may go / Where angels have their pale tall choirs.” The night is asked to become music, a soothing and ethereal force that will guide the beloved’s sleep to a place of divine beauty. The imagery of “pale tall choirs” suggests a serene, almost otherworldly space, where angels sing in lofty harmony. This invocation establishes the poem’s tone of quiet devotion, framing the beloved’s rest as something worthy of celestial accompaniment. The idea of sleep being guided by music evokes a sense of peace and comfort, as if the night itself is tasked with cradling her in its gentle rhythms.

The poem continues with a call to the sea: “Be a hand, sea, / That her dreams may watch / Thy guidesman touching the green flesh of the world.” Here, the sea is personified as a guiding hand, one that gently touches the “green flesh of the world.” The “guidesman” could represent a sailor, a spiritual guide, or even the sea itself, steering her dreams through the vast, mysterious expanse of nature. The phrase “green flesh of the world” emphasizes the vitality and organic beauty of the earth, suggesting that the beloved’s dreams are intimately connected to the natural world. The sea’s role as a hand implies both care and direction, ensuring that her subconscious journey is one of exploration and wonder.

Patchen then turns to the sky: “Be a voice, sky, / That her beauties may be counted / And the stars will tilt their quiet faces / Into the mirror of her loveliness.” The sky is asked to become a voice, a means of articulating and acknowledging the beloved’s beauty. The idea that “her beauties may be counted” suggests a desire for her virtues and charms to be recognized and celebrated, not just by the speaker but by the universe itself. The stars, often symbols of distant, eternal light, are imagined as tilting their faces toward her, reflecting her beauty back in a cosmic mirror. This image elevates her presence to a celestial level, implying that her loveliness is both vast and profound, worthy of the universe’s quiet attention.

The earth is next invoked: “Be a road, earth, / That her walking may take thee / Where the towns of heaven lift their breathing spires.” Here, the earth is asked to become a path, guiding her physical journey toward spiritual destinations. The phrase “towns of heaven” suggests places of divine beauty and serenity, while “breathing spires” personifies these celestial structures, imbuing them with life and vitality. The idea that her walking could lead her to such transcendent places reinforces the theme of the sacred being intertwined with the everyday. Her movement through the world is not just a physical act but a spiritual journey, one that bridges the earthly and the divine.

The final stanza addresses God directly: “O be a world and a throne, God, / That her living may find its weather / And the souls of ancient bells in a child’s book / Shall lead her into Thy wondrous house.” This plea elevates the beloved’s entire existence to a divine realm. By asking God to be both a world and a throne, the speaker seeks to surround her with both the vastness of creation and the authority of divine protection. The phrase “her living may find its weather” suggests that her life, with all its changes and challenges, will be met with the right conditions for growth and fulfillment. The “souls of ancient bells in a child’s book” introduces a poignant, nostalgic image—bells, often symbols of calling or spiritual awakening, are connected to childhood innocence and wonder. This fusion of ancient and youthful elements implies that her journey will be guided by both timeless wisdom and the purity of a child’s perspective. Ultimately, the speaker hopes she will be led into God’s “wondrous house,” a place of spiritual fulfillment and eternal peace.

Structurally, Patchen employs repetition and parallelism to create a rhythmic, almost chant-like quality. Each stanza begins with an imperative—“Be music,” “Be a hand,” “Be a voice,” “Be a road,” and finally, “Be a world and a throne.” This repetition reinforces the poem’s tone of supplication and reverence, as if the speaker is weaving a protective spell or offering a sacred prayer. The natural elements—night, sea, sky, earth—are all called upon to serve and honor the beloved, illustrating the interconnectedness of human experience and the natural world.

Patchen’s use of simple, yet evocative language allows the reader to feel the intimacy and depth of the speaker’s love and admiration. The imagery is both grounded in the physical world and elevated to the spiritual, creating a seamless blend of the earthly and the divine. The progression from the natural elements to the final invocation of God reflects a movement from the tangible to the transcendent, mirroring the beloved’s journey through life as one that is both grounded in reality and open to spiritual fulfillment.

In "Be Music, Night," Kenneth Patchen crafts a beautiful, heartfelt tribute to the beloved, weaving together elements of nature, love, and spirituality. Through its lyrical structure and rich imagery, the poem invites readers to see the sacred in the everyday and to recognize the profound beauty that can be found in both the physical and spiritual realms. Ultimately, the poem is a celebration of love’s ability to elevate and transform, offering a vision of a world where the beloved is cherished and guided by the very fabric of the universe.

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