Classic and Contemporary Poetry: Explained

Kenneth Patchen’s "The Rites of Darkness" is a haunting, surreal meditation on innocence, evil, and the existential crisis of belief. Through vivid, often disturbing imagery and philosophical reflection, Patchen navigates the tension between purity and corruption, life and death, love and nihilism. The poem moves between narrative description, metaphysical musing, and visceral, almost primal expression, creating a layered exploration of humanity’s struggle to find meaning in a world rife with contradictions.

The poem opens with an image of children sledding down a hill, a scene that at first seems innocent and familiar. "The sleds of the children / Move down the right slope." However, the juxtaposition of this imagery with the "thousand lights" smudging in the old forest introduces an eerie, almost supernatural atmosphere. The lights, described as "colored moons in a well of milk," evoke both beauty and distortion, suggesting a world that is simultaneously enchanting and unsettling. The phrase "well of milk" implies nourishment and purity, yet the smudged moons within it hint at corruption or a distortion of that purity.

As the children descend the hill, the poem’s tone shifts from the ethereal to the grotesque. Their sleds "make no sound on the hard-packed snow," and their "bright cries are not heard / On that strange hill." The silence is unnatural, suggesting that this is not a scene of joyful play but part of a darker ritual or ceremony. The youngest children are "wrapped / In cloth of gold," traditionally a symbol of royalty or divinity, but their "scarfs / Have been dipped in blood," corrupting this image of innocence. The combination of gold and blood hints at a sacrificial motif, where purity is both adorned and defiled.

Patchen broadens the scope of this dark ritual by naming participants from various social strata: "from the son / Of Tegos, who is the Bishop / Of Black Church—near Tarn, / On to the daughter of the least slut." This inclusion suggests that the ritual encompasses all of society, from the most powerful religious figures to the marginalized and stigmatized. All are "garbed in love's shining dress," a phrase that drips with irony. Love, traditionally associated with warmth and connection, is here linked with a disturbing spectacle. The children are described as "naked little eels," a comparison that strips them of humanity and evokes a sense of slipperiness and discomfort. Their movement across the ice, described as "amazed," further blurs the line between wonder and horror.

Perhaps the most disturbing image in this section is the presence of men "with his sex / Held like a whip in his snaking hand." This overtly sexualized image, paired with the innocence of the children, suggests an undercurrent of exploitation and abuse. The men’s dominance and control are symbolized through the phallic "whip," reinforcing themes of power, violence, and perversion. The poem does not shy away from confronting these uncomfortable realities, using stark imagery to expose the darker aspects of human nature.

Amidst this grim tableau, Patchen introduces an even more surreal figure: "the giant horse / That climbs the steps which stretch forth / Between the calling lights and that hill / Straight up to the throne of God." This enormous horse, "taller than the highest tree," becomes a symbol of cosmic power and divine judgment. Its "flanks steam under the cold moon," and the "beat of his heart shakes the sky," suggesting that this is no ordinary creature but a representation of a force that transcends human understanding. The horse’s "reaching muzzle snuffles / At the most ancient star," implying a connection between the earthly and the celestial, the mundane and the eternal.

The second section of the poem shifts from narrative to philosophical reflection. Patchen writes, "The innocent alone approach evil / Without fear; in their appointed flame / They acknowledge all living things." Here, innocence is not a passive state but an active engagement with the world, a willingness to face evil without being corrupted by it. The poem suggests that true evil lies not in external forces but in "doubt," and that the ultimate good is "not death, but life." This assertion frames existence itself as an act of love, a radical embrace of being despite its inherent suffering.

Yet, despite this philosophical clarity, the speaker admits to a profound sense of despair and disbelief: "we can't believe in anything. / Because nothing is pure enough. / Because nothing will ever happen / To make us good in our own sight." This existential crisis reflects a deep-seated cynicism, a recognition that human beings are trapped in a cycle of self-doubt and moral failure. The repetition of "because" underscores the inevitability of this condition, as if no action or event could ever redeem humanity in its own eyes.

The final section of the poem descends into a raw, primal expression of nihilism. The speaker "squat[s] on my heels, raise[s] my head / To the moon, and howl[s]." This animalistic gesture signifies a complete rejection of societal norms and a return to a more instinctual state. The speaker digs their nails into their sides and laughs as the snow turns red, suggesting a disturbing pleasure in violence and destruction. The act of drinking from the blood-stained snow becomes a grotesque inversion of communion, a rejection of all that is sacred or cherished.

The final line—"All your damn horses climbing to heaven"—is both a dismissal and an indictment. It mocks the earlier image of the giant horse ascending to God, suggesting that even the most awe-inspiring symbols of power and divinity are meaningless in the face of human corruption and despair. The repetition of "your" distances the speaker from any collective belief in redemption, positioning them as an outsider who sees through the illusions of religious or moral authority.

In "The Rites of Darkness," Patchen crafts a deeply unsettling exploration of humanity’s relationship with innocence, evil, and belief. The poem moves fluidly between surreal imagery, philosophical inquiry, and visceral expression, creating a multifaceted meditation on the complexities of existence. At its core, the poem grapples with the idea that in a world where innocence is corrupted and belief is unattainable, the only response may be to confront the darkness head-on, even if that means descending into madness or nihilism. Patchen’s refusal to offer easy answers or comfort makes the poem a powerful, enduring reflection on the human condition.

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