Classic and Contemporary Poetry: Explained

Charles Olson’s "La Chute II" is a haunting continuation of the themes introduced in "La Chute," delving further into the symbolic and emotional journey of descent into the realm of the dead. The poem extends its meditation on retrieval, loss, and the profound conditions for engaging with memory, art, and mortality. Structured as a series of cautions and prescriptions, it adopts a tone that is both somber and instructive, drawing on mythic and archetypal frameworks to evoke the gravity of the undertaking.

The poem begins with a conditional offer: "If you would go down to the dead to retrieve my drum and lute." This premise situates the reader in a mythic narrative of descent, reminiscent of journeys to the underworld found in classical texts like those of Orpheus or Dante. The drum and lute, which in the first poem symbolize creative vitality and personal identity, now represent something even more sacred—artifacts tied to the essence of life and its echo in death. Olson?s invocation of retrieval suggests not merely the act of reclaiming objects but an attempt to confront and recover what has been lost, whether that is inspiration, memory, or connection to a transcendent source.

The speaker’s tone is one of grave authority, offering "directions" that are as much ethical and psychological as they are practical. Each directive reflects an awareness of the delicate and volatile nature of the realm of the dead, emphasizing the need for humility and restraint. The injunctions—"Do not wear a clean garment," "Nor rub yourself with oil," "Carry no stick"—strip the traveler of symbols of power, wealth, or separation. This is a journey that demands vulnerability and a willingness to forgo the markers of the living world.

The warning about clean garments, "they below will dirty you," underscores the inevitability of contamination in this descent. The dead mark those who enter their domain, making it impossible to remain untouched or unaltered. Similarly, the admonition against wearing fine oil, "The smell of it will provoke them," suggests that any attempt to elevate oneself or carry signs of privilege will alienate the traveler from the shades. These cautions reflect Olson’s larger preoccupation with authenticity and the stripping away of artifice. To descend into the depths—to face death, memory, or the truth of the past—one must do so without pretense or armor.

The prohibition against violence—"Carry no stick… Pick up nothing to throw"—further emphasizes the importance of humility and non-aggression. The dead, described as "shades of men," are fragile yet reactive, "hover[ing]" and "fly[ing] thick" in response to perceived threats. This imagery of their tenuous but pervasive presence heightens the eerie atmosphere, evoking a realm where actions have profound, immediate consequences. Olson’s depiction of the dead as easily provoked reflects a deep sensitivity to the precarious balance between the living and the spectral, the remembered and the forgotten.

As the traveler is instructed to "go barefoot" and "make no sound," Olson emphasizes the need for silence and stillness, qualities that contrast sharply with the vitality and noise of the drum and lute. This juxtaposition suggests that the realm of the dead requires a different mode of being—one of quiet receptivity rather than active assertion. To retrieve what is lost, the traveler must blend into the shadows, becoming almost one with the realm they seek to traverse.

The poem reaches its emotional core in the directives concerning loved ones: "And when you meet the wife you loved / do not kiss her nor strike the wife you hated. Likewise your sons." Here, Olson confronts the most intimate and painful aspects of descent—the encounter with those whose relationships defined the traveler’s life. The refusal of both affection and aggression reflects the need to let go of earthly passions and judgments. In the underworld, these impulses are not only inappropriate but dangerous, potentially awakening an "outcry" that could overwhelm the traveler.

The climactic warning centers on "her who, there, lies naked," the mother figure whose exposed body becomes a focal point of vulnerability and judgment. This image is both literal and symbolic, evoking the universal source of life and the profound shame or reverence it can elicit. The nakedness of the mother, coupled with the presence of "judges," transforms the scene into one of reckoning, where the traveler must confront both personal and archetypal truths. The mother’s exposure symbolizes a raw, unmediated reality that cannot be ignored or dismissed.

Olson’s use of repetition—such as "do not kiss her nor strike"—creates a rhythmic insistence, reinforcing the gravity of the instructions and the stakes of disobedience. The language is plain yet weighted, its simplicity enhancing the mythic and universal resonance of the poem. Structurally, the poem flows like a litany or ritual chant, its cadences mirroring the solemnity of the descent and the measured steps required to navigate it.

Ultimately, "La Chute II" is a profound exploration of what it means to engage with the depths of existence, whether those depths are psychological, artistic, or existential. Olson’s depiction of the journey to recover the drum and lute transforms into a meditation on how one approaches the past, memory, and the sources of creativity. The poem suggests that this process demands humility, restraint, and a willingness to face the unvarnished truths of human existence. By framing the journey as both perilous and necessary, Olson affirms the enduring value of seeking what lies beneath, even in the face of profound loss and transformation.

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