Loss Of Articulation In Philip Larkin's Talking In Bed

One of the ways the author does this is by using enjambment to make the title and the first line of the poem flow into one single line. This symbolizes how when you are in jail there is no real beginning; one day flows to the next. His extensive use of figurative language, allows for the reader to paint a picture in his or her mind. “... to a dark stage, I lie there awake in my prison bunk.” This line can be interpreted literally and figuratively; he is really in prison in his bunk or it feels so much like a dream that it is as if he were on a stage. However, his diction shows that he has does this often. “...through illimitable tun...

Throughout Preludes, the structural element of time is portrayed through images and sensations associated with daily actions. Points in time are made obvious through meaningless tasks; early mornings are defined by the raising of dingy shades and evenings by the "smells of steaks in passageways," (T.S.Eliot: The Complete Poems and Plays [CPP], 12) and the lighting of the lamps. As the initial stanza begins, we are aware that evening is upon us. The notion of scheduled action is made through the reference of, "Six o’clock," (CPP, 12). Images of poverty and lower class filth set the scene and allude to "the burnt-out ends of smoky days," (CPP, 12) painting a disgusting picture of society’s surroundings. Deepening the feeling of emptiness, there stands a "lonely cab-horse," (CPP, 12) the first notion of actual emotion on a street of meaningless leaves and newspaper.

In his poems “Talking in Bed” and “High Windows” Phillip Larkin is able to use simplistic language to convey the themes of isolation and questioning the values of cultural norms. In “Talking in Bed” Larkin uses a perceived common social experience and feelings of isolation to relay a deeper social commentary on the evolution of relationships. Additionally, in “High Windows” Larkin’s choice of explicit words and tone, not only draws in themes of isolation but draws attention to the cultural values of sex and religion. Though his poems seem to tackle mundane life experiences, his singular view helps convey themes of isolation and questioning of cultural values which transcend his poems into universal relatability.

The most relevant technique that MacNeice uses is the irregular structure of the poem. Although it is presented as a prayer, the subject matter is contrasted to be vulgar, morbid and violent, heightening the effect all the more. The varied length of the stanzas and lines is a mere reflection of the chaos in the world. The deterioration of humanity is effectively brought out through the cascading lines in the poem – we are left with the feeling that with every second that pas...

Larkin has been criticized over the years for the moroseness of his poems, the blackened description of everyday life that some people say lacks depth, however, unlike many other poets, Larkin does not always write the truth or the depth of his feelings. In many there is a voice, trying to convince its author of something that is usually quite evident or exploring itself but revealing only the surface. Why he is trying to convince himself and what are is true feelings present the real challenge and profundity of Larkin poems. The search for one's identity, combined for everybody in one's unique fantasies and realities is a recurrent theme in his poems. As is time, the passing of it, the transformation it engenders and the damage it inflicts.

Lastly, in 'Glasgow Sonnet' Morgan uses imagery to emphasise how ghastly and somber the Glasgow tenements are of a place. The poet shows us how destitute the tenements are as they are described as being very poor quality with 'roses of mould' growing on the walls. Even though the reader normally associates 'roses' with love and nature, the word mould creates an appalling picture of the spores accumulating across the room. This at first glance could be viewed as a joyful and happy image yet the place is completely opposite when we realise it is not flower but a fungus. This reveals to the reader how their is absolutely nothing positive about this place it is disease ridden, uninviting and uninhabitable. The reader forces us to think about the environment the family are subjected to living in Glasgow in this era which is a modern

Seamus Heamey begins the poem with an image of isolation, confusion, and the loss of safety. Heaney describes what happen the night that his cousin was killed:

When people think about the poem “Acquainted with the Night” by Robert Frost, they might think about how beautifully written it is; however, many people will not think about how depressing the poem actually is. Robert Frost suffered from depression throughout his lifetime. When reading “Acquainted with the Night,” Frost wants his reader to understand the feelings that run through his head every day. Throughout “Acquainted with the Night,” Frost uses imagery, symbols, and other forms of figurative language to convey his depressing message to his readers.

Whitman believes that poetry should be expressed through speaking instead of writing; therefore, he frequently uses parallelism to integrate a melodious and musical quality that ultimately adds to the speaking power of the poem. In stanza two, Whitman starts each sentence with a similar beginning: " O powerful western star! O shades of night- O moody, tearful night!" (7-8). The repetition of "O" and utilization of anaphora creates a powerful, musical quality that leaves an impact on us when we hear the words spoken aloud. Another example of Whitman's use of parallelism to increase the harmonious quality is in stanza sixteen when he comments, "Passing the visions, passing the night, passing, unloosing the hold of my comrades' hands, passing the song of the hermit bird and tallying song of my soul" (185-187). Whitman's repetitive use of "passing" creates a dragging sensation of the time going by and everything "passing" him while he is in a daze. Not only does Whitman give the impression of time "passing" with his use of repetition, but also strengthens the cadence of the poem.

“Frost at Midnight” is the imaginative journey of Coleridge, as he is left alone with his child under the mystical effects of the frost which “performs its secret ministry.” He is catalysed by the placidity of the milieu, to envisage his childhood through the eye’s of his baby. By doing so he relives some joyous moments of his childhood, whilst also foreseeing some of the delights that were to follow his child’s upbringing. The tone of the poem initially is serine with “The inmates of my cottage, all at rest…My cradled infant slumbers peacefully” giving the reader a perception of absolute silence with correspondence to the effects of the frost, drawing upon sentiments of serenity. The poem soon evolves into Coleridge reliving his childhood with memories such as “how oft, at school…Of my sweet birth-place, and the old church-tower” bringing upon the proposition of Coleridge’s youth, allows readers to emote with his childhood, and take on the journey with him to the surroundings with which he was raised. Coleridge continues to give memories of his youth, with vivid illustrations of his curious nature “Presageful, have I gazed upon the bars…so sweetly that they stirred and haunted me, with a wild pleasure falling on mine ear…For still I hoped to see the stranger’s face.

Throughout this poem Whitman uses the catalogs technique, in which, he lists things that are different together, for example, “Night, sleep, death and the stars”. Here Whitman lists and unites these things that are different in one thing then associates them with death, as a way to emphasis the sense of equality. For Whitman all these objects are equal. This is clear when he moves from one idea to another. Also, this kind of technique reflects Whitman and his quest to discover that devious self. I found this poem to be a very peaceful poem. This is because the atmosphere in this poem is very calm, as a result, of the way the poet draws the picture of the perfect midnight. Although Whitman uses very simple language in his poem, it carries a lot of meaningful and valuable ideas. Also, Whitman throughout this poem tries universalizing the experience of death.

One of the strongest, if not the strongest, images of darkness and death is shown in the last two lines of the poem.  “Do not go gentle into that good night.  Rage, rage against the dying of the light.”  The death of the light here shows us blackness: the ultimate darkness.

The structure of the poem is very important as it is broken down in to three main parts which are the poet’s observation, his reflection and finally his conclusion. Each of these parts of the poem is set in a different tense. The first section of the poem is the first stanza which is set in the present tense and is the poet observation of these two horses. The poet shows what tense this sections is set in by his word choice of words like “distresses” and “stands”. In this section the poet is observing the horses and thinking through the situation they find themselves in and wondering how they came to be like this. Larkin’s use of word choice is very important when creating this passage of time in the first stanza:

Restlessness is the main focus of Phillips’ article, it is the title of his article and in his opinion it is the reason why poems exist at all. “Poetry is the results of a generative restlessness of imagination… uncertainties become obsessions to be wrestled with, and with luck, the result is poetry…” (Phillips 132) Phillips, in summary of his article, claims uncertainties in life trouble our minds until the uncertainties become obsessions. We become restless in our quest to understand the uncertainties we face and by writing poems we can organize our thoughts and try to understand the things we do not. Phillips furthers his explains his claim by admitting “ I write poetry for the same reason that I read it, both as a way of being alive and as a way of trying to understand what it means—how it feels—to be alive.” (Phillips 133).

... poet could the pastoral be kept alive. The speaker deals with this concept throughout "Elegy Wrote in a Country Church Yard." The "darkness" which is alluded to in the first stanza is the place the world has left the pastoral. As "The Plow-man homeward plods his weary Way," (3) he leaves behind the realm of the pastoral for the speaker to deal with. As society begins to turn its back from fanciful simplicity, towards commercial complexity, the poet’s duty falls to creating a place where the world of the pastoral is safe. For Gray, this is the darkness of death. This poem, however, does not create this "darkness" of death as an everlasting sleep. Rather, the importance of the pastoral is kept safe, and has the ability to influence generations of socially-influenced people that there is a world of peace and simplicity awaiting them, if they choose to look for it.