Philip Larkin - A Voice of Pain for This Century
On August 9, 1922, the poet Philip Larkin was born in the town of Coventry in England (Thwaite, Letters xvii). After graduating St. John’s College in Oxford in 1943 with a First Class degree, he worked at both the University College of Leicester and Queen’s College at Belfast before finally settling down at the University of Hull as Librarian in 1955 (Thwaite, Letters xviii). That same year, with the publication of his collection The Less Decieved, he "began to be recognized" (Thwaite, "Introduction" xv). His popularity continued to grow thereafter, and over the next twenty years amongst many awards and honorary doctorates he published two more highly acclaimed books of poetry, The Whitsun Weddings in 1964 and High Windows in 1974 (Thwaite, "Introduction" xvi). In 1984 he was offered the ultimate title of Poet Laureate, which he declined in part because of "shyness" and in part because of the "conviction that his poetry had deserted him" (Motion 510). With the words "I am going to the inevitable," he died a year later on Monday, December 2, 1985 (Motion 521).
During his stay at Oxford, Larkin was a member of a group called "the Movement, its revolt being against rhetorical excess or cosmic portentousness" (Ellmann and O’Clair 579). He held disdain for the intricate poetic approach of Eliot and Pound in which "first of all you have to be terribly educated, you have to read everything to know these things, and secondly you’ve got somehow to work them in to show that you are working them in" (Ellmann and O’Clair 579). Larkin instead pursued "a more even-tempered, conversational idiom, more accurate than magniloquent" (Ellmann and O’Clair 579). But this "even-temperament" did n...
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... who reside in the twentieth-century and stand as perennial expressions of not only his but of any individual’s mind. While the people of the world poise anxiously on the verge of a new millenium, only poets of his caliber will be remembered as having the sensitivity to capture the emotional need of this generation that will surely pass on to the next.
Works Cited
Ellmann, Richard, and Robert O’Clair, eds. Modern Poems: A Norton Introduction. New York: W.W. Norton and Co., 1989.
Larkin, Philip. Collected Poems. London: Marvell Press and Faber and Faber Ltd., 1989.
Motion, Andrew. A Writer’s Life. London: Faber and Faber Ltd., 1993.
Thwaite, Anthony, ed. Introduction. Collected Poems. By Philip Larkin. London: Marvell Press and Faber and Faber Ltd., 1989.
Thwaite, Anthony, ed. Selected Letters of Philip Larkin. London: Faber and Faber Ltd., 1992.
One of the many ways Larkin portrays the message of influence is by using multiple tenses throughout the poem. The first stanza is very relatable to the immediate audience, and this is because the first stanza is written in present tense. The present tense looks directly into the life of the reader, which gives the poem an overall captivating aspect. By starting off with, “They fuck you up, your mum and dad.” Larkin is looking at the present day life of his
Confrontation, avoided by all, unpredictably leads to negative consequent and sacrifices. Ellen DeGeneres and Jay Leno are two celebrities iconicity known for using drollery to express personal preferences. Unfortunately, this style would be regarded as humor without validation if it was not for the authors before paving the way for waggery. Ogden Nash, a highly respected poet, established an new form of light verse impacting both literature and society.
A few cases in which this poem is particularly relevant in today’s society, apart from just the general hipster culture, is the fact that in many ways we’re faced with similar issues of social oppression of certain sects of the population, homophobia, discord amongst different cultures and excessive consumerism – all these being matters than Ginsberg felt strongly about and sought to fight against.
Ellmann, Richard and Robert O'Clair, ed. The Norton Anthology of Poetry, 2nd Edition. New York: W.W. Norton
Meinke, Peter. “Untitled” Poetry: An Introduction. Ed. Michael Meyer. 6th ed. Boston: Bedford/ St. Martin’s 2010. 89. Print
Before discussion of these poems can truly begin, some background information of each other is necessary to understand why they have written their respective poems and maybe shed some light onto why they have taken certain positions on each of the three topics. Considered one of the greatest English poets of all time, Philip Larkin gradua...
... story portrait an action oriented series of events, one must conjecture a weak theory.
In all poems the theme of Disappointment in love is seen throughout. Duffy focuses on the pain, despair and acrimony that love can bring, whereas Larkin focuses on the dissatisfaction before, during, and after a romantic relationship. Both Duffy and Larkin differ in tone. Duffy takes a more aggressive and dark stance to portray what love can do to a person after a disappointing love life. Duffy also uses this sinister and aggressive stance to try and convey sympathy for the persona from the audience in ‘Never Go Back’ and ‘Havisham’ Whereas Larkin conveys his discontent in love through his nonchalant and dismissive tone, but still concealing the pain that has been brought by love in ‘Wild Oats’ and ‘Talking in bed’.
Strand, Mark and Evan Boland. The Making of a Poem: A Norton Anthology of Poetic Forms. New
With reference to three poems studied so far discuss how Larkin presents the theme of illusion and reality.
Everyone has faults, some people are greedy, some don’t know how to use manners, and others neglect a person’s feeling all together. Most of the time people just have one “fault” that they try to get better at. In Hedda’s case, she has all three problems but she encourages them instead of trying to learn to control them. In the play Hedda Gabler the author Henrik Ibsen shows that Hedda’s ill-behaved manners, greed for power and lack of emotional understanding of others will come back and bite her in the butt.
The ironic use of rhyme and meter, or the lack thereof, is one of the devices Larkin uses to emphasize his need to break out of industrial society. The typical rhyme scheme is not followed, but instead an ironic rhyme scheme is used in the sonnet in the form of abab cdcd efg efg. Larkin writes this poem as a sonnet but at the same time diverges from what a typical sonnet is supposed to be. He is commenting on society’s inclination to form restrictions on those within it. By writing out of the accepted form of a sonnet, his writing becomes more natural because of a lack of constraints due to following certain rules and fitting a certain form. He breaks free and writes as he pleases and does not conform to society. Just as with the rhyme, ...
Holbrook, David. Llareggub Revisted: Dylan Thomas and the State of Modern Poetry. Cambridge: Bowes and Bowes, 1965. 100-101.
In the play, Hamlet is a tragic hero since he does not try to stop the war but conduct a revenge that becomes a vicious circle. He is unable to make a decision whether he should revenge on the death of the elder King or not, losing the characteristics that heroes have. Surprisingly, Hamlet kills Polonius in a moment, meaning he kills other people’s father as well. He detests the behavior of Claudius, now he has become another Claudius. Thus, Polonius’s son, Laertes starts getting revenge for his father’s murder. Laertes states, “To hell, allegiance! Vow, to the blackest devil! Conscience and grace, to the profoundest pit! I dare damnation. To this point I stand that both the worlds I give to negligence. Let come what comes, only I’ll be revenged most thoroughly for my father.” (4.5 129-134) Hamlet wants to get revenge for his father because he is experiencing the loss of a loved one; however, he causes other people suffering the same pain. Comparing the two people taking revenge, Laertes displays more characteristics of a hero and is more manly than
The situations where Hamlet unexpectedly acts were not relevant to his task, such as the murder of Polonius. During the play rehearsal, Hamlet is shocked by the emotion poured out by the actor over Hecuba, whom doesn’t even exist. Hamlet, whose father was murdered, does not have as near the passion that actor had. Hamlet criticizes himself, saying, “A dull and muddy-mettled rascal, peak/ Like John-a-dreams, unpregnant of my cause,/ And can say nothing” (Shakespeare 2.2 578-580). Hamlet calls himself a coward for not doing anything to avenge his father, but rather just staying depressed and weep all day. According to Bradley, “Hamlet was restrained by conscience or a mural scruple; he could not satisfy himself that it was right to avenge his father” (Bradley 4). Hamlet is aware of his constant delays, but still cannot ready himself to kill Claudius because of the excuses he continuously makes up. After criticizing himself, Hamlet sets up a plan that only prolongs his chance of killing Claudius. Hamlet says, “The play’s the thing/ Wherin I’ll catch the conscience of the King” (Shakespeare 2.2 616-617). Hamlet creates a play that reenacts a specific scene, which resembles Claudius murdering his father. Hamlet wants to see Claudius’s reaction to the scene, and confirm his guilty reaction. According to Eliot, “The delay in revenge is unexplained on grounds of necessity or expediency;