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Philip Larkin. Philip Larkin. In 1922, Philip Larkin was born in Coventry, England. He attended St. John's College, Oxford. His first book of poetry, The North Ship , was published in 1945
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Philip Larkin In 1922, Philip Larkin was born in Coventry, England. He attended St. John's College, Oxford. His first book of poetry, The North Ship, was published in 1945 • In 1946, Larkin discovered the poetry of Thomas Hardy and became a great admirer of his poetry, learning from Hardy how to make the commonplace and often dreary details of his life the basis for extremely tough, unsparing, and memorable poems. • In 1964, he confirmed his reputation as a major poet with the publication of The Whitsun Weddings, and again in 1974 with High Windows: collections whose searing, often mocking, wit does not conceal the poet's dark vision and underlying obsession with universal themes of mortality, love, and human solitude. • Larkin never married and worked as a librarian in the provincial city of Hull, where he died in 1985.
Philip Larkin as a Movement Poet • The Movement was the preeminent poetical grouping of post-war Britain. • The term Movement was coined by J. D. Scott in 1954 to refer to a group of poets including Kingsley Amis, Donald Davie, D. J. Enright, John Wain, Elizabeth Jennings, Thom Gunn, Robert Conquest and of course, Philip Larkin. • Together they marked the emergence of the petit-bourgeois provincial intelligentsia, impatient of the Establishment but ultimately committed to neutrality. • Essentially the Movement was a reaction against the extreme romanticism and surrealist detachment of the New Apocalyptics like Dylan Thomas.
Philip Larkin as a Movement Poet • On the other hand, the Movement poets reconstructed neoclassicism. According to John Press, it was "a general retreat from direct comment or involvement in any political or social doctrine." • One way of accounting for the emergence of the Movement is to see it as a part of the general post-war period of reconstruction. • The thematic shift and the return to traditional forms and rhythms therefore seem to be natural responses to a national mood of rebuilding. • The Movement poets sought to create an ordinary brand of poetry. They preferred everyday pictures to sensational imagery, and prioritised a friendly, colloquial tone over rhetorical complications.
Philip Larkin as a Movement Poet Larkin privately reveals to him what should be his aesthetic theory: "I feel we have got the method right – plain language, absence of posturings, sense of proportion, humour, abandonment of the dithyrambic ideal – and are waiting for the matter: a fuller and more sensitive response to life as it appears from day to day.“ • Antithetical to Romanticism, Larkin rejects the famous dichotomy of Keats's 'Ode on a Grecian Urn.' "I have always believed," he writes, "that beauty is beauty, truth truth, that is not all ye know on earth nor all ye need to know." He thus briskly separates the realms that Keats held in ambiguous balance. • Larkin's poem is rooted in a specific time and is also aware of its flow: "That Whitsun, I was late getting away.“
"Life as it appears from day to day" thus comes again and again in Larkin's poetry. He is neither existentialist nor romantic; from a neutral point he writes what he says in a plain language for the non-specialist recipient, which is the ultimate credo of the Movement poetry.
Ambulances • Closed like confessionals, they threadLoud noons of cities, giving backNone of the glances they absorb.Light glossy grey, arms on a plaque,They come to rest at any kerb:All streets in time are visited.Then children strewn on steps or road,Or women coming from the shopsPast smells of different dinners, seeA wild white face that overtopsRed stretcher-blankets momentlyAs it is carried in and stowed,
Ambulances • And sense the solving emptinessThat lies just under all we do,And for a second get it whole,So permanent and blank and true.The fastened doors recede. Poor soul,They whisper at their own distress;For borne away in deadened airMay go the sudden shut of lossRound something nearly at an end,And what cohered in it acrossThe years, the unique random blendOf families and fashions, there
Ambulances • At last begin to loosen. FarFrom the exchange of love to lieUnreachable insided a roomThe trafic parts to let go byBrings closer what is left to come,And dulls to distance all we are.
Commentary • A meditation on the closeness of death, its randomness and its • inevitability. These three ideas are captured for Larkin in the action • of ambulances in the city. Today young people might see • ambulances as a sign of hope, a positive intervention sustaining life • rather than heralding death. When the poem was written in the • fifties, to be carried away in an ambulance was a sign of worse to • come.
Commentary • Stanza 1 • The ambulances symbolise death. They are closed and inscrutable • “giving back none of the glances they absorb”; like a corpse. They • are private, secretive, silent like confessionals. They cause agitation • in people who glance nervously at them hoping that their time has • not come. The randomness of death is suggested by • “They come to rest at any kerb” • Its inevitability is expressed in, • “all streets in time are visited”
Commentary • Stanza 2 • Note Larkin’s superb eye for significant detail as he points out the • contrast between the zest and energy of living • “children strewn on roads” • “women….past smells of different dinners…” • and the horror of its opposite • “A wild white face..” • as the patient is carried away from the flow of normality to be • “stowed” like some dead thing in the ambulance. The red of the • blankets, the white of the face are colours of distress.
Commentary • Stanza 3 • A reflective stanza after the vivid details of the first two. The poet is • moved to think that death is our common fate that has the power to • render life meaningless. All our busy concerns, all our cooking, our • play is just a way of filling time until death takes us away to empty • nothingness; • “And sense the solving emptiness • “That lies just under all we do”. • This thought which we put out of our minds comes to us without • any softening theology • “And for a second (we) get it whole • So permanent and blank and true” • As the ambulance pulls away, Larkin suggests that peoples’ • expression of sympathy at the patient’s plight is also an expression • of our common vulnerability to sickness and death.
Commentary • Stanza 4 and 5 • Now Larkin thinks of the dying patient and the sadness in her heart • as she experiences • “the sudden shut of loss • Round something nearly at an end.” • He sympathises with her fear. He reflects on the loss that death will • bring; how it will destroy this unique person • “the unique random blend of families and fashions…” • and “loosens” her from her family and identity - all that really • matters to us as people. • The tremendous isolation of being in an ambulance as she faces • death • “Far from the exchange of love to lie • Unreachable inside a room “(i.e. the ambulance) • brings out Larkin’s deep sympathy for the victim. This sympathy is • for a real person.
Commentary • But as with most poems by Larkin, he is able to take a particular experience, a particular circumstance and find a general truth in it. • Here, the suffering of the victim become the model for all life lived, all death experienced. The model is bleak, however. Living according to this model is just the rush towards death, “brings closer what is left to come” and the effect of this realisation is to make life seem a lonely and bleak experience robbed of its joyful immediacy its pleasant physicality, “And dulls to distance all we are.” • We are left isolated by the experience, distanced from ourselves.
