Thursday 5 March 2015
Here
" By describing a physically journey from the industrial city to the farming rural village, Philip Larkin’s Here shows that human existence is essentially meaningless, despite the superficial luxuries present in industrial life. "
Stanza One : A general description of the beginning of Larkin's train journey, he is leaving the city and heading to the countryside.
> "rich industrial shadows" - Larkin recognises the wealth that is within a city, however the 'shadows' sound dark and dangerous, does this represent Larkin's feeling towards industry or the city in general.
> " fields /: Too thin and thistled to call meadows" - the imagery of the degrading countryside on the edge of a railway line, however Larkin gives connotations that the degradation has spread further.
> "swerving to solitude" - Larkin sees the countryside as a lonely place, yet he still goes there. This implies Larkin likes a life of solitude.
> The "piled gold clouds" and "shining-mud" make the countryside seem pleasant and hopeful, the oxymoron Larkin uses for the shining mud demonstrates Larkins preference for the countryside, everything is good there.
Stanza Two: Larkin's train passes through an industrial town and criticizes not only it, but the residents too.
> The proximity between the traditional "statues, spires and cranes" demoralises the traditionality of even the most long standing city features, implying the area has been taken over by industrialisation.
> "gathers to the surprise of a large town" - Is this a sarcastic tone, with Larkin showing how he disapproves of the sudden build up of towns?
> Larkin's description of the people is negative, he talks about the 'raw estates' they come from (raw can mean sore and painful, or strong and undisguised), the people stealing 'flat-faced trolleys' and visiting department stores to buy 'cheap suits' and 'ice-lollies'. None of these images are that positive, they are almost grimy. This shows Larkins snobbish side.
> 'swing doors to their desires' sums up what the whole poem is about - the silly desires of human people, the idea that material things like 'red kitchen-ware' and 'cheap suits' are all they desire. This makes the residents seem materialistic and have distorted views on what's really important in reality.
Stanza Three: Larkin continues to gibe at the city-folk, before his train finally reaches the countryside.
> "cut-price crowd, urban yet simple" - the idea of a cut-price crowd implies that the people in this city are left over stock, nobody wants them so they flood to the city in groups in order to dwell. Urban areas are said to be highly advanced, Larkin seems to disagree calling the area 'simple'.
> "fishy-smelling" - does the area smell of fish or is it suspicious? Could Larkin be referencing to the suspicious nature of the port - possibly referring to a black market kind of event?
> "tattoo-shops, consulates, grum head-scarfed wives" - Larkin mentions things he seems in the area he thinks of, the non-traditional tattoos do not please Larkin, neither do the consulates that allow immigration and the 'head scarfed' wives whose grimness makes them seem unladylike.
> "mortgaged half-built edges" - the government and banks own everything in the city, even things that are incomplete.
Stanza One : A general description of the beginning of Larkin's train journey, he is leaving the city and heading to the countryside.
> "rich industrial shadows" - Larkin recognises the wealth that is within a city, however the 'shadows' sound dark and dangerous, does this represent Larkin's feeling towards industry or the city in general.
> " fields /: Too thin and thistled to call meadows" - the imagery of the degrading countryside on the edge of a railway line, however Larkin gives connotations that the degradation has spread further.
> "swerving to solitude" - Larkin sees the countryside as a lonely place, yet he still goes there. This implies Larkin likes a life of solitude.
> The "piled gold clouds" and "shining-mud" make the countryside seem pleasant and hopeful, the oxymoron Larkin uses for the shining mud demonstrates Larkins preference for the countryside, everything is good there.
Stanza Two: Larkin's train passes through an industrial town and criticizes not only it, but the residents too.
> The proximity between the traditional "statues, spires and cranes" demoralises the traditionality of even the most long standing city features, implying the area has been taken over by industrialisation.
> "gathers to the surprise of a large town" - Is this a sarcastic tone, with Larkin showing how he disapproves of the sudden build up of towns?
> Larkin's description of the people is negative, he talks about the 'raw estates' they come from (raw can mean sore and painful, or strong and undisguised), the people stealing 'flat-faced trolleys' and visiting department stores to buy 'cheap suits' and 'ice-lollies'. None of these images are that positive, they are almost grimy. This shows Larkins snobbish side.
> 'swing doors to their desires' sums up what the whole poem is about - the silly desires of human people, the idea that material things like 'red kitchen-ware' and 'cheap suits' are all they desire. This makes the residents seem materialistic and have distorted views on what's really important in reality.
Stanza Three: Larkin continues to gibe at the city-folk, before his train finally reaches the countryside.
> "cut-price crowd, urban yet simple" - the idea of a cut-price crowd implies that the people in this city are left over stock, nobody wants them so they flood to the city in groups in order to dwell. Urban areas are said to be highly advanced, Larkin seems to disagree calling the area 'simple'.
> "fishy-smelling" - does the area smell of fish or is it suspicious? Could Larkin be referencing to the suspicious nature of the port - possibly referring to a black market kind of event?
> "tattoo-shops, consulates, grum head-scarfed wives" - Larkin mentions things he seems in the area he thinks of, the non-traditional tattoos do not please Larkin, neither do the consulates that allow immigration and the 'head scarfed' wives whose grimness makes them seem unladylike.
> "mortgaged half-built edges" - the government and banks own everything in the city, even things that are incomplete.
Thursday 19 February 2015
Take One Home for the Kiddies
This is one of Larkins humouros, shortest poems. He describes the careless nature of children, and the tolerable nature of parents.
Stanza One
> 'On shallow straw, in shadeless glass' - bleak unatural homes for animals, shadless seems like the hamsters are unprotected (possibly from the eyes of horrible children!)
> 'Huddled by empty bowls' - image of neglect in the petshop, huddled together implies they're cold
> Repetition of no enhances negatives
> The children asking and getting implies Larkin thinks parents are walkovers.
Stanza Two
> 'Living toys are something novel' - the children see the hamster as a funny toy, not a living thing, this suggests their careless nature.
> 'Soon it wears off' - easily bored
> 'Fetch the shoe box, fetch the shovel' - disposable
Stanza One
> 'On shallow straw, in shadeless glass' - bleak unatural homes for animals, shadless seems like the hamsters are unprotected (possibly from the eyes of horrible children!)
> 'Huddled by empty bowls' - image of neglect in the petshop, huddled together implies they're cold
> Repetition of no enhances negatives
> The children asking and getting implies Larkin thinks parents are walkovers.
Stanza Two
> 'Living toys are something novel' - the children see the hamster as a funny toy, not a living thing, this suggests their careless nature.
> 'Soon it wears off' - easily bored
> 'Fetch the shoe box, fetch the shovel' - disposable
Broadcast
The poem is essentially a love poem, written for Maeve Brennan, based upon a true event at which Maeve went to a concert and Larkin listened to it over broadcast. Broadcast could refer to the radio broadcast he was listening to, or the thoughts of Maeve 'broadcast' in his mind.
Stanza One
> Auditory imagery is used, the 'giant whispering' is an oxymoron, whispering is seen to be small, but the combination of all the whispers creates a giant noise in the concert hall.
> 'Precede a sudden scuttle' preceeding and scuttling of the drums is as if they are moving to approach and play for 'the Queen' aka. the national anthem.
> 'I think of your face among all those faces' - all he can think about is Maeve, he picks her out with his own imagination, her face has had a lasting impact in his mind.
Stanza Two
> 'Beautiful and devout' - refers to her catholicism
> 'One of your gloves, unnoticed on the floor' - he notices even the small details if it involves her, suggesting his affection for her
> 'New, slighty-outmoded shoes' - Maeve has bought last season shoes, even though he notices he does not mind. He seems to loose his snobbish nature when it comes to Maeve.
> 'Here it goes quickly dark. I lose//' the linebreak after I lose leaves the reader wondering what he has lost, most probably Maeve. The quick darkness could be loss of connection from the radio signal
Stanza Three
> 'leaves on half-emptied trees' - shows Larkin's pessimistic attitude, even when he talks about love his pessimistic attitude prevails
> 'by being distant overpower my mind' - his distance from Maeve is taking over, it overpowers him and distracts him from the music.
> 'Leaving me desperate to pick out' - he searches for her like he needs her, desperation takes over.
> 'Your hands, tiny' - the fact he searches for such a tiny part of her suggests he knows her so well, if he can pick her out from her hands he must truly love her OR is he searching for something he will never find? Is his search helpless
Stanza One
> Auditory imagery is used, the 'giant whispering' is an oxymoron, whispering is seen to be small, but the combination of all the whispers creates a giant noise in the concert hall.
> 'Precede a sudden scuttle' preceeding and scuttling of the drums is as if they are moving to approach and play for 'the Queen' aka. the national anthem.
> 'I think of your face among all those faces' - all he can think about is Maeve, he picks her out with his own imagination, her face has had a lasting impact in his mind.
Stanza Two
> 'Beautiful and devout' - refers to her catholicism
> 'One of your gloves, unnoticed on the floor' - he notices even the small details if it involves her, suggesting his affection for her
> 'New, slighty-outmoded shoes' - Maeve has bought last season shoes, even though he notices he does not mind. He seems to loose his snobbish nature when it comes to Maeve.
> 'Here it goes quickly dark. I lose//' the linebreak after I lose leaves the reader wondering what he has lost, most probably Maeve. The quick darkness could be loss of connection from the radio signal
Stanza Three
> 'leaves on half-emptied trees' - shows Larkin's pessimistic attitude, even when he talks about love his pessimistic attitude prevails
> 'by being distant overpower my mind' - his distance from Maeve is taking over, it overpowers him and distracts him from the music.
> 'Leaving me desperate to pick out' - he searches for her like he needs her, desperation takes over.
> 'Your hands, tiny' - the fact he searches for such a tiny part of her suggests he knows her so well, if he can pick her out from her hands he must truly love her OR is he searching for something he will never find? Is his search helpless
Nothing To Be Said
Nothing To Be Said is a poem about the inevitability of death, no matter who you are life slowly comes to an end.
Stanza One
> 'For nations vague as weed' - small isolated nations
> 'For nomads among stones' - nomads are wanderers
> Despite the variety in lifestyles, all of these people are slowly dying, they may be the different but they will all end the same.
Stanza Two
> 'Of building, benediction' - no matter how you build your life, or how kind you are, you are still slowly dying
> 'The days spent hunting pig // Or holding a garden-party' - massive contrast in normal day-to-day activities for different people, juxtaposing images, with reference to the rich and poor
Stanza Three
> 'advance on birth equally slowly' - life is the slow journey towards death no matter who you are
> 'and saying so to some means nothing' - telling some people life is the slow journey to death means nothing to them because they don't like to think about it - possibly because they do not agree with the approach, or because they find it traumatic.
> 'others it leaves // Nothing to be said' - death is unescapeable and the thought of death could say to rob any words they have
Stanza One
> 'For nations vague as weed' - small isolated nations
> 'For nomads among stones' - nomads are wanderers
> Despite the variety in lifestyles, all of these people are slowly dying, they may be the different but they will all end the same.
Stanza Two
> 'Of building, benediction' - no matter how you build your life, or how kind you are, you are still slowly dying
> 'The days spent hunting pig // Or holding a garden-party' - massive contrast in normal day-to-day activities for different people, juxtaposing images, with reference to the rich and poor
Stanza Three
> 'advance on birth equally slowly' - life is the slow journey towards death no matter who you are
> 'and saying so to some means nothing' - telling some people life is the slow journey to death means nothing to them because they don't like to think about it - possibly because they do not agree with the approach, or because they find it traumatic.
> 'others it leaves // Nothing to be said' - death is unescapeable and the thought of death could say to rob any words they have
Mr Bleaney
The poem itself is about a man looking at rooms up for rent. He desribes a particualr room owned by the strange Mr Bleany. The speaker chooses the room due to the similarties he sees between himself and Mr Bleany.
Stanza One
> 'The whole time he was at the bodies' - Mr Bleany worked at the morgue, not only did he live in solitude but he worked in solitude, the solitude seems to be a theme of his own life.
> 'thin and frayed' - the description of his home could be linked to Mr Bleaney's own appearance, homes often represent their owner, the thin and frayed curtains could represent his physique, or diminishing mental state, which could be caused by a life of such solitude.
Stanza Two
> The description of the room is relitively bleak, it feels like room rather than a home
> Even the view from the room is onto littered 'building land', the bleak outlook could describe Bleanys bleak outlook on life.
Stanza Three
> The speaker begins to make a connection with Bleany after he 'takes' the room, he 'lies' where Mr Bleany did and stubs his fags on the same saucer, he represents all the Mr Bleaney was.
Stanza Four
> 'i know his habits' - although Bleaney is no longer around, the speaker feels as if he knows him and all the details of his life. This could be because his life was so monotonous, he stuck to such a routine in that house that it is shown within the house.
Stanza Five
> This stanza talks about Bleaney's visits to others, but never their visits to him. This could suggest Bleaney liked his solitude, and was a private man.
> 'Put him up' - seems unwanted, they have him because they have to, not because they want to
Stanza Six
> The fact Bleaney has to tell himself this is 'his home' suggets that really, it is not. This could suggest he doesn't feel as cofortable with his solitude as portrayed.
> The 'grin' is quickly removed by a shiver, this could suggest his happiness is quickly removed by the cold life he leads.
> 'shivered, without shaking off the dread' - his inability to shake off the dread he has implies hes been scared by something, is he scared of his own solitude?
Stanza Seven
> 'how we live mesaures our own nature' - Bleaney's life of solitude represents his own lonely nature, its almost inevitable.
> 'at his age' - implies he died old 7
> 'one hired box should make him pretty sure, he warranted no better' - his bleak and empty home has led him to believe its the life he deserves, he has become stuck in a rut, but its the rut he deserves.
> The penultimate line of doubt, 'i don't know', suggests the speakers unsureity, even though he feels as if he knows Bleaney, he never really did.
Stanza One
> 'The whole time he was at the bodies' - Mr Bleany worked at the morgue, not only did he live in solitude but he worked in solitude, the solitude seems to be a theme of his own life.
> 'thin and frayed' - the description of his home could be linked to Mr Bleaney's own appearance, homes often represent their owner, the thin and frayed curtains could represent his physique, or diminishing mental state, which could be caused by a life of such solitude.
Stanza Two
> The description of the room is relitively bleak, it feels like room rather than a home
> Even the view from the room is onto littered 'building land', the bleak outlook could describe Bleanys bleak outlook on life.
Stanza Three
> The speaker begins to make a connection with Bleany after he 'takes' the room, he 'lies' where Mr Bleany did and stubs his fags on the same saucer, he represents all the Mr Bleaney was.
Stanza Four
> 'i know his habits' - although Bleaney is no longer around, the speaker feels as if he knows him and all the details of his life. This could be because his life was so monotonous, he stuck to such a routine in that house that it is shown within the house.
Stanza Five
> This stanza talks about Bleaney's visits to others, but never their visits to him. This could suggest Bleaney liked his solitude, and was a private man.
> 'Put him up' - seems unwanted, they have him because they have to, not because they want to
Stanza Six
> The fact Bleaney has to tell himself this is 'his home' suggets that really, it is not. This could suggest he doesn't feel as cofortable with his solitude as portrayed.
> The 'grin' is quickly removed by a shiver, this could suggest his happiness is quickly removed by the cold life he leads.
> 'shivered, without shaking off the dread' - his inability to shake off the dread he has implies hes been scared by something, is he scared of his own solitude?
Stanza Seven
> 'how we live mesaures our own nature' - Bleaney's life of solitude represents his own lonely nature, its almost inevitable.
> 'at his age' - implies he died old 7
> 'one hired box should make him pretty sure, he warranted no better' - his bleak and empty home has led him to believe its the life he deserves, he has become stuck in a rut, but its the rut he deserves.
> The penultimate line of doubt, 'i don't know', suggests the speakers unsureity, even though he feels as if he knows Bleaney, he never really did.
Monday 26 January 2015
Toads Revisited
> This poem responds to Larkins 'Toads'. It carries an extended metaphor, work is the 'toad' in everyone's lives.
Stanza One
> 'should feel better' - implies that even though it should, it doesn't feel better, pity inducing
> 'the lake, the sunshine, the grass to lie on' simple imagery of nature, it's simplicity suggests that he's never noticed it before as he's not had the time to
Stanza Two
> 'blurred playground noises' - noises he used to hear but can't really any more, suggests he has aged, blurred childhood memories
> 'not a bad place to be : yet it doesn't suit me' - line break emphasises it really isn't that bad, he respects the place he's at in his life yet he doesn't feel comfortable in it.
Stanza Three
> 'palsied old step takers' - the elderly, shaking, zimmoframe
> 'hare eyed' - fearful, 'jitters' could refer to drug addicts
Stanza Three
> 'palsied old step takers' - the elderly, shaking, zimmoframe
> 'hare eyed' - fearful, 'jitters' could refer to drug addicts
Stanza Four
> 'waxed-fleshed out patients : still vague from accidents' - waxed fleshed indicates paleness, possibly emotionless - people out of work on sick leave
> 'long coats' - homeless people
Stanza Five
> 'all dodging the toad work : by being stupid or weak' - his opinion of the old, ill, or disabled, dodging implies they're purposefully avoiding work, he's a snob towards the 'work shy' who actually cannot work.
> 'think of being them!' - explanation mark, ironic because he is one of them, he feels uncomfortable with the group he's been categorised into, almost mocking of himself
Stanza Six
> A general reference to their lives, genuinely boring lives, they spend their whole day 'watching' rather than doing.
> Repetition of 'think of being them!' reinforces irony, Larkin is one of them.
Stanza Seven
> 'Turning over their failures' - because they don't go to work they have failed in life, possibly how Larkin feels about himself now he is not going to work. 'Turning over' implies failures once hidden are now coming out
> 'Lobelias' another reference to flowers, Larkin incorporating nature
> 'No friends but empty chairs' - everyone else works so you are alone
Stanza Eight
> This stanza refers how Larkins opinion has changed, he'd rather go back to work than be workless
> 'loaf-haired secretary' is mocking, misoginistic, rather than reffering to her hair as a bun he refers to is a 'loaf', makes her hair seem cheaper and less classier
Stanza Nine
> The finishing line 'give me your arm, old toad' - the hand in hand aspect creates a union between Larkin and work, almost a bond.
> 'Help me down cemetery road' - he wants to work until the day he dies, work will help him to his death, this could be seen as a positive or negative. Personification of work 'helping him' provides a connection between Larkin and the work.
PERSONAL RESPONSE - This poem to me represents Larkins snobbish nature, he'd rather work, doing something he doesn't enjoy than be associated with those who 'avoid toad work'. To me this suggests that Larkin is very concerned with his self image and how he appears to others. It could also suggest Larkin finds no fufilment in a life without work, this could suggest he is a commited man,
Stanza Six
> A general reference to their lives, genuinely boring lives, they spend their whole day 'watching' rather than doing.
> Repetition of 'think of being them!' reinforces irony, Larkin is one of them.
Stanza Seven
> 'Turning over their failures' - because they don't go to work they have failed in life, possibly how Larkin feels about himself now he is not going to work. 'Turning over' implies failures once hidden are now coming out
> 'Lobelias' another reference to flowers, Larkin incorporating nature
> 'No friends but empty chairs' - everyone else works so you are alone
Stanza Eight
> This stanza refers how Larkins opinion has changed, he'd rather go back to work than be workless
> 'loaf-haired secretary' is mocking, misoginistic, rather than reffering to her hair as a bun he refers to is a 'loaf', makes her hair seem cheaper and less classier
Stanza Nine
> The finishing line 'give me your arm, old toad' - the hand in hand aspect creates a union between Larkin and work, almost a bond.
> 'Help me down cemetery road' - he wants to work until the day he dies, work will help him to his death, this could be seen as a positive or negative. Personification of work 'helping him' provides a connection between Larkin and the work.
PERSONAL RESPONSE - This poem to me represents Larkins snobbish nature, he'd rather work, doing something he doesn't enjoy than be associated with those who 'avoid toad work'. To me this suggests that Larkin is very concerned with his self image and how he appears to others. It could also suggest Larkin finds no fufilment in a life without work, this could suggest he is a commited man,
Afternoons
> www.bbc.co.uk - a woman's place documentary
Stanza One
- 'hollows of the afternoon' - purposeless if you don't go to work
- 'setting free their children' - animalistic, they've been caged up, indicates mothers cannot control their children, they're poor at the one job they have to or are meant to do
- 'young mothers assemble' - Young is highlighted, indicates an element of judging. Assemble sounds formal, this makes what they're doing seem silly
Stanza Two
- 'behind them, at intervals' - do the women place themselves in front of the men because in terms of the family the mothers are dominant? 'Intervals' implies that the fathers are there occasionally, parenting is a part time second place job for them over their 'real' careers.
- 'estateful' - a neologism, suggests their living conditions, grimy, cheap?
- 'our wedding, lying' - the albums are on show, lying open to make the couple seem perfect and happy it's a lie now. LINEBREAK emphasises the word lying, and makes the reader consider its double meaning
- 'near the television' - the TV draws attentions, they look at the TV and then see the album, reminding them how 'happy they are'. Suggests the feelings are fake, maybe only they stay together for the children which dominate their lives? Later reinforced (last line stanza three)
- 'ruining their courting place' - memories
Stanza Three
- 'but the lovers are all in school' - Young love, bracketed like it should be hidden, it's shameful because they're so young
- 'their beauty has thickened'- Larkin sees this as the most important thing, suggests his vanity and his lack of care for emotions
- 'something pushing' - left unidentified like it's not very important
- 'pushing them to the side of their own lives' - could be sympathetic, the wives have lost all control of their own lives because it's been taken over by family - they leave the albums out to reminisce how they used to be
Tuesday 13 January 2015
Talking in Bed
The Title - Talking in Bed - The act of talking in bed is something you would do in a comfortable, intimate relationship (maybe more long-term).
Stanza One
'Talking in bed ought to be easiest' - it should be easy, but it isn't, suggesting their relationship is not a comfortable one, or isn't anymore. He is honest from line one.
'Lying together there goes back so far' - implications that the relationship is long term.
'Emblem' - something representative.
'Lying together' - double meaning, to lay or to lie. Implies they're both lying about their feelings for one another to keep the relationship going, they're on the same boat.
Stanza Two
'More and more time passes silently' - growing awkwardness, its not an comfortable silence anymore, suggesting it is happening frequently or they are growing apart.
'Outside the wind's incomplete unrest, builds and disperses clouds about the sky' - pathetic fallacy, the atmosphere is stormy, Larkin is agitated by the situation but has not yet flipped, this could foreshadow an argument to come. Their tension taints the once perfect 'blue sky' (their relationship), further worsening the situation.
Stanza Three
'Dark towns heap up on the horizon' - possibly indicates rows and/or dark times to come.
'None of this cares for us' - there is nothing good in their relationship helping them to stay together.
'At this unique distance from isolation' - Larkin isn't physically isolated, but feels mentally isolated. He's close, but far.
Stanza Four
This final stanza suggests Larkin love's her, because he does not want to her hurt, but is not in love with her, as he cannot be honest with her. He does not want to lie 'words at once true and kind', but he does want to tell the truth 'or not true and not unkind'. It seems as if Larkin does not want to let go, but not provide false hope, he is torn in two by the situation
Stanza One
'Talking in bed ought to be easiest' - it should be easy, but it isn't, suggesting their relationship is not a comfortable one, or isn't anymore. He is honest from line one.
'Lying together there goes back so far' - implications that the relationship is long term.
'Emblem' - something representative.
'Lying together' - double meaning, to lay or to lie. Implies they're both lying about their feelings for one another to keep the relationship going, they're on the same boat.
Stanza Two
'More and more time passes silently' - growing awkwardness, its not an comfortable silence anymore, suggesting it is happening frequently or they are growing apart.
'Outside the wind's incomplete unrest, builds and disperses clouds about the sky' - pathetic fallacy, the atmosphere is stormy, Larkin is agitated by the situation but has not yet flipped, this could foreshadow an argument to come. Their tension taints the once perfect 'blue sky' (their relationship), further worsening the situation.
Stanza Three
'Dark towns heap up on the horizon' - possibly indicates rows and/or dark times to come.
'None of this cares for us' - there is nothing good in their relationship helping them to stay together.
'At this unique distance from isolation' - Larkin isn't physically isolated, but feels mentally isolated. He's close, but far.
Stanza Four
This final stanza suggests Larkin love's her, because he does not want to her hurt, but is not in love with her, as he cannot be honest with her. He does not want to lie 'words at once true and kind', but he does want to tell the truth 'or not true and not unkind'. It seems as if Larkin does not want to let go, but not provide false hope, he is torn in two by the situation
The Whitsun Weddings
The poem describes a train journey, Larkin talks about young couples boarding trains at different station on the way to their Whitsun Wedding.
DEFINITION - Whitsun - Placed in the half term before summer, Whitsun is a bank holiday.
Stanza One
Larkin seem's to make more of a personal connection to the train, rather than the people he is describes. He uses 'we ran' to talk about the movement on the train, but describes no interactions between him and the couples. This suggests he is disconnected from those around him, possibly a loner. He also seems relaxed when he is on the train, which is said to be 'three quarters empty', suggesting his preference to be alone. Once again Larkin shows his preference to the natural world over the urban world. He talks about the smell of the fish-dock and blinding windscreens (negative imagery) in comparison to the meeting of the sky and water and the drifting breadth of the river (positive imagery).
Stanza Two
Once again, he highlights the unpleasantness of urban areas, describing the 'canals with floatings of industrial froth', the modernization is tainting the country. He also notices the 'displacement' of industrial smells by the smell of the grass, the industrial smells do not appeal to him suggesting he is more at one with nature. 'New and nondescript' is symbolic of his feelings towards modernization, all that's new has no character. This stanza two symbolizes how he see's the world, all that is new is bad and characterless, things should be kept as natural as possible in order to be successful.
Stanza Three
The first wedding is introduced in this stanza. He comments on the noise the guest's make, he does not seem to understand the excitement that would comes with a wedding, seemingly not understanding the fuss. He describes girls in 'parodies of fashion', their knock off clothing makes them seem cheap and less classy, indicating his views on the wedding. Their 'irresolute' posing implies discomfort, maybe not from them but from Larkin himself, he feels uncomfortable watching the brides pose.
Stanza Four
In this stanza, Larkin's openly expresses his opinion on those, suggesting he is quite self-assured. He describes the mothers as 'loud and fat', as well as pointing out the uncles dirty jokes and the 'jewellery-substitutes' and 'nylon gloves', nylon being one of the cheapest fabrics. He wants to highlight their lack of class, quite simply he is a snob. He highlights the ugliest colours worn, avoiding the pureness of white likely worn by the bride. He even seems to suggest the ugly colours represent their ugly characteristics, (continued into stanza 5).
Stanza Five
He indicates the location of the weddings, most vividly describing the 'bunting-dresses coach-party annexes', the cheapest location, as if to highlight he is better than them (a snob). The idea of advice being 'thrown' indicates that its quite thoughtless, the wedding guests are there for the show, not because they care about the bride and groom. 'Children frowned' indicates boredom, and Larkin refers to the wedding as 'dull'.
Stanza Six
'Wholly farcical' - completely ridiculous, the father notices the ridiculousness of the situation, this could hint at sexism, Larkin suggesting the man is wiser. The idea of 'a happy funeral' has implications that marriage is the end of your like, an extremely inappropriate thing to say on a wedding day, suggesting Larkin's nature.
DEFINITION - Whitsun - Placed in the half term before summer, Whitsun is a bank holiday.
Stanza One
Larkin seem's to make more of a personal connection to the train, rather than the people he is describes. He uses 'we ran' to talk about the movement on the train, but describes no interactions between him and the couples. This suggests he is disconnected from those around him, possibly a loner. He also seems relaxed when he is on the train, which is said to be 'three quarters empty', suggesting his preference to be alone. Once again Larkin shows his preference to the natural world over the urban world. He talks about the smell of the fish-dock and blinding windscreens (negative imagery) in comparison to the meeting of the sky and water and the drifting breadth of the river (positive imagery).
Stanza Two
Once again, he highlights the unpleasantness of urban areas, describing the 'canals with floatings of industrial froth', the modernization is tainting the country. He also notices the 'displacement' of industrial smells by the smell of the grass, the industrial smells do not appeal to him suggesting he is more at one with nature. 'New and nondescript' is symbolic of his feelings towards modernization, all that's new has no character. This stanza two symbolizes how he see's the world, all that is new is bad and characterless, things should be kept as natural as possible in order to be successful.
Stanza Three
The first wedding is introduced in this stanza. He comments on the noise the guest's make, he does not seem to understand the excitement that would comes with a wedding, seemingly not understanding the fuss. He describes girls in 'parodies of fashion', their knock off clothing makes them seem cheap and less classy, indicating his views on the wedding. Their 'irresolute' posing implies discomfort, maybe not from them but from Larkin himself, he feels uncomfortable watching the brides pose.
Stanza Four
In this stanza, Larkin's openly expresses his opinion on those, suggesting he is quite self-assured. He describes the mothers as 'loud and fat', as well as pointing out the uncles dirty jokes and the 'jewellery-substitutes' and 'nylon gloves', nylon being one of the cheapest fabrics. He wants to highlight their lack of class, quite simply he is a snob. He highlights the ugliest colours worn, avoiding the pureness of white likely worn by the bride. He even seems to suggest the ugly colours represent their ugly characteristics, (continued into stanza 5).
Stanza Five
He indicates the location of the weddings, most vividly describing the 'bunting-dresses coach-party annexes', the cheapest location, as if to highlight he is better than them (a snob). The idea of advice being 'thrown' indicates that its quite thoughtless, the wedding guests are there for the show, not because they care about the bride and groom. 'Children frowned' indicates boredom, and Larkin refers to the wedding as 'dull'.
Stanza Six
'Wholly farcical' - completely ridiculous, the father notices the ridiculousness of the situation, this could hint at sexism, Larkin suggesting the man is wiser. The idea of 'a happy funeral' has implications that marriage is the end of your like, an extremely inappropriate thing to say on a wedding day, suggesting Larkin's nature.
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