The North Ship Author Summary
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Osaka University Knowledge Archive : OUKA
Title ABSENCE AND PRESENCE IN THE POEMS OF PHILIP LARKIN Author(s) Haruki, Takako Citation Osaka Literary Review. 29 P.173-P.186 Issue Date 1990-12-20 Text Version publisher URL https://doi.org/10.18910/25498 DOI 10.18910/25498 rights Note Osaka University Knowledge Archive : OUKA https://ir.library.osaka-u.ac.jp/ Osaka University ABSENCE AND PRESENCE IN THE POEMS OF PHILIP LARKIN HARUKI Takako In December, 1988, four books of poetry by Philip Larkin North Ship, The Less Deceived, The Whitsun Weddings, and High Windows — were compiled together and published in a Japanese translation.'> Considering the published date of High Windows, 1974, it is a swift response to his reputation and popu- larity in his own country no translation of Seamus Heaney's books has appeared yet. Larkin's innovative poetic forms and his deep concern about the human condition have gained him a high recognition in England. Yet his Englishness has been much em- phasised and it is as if without being English, there were no way to appreciate his poetry except for those who interpret Larkin in a symbolical way!) The quotation of Terry Whalen from an interview of Larkin in London Magazine 4 (Nov. 1964) 77 is interesting. 'When Ian Hamilton proposed to him that "Church Going" reads like a "debate between a poet and persona" , the poet agreed and said that it is "seeking an answer. I suppose that's the antithesis you mean. I think one has to dramatise oneself a little."'3) Terry Whalen, laying stress on how Larkin sought an answer, attempts to show what different tones and postures he employs from one poem to the next. -
THE NOVELS and the POETRY of PHILIP LARKIN by JOAN SHEILA MAYNE B . a . , U N I V E R S I T Y of H U L L , 1962 a THESIS SUBMITT
THE NOVELS AND THE POETRY OF PHILIP LARKIN by JOAN SHEILA MAYNE B.A., University of Hull, 1962 A THESIS SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF M .A. in the Department of English We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA April, 1968 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his represen• tatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of English The University of British Columbia Vancouver 8, Canada April 26, 1968 ii THESIS ABSTRACT Philip Larkin has been considered primarily in terms of his contribution to the Movement of the Fifties; this thesis considers Larkin as an artist in his own right. His novels, Jill and A Girl in Winter, and his first volume of poetry, The North Ship, have received very little critical attention. Larkin's last two volumes of poetry, The Less Deceived and The Whitsun Weddings, have been considered as two very similar works with little or no relation to his earlier work. This thesis is an attempt to demonstrate that there is a very clear line of development running through Larkin's work, in which the novels play as important a part as the poetry. -
Rhyme, Meter, and Closure in Philip Larkin's •Œan Arundel Tomb"
Studies in English, New Series Volume 6 Article 26 1988 Rhyme, Meter, and Closure in Philip Larkin's “An Arundel Tomb" Elizabeth Gargano-Blair Iowa City Follow this and additional works at: https://egrove.olemiss.edu/studies_eng_new Part of the Literature in English, British Isles Commons Recommended Citation Gargano-Blair, Elizabeth (1988) "Rhyme, Meter, and Closure in Philip Larkin's “An Arundel Tomb"," Studies in English, New Series: Vol. 6 , Article 26. Available at: https://egrove.olemiss.edu/studies_eng_new/vol6/iss1/26 This Article is brought to you for free and open access by the Studies in English at eGrove. It has been accepted for inclusion in Studies in English, New Series by an authorized editor of eGrove. For more information, please contact [email protected]. Gargano-Blair: Rhyme, Meter, and Closure in Philip Larkin's “An Arundel Tomb" RHYME, METER, AND CLOSURE IN PHILIP LARKIN’S “AN ARUNDEL TOMB” Elizabeth Gargano-Blair Iowa City In his 1965 preface to The North Ship, Philip Larkin names three major poets who influenced his “undergraduate” and “post-Oxford” work: W. H. Auden, Dylan Thomas, and W. B. Yeats. He goes on to describe Yeats as the most potent, and potentially destructive, of these influences: “I spent the next three years trying to write like Yeats, not because I liked his personality or understood his ideas but out of infatuation with his music (to use the word I think Vernon [Watkins] used). In fairness to myself it must be admitted that it is a particularly potent music, pervasive as garlic, and has ruined many a better talent.”1 At a time when many young poets were resisting this “dangerous” music, fearful of losing poetic sense in mere sound, one challenge was to find new approaches to the use of rhyme and meter. -
A University of Sussex Mphil Thesis Available Online Via Sussex Research Online: This Thesis Is Prot
A University of Sussex MPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the aut hor, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details By Muhammad Rashid Submitted in accordance with the requirements For the degree of MPhil. The University of Sussex School of English May 2018 Declaration: I hereby declare that this thesis has not been and will not be, submitted in whole or in part to another University for the award of any other degree. Signature: Contents: Chapters Titles P.no. Summary i Introduction 1-25 Chapter 1 Jill and A Girl in Winter: A Revelation of Self 26-48 Chapter 2 Submission is the only Good : The Unconditional Love 49-74 Chapter 3 The Sad-eyed, Clear-eyed: 75-187 (I) Rejecting the Myths 75-95 (II) A Hunger for Seriousness: Religion, Sex, Art 96-118 (III) From Conflict to Compromise 119-134 (IV) The Padlocked Cube of Light: The Urge for 135-178 Freedom (V) The Total Extinction: Perception vs Reality 179-187 Chapter 4 Beyond the Shapes and Shingles 188-205 Chapter 5 From ‘Here’ to High Windows 206-224 Chapter 6 The Quest for Meaning: From Proximate to Ultimate 225-234 Bibliography 235-245 i Summary Philip Larkin’s work covers a span of life that marks one of the most turbulent and transitional stages in British history: having WW2 at one end and the ‘swinging sixties’ at the other, it serves as a really useful document about not only Larkin’s personal life but also the contemporary cultural, social and political circumstances. -
At Death, You Break Up: Philip Larkin's Struggle with Mortality
Title "At death, you break up" : Philip Larkin's struggle with mortality Author(s) Harada, Keiko Citation Osaka Literary Review. 25 P.16-P.28 Issue Date 1986-12-20 Text Version publisher URL https://doi.org/10.18910/25542 DOI 10.18910/25542 rights Note Osaka University Knowledge Archive : OUKA https://ir.library.osaka-u.ac.jp/ Osaka University "At death , you break up" — Philip Larkin's struggle with mortality — Keiko Harada — "Do you think much about growing older? Is it something that worries you?" — "Yes, dreadfully. If you assume you're going to live to be seventy, seven decades, and think of each decade as a day of the week, starting with Sunday, then I'm on Friday afternoon now. Rather a shock, isn't it? If you ask why does it bother me, I can only say I dread endless extinction. 1) As if he had intended to build up his career along clear landmarks, Philip Larkin published his poetry volumes at the rate of one per decade: The North Ship in 1945, The Less Deceived in 1955, The Whitsun Weddings in 1964 and High Windows in 1974. The poet's sudden death on 2 December, 1985, at the age of sixty-three, unfortunately, left our hope for a final volume unfulfilled. Throughout these four volumes, Larkin has dedicated himself to writing about the 'unhappiness' of people caught up in time: "Deprivation is for me what daffodils were for Wordsworth"?) The recurring themes are 'memory', 'passage of time', 'old age' and 'death'. Larkin insistently dealt with them again and again. -
The Thought of High Windows
The Thought of High Windows Lynne Kositsky Kids Can Press Text © 2004 Lynne Kositsky Cover photograph © 2004 Lorraine Parow All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted, in any form or by any means, without the prior written permission of Kids Can Press Ltd. or, in case of photocopying or other reprographic copying, a license from The Canadian Copyright Licensing Agency (Access Copyright). For an Access Copyright license, visit www.accesscopyright.ca or call toll free to 1-800-893-5777. This is a work of fiction and any resemblance of characters to persons living or For Roger: dead is purely coincidental. Kids Can Press acknowledges the financial support of the Government of My dearest Elephant, Ontario, through the Ontario Media Development Corporation’s Ontario Book Initiative; the Ontario Arts Council; the Canada Council for the Arts; and the My far-away yet close companion, Government of Canada, through the BPIDP, for our publishing activity. My little brother, Published in Canada by Published in the U.S. by My always friend. Kids Can Press Ltd. Kids Can Press Ltd. 29 Birch Avenue 2250 Military Road Toronto, ON M4V 1E2 Tonawanda, NY 14150 www.kidscanpress.com Edited by Charis Wahl Designed by Julia Naimska Excerpt from “High Windows” from COLLECTED POEMS by Philip Larkin. Copyright © 1988, 1989 by the Estate of Philip Larkin. Reprinted by permission of Farrar, Straus and Giroux, LLC. Printed and bound in Canada CM 04 0 9 8 7 6 5 4 3 2 1 CM PA 04 0 9 8 7 6 5 4 3 2 1 National Library of Canada Cataloguing in Publication Data Kositsky, Lynne, 1947– The thought of high windows / Lynne Kositsky. -
1. Philip Larkin
Notes References to material held in the Philip Larkin Archive lodged in the Brynmor Jones Library, University of Hull (BJL), are given as file numbers preceded by 'DPL'. 1. PHILIP LARKIN 1. Harry Chambers, 'Meeting Philip Larkin', in Larkin at Sixty, ed. Anthony Thwaite (London: Faber and Faber, 1982) p. 62. 2. John Haffenden, Viewpoints: Poets in Conversation (London, Faber and Faber, 1981) p. 127. 3. Christopher Ricks, Beckett's Dying Words (Oxford: Oxford University Press, 1993). 4. D. J. Enright, 'Down Cemetery Road: the Poetry of Philip Larkin', in Conspirators and Poets (London: Chatto & Windus, 1966) p. 142. 5. Hugo Roeffaers, 'Schriven tegen de Verbeelding', Streven, vol. 47 (December 1979) pp. 209-22. 6. Andrew Motion, Philip Larkin: A Writer's Life (London: Faber and Faber, 1993). 7. Philip Larkin, Required Writing (London: Faber and Faber, 1983) p. 48. 8. See Selected Letters of Philip Larkin 1940-1985, ed. Anthony Thwaite (London: Faber and Faber, 1992) pp. 648-9. 9. DPL 2 (in BJL). 10. DPL 5 (in BJL). 11. Kingsley Amis, Memoirs (London: Hutchinson, 1991) p. 52. 12. Philip Larkin, Introduction to Jill (London: The Fortune Press, 1946; rev. edn. Faber and Faber, 1975) p. 12. 13. Donald Davie, Thomas Hardy and British Poetry (London: Routledge & Kegan Paul, 1973) p. 64. 14. Required Writing, p. 297. 15. Blake Morrison, 'In the grip of darkness', The Times Literary Supplement, 14-20 October 1988, p. 1152. 16. Lisa Jardine, 'Saxon violence', Guardian, 8 December 1992. 17. Bryan Appleyard, 'The dreary laureate of our provincialism', Independent, 18 March 1993. 18. Ian Hamilton, 'Self's the man', The Times Literary Supplement, 2 April 1993, p. -
MAY 2013 Laura Mccullough, Pp
EXCERPTS FROM “GOOD MORNING!” Hugh Behm-Steinberg, pp. 4–10 A MAZE LIVES INSIDE THE SKY Erica Hayes, pp. 11–12 VOLUME 1 OUT OF THE BLUE, WHO ISSUE 5 MAY 2013 Laura McCullough, pp. 13–14 PHILIP LARKIN AND THE POETRY OF SELF-DEFENSE Jerry Bradley, pp. 15–22 © tab: The Journal of Poetry & Poetics. Volume 1. Issue 5. May 2013. No part of this publication may be reproduced in any form or by any WILKINSON COLLEGE FALL 2012 • Colloquium means, electronic or mechanical,of Human iwithoutties and Social prior Sc iwrittenences permission from tab. Rights to individual submissions remain the property of their authors. Department of English Chapman University WILKOneINS OUniversityN COLLE DriveGE WILKINSON COLLEGE of Humanities and Social Sciences Orange, ca 92866 of Humanities and Social Sciences www.chapman.edu/poetry issn: 2169-3013 WILKINSON COLLEGE Department of of Humanities and Social Sciences Department of WILKINSON COLLEGE Department of of Humanities and Social Sciences COMMUNICATION STUDIES Department of COMMUNICATION STUDIES WILKINSON COLLEGE Department of ENGLISH of Humanities and Social Sciences Department of ENGLISH WILKINSON COLLEGE Department of HISTORY of Humanities and Social Sciences Department of HISTORY WILKINSON COLLEGE Department of of Humanities and Social Sciences LANGUAGES Department of LANGUAGES WILKINSON COLLEGE Department of of Humanities and Social Sciences POLITICAL SCIENCE Department of POLITICAL SCIENCE Department of WILKINSON COLLEGE TAB: THE JOURNAL OF POETRY & POETICS VOL 1. ISSUE 5 2 of Humanities and Social Sciences -
Larkin's Springboards
European Journal of English Language and Literature Studies Vol.6, No.1, pp.53-71, February 2018 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) LARKIN’S SPRINGBOARDS: THE POET IN THE MAKING Dr. Milton Sarkar Assistant Professor, Department of English Language and Literature, APC College, Calcutta, West Bengal, India ABSTRACT: Philip Larkin is a key figure in the post-war British poetry. This “effective unofficial Laureate of the post-1945 England” remains the “central figure in British Poetry over the last twenty years.” Larkin’s reputation rose to an extent where “even his detractors are now naming him a major poet.” Writing in the 1970s, David Timms calls him the “best poet England now has.” In the 1980s, commenting on the sales of Larkin’s volumes, Roger Day terms him an “immensely popular poet” by “contemporary standards.” In this essay, an attempt will be made to trace what provided springboards to the making of the poet Larkin. KEYWORDS: British Poetry, Post-Fifties, Philip Larkin, the making of. INTRODUCTION No poet, no artist of any art, has his complete meaning alone. His significance, his appreciation is the appreciation of his relation to the dead poets and artists … we shall often find that not only the best, but the most individual parts of his work may be those in which the dead poets, his ancestors, assert their immortality most vigorously. (Eliot, Essays14-5) As a guiding principle I believe that every poem must be its own sole freshly created universe, and therefore have no belief in ‘tradition’ or a common myth-kitty or casual allusions in poems to other poems or poets, which last I find unpleasantly like the talk of literary understrappers letting you see they know the right people. -
Collected Poems
$22.50 Philip Larkin COLLECTED POEMS EDITED BY ANTHONY THWAITE On Philip Larkin's death in 1985, Ian Hamilton wrote in The (London) Times: "More often than any other English poet since the war, Larkin gave us lines that it is unlikely we' ll be able to forget." Though widely appreciated and well known in America, most of Larkin's poetry has been unavailable here for many years. With this volume, all of his pu b lished poetry is brought together: The North Ship (1945), the pamphlet of XX Poems (1953), The Less Deceived (1955), The Whit sun Weddings (1964), and his final book, High Windows (1974). In addition, many poems are published here for the first time. There is a substantial selection of early poems, written from his middle teens to the publica tion of his first book at twenty-three, and several previously uncollected poems of his maturity, among them the few he comp\eted and left unpublished after High Windows. Anthony Thwaite, the English poet and critic, has based the whole (continued on backflap) (continued fromfront flap) edition on the carefully preserved and dated notebooks and typescripts left by Larkin. An appendix lists, in the order Larkin assigned to them, the contents of each of the books and pamphlets published in his lifetime, together with the order of contents of Larkin's collection In the Grip of Light, which he attempted to publish in 1947. As Thwaite observes: "Taken together, the poems show the growth of a great poet, testing, filtering, rejecting, modulating, achieving." Jacketdesign hyJack Harrison Photo hyPhil Sayer FARRAR • STRAUS • GIROUX 19 Union Square West New York 10003 Collected Poems by Philip Larkin poetry The North Ship XX Poems The Fantasy Poets No. -
Larkin's Eggs
mus Heaney), finding the same disgust and constraint in the poetry, tended to as- sume that Larkin's official voice was an ad- equate spokesman for the unofficial one. By the time Larkin died in 1985, at the age of 63, he had created an official self- portrait of the artist as bitter, disillu- sioned, lonely, resentful of any energy and happiness enjoyed by others—even while he insisted that their energy was doomed and their happiness an illusion. But this partial portrail was no more truthful than any other official one. Larkin suffered all the bitterness of his official prose, but the alternative truth spoken quietly by his poems was a shy, persistent vision of freedom and exaltation. Larkin seems to have been embar- rassed by his own vision, and did his best to help readers ignore it. Most of the re- viewers of his Collected Poems have been too busy quoting bis famously caustic aphorisms to look for anything else, and it is hard to blame them. His deceptively unreflective style, the formal perfection of his rhymed and rhythmical stanzas, served as an effective camouflage for Larkin's vortices of feeling. More than any other British writer of his time, he seemed to transform the material bleak- ness of the austere 1940s and 1950s, and then the moral bleakness of the moneyed 19H()s and 1970s, into an inescapable statement of the bleakness of almost everything. In Larkin's official version of the hu- man condition, life started badly and LarkinsEggs ended worse. From the moment you were born it was already too late to change for the better, -
Philip Larkin Hy Philip Larkin
Philip Larkin hy Philip Larkin JOHN SKINNER I may flatter myself, but I think in one sense I'm like Evelyn Waugh or John Betjeman, in that there's not much to say about my work. When you've read a poem, that's it, it's all quite clear what it means. (RW 53) IT WOULD BE ARROGANT to suggest that Larkin's comments on his own poetry are naive, but equally rash to suppose he is merely pulling the reader's leg; and yet it might be foolhardy to accept such statements as the above as a literal or exhaustive account of Larkin's poetry. The only certainty, in fact, is that Larkin's attempt to disarm the professional critic paradoxically stimulates the criti• cal discourse which the poet thought unnecessary. It is a cautionary example for the present study. Larkin is an elusive, if not ambivalent figure and discussion of his poetry correspondingly resorts to guarded attitudes. To avoid such critical hedging, therefore, I would immediately suggest that Larkin is not a nihilist, a satirist or even a "mere" writer of social verse ; he is an extremely funny poet. The poems are hardly more "influenced" by Hardy (for all Larkin's confessed admiration) than they are by Dylan Thomas ! Surprisingly, perhaps, the pre• cursor is still Yeats, although there are peculiar affinities with Wordsworth. There is a real sense of circumscription or confine• ment in his poetry, but this cannot be ascribed to any thinness of literary production or the insularity of his peculiar Englishness. It stems rather from what might be called a "provincialism of feel• ing," exemplified by a certain restriction in emotional range.