Larkin's Springboards
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
002) Fall/Winter 2013-14
This syllabus has been provided as a reference tool for students considering this course. It has been modified to follow Senate regulations. Current students enrolled in any undergraduate course must obtain the most recent syllabus from their course instructor or from their course website. This is not the latest version. Department of English & Writing Studies Twentieth-Century British and Irish Literature English 3554E (002) Fall/Winter 2013-14 Instructor: Dr. G. Donaldson Date/Time: Tuesday 2:30pm-4:10pm Thursday 2:30pm-3:20pm Location: Physics and Astronomy Building 150 Prerequisites At least 60% in 1.0 of English 1020E or 1022E or 1024E or 1035E or 1036E or both English 1027F/G and 1028F/G, or permission of the Department. Antirequisite(s): English 2331E, 2332F/G, 2333F/G, 2334E, 2335F/G and 2336F/G. Unless you have either the requisites for this course or written special permission from your Dean to enroll in it, you may be removed from this course and it will be deleted from your record. This decision may not be appealed. You will receive no adjustment to your fees in the event that you are dropped from a course for failing to have the necessary prerequisites. Course Materials Required Texts: Norton Anthology of English Literature Vol F Alan Bennett, The History Boys Angela Carter, Nights at the Circus Joseph Conrad, Under Western Eyes EM. Forster, A Passage to India Graham Swift, Waterland Virginia Woolf, Mrs. Dalloway For the poets we shall study from the Anthology, here are the poems with which to begin your reading: Thomas Hardy Hap Channel Firing The Voice Neutral Tones The Convergence of the During Wind and Rain Drummer Hodge Twain The Walk The Darkling Ah, Are You Digging on In Time of ‘The Breaking of Thrush My Grave? Nations’ A.E. -
Dylan Thomas Resources
Dylan Thomas was born on the 27th October Cwmdonkin Avenue is located in a position that 1914 at 5 Cwmdonkin Drive, a semi-detached is high above Swansea Bay. As young boy Dylan house in the Uplands area of Swansea. would have looked out on the sea every day. 1914 was a momentous year for the World The changing moods of this wide, curving seascape because of the outbreak of the Great War. would have a lasting impact on the imagination of the poet to be. His father was an English teacher and although both his parents could speak Welsh, he and his Dylan would continue to live and work for much sister Nancy were brought up as English speakers. of his life in locations with magnificent sea views. WG22992 © Hawlfraint y Goron / Crown Copyright 2014 / Crown WG22992 © Hawlfraint y Goron www.cadw.wales.gov.uk/learning At Swansea Waterfront a statue of Dylan as a young boy sits looking out over the docks and Although Dylan Thomas did not write in Welsh, at the people who stroll by. The sculptor John the inspiration for much of his work was rooted in Doubleday has shown the poet perched on the the closeness he felt for Wales, its people and its edge of his chair. He looks like he has been caught landscape. The historic town of Laugharne, with its in the moment of creative thought. magnificent castle and its swirling estuary provided him with many creative writing opportunities. He Dylan began to write at a young age. He was a wrote ‘Portrait of the Artist as a Young Dog’ from teenager when he began to keep the notebooks the gazebo that is set into the imposing walls of into which he poured his writing ideas, especially the Castle. -
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. -
Poetry in Process
Poetry in Process: The Compositional Practices of D.H. Lawrence, Dylan Thomas and Philip Larkin being a thesis submitted for the Degree of Doctor of Philosophy in the University of Hull by Alexandra Mary Davies BA (University of Wales, Lampeter), MA (University of Wales, Cardiff) September 2008 i Contents Acknowledgements vi Abbreviations vii INTRODUCTION 1 I GENERAL 1. Methodologies 4 Chronology, Objective and Subjective Changes 5 Identifying Phases in the Writing Process 8 Traditional Manuscript Studies 10 French Genetic Criticism 12 Anglo-American and German Editorial Theory: The Problem of Textual 'Authority' 25 Compositional Criticism 34 'Versioning' 39 Producing an Edition 41 Editions of the Poems of Lawrence, Thomas and Larkin 42 Approaches of the Methodologies 52 Preparing an Edition of the Three Poets 57 Approaching the Drafts 59 2. Practicalities 63 'Operation Manuscript' 63 The Development of Modern Literary Manuscript Acquisition The Poetry Collection: State University of New York at Buffalo 67 The Humanities Research Centre, University of Texas at Austin 74 The Manuscripts D.H. Lawrence 75 Dylan Thomas 81 Philip Larkin 89 ii 3. Compositional Practices 103 Theories and Definitions 104 Work Routines 114 Pen(cil) on Paper 122 Attitudes to Completed/ Published Poems 129 Conclusion 131 II PARTICULAR 4. 'The Immediate Present': D.H. Lawrence 133 'Sorrow' 135 'The Inheritance' 140 'The Virgin Mother' 154 'Piano' 163 5. 'Shut...in a Tower of Words': Dylan Thomas 184 Vocation 186 'Prologue' 191 The Manuscripts of 'Prologue' 196 'Versions': The Growth of 'Prologue' 198 Early, doggerel versions 199 The Transitional Phase 206 The Final Phase 212 Thomas as a Collector of Words 213 i) Thesaurus Lists and Reference Books 217 ii) Rhyme Scheme and Form 225 iii) Intermediate Versions 230 6. -
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. -
The Development of Dylan Thomas' Use of Private Symbolism in Poetry A.Nne" Marie Delap Master of Arts
THE DEVELOPMENT OF DYLAN THOMAS' USE OF PRIVATE SYMBOLISM IN POETRY By A.NNE" MARIE DELAP \\ Bachelor of Arts Oklahoma State University Stillwater, Oklahoma 1964 ~ubmitted to the faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the degree of MASTER OF ARTS May, 1967 0DAHOMI STATE IJIIVERsifi'li' 1-~BR,AYRV dlNlQN THE DEVELOPMENT OF DYLAN THOMAS O USE OF PRIVATE SYMBOLISM IN POETRY Thesis Approved: n n 11,~d Dean of the Graduate College 658670 f.i PREFACE In spite of numerous explications that have been written about Dylan Thomas' poems, there has been little attention given the growth and change in his symbolism. This study does not pretend to be comprehensive, but will atte~pt, within the areas designated by the titles of chapters 2, 3, and 4, to trace this development. The terms early 129ems and later poems will apply to the poetry finished before and after 1939, which was the year of the publication of The Map tl Love. A number of Thomas• mature poems existed in manu- script form before 1939, but were rewritten and often drastically altered before appearing in their final form. .,After the funera1° ' i is one of these: Thomas conceived the idea for the poem in 1933, but its final form, which appeared in The Map .Q! ~' represents a complete change from the early notebook version. Poem titles which appear in this study have been capitalized according to standard prac- tice, except when derived from the first line of a poem; in thes,e cases only the first word is capitalized. -
The North Ship Author Summary
ST. LAWRENCE HIGH SCHOOL A JESUIT CHRISTIAN MINORITY INSTITUTION CLASS - IX ENGLISH TEXT STUDY MATERIAL TOPICS: THE NORTH SHIP DATE:09.11.2020 THE NORTH SHIP AUTHOR On August 9, 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 and, though not particularly strong on its own, is notable insofar as certain passages foreshadow the unique sensibility and maturity that characterizes his later work.With his second volume of poetry, The Less Deceived (1955), Larkin became the preeminent poet of his generation. Like Hardy, Larkin focused on intense personal emotion but strictly avoided sentimentality or self-pity.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. Deeply anti-social and a great lover and published critic of American jazz, Larkin never married and worked as a librarian in the provincial city of Hull, where he died on December 2, 1985. SUMMARY The poem opens with the poet’s own view where he saw that three ships got ready to sail over the sea. It was a pleasant weather to sail by as the wind rose in the morning sky. Each ship was fully ready to go on a journey. The poet saw, the first ship went towards the west sea and it was full of wind and waves and that is how it reached to a wealthy country. -
This Thesis Has Been Submitted in Fulfilment of the Requirements for a Postgraduate Degree (E.G
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • 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 author, title, awarding institution and date of the thesis must be given. Different From Himself: Reading Philip Larkin After Modernism Sarah Humayun PhD English Literature University of Edinburgh 2013 ABSTRACT: This thesis addresses the work of Philip Larkin in the light of critical positions, stemming from mainly modernist perspectives, which characterize it as the opposite of what counts as innovatory, experimental and progressive in twentieth-century poetry. It aims to critique this assumption without, however, trying to prove that Larkin’s work is modernist or experimental. Rather, understanding ‘form’ in modernism as an entity that resists subjectivity and ostensibly includes otherness within its self-reflexive boundaries, it aims to offer readings of Larkin’s work that do not begin from these parameters but from an understanding of otherness as relational. Additionally, it gives extended consideration to Larkin’s prose with the aim of initiating a reconsideration of Larkin’s contribution to literature in English from a perspective that includes the essays and the novels. -
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. -
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.