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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 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. -
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. -
We Met at the End of the Party’
APPENDIX: ‘Be my Valentine this Monday’ and ‘We met at the end of the party’ These poems came to light in 2002, as a result of a complicated sequence of events. Following Monica Jones’s death on 15 February 2001, the staff of the Brynmor Jones Library, Hull, cleared 105 Newland Avenue of Larkin’s remaining books and manuscripts. The Philip Larkin Society then purchased the remaining non-literary items: furniture, pictures and ornaments. These were removed in late 2001 and early 2002, and are now on long-term loan to the Hull Museums Service and the East Riding Museum Service. Both searches missed a small dark red ‘©ollins Ideal 468’ hard-backed manu- script notebook which had slipped behind the drawers of a bedside cabinet. This cabinet was removed by the house-clearer with the final debris, and subse- quently fell into the hands of a local man, Chris Jackson, who contacted the Larkin Society. I confirmed the authenticity of the book in a brief meeting with Mr Jackson in the Goose and Granite public house in Hull on 17.vii.2002. The notebook seems initially to have been intended for ‘Required Writing’, which Larkin wished to keep separate from the drafts in his workbooks proper. The first eleven sides are occupied by pencil drafts of ‘Bridge for the Living’, dated between 30 May 1975 and 27 July 1975. These are followed by notes on Thomas Hardy and other topics. Seven months later, however, Larkin used the book again, this time for more personal writing. The central pages were left blank but on the final five sides he wrote pencil drafts, dated between 7 February 1976 and 21 February 1976, of ‘Morning at last: there in the snow’, ‘Be my Valentine this Monday’ and ‘We met at the end of the party’. -
PHILIP LARKIN ’Mr
PHILIP LARKIN ’Mr. Bleaney’ 'This was Mr Bleaney's room. He stayed The whole time he was at the Bodies, till They moved him.' Flowered curtains, thin and frayed, Fall to within five inches of the sill, Whose window shows a strip of building land, Tussocky, littered. 'Mr Bleaney took My bit of garden properly in hand.' Bed, upright chair, sixty-watt bulb, no hook Behind the door, no room for books or bags - 'I'll take it.' So it happens that I lie Where Mr Bleaney lay, and stub my fags On the same saucer-souvenir, and try Stuffing my ears with cotton-wool, to drown The jabbering set he egged her on to buy. I know his habits - what time he came down, His preference for sauce to gravy, why He kept on plugging at the four aways - Likewise their yearly frame: the Frinton folk Who put him up for summer holidays, And Christmas at his sister's house in Stoke. But if he stood and watched the frigid wind Tousling the clouds, lay on the fusty bed Telling himself that this was home, and grinned, And shivered, without shaking off the dread That how we live measures our own nature, And at his age having no more to show Than one hired box should make him pretty sure He warranted no better, I don't know. ‘The Whitsun Weddings’ That Whitsun, I was late getting away: Not till about One-twenty on the sunlit Saturday Did my three-quarters-empty train pull out, All windows down, all cushions hot, all sense Of being in a hurry gone. -
Book Spring 2007:Book Winter 2007.Qxd.Qxd
Terry Castle The lesbianism of Philip Larkin “Love variously doth various minds inexpressible–so odd and incoherent I inspire,” wrote Dryden, but for many can’t begin to plumb their inner lives. of us true sexual eccentricity remains Greta Garbo, Virginia Woolf, T. E. Law- dif½cult to comprehend. We still don’t rence, the Duke of Windsor, Marlon have the words. Granted, in most mod- Brando, Simone de Beauvoir, Michael ern liberal societies, you can use the Jackson, and Andy Warhol have been on terms gay or straight and people will the list for some time; Condoleeza Rice know (or think they know) what you may join them soon. Futile my attempts mean. But anything more convoluted to pigeonhole such individuals: they than plain old homosexual or heterosexual seem to transcend–if not nullify–con- can be hard to grasp. (Bisexual doesn’t ventional taxonomies. help much: many sensible people re- Pious readers will already be splutter- main unconvinced that this elusive state ing: how presumptuous to ‘label’ someone of being even exists.) For a while I’ve else’s sexual inclinations! The truth is, how- kept a list in my head of famous people ever, Everybody Does It, and when it whose sexual proclivities I myself ½nd comes to understanding the very great- est writers and artists, some empathetic Terry Castle is Walter A. Haas Professor in the conjecture regarding the psychosexual Humanities at Stanford University. She has writ- factors involved in creativity seems to be ten seven books, including “The Apparitional necessary. Would life be better if Wilde Lesbian: Female Homosexuality and Modern had not raised the issue of Shakespeare’s Culture” (1993), “The Female Thermometer: sexuality in “In Praise of Mr. -
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. -
The Theme of Death and Time in Larkin's the Whitsun Weddings
The Theme of Death and Time in Larkin's The Whitsun Weddings By Inst. Susan Taha Ahmed Diyala University/College of Education for Human Sciences/ Dep. Of English Assist. Inst. Basil Mohammad Khudhair Diyala University/College of Education for Human Sciences/ Dep. Of English The Theme of Death….. l Philip Larkin (1922-1985) is one of the prominent poets in the second half of the twentieth century. His name is associated with a group of poets called “ the Movement Poets” along with Kingsley Amis, Donald Davie, Tom Gonne , Elizabeth Jennings , and others. This group of poets called for a new kind of poetry which denied the poetry of the modernists, post- modernists and the Apocalyptic poetry produced by Dylan Thomas. Larkin and his colleagues shared sociological and educational background. Thus, they all belonged to the middle- class writers; moreover they all graduated from Oxford. Larkin rejected the poetry of the modernists, especially that of T-S-Eliot, who insisted that modern poetry "must be difficult"1, and Ezra Pound among others who wrote poetry depending mostly on symbolism, myth and allusions. For Larkin such modern poetry does not convey real "life as we know it"2, it reduces poetry to reading material for the critic, and ,thus the highly educated widening the gap between the poet and the reading public. In a critical piece, "The pleasure principle", Larkin also states his views concerning this issue. He points out that the modernist writers seemed "to be producing a new kind of bad poetry"3. Larkin repeatedly stresses the need to establish a closer relationship between the poet and his readers. -
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. -
The-Poetry-Of-Philip-Larkin.Pdf
Massachusetts Review, Inc. The Poetry of Philip Larkin Author(s): Martin Scofield Source: The Massachusetts Review, Vol. 17, No. 2 (Summer, 1976), pp. 370-389 Published by: Massachusetts Review, Inc. Stable URL: http://www.jstor.org/stable/25088642 Accessed: 15-01-2016 15:26 UTC Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://www.jstor.org/page/ info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Massachusetts Review, Inc. is collaborating with JSTOR to digitize, preserve and extend access to The Massachusetts Review. http://www.jstor.org This content downloaded from 208.95.48.254 on Fri, 15 Jan 2016 15:26:48 UTC All use subject to JSTOR Terms and Conditions Martin Scofield The Poetry of Philip Larkin hilip T) larkin has come to be considered by many people as the best * British poet writing today. He is certainly one of the most widely and one has the not read, read, strong impression, just by professional literary people and students of English literature, but by that elusive but are necessary figure who we often gloomily told no longer exists, the general reader. He has published four books of poetry, The North Ship (1945), The Less Deceived (1955), The Whitsun Weddings (1964), and High Windows (1974), as well as two novels and a book of jazz criticism. -
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International Journal of Research p-I SSN: 2348-6848 e-I SSN: 2348-795X Available at https://edupediapublications.org/journals Vol ume 04 I s s ue 01 Ja nua ry 2017 Elements of Modernity in the Poetry’s Of Philip Larkin- A Critical Study Aasif Rashid Wani Research Scholar, School of Languages, Dept. of English, DAVV Indore M.P (India) Email: [email protected] Abstract Introduction The paper aims at studying elements of Modernity: modernity in the poetry’s of Philip Larkin. The state or quality of being Larkin grew to manhood in the era of modern. Modernity. His poetic job also, which Something modern. begins under modernist control, matures The term Modernity was coined by towards postmodern directions. Thus, Charles Baudelaire in his essay “The Larkin’s poetry, belonging mainly to the Painter of Modern Life” 1864, to explore period of shift from Modernism to the life style of urban metropolis, and the Postmodernism, reflects, from time to responsibility capture that experience. time, modern as well as postmodern Generally, the meaning of modernity is tendencies. Philip Arthur Larkin was an associated with the sweeping changes that poet and novelist. His contribution to The Daily Telegraph as its jazz critic from took place in the society and particularly in the field of literature, between the late 1961 to 1971, articles gathered together in 1950’s and the beginning of Second World All What Jazz: A Record Diary 1961–71 War. (1985) and he edited The Oxford Book of Twentieth Century English Verse (1973). However, no clear elaboration by He was the heir of many honors, including date, and although the term the Queen's Gold Medal for Poetry.