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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

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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. The North Ship contains in embryonic form those themes which become important in the later work; it is different in technique, largely because it is immature and influenced very strongly by the poetry which Larkin was reading at the time of writing. The lyric element in this volume of poetry anticipates the later development in Larkin's poetic technique. The novels are considered as novel-poems and their poetic quality is demonstrated through close analysis which reveals their closely patterned quality and that the narrative level is important only as it mirrors the internal action of the central characters. The novels develop iii ideas which are present in The North Ship and they represent a considerable advance in the writer's confidence in handling his material in his own way. The Less Deceived and The Whitsun Weddings use many of the techniques of the novels and are very closely linked with them in their basic themes. The Less Deceived shows Larkin becoming increasingly self-aware and from this aware• ness examining his society in a new light. In The Whitsun Weddings his self-awareness is increased and he is more tolerant of his own failings. His tolerance is extended also to his society and the volume as a whole represents Larkin's attempt to view man and society clearly and to accept them as they are. Both the novels and the later poetry contain lyric elements of an unusual nature. The development through• out his work is based on his ability to develop his technique to express his changing ideas. He moves from the use of totally conventional forms to express conventional ideas to the use of individualistic forms, developed from traditional material including the lyric, to express his sense of a society looking for, but not finding, order in traditional values. iv TABLE OP CONTENTS Chapter Page I. INTRODUCTION 1 II. JILL . 26 III. A GIRL IN WINTER 6l IV. THE DEVELOPMENT OF THE TREATMENT OF THE THEME OF LOVE IN LARKIN'S POETRY ... 103 V. THE DEVELOPMENT OF THE TREATMENT OF ALL OTHER MAJOR THEMES IN LARKIN'S POETRY . I36 VI. CONCLUSION: LARKIN'S DEVELOPMENT OF TECHNIQUE FROM THE NORTH SHIP THROUGH THE NOVELS TO THE LESS DECEIVED AND THE WHITSUN WEDDINGS 18? BIBLIOGRAPHY 215 V ACKNOWLEDGMENT I should like to thank Dr. J. F. Hulcoop, Mr. George Garnett and Mr. Brian Mayne for the help which they have given me in the writing of this thesis. CHAPTER I INTRODUCTION Philip Larkin is best known as a representative of the Movement poets. This group consists of poets who gained a name for themselves in the Fifties and who became associated with each other largely because of the anthologies produced by Robert Conquest and David Enright. The first anthology, New Lines, edited by Robert Conquest, appeared in 1956,^ Enright*s book, Poets of the 1950'st An Anthology of New English Verse.^ first appeared in Japan in 1955 but was not published in England until 1958. Nine poets are included in Conquest's books Elizabeth Jennings, John Holloway, Philip Larkin, Thom Gunn, Donald Davie, David Enright, Kingsley Amis, John Wain and Robert Conquest. The same poets are included In Enright's volume with the exception of Thom Gunn. The grouping together of these poets in two anthologies, together with the statements of common aims which prefaced each volume, caused the critics to respond to the poets as an established school. The stress on the poets as a "Movement" caused them to be viewed in a perspective which did none of them justice. In his Introduction to New Llnes-Il3 Conquest •'"Robert Conquest, ed., New Lines (London: Macmillan, 1956). 2D. J. Enright, Poets of the lg^O's: An Anthology of New English Verse (Tokyo: Kenkyusha Ltd., 1958). ^Robert Conquest, ed., New Llnes-II (London: Macmillan, 196.3). 2 attempts to explain what had caused him to group the poets in the first anthology: it was based on the recognition that a number of poets were already producing work which seemed to have something in common, although they had started from very different stand• points, and maintained their individual attitudes in many respects. In their attempts to see similarities between the poets in the anthology, the critiws found themselves focusing on the least important aspects of the poets* work: One critic of New Lines sought to demonstrate a common tone by assembling, from each of the nine poets in it, one iambic pentameter, in regular syntax and containing no startling image. To produce even this generalisation, it was necessary to omit one poet, D.J. Enright.-5 Undoubtedly the poets do have much in common, but only in that they are all very much products of their time as any group of contemporary poets tends to be. The poets themselves do not appear to have felt that they were making a distinct break away from their predecessors, although they were critical of those who formed the fringes of a group such as that dominated by Auden, and of the imitators of Dylan Thomas. Conquest states their position: In one sense, indeed the standpoint is not new, but merely the restoration of a sound and fruitful attitude to poetry, • t New Lines-II, p. xiii. 5 ibid., p.xxi. of the principle that poetry is written by and for the whole man, intellect, emotions, senses and all.° It had become apparent that the Spanish Civil War and World War II created conditions which changed what the individual could hope to do within society, and the artist was as much affected by this change as anyone. None of the poets within the Movement could be described as a political poet. Widespread disillusionment with politics and politicians had caused them to turn away from political and public poetry to that which is largely introspective. They share a sense of the importance of the normal everyday situation and event in a society which has few common -public aims or ambitions. Two poems by Donald Davie indicate the shift in the poets' outlook. "Too Late for Satire" shows the -narrowing of the poets' aims and the reason for this: I might have been as pitiless as Pope But to no purpose; in a tragic age We share the hatred but we lack the hope By pinning follies to reform the age. To blame is lame, and satirists are late.' In "Remembering the Thirties" he gives an account of the large events which had excited the poets of the time and shows how his own perspective has shrunk until he can only consider what %ew Lines, p. xiv. 7New Lines, p. 69. significance these events have for him as an individual: The Anschluss, Guernica—all the names At which those poets thrilled, or were afraid, For me mean schools and schoolmasters and games.0 Associated with the narrowing down of themes to those which seem immediately relevant to the individual poet is the limit• ing of form and style in which the poet felt he could express himself. The critic who ransacked the anthology for examples of regular iambic pentameters showed some awareness of what the Movement represents, though he pursued the point to absurdity. There is no form exclusively common to these poets but there is a general tendency to be conservative and to return to traditional forms. None of the Movement writers shows the range of Auden or Eliot but this seems to be from a deliberate choice to be limited rather than from inadequacy. Both Eliot and Auden could assume a poetry-reading audience of a particular kind. Eliot in particular assumes a degree of familiarity with poetic traditions and an audience sufficient• ly educated to enjoy the allusive quality of his writing. He has a clear sense of a tradition which he can share with his readers. Auden could assume this to a much lesser degree but he could write either for a fairly esoteric group of similar education or appeal to the general interest in the current political movements.
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