The Whitsun Weddings Essay Example

pass by a children's playground. The sight that greeted him there inspired this melancholic poem. In the late 50's and 60's, when I was a young mother, I often reflected on it and comprehended exactly what he meant by "the hollows of afternoons". I was amazed at Philip's knowledge. This poem showcases his keen powers of observation and imaginative ability to understand and convey the emotions of his subjects. As long as there are young mothers, children, and play-grounds, this timeless poem will remain relevant.

The text highlights the legacy of Philip Larkin, particularly his influence on literature and the places he visited. It mentions that scattered throughout the country are spots that Larkin frequented and objects that captivated him, allowing readers to immerse themselves in the poet's inspiration. Specifically, the author is intrigued by the poem "An Arundel Tomb" and references John Saunders' analysis of beauty and truth in three poems from Larkin's collection, The Whitsun Weddings.

There was a footnote in referring the reader to an Otter Memorial Paper titled 'An Arundel Tomb' by Dr. Paul Foster of West Sussex Institute of Higher Education. This led to an interesting correspondence with Dr. Foster where I questioned the true meaning of the final line of the poem, 'What will survive of us is love'. I wondered if there was another interpretation of the word 'love' as in games it means no score or nothing at all. I asked if it was possible that Larkin meant: 'What will survive of us is nothing'? Dr. Foster responded, "John (Saunders) takes me to task – doesn't he! for adopting an over-optimistic view of Larkin's poem; I think

he is probably right and your own comment on 'love' would please John S. immensely." He included a copy of the Otter paper, which he co-wrote with Trevor Brighton and Patrick Garland, along with photographs of the tomb in Chichester Cathedral that had inspired Larkin. During my visit to Chichester Cathedral, there were representatives from the Archbishop's office tallying the number of visitors to cathedrals all over the country. When I admitted that I had come in search of Philip Larkin rather than God, I received a surprised look but was directed to the tomb.

Beside the tomb, there was a sizable handwritten version of the poem attached to one of Chichester's strong pillars. I examined both the tomb and the poem for twenty minutes with Dr. Foster's guide. Larkin later confessed that there were noticeable distinctions between the tomb and the poem. The pamphlet also contains a quote from someone Larkin knew who overheard a tour guide at Chichester Cathedral mistakenly attributing a poem about the monument to the FitzAlan family to modern poet Philip Spender! If possible, I highly recommend visiting Chichester Cathedral while using Dr. Foster's guide.

Foster's pamphlet. Wendy Cole Broadcast This poem was originally published in The Listener in January 1962. On my copy, Philip wrote: 'To Maeve who would rather listen to music than listen to me' and included a drawing of himself feeling gloomy next to his radio, and of me, captivated in the more formal setting of the concert hall. One Sunday afternoon in the previous November, the BBC Symphony Orchestra held a concert at the City Hall in Hull while simultaneously broadcasting it on

the radio. Knowing that I was attending the live performance, Philip listened to it at home.

The next day, he gave me a typescript of the poem titled 'Broadcast Concert', which was later shortened to 'Broadcast'. It made me extremely happy and touched. I found it amusing how the poem mentioned my shoes, which had been a shared inside joke during that autumn. These shoes were elegant, with stiletto heels and pointed toes, commonly referred to as winkle pickers, and they had been popular for a few months. Philip really liked them. I jokingly complained one day about his obsession with these shoes, saying, 'I don't know why you make such a fuss about them.'

I have been wearing them because they have been trendy for the past six months. Even though they are described as outdated in the poem, he still loves them and laughed about it. Every time I attend a concert at City Hall since November 5, 1961, I recite 'Broadcast' in my imagination with pride and delight. Maeve Brennan Dockery & Son Larkin openly talks about children, criticizing them as 'awful' but also expressing gratitude for never having had unpleasant interactions with them.

The author openly admits to disliking children, describing them as selfish, noisy, cruel, and vulgar. They reflect on their own childhood and confess that they disliked everyone back then but especially children. Although they do not have a strong desire to be parents themselves, the author acknowledges my role as a mother of two young sons and generally sees children in a more positive light.

The poem challenges my beliefs about reproduction, making me question its

impact on one's identity. I find joy in relating more to Dockery than the speaker and appreciate the speaker's honesty in expressing unfiltered thoughts that may be valid. It is refreshing to hear that having children is not obligatory for everyone and can even be selfish. I am grateful for the speaker acknowledging Dockery's contemplation on adding to one's life, which includes me by association. Although I understand the speaker's decision, I am content with my own choice. Time moves forward regardless of our utilization of it. Eventually, Dockery (and myself) will end up in a similar position as the speaker, but perhaps he has made the most out of his life just like I have with mine. "Dockery and Son" may not be seen as an uplifting poem commonly, but its exploration of this significant question resonates with me and leads to insightful reflections throughout Gillian Steinberg Love Songs In Age.

I have always had a special affection for 'Love Songs in Age', a poem written in the same year I was born. The poem consists of three sentences, with the first sentence continuing until the end of the second stanza. While composing music for the poem, I noticed an interesting occurrence of words containing the sound of 's'. This particular sound evokes feelings of sadness, sympathy, or acceptance, much like a sigh. What is remarkable is that in the second stanza, approximately 20% - or 1 out of every 5 - words begin with the 's' sound, and this percentage is nearly as high in the first stanza as well.

It is difficult to detect the presence of words with the

's' sound in a Larkin poem due to its unique language style, rhythm, rhyme sequence, and cadences. As someone who collects different scraps of paper containing poems, fragments, lyrics, and images, I understand the significance that sheet music holds for the subject. This includes both the covers and the music contained within. Our belongings all hold memories associated with something or someone. For example, they may be marked in circles by a vase of water or colored by an individual's daughter.

The poem suggests that the objects hold surprising and difficult memories, indicating that time is being saved for later. Larkin's unique perspective highlights the splendor of life, love, and happiness by underscoring the missed chances we've had. This communicates a sense of remarkable potential that remains untapped, bringing structure to our lives. Regardless of whether it's love, wealth, influence, or any other longing, the phrase "looking for something else" carries special meaning in this poem.

The final lines of 'The Mower', the poem chosen for Poem of The Month in May 2002 by Betty Mackereth, remind us to be careful and kind towards each other while there is still time. Currently, as part of my A-Level English Literature course, I am studying Philip Larkin's Whitsun Wedding and have developed an attachment to the character "Mr. Bleaney". The mystery and atmosphere surrounding him fascinate me, as his grey and apathetic life has a profound impact on the household and his presence is still felt by the next tenant, conveying an almost immortal quality.

Lydia Williams Naturally The Foundation Will Bear Your Expenses I have chosen this poem because it amuses me. As

someone who has been a 'university wife' for over four decades and studied English at Hull University, I can appreciate Larkin's cleverly exaggerated portrayal of a specific type of academic individual. He effectively highlights the inflated ego and self-importance that can be observed in the academic field (along with other fields, of course). The title itself, with its formal tone and capital letters, immediately indicates the pretentiousness that will be found in the subsequent text.

The protagonist of the poem is portrayed as highly self-important as he eagerly rushes to catch his Comet flight, leaving behind the dullness of England. It is implied that he is a successful and busy individual. The mention of Comet aircraft emphasizes their prestige during the time the poem was written in 1961; they were akin to the Concorde of their era. Opting for a Comet flight indicates the elevated status of this character but also implies that the trip will come at a significant cost. The poem suggests that this individual frequently attends conferences, as evidenced by his recent presentation at the University of California, Berkeley, in America just three weeks ago.

He fully intends to squeeze out every last bit of effort to write the paper initially, while also envisioning it being broadcast on Radio 3. He is aware that his own achievements will be seen in the "mirror of the Third" and hopes that it will be subsequently published by Chatto & Windus. The use of alliteration emphasizes the stark contrast between the smug academic and the monotonous and tired crowds that annoy him by obstructing his taxi. Our academic is so absorbed in his own matters

that he hadn't realized the significance of the date until he was already in the air.

The Remembrance Day Service in Whitehall is attended by crowds who come to honor and remember those who have died in war. The time period when the poem occurs remains unclear, but England was still grappling with the aftermath of World War II during the 1960s. The man's disrespectful and unsympathetic attitude towards the service shocks individuals.

In the following stanza, the term 'outsoar' further emphasizes the speaker's sense of superiority as he leaves the real world behind. This real world is filled with the aftermath of war, where people are struggling to cope with loss, grief, and difficult times. As the speaker 'dwindles' away on the south wind (Auster), he is headed towards his 'contact' and 'pal', Professor Lal. The professor awaits him at the next conference, which will take place in the sunny city of Bombay. In this passage, Larkin subtly mocks some of his academic colleagues. He knows that certain aspects of this stereotype will be recognized and find amusing by his fellow academics.

I agree with and find humor in this portrait, even though I personally know numerous diligent, compassionate, open-minded, committed, and modest academics – some of whom are my friends – and I am even married to one! I am certain that Larkin was aware of this as well. Carole Collinson Sunny Prestatyn strolling through the suburban streets of the city and feeling a peculiar attraction to the graffiti on walls, playgrounds, and posters can't help but be reminded of 'Sunny Prestatyn'.

The poem presents a combination of humor

and indifference towards defaced advertisement posters while simultaneously highlighting the hidden beauty that exists in everything but often gets destroyed and wasted in everyday life. It is a remarkably well-crafted piece, even coming from a poet as skillful as Larkin. Similar to his other poems, the meter and rhyme scheme are meticulously controlled, allowing for a smooth transition from the image of the expanding and spreading scene originating from the girl's thighs and breasts to the sudden scoring and scrawls made by anonymous youngsters who sabotage it.

Despite its versatility, the poem effortlessly maintains coherence similar to the defined borders of the poster. The initial verse focuses on portraying beauty, freedom, and the typical British adoration for seascapes. However, subsequent lines present a jarring onslaught of destructive and forceful imagery. These images not only expose the indifference and aggressive apathy of those who deface artwork but also convey a broader message: beauty is ephemeral and is destroyed by sheer monotony.

Larkin's ability to perceptively recognize the prevailing destructive element in his time, which still continues to dominate our concerns today, is truly remarkable. He often observed that certain things are deemed 'too good for this life'. In his poem 'Sunny Prestatyn', Larkin creates a stylized and stereotypical yet strangely authentic girl within a poster. This girl, who represents beauty and uncomplicated pleasure, is destroyed through the delinquent actions described by Larkin as he climactically constructs the narrative.

The article discusses Larkin's poetry, which effectively expresses fatigue and fear, reminding us of how delicate our lives are in the face of constant and rapid change. The phrase 'Now Fight Cancer is there' adds

to this intensity of emotion. Larkin's poem specifically connects with the author's compassion for animals and emphasizes the harm that humans can cause to them.

The text evokes a sense of understanding and empathy towards life's challenges. It highlights the often overlooked compassionate side of Larkin and his remorse for unintentionally causing harm to a hedgehog. Despite this, the poem remains sharp, incisive, and focused, with every word carefully chosen. The use of "huddled" creates a vivid image of misery and despair, while "empty bowls" further emphasizes the neglect endured by these animals. As a young girl, I remember a pet shop situated in West Street in Hull.

Next to a highly popular wet-fish shop, there was a pet shop where my mother would wait in line to buy fish. Meanwhile, I would admire the animals displayed in the pet shop window. These creatures resembled those described by Larkin in his poem: young and representing their species well. Sometimes, there were puppies, baby rabbits, or hamsters on display, and occasionally kittens too. Regardless of the animal being showcased, the window always seemed crowded with them. There wasn't enough space for each animal individually, so children like myself would gather around, pushing each other to get a better view. We even tapped on the glass to try and get the animals' attention.

I appreciate that my mother didn't purchase one of these "living toys." The last line of the poem reflects what often happens to baby animals bought impulsively by parents for their kids. These children wanted a pet, but quickly lost interest or loved the small animal too much. Many years later,

Larkin's perceptive and skillful depiction of this theme is echoed in the slogan "a puppy is not just for Christmas."

'Talking in Bed' is a poem I adore because it is both uncomplicated and deeply philosophical. It examines the struggle of two people against their own detachment and an inhospitable world, all while confronting ageless human dilemmas. The poem skillfully portrays the challenges of maintaining honesty while still preserving friendships, which is a remarkable accomplishment within its verses. Another cherished piece from The Whitsun Weddings collection that I hold dear is 'Toads Revisited'.

Upon repeated readings, I eagerly anticipate the next line of this text, much like a satisfying chorus. Philip Larkin's poetry caught my attention because it mirrors the lyrics and themes found in exceptional English 'popular music' songwriting that has had a lasting impact on me. Songwriters such as Nick Drake, Stephen Morrissey, Roddy Frame, and more recently Thom Yorke come to mind. These themes include mortality, boredom, tedium, fear, and tragedy, which are explored effectively in this piece. Certain lines stand out to me and continue to bring joy with each reading. For example, "Waxed - fleshed out patients / Still vague from accidents" and "Turning over their failures / By some bed of lobelias". They are truly marvelous! I am particularly moved by the themes of time passing and time wasted. The heaviness and occasional burden of time are apparent, yet it is also perceived as a finite and valuable but often squandered asset. I am captivated by how this text portrays the unattractive alternative to the working day through observations of a variety of aimless individuals inhabiting the

park ("Not a bad place to be").

The text discusses the contrasting lifestyles of individuals in the park and their daily routines. The presence of the Toad 'companion' is seen as a benevolent but overwhelming force guiding us towards "the inevitable". The poem by Andy Bagley called The Whitsun Weddings is described as one of Larkin's spacious and symphonic compositions, along with Church Going, The Building, and Aubade.

I have a special affection for this poem because I introduced it to the public. In March 1959, as a BBC radio producer, I contacted Larkin and asked him for an unpublished poem to include in the 'New Poetry' broadcast on the Third Programme. Larkin gave me 'The Whitsun Weddings' along with a letter explaining his preferred reading style (see Selected Letters). The poem was featured on the 'New Poetry' program on April 5th and later appeared in the June 1959 issue of Encounter magazine.