The appearance of his collection titled High Windows in 1974 gave new indication that late in life Larkin had finally managed to come around to admitting that these small rites that bind society together can do more than merely ensure society coheres, it can on a minor level and on occasion actually create meaning for those who depend upon them. Even the title is cynical. Hull's position in East Yorkshire makes it a place that few people visit unless they have a particular reason to do so, as it is not on the route to anywhere else. That is why the poet never thinks of the reader. The title of the poem is quite simple Days, so you might think oh happy days! This be the verse you grave for me: Here lies where he longed to be; Home is the sailor, home from sea And the hunter home from the hill. When I published my biography of Larkin in 1993, I had space to quote only from a sufficient number of the letters to give a clear sense of the relationship they express. But no, of course this deals with greater themes.
I've been to four of my Mothers weddings, beat up, abused, left in a dumpster. A great deal of what is characteristic about Letters Home is evident here. This be the verse you grave for me: Here lies where he longed to be; Home is the sailor, home from sea And the hunter home from the hill. He seeks solitude in which to be himself, and a place where that is possible. These notes were contributed by members of the GradeSaver community. The contrast between country and city, between rural and urban, is another key theme in the poem. In the first stanza, and indeed in the whole.
The effect of this is to give the poem a relaxed, informal tone. The balance is also to be found in the masterly way Larkin handles the descriptive details. Larkin did not write 'many poems after 1973. Larkin uses various devices such as imagery, sentence structure, punctuation and alliteration to enhance the feeling of travel for the reader, and thus make the destination more effective. The poem consists of two regular stanzas each containing 7 lines. The first three stanzas are all comprised of one sentence, albeit a long one packed with clauses. When Larkin looks at the town as a whole, the description is not too unfavourable, mainly focusing on the buildings, however when he goes further down and looks at the town on a more personal level, the description is rather more cutting.
For the first three paragraphs, the pentameter is flawless, adding to the sense of constant and rhythmic movement previously mentioned. Throughout, there is a sense of the churches falling further into disuse, of something coming to an end. It is clearly another train-journey that is being described but we have no sense that the narrator is an actual passenger on the train. Larkin's first job after University, running a local library in Shropshire, became his wage-earning career for the rest of his life, taking him to university libraries in Leicester, Belfast and finally Hull, where he stayed for thirty years. Its lack of end-stops or caesuras one reason it is so difficult to get into allows it to flow from one line to the next, with enjambment connecting the stanzas — a single, unstopping moment.
These increase the musicality and rhythm of the poem and, in doing so, emphasize the sensation of movement that occurs throughout. This full stop is the first in the poem; the three stanza sentence ends here, out in the isolated countryside. This is enhanced by the use of iambic pentameter throughout the poem. There is a sense of innocence in both the question and response, with the monosyllabic words chiming gently as though in a nursery rhyme or fable. Or will it be someone like Larkin himself, who values churches because they were once a distillation of some of the most important aspects of our lives: birth Christenings , marriage weddings , and death funerals. Presumably Larkin wants to say that his parents had the same problem with their parents, but why is he talking so indirectly 'old-style hats and coats' and what does he mean by 'soppy-stern'? Since 1979 he has lived in Italy; he is a professor of American literature at the University of Venice. They, along with the contents of the four published collections, are included in the in two appendices.
Here silence stands Like heat. Here leaves unnoticed thicken, Hidden weeds flower, neglected waters quicken, Luminously-peopled air ascends; And past the poppies bluish neutral distance Ends the land suddenly. They cannot cure your old compulsions; They will not stroke away the aches That plague your heart and grieve your bones But they can learn from your mistakes. Also, throughout the poem, A, B rhyme scheme adds to regularity of the poem even though the lambs see this as harsh as they know. It's not surprising, obviously two creative forces in alliance, closely connected.
Indeed, when the position of laureate became vacant in 1984, many poets and critics favored Larkin's appointment, but the shy, provincial author preferred to avoid the limelight. Perhaps no poet has paid such attention—such devotion, one might almost say, of this famously secular poet—to the great elemental phenomena of the sky and the sea. Larkin uses long, flowing sentences which add a sense of continual movement; these sentences are full of rich imagery and description which fully immerse the reader in the poem. Larkin was a fine reader of his work and the Archive is delighted to be able to present for the first time extracts from a newly-discovered recording dating from the early 1980s. Structure and Form Nothing too complicated, Days is a ten-line poem in two stanzas of six and four lines respectively. Repetition is put to good use to make the reply simple and easy to digest, but also implicit is the meaning that days form our existence and thus are by definition repetitive.
It deepens like a coastal shelf. In 1946, Larkin discovered the poetry of Thomas Hardy and became a great admirer of his poetry, learning from Hardy how to make the commonplace and often dreary details of his life the basis for extremely tough, unsparing, and memorable poems. By containing the first three stanzas within one sentence, Larkin creates a sensation of the reader travelling with him on the train. Larkin uses alliteration and sibilance to increase the fluidity of the poem, thus symbolising the constant movement of the wind, and the journey that the reader is taken on. They find out all your faults and foibles Because they concentrate on you. But finally we move towards the end of the poem, and the outermost edges of the city, and so the sentences become shorter, as if falling away or breaking off. Untitled poems are identified by their first lines and marked with an.
This, much like the aforementioned sky-like vocabulary in the first paragraph, creates a sensation that the events described are being seen from above, thus adding to the effect of a travelling wind. It is sorrowful that the trees can live for thousands of years while leaves are very ephemeral. On three different occasions the word is used; each time to the same effect. The syntax also gives a sense of the motion. Although the poem has structure it is not overplayed and one is barely aware of it as the poem proceeds. Very poignant and profound, straight from the heart.
Helen has contributed to articles on her Book Group in the Irish Times and her passion for running in The Belfast Telegraph. His first poetry collection, The North Ship 1945 was heavily influenced by Yeats and did not yet present the voice for which he later became famous. As well as literally denoting the vast sea beyond the land, this might also be analysed as a reference to the great unknown, death. Indeed, one of the mysterious elements in this poem is precisely the point of view of the speaker. Presumably the idea is that Larkin would like his poem to be on his gravestone. It could show how Larkin looks down on them and feels as though he is better than them which is negative, however, it could be portrayed as though Larkin is admiring their lifestyle in a nicer, positive way.