Structure and form- dramatic monologue (like Pluto), first person-
psychological exploration of metaphysical ideas.
Inconsistent iambic pentameter and irregular rhyme scheme- dwindling
sense of harmony within his life.
“death suited, visitant, Black gowned”- neologism= BG- theme of
mortality and death. "visitant" suggests the ephemeral and temporary, as
if the speaker is only a fleeting presence in the grand scheme of things.
Also has connotations of the supernatural, as if the passing of time has
rendered the speaker nothing more than an apparition in his old school.
Allusion to the grim reaper-connotations of a funeral. AI= 'suited' may be
representative of a detachment, disguise or armour that the speaker
utilises to protect themselves from this comparison to 'Dockery'- who, by
this point, the reader is aware, may serve as a metaphor for
achievements typical of the 20th Century; having children to prolong the
memory of the individual.
“unbreakfasted, still half tight”- neologistic colloquial language-
evocation of a wild, ebullient youth.
“the lawn spread dazzlingly wide.”- the world if the past is incredibly
alluring-youthful idealism intertwined with a romanticisation of the
pastoral, which he is now an outsider to in a post-modernist world. End
stopped line- finality of its inaccessibility. Image of quintessential
perfection juxtaposed with the imperfection in personal life- appearances
vs reality.
“locked.”- ominous pause to emphasise that the speaker's past is closed
off to him and cannot be revisited. Youth cannot be reclaimed (Pluto).
Sense of dislocation in earlier life and impossibility of returning. metaphor
for the lack of freedom humans have in terms of time through this minor
sentence-emphatically reminds us of the separation between past and
present. Enjambment used here reveals the distance between now and
the present- detachment. Denied access to a transcendent legacy as he
and no heir? Motif of transience-outsider-most people have permanent
remembrance through an ever-expanding lineage passed down to their
children. Sudden adjective and emphatic placement- no psychological
continuity.
“I catch my train. Ignored”- sense of petulance at being an outsider in
the case of a lack of legacy (not explored as profoundly in Pluto). Larkin
uses the train journey as a conceit for life (as the persona in Pluto uses
the planet).
"canal and clouds and colleges"- The consonant alliteration of "canal
and clouds and colleges" connects every aspect of life to imply that it is all
interchangeable and blurs into one. Larkin's unwillingness to obey social
conventions (iambic pentameter= this phrase- convention in poetry) has
made him an outsider and he believes that all of life is monotonous-
, syndetic listing. Natural imagery represents the past-Languid tempo
created by use of alliteration and polysyndeton supports poem meditative
tone when concerned with the calming and soothing nature of the past.
“did he get this son”- paradoxical, unusual syntax-unnatural
connotations-ironically euphemistic with his causal language- outsider to
social norms-rancorous and judgemental tone through the use of the
impersonal pronoun “this”. The word 'get' could be seen as an archaism
(it's used in the bible), also suggesting the rather cold, emotionless idea of
'obtaining' something - either way, there is a real sense of the persona's
distance from fatherhood. Therefore, it can be interpreted that this stanza
is symbolic of how that path in life is merely a commodity, not an
essential or given. Larkin then alludes to the notion of having a 'son'
again, thus critiquing the social norm of creating a nuclear family
structure in post-war Britain, as this 'son's' name is neglected repeatedly,
highlighting the insignificance of the individual; thus suggesting that
having children is merely a narcissistic, strategic move to elevate one's
status in a rigid conservative society.
“but Dockery, good lord”- everyday, colloquial lexis-internal musings of
speaker (Pluto).
“how much…how little”- elliptic sentence- contemplative thought yet
paradoxically followed by the ambivalent verb “yawning”-little interest in
the domestic sphere of parenthood.
“waking at the fumes and furnace glares of Sheffield”- Industrial
imagery- Represents the present. "fumes" could be a metaphor for the
societal norms and expectations that cloud our vision (marriage and
children).
“and ate an awful pie”- assonance-emphasises his mood-
representative of the disparaging view that Larkin held towards mass-
produced consumer-driven urban life. Structural dichotomy with the
attractiveness of Oxford with the unflattering industrialised image of the
‘furnace glares’ of the North. Indicative of the harsh realities of
adulthood that he wishes to escape.
“unhindered moon.”- connotations of eternal metaphysicality -
transiency of human life and its insignificance in relation to nature.
Caesura- Certainty and destiny/fate- unaffected. Explores the depths of
PL’s own disillusionment- philosophical allusion. Sense of pride in his
unencumbered freedom - notice how the form again reinforces his solo
state times indifference to the brevity of the human condition and cyclical
nature of mortality. The light upon the “joining and parting” tracks reflects
a possible crystalline truth and Larkins assurance in his beliefs (differs
from society).AI= The moon is reflected back in the railway lines, which
will inevitably fragment it. Is there Larkinesque irony in undercutting the
certainty here? Are we seeing pride here or defensiveness? Larkin
psychological exploration of metaphysical ideas.
Inconsistent iambic pentameter and irregular rhyme scheme- dwindling
sense of harmony within his life.
“death suited, visitant, Black gowned”- neologism= BG- theme of
mortality and death. "visitant" suggests the ephemeral and temporary, as
if the speaker is only a fleeting presence in the grand scheme of things.
Also has connotations of the supernatural, as if the passing of time has
rendered the speaker nothing more than an apparition in his old school.
Allusion to the grim reaper-connotations of a funeral. AI= 'suited' may be
representative of a detachment, disguise or armour that the speaker
utilises to protect themselves from this comparison to 'Dockery'- who, by
this point, the reader is aware, may serve as a metaphor for
achievements typical of the 20th Century; having children to prolong the
memory of the individual.
“unbreakfasted, still half tight”- neologistic colloquial language-
evocation of a wild, ebullient youth.
“the lawn spread dazzlingly wide.”- the world if the past is incredibly
alluring-youthful idealism intertwined with a romanticisation of the
pastoral, which he is now an outsider to in a post-modernist world. End
stopped line- finality of its inaccessibility. Image of quintessential
perfection juxtaposed with the imperfection in personal life- appearances
vs reality.
“locked.”- ominous pause to emphasise that the speaker's past is closed
off to him and cannot be revisited. Youth cannot be reclaimed (Pluto).
Sense of dislocation in earlier life and impossibility of returning. metaphor
for the lack of freedom humans have in terms of time through this minor
sentence-emphatically reminds us of the separation between past and
present. Enjambment used here reveals the distance between now and
the present- detachment. Denied access to a transcendent legacy as he
and no heir? Motif of transience-outsider-most people have permanent
remembrance through an ever-expanding lineage passed down to their
children. Sudden adjective and emphatic placement- no psychological
continuity.
“I catch my train. Ignored”- sense of petulance at being an outsider in
the case of a lack of legacy (not explored as profoundly in Pluto). Larkin
uses the train journey as a conceit for life (as the persona in Pluto uses
the planet).
"canal and clouds and colleges"- The consonant alliteration of "canal
and clouds and colleges" connects every aspect of life to imply that it is all
interchangeable and blurs into one. Larkin's unwillingness to obey social
conventions (iambic pentameter= this phrase- convention in poetry) has
made him an outsider and he believes that all of life is monotonous-
, syndetic listing. Natural imagery represents the past-Languid tempo
created by use of alliteration and polysyndeton supports poem meditative
tone when concerned with the calming and soothing nature of the past.
“did he get this son”- paradoxical, unusual syntax-unnatural
connotations-ironically euphemistic with his causal language- outsider to
social norms-rancorous and judgemental tone through the use of the
impersonal pronoun “this”. The word 'get' could be seen as an archaism
(it's used in the bible), also suggesting the rather cold, emotionless idea of
'obtaining' something - either way, there is a real sense of the persona's
distance from fatherhood. Therefore, it can be interpreted that this stanza
is symbolic of how that path in life is merely a commodity, not an
essential or given. Larkin then alludes to the notion of having a 'son'
again, thus critiquing the social norm of creating a nuclear family
structure in post-war Britain, as this 'son's' name is neglected repeatedly,
highlighting the insignificance of the individual; thus suggesting that
having children is merely a narcissistic, strategic move to elevate one's
status in a rigid conservative society.
“but Dockery, good lord”- everyday, colloquial lexis-internal musings of
speaker (Pluto).
“how much…how little”- elliptic sentence- contemplative thought yet
paradoxically followed by the ambivalent verb “yawning”-little interest in
the domestic sphere of parenthood.
“waking at the fumes and furnace glares of Sheffield”- Industrial
imagery- Represents the present. "fumes" could be a metaphor for the
societal norms and expectations that cloud our vision (marriage and
children).
“and ate an awful pie”- assonance-emphasises his mood-
representative of the disparaging view that Larkin held towards mass-
produced consumer-driven urban life. Structural dichotomy with the
attractiveness of Oxford with the unflattering industrialised image of the
‘furnace glares’ of the North. Indicative of the harsh realities of
adulthood that he wishes to escape.
“unhindered moon.”- connotations of eternal metaphysicality -
transiency of human life and its insignificance in relation to nature.
Caesura- Certainty and destiny/fate- unaffected. Explores the depths of
PL’s own disillusionment- philosophical allusion. Sense of pride in his
unencumbered freedom - notice how the form again reinforces his solo
state times indifference to the brevity of the human condition and cyclical
nature of mortality. The light upon the “joining and parting” tracks reflects
a possible crystalline truth and Larkins assurance in his beliefs (differs
from society).AI= The moon is reflected back in the railway lines, which
will inevitably fragment it. Is there Larkinesque irony in undercutting the
certainty here? Are we seeing pride here or defensiveness? Larkin
