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Philip Larkin, a preeminent figure in 20th-century British poetry, is renowned for his profound observations on life, society, and the human condition. His poem 'Here,' serving as the inaugural piece in The Whitsun Weddings collection, encapsulates Larkin's distinctive poetic voice. In this extended analysis, we will delve into the multifaceted layers of 'Here,' unraveling its thematic richness, structural intricacies, and its symbiotic relationship with Larkin's broader body of work.
The journey begins with Larkin's evocative exploration of a train voyage from London to Hull.
Positioned as the opening poem in The Whitsun Weddings, 'Here' stands as a poignant prelude, offering readers a thematic entry point into Larkin's distinctive poetic terrain. The poem, akin to his other works, navigates the complexities of human existence and scrutinizes the societal impact of unrestrained consumerism.
The first stanza of 'Here' immediately captures the reader's attention with the participle "swerving." This linguistic choice injects a sense of immediacy, suspending the moment in the present before propelling into an unpredictable, swift movement—unconventional for the typical portrayal of train travel.
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The recurrent use of "swerving" throughout the stanza accentuates this sensation, fostering an atmosphere where Larkin's thoughts seem unbridled and free. The abrupt transition to the sharp sounds of "thin and thistled" fields serves as a stark contrast, signaling the shift from an industrial town to the tranquility of the countryside.
Larkin employs a detailed listing technique to narrate what he witnesses from the train window—scarecrows, haystacks, hares, and pheasants.
This creates a vivid tapestry of moving rural images, contrasting with the earlier industrial vignettes of "workmen at dawn." The strategic use of sibilance in "haystacks, hares" intensifies the poem's rhythm, mirroring the train's seamless journey. The continuous repetition of "and" imparts a perpetual quality, suggesting an unbroken flow of images. The absence of end-stops in this stanza intensifies the tension, amplifying the sense of constant movement and dynamism.
The concluding lines of the first stanza celebrate the scenic beauty of the countryside, invoking images of "the widening river" and "piled gold clouds." The languid assonance slows the meter, establishing a serene atmosphere that hints at a touch of the divine.
As the poem unfolds, Larkin orchestrates a sudden transition in stanza two, veering from the rural serenity to an urban panorama. The bustling town, adorned with "domes and statues, spires and cranes," projects a sense of vitality and proximity, juxtaposing the earlier bucolic scenes of "shining gull-marked mud." The term "cluster" conveys intimacy, creating an impression of elements converging in a rich amalgamation.
However, the idyllic imagery is swiftly disrupted with the introduction of "plate-glass swing doors," signaling the encroachment of modern structures and societal changes. This thematic trajectory aligns with Larkin's broader critique of commercialization, echoing sentiments expressed in other poems from The Whitsun Weddings, such as 'The Whitsun Weddings' and 'Sunny Prestatyn.'
Larkin's disapproval of consumerism intensifies with the cataloging of products, underscoring their addictive nature. The staccato effect, created by commas instead of conjunctions, enhances the tension, symbolizing the relentless pursuit of material possessions by consumers. The poet's disdain is palpable in the portrayal of "cheap suits, red kitchen-ware, sharp shoes," painting a vivid picture of a society consumed by superficial desires.
Aligned with 'The Whitsun Weddings,' Larkin extends his denunciation of consumerism in stanza three, characterizing the urban crowd as a "cut-price crowd, urban yet simple." The juxtaposition of "cut-price crowd" with "yet simple" conveys a condescending view, implying that the inhabitants of these urban areas lack sophistication. The harsh sounds in "cut-price crowd" are tempered by the affectionate tone of "yet simple," reflecting Larkin's nuanced perspective on the uncomplicated nature of these individuals.
The poem unfolds as Larkin delves into the town's expansion with "mortgaged half-build edges" and "isolate villages," illustrating the pervasive influence of consumerism. The phrase "loneliness clarifies," split across two stanzas, end-stops the 27-line sentence, marking a shift in perspective and pace. Larkin employs enjambment to emphasize each word, underscoring the untainted purity of rural areas in contrast to the encroachment of urbanization.
Larkin masterfully structures the poem with the first three stanzas unified within a single sentence, mirroring the continuous motion of the train journey. This extended sentence serves as a literary device, immersing the reader in the rhythm of the train's movement. The sudden shift to a short, monosyllabic sentence in the final stanza, "here silence stands like heat," creates a stark contrast, emphasizing the poem's evolving tonality. The iambic pentameter, consistent in the first three stanzas, becomes erratic in the last, reflecting Larkin's internal disquiet.
The final stanza introduces a tonal shift from a fast-paced narrative to a slow, reflective rhythm, achieved through twists in syntax. This echoes the concluding sentences of "Mr Bleaney," where a sudden change in tone is similarly employed. The repetition of "here" in this stanza serves to decelerate the rhythm, assigning significance to the moment. Phrases like "luminously-peopled air" move the poem away from the earlier concrete imagery, introducing an air of mystery and abstraction.
Noteworthy is Larkin's use of words such as "unnoticed," "hidden," and "neglected," which accentuate the absence of human presence, creating a sense of nature existing without observers. The phrase "hidden weeds" conveys a sense of privacy, contrasting with the earlier bustling scenes of consumerism. The final line, "here is unfenced existence," encapsulates Larkin's core message—that nature endures even in the face of human mortality. This sentiment resonates with his existential terror of death, akin to the themes explored in 'Dockery and Son.'
In conclusion, 'Here' stands as a microcosm of Philip Larkin's overarching critique of industrial advancement and the unbridled march of consumerism. This extended analysis has delved into the poem's intricate thematic layers, structural nuances, and its symbiotic relationship with Larkin's broader poetic repertoire. 'Here' serves as a portal, inviting readers to contemplate their own role in a rapidly changing world, urging introspection on the consequences of unchecked consumerism and the enduring resilience of nature.
In essence, 'Here' transcends its immediate setting, prompting a timeless reflection on the human condition and our collective journey through the complexities of the modern age.
Exploring Larkin's 'Here': A Critique of Modern Society. (2016, Sep 02). Retrieved from https://studymoose.com/history-of-human-resource-management-essay
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