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B0900135
Examine the themes of pain & suffering in The Whitsun Weddings (1964) and The
North Ship (1945).
Amitava Banarjee has stated, “The overall picture of human life that emerges from
meaningful life” (Banarjee 438). Indeed, discontentment and failures are hallmarks of
Larkin’s view of post-war Britain, and “often assumes cosmic implications and
symbolizes a fragmented, disjunctive, and indifferent world” (French 85). Larkin wrote
for an audience "who drift, loaded hopelessly with commitments and obligations and
necessary observances…deserted by everything that once made life sweet" (Tierce 96). It
is from this observation that one can draw parallels between the examination of pain and
suffering in Larkin’s poetry and the Buddhist perspective on the subject. According to
ignorance of these concepts as a part of existence would cause pain and suffering
detachment to the things which caused the suffering (Harris 46). This paper’s focus is to
detail the evidence that proves this hypothesis true and how this theory is manifested in
Larkin’s poetry. The central text chosen for this study is The Whitsun Weddings by
Philip Larkin, and the secondary texts are The North Ship by Larkin and What Buddhists
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beauty…youth, friendship nor romantic love, possessions nor status.” (Harris 36). This is
a fact that Larkin accepted; in an interview with Robert Phillips, Larkin had this to say
because you know that you are going to die, and the people you love are
A good example where this view is evident in Larkin’s work is the poem Afternoons from
The Whitsun Weddings anthology. The poem begins with the line “Summer is fading”,
alerting the reader to a change that is already underway. The summer in this line could
have a double meaning; one being the literal summer that is the setting of the poem. The
other is the metaphorical summer, symbolizing the stage of life the “young mothers” are
in, that is the prime of their youth. Either way, this state of being is already ending, hence
the persona stating that it is “fading”. Another instance which highlights the
impermanence of objects is the “…ruining [of the couple’s] courting places/That are still
courting places”, the courting places again symbolizing the young mothers’ youth. The
meaning these lines carry is a paradigm of impermanence: All things will come to an end.
Love Songs In Age is less abstract in its message, but just as poignant nonetheless. The
poem is based on Larkin’s mother, Eva, after the death of her husband Sydney Larkin.
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Like Afternoons, the poem does not talk exclusively about love, but rather it “mourns the
passing of time and the regrets of old age as much as the disappointments of love.”
(Swarbrick108). The “songs”, or records that “she” has kept are symbolic of both the
promise of love and “the unfailing sense of being young”. These things, like everything
else,“ we regard as lovely, delightful, they ultimately become otherwise and part from
us.” (Harris 37). If the records symbolize love, then time has not treated them kindly:
The second characteristic, dukkha is a result of this impermanence. While its direct
nature of human existence” (qtd. in Harris 37), as opposed to merely physical pain. This
dissatisfaction is palpable in Afternoons. The decay of the young mothers essence leads
the persona to conclude that their life is now “hollow”, much like how an aging tree rots
from the inside. This hollowness makes the young mothers feel as though there is a loss
of meaning to their existence; this is how they suffer as a result of the changes.
In the poem XXIII from The North Ship, the persona is questioning the possibilities that
might be achieved in an unrestrained life (“If hands could free you, heart”). The “heart”
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in this context could be interpreted as representing several things, the most obvious and
common association being love. This “heart” (which is synonymous with passion) could
also be representative of life in general. Regardless how one sees it, it matters little to the
poem’s ultimate message. Despite setting himself free, the persona is still unable to find
the comfort or satisfaction he desires (“I should find no bent arm, no bed/To rest my
head). Again, the persona’s dissatisfaction is caused by the fact that “All beauty under the
sun--/Still end in loss”. The contrast in imagery from the first stanza is something to be
noted as well. The first stanza sweeping in its imagery, with its use of polysyllabic words
(“Far, beyond every part/Of earth this running sky/Makes desolate?”) extending and
slowing down the meter when read aloud, thereby heightening the lightness of the stanza.
One might even say that the first stanza “flies”. Coupled with the personification of
nature (“running sky”), it further augments the stanza’s hopeful tone. The imagery
present in the second stanza consists mainly of earthly landscapes (“…fields, pit-
vallies…”) as opposed to the more celestial scenery in the first stanza, bringing the reader
back down to earth, both literally and figuratively. The diction is now monosyllabic,
rendering the rest of the poem much harder than when it first started. Which, in essence,
what this poem is all about: we learn very quickly that whatever happiness we achieve is
anicca to the individual. The human condition is not static; it is not immune the “process
of change and impermanence present within every phenomenon” (Harris 38). There is a
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There is no focus on a particular individual; instead, the persona refers to the subjects of
this poem collectively as simply the “young mothers”. Everything in their life is equally
impersonal, from their relationships to their homes, as the collective diction used in this
stanza (“husbands”, “estateful”) renders its subject devoid of any personality. The fact
that the husbands are described as standing “at intervals” gives the impression that they
are being mass-produced on a conveyor belt in some factory, dehumanizing them. Even
the pun on the word “lying”. This emphasizes the “young mothers” loss of their former
identity, the fact that “something is pushing them to the side of their own lives”.
Similarly, the records in Love Songs allow the widow to relive, albeit briefly, her feeling
of youthful exuberance. In “Relearning how each frank, submissive chord”, she regains a
small fragment of her former self. For a moment she is not the grieving widow she is
Ignorance or denial of these states of existence is, according to Buddhism, the root
cause of suffering in this life. When individuals “cling to the illusion that happiness is
something to be gained permanently” (Harris 43), they are left disappointed when this
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goes away. Thus, they will either attempt to attach themselves more to “the pleasant” and
or consciously avoid the unpleasant. It is fitting that the poem that best exemplifies this
concept would be titled Ignorance, from The Whitsun Weddings anthology. Ignorance,
according to Buddhism, is defined as “not knowing what human existence really is.”
(Harris 43). This is a state the persona feels society is caught in, something he finds
“strange”.
Despite this uncertainty however, there is still an expectation for individuals to “qualify”
in deciding what they believe to be the truth. This forced conclusion does not lead to
enlightenment; instead it leaves them with a false sense of security that the world exists
possessing a warped sense of existence and its meaning. The second stanza lists all the
things that ignorance distorts; society’s perception of what is essential to our happiness
(“…what they need”), the structure of existence that they mold their lives around (“Their
sense of shape…”) and obligation to reproduce (“…punctual spread of seed”). Yet, even
with all of these preconceived notions, individuals are still not the masters of their life.
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The persona goes on to say that although society may pretend to know what is right and
wrong (“Even to wear such knowledge-“), it is instinct that determines how they live
(“…for our flesh/Surrounds us with its own decisions-“). In the end though, they are still
living in a state of ignorance and uncertainty (“And yet spend all our life on
everything is in a constant state of flux. Hence the line “That when we start to die/Have
no idea why”. The “we” in this context does not necessarily mean only the physical self,
but also the things that a person may feel defines them, such as their work, possessions,
relationships, etc. Therefore, when this way of life changes and “dies”, all that is left is
Larkin chose to reflect the message in Ignorance in its form and structure. The
poem’s rhythmic meter as a whole is regular and controlled, as is its rhyme scheme
ABBCC. This rhyme scheme could reflect the fact that we are forced to “qualify” and set
everything in order. The first line in each stanza is the odd one out because it lacks a
rhyme pair; interestingly enough, the first lines are where the persona comments on the
each possesses an accompanying rhyme pair. The internal discrepancy of this rhyme
scheme suggests that it was structured that way for the sake of some sense of consistency.
There is however, a slight irregularity towards the end of the poem: the enjambment
between the last line of the second stanza and the first line of the third stanza (“Yes, it is
strange, //Even to wear such knowledge“). The persona’s “strange” comment has been
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displaced from the expected fist line of the last stanza, adding an element of surprise to
the poem. When read aloud, this makes the poem sound oddly disjointed, if only because
of the contrast with the earlier regularity of the meter. Change is unpleasant, especially
Utilising form and structure to reinforce a poem’s content was a device Larkin relied
on heavily. Even when he wrote The North Ship anthology “he already had a clear idea
about the kind of poetry he wanted to write” (Banarjee 429), that is poetry where “form
and content are indivisible” (qtd. in Phillips 21). The regular rhyme and rhythm in XXIII,
controlled, with indented second and last lines of each stanza. While indentations are
usually utilized to draw the reader’s attention to a line and consequently, the meaning it
carries, it does not do so in this poem. It would be difficult to say that the indented lines
in the second stanza carry any significant meaning (“For I could run”, “To rest my
head”). Perhaps it could be interpreted as such: the second stanza has been forced to
conform to the structure of the first stanza. The one instance in this poem where there is a
break in its rigidity is in the fifth line of the second stanza (“Still end in loss: “).
Compared to its corresponding line in the first stanza, this line is catalexic. There is
literally a “loss” in its meter, forcing a pause upon the reader. Not only does this
emphasize the poignancy of the line, in true Larkin style the structure of the line reflects
the meaning the persona tries to get across to the reader. The forced structure of the poem
results in the reader feeling the loss of the syllable. Likewise, if one tries to ensure that
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something remains unchanged, when it inevitably does change the feeling of loss
Love Songs In Age is a case where the scars from emotional attachment remain. The
deep attachment lies in the fact that the records represent the hopes and dreams she had
about love and its “much-mentioned brilliance”. Even now, this fantasy of love still
lingers (“Broke out, to show/Its bright incipience sailing above”), promising perfection
(“Still promising to solve, and satisfy”). The poem seeks to make the reader empathise
with the woman’s nostalgia with its song-like quality. The lyrical feel of the poem is
achieved with its regular rhyme and rhythm. The enjambments force the lines to conform
to the lyrical structure, in addition to creating a smooth flow in the meter. The reader, like
the woman can’t help but be enthralled by this song. Sadly, nothing in this world, not
even love, can “set [everything] unchangeably in order”. There is no cure-all for the
wrongs in this existence; and anything that may seem to do so does not last, according to
anicca. In this case, this theory has proven to be true; the song ends, and “So/To pile
them back, to cry,/Was hard…”. Her attachment is what is hurting her now, and she is
forced to “lamely [admit] how/It had not done so then, and could not now.” Likewise, in
Afternoons the young mothers find that everything is changing. This change is beyond
their control, and because of their attachment their previous identity and things that were
supposed to complete them, they must suffer the consequence. It also seems that the cycle
is destined to repeat itself with each subsequent generation. The children, despite their
mothers “setting [them] free”, cannot break free of their attachments to their mothers. At
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the end of the day, they reject their freedom and “Expect to be taken home”. However,
pain can also cause the opposite effect, which is an aversion to things for fear that it
might cause further pain. The persona in XXIII is aware that no matter the circumstance,
everything will eventually “Still end in loss”. As such he develops an aversion towards
forming attachments and rejects setting his “heart” free (“I would not lift the latch”).
Pain and suffering is a cycle; society forms attachments to things that are
impermanent and transient. When these things are lost or changed, they either cling
tighter to it or let go of it completely. Larkin wrote about the everyman and their
this never-ending chain of suffering in life, and succeeded. Amidst the confusion and
Larkin’s poetry draws the reader into a new state of self-awareness; the first step to
clarity in existence. Larkin does not seek to give orders in how society should live; he
only shows the cause of our unhappiness and allows society to decide how they want to
live.
“You are on your own. You are master of your own life. But you must also
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Bibliography
Harris, Elizabeth J.. What Buddhists Believe. England; Oneworld Publications, 1998.
Larkin, Philip. The North Ship. England; Faber and Faber Limited, 1945.
Larkin, Philip. The Whitsun Weddings. England; Faber and Faber Limited, 1964.
Phillips, Robert. ‘The Art of Poetry: Philip Larkin.’ The Paris Review Foundation, Inc 30
(1982): 2-30.
Tierce, Mike. ‘Philip Larkin’s “Cut-Price Crowd”: The Poet And The Average
Reader’. South Atlantic Review, Vol, 51, No. 4 (Nov., 1986): 95-110.