Doctoral Dissertations
Date of Award
3-1985
Degree Type
Dissertation
Degree Name
Doctor of Philosophy
Major
English
Major Professor
B. J. Leggett
Committee Members
H. Phillips Hankin, Allison E.
Abstract
The bleak sense of failure and dissatisfaction that appears to infest Philip Larkin's poetry is caused not only by the twentieth-century writer's usual distrust of God, or nature, or humanity, but it is also the direct result of his recognition of the limitations of art, a recognition that helps to explain his decision in 1982 to stop writing poetry altogether. He did, however, spend forty years producing poems in which he tries to preserve things he has seen, thought, or felt. Since he insists on describing commonplace events and ordinary people and refuses to over-romanticize the realistic sights and occurrences on which he bases his work, it is easy to see why he would reject Yeats and embrace Hardy as his poetic master. However, even though his poems do generally begin with a factual description using specific details, they usually culminate in a closer examination stating the importance of these details in a more universal context. He, therefore, tends to build up to a big finish--oftentimes to a metaphorical flourish.
Larkin not only insists on commonplace subject matter, but he also attempts to return poetry back to "average" or "common" readers. He thinks poetry should and must compete with the local pub and with the television set. He consequently rejects "modernism," blaming Pound and Eliot for making poetry too obscure for the average reader to understand. Since he views "modernism" as being overly cold, sterile, and intellectual, he tries to remake poetry into a vehicle for emotions capable of giving pleasure to any reader. He, therefore, insists that poetry must deal with human emotions as well as the intellect and tries to make reading poetry a pleasurable experience once again. However, even though he attempts to establish a realistic, empirical, photograph-like effect, many of his poems reflect his awareness that such an art is artificial at best and impossible at worst. Not only does he doubt the intrinsic value of art, but he also ultimately rejects all capital-t Truths. God, nature, art, and love are all questioned and eventually devalued. All an artist can hope to accomplish is an "appropriate falsehood"; Truths are out of the question.
Recommended Citation
Tierce, Michael Thomas, "Eggs, small beer, and Hardy : The poetry and prose of Philip Larkin. " PhD diss., University of Tennessee, 1985.
https://trace.tennessee.edu/utk_graddiss/12648