Abstract
Mortality is our common lot, and for a lyric poet concerned with the liminal plight of ‘being here’, death, the ultimate threshold, is an inevitable theme. Few poets of the twentieth century are so consistently death-obsessed as Larkin. Sitting on a gravestone in Spring Bank Cemetery in 1964 he told John Betjeman: ‘everything I write, I think, has the consciousness of approaching death in the background.’1 His inner biological clock ticked loud, and he could always hear it distinctly. His poetry is fundamentally elegiac. It seems surprising, therefore, that his name scarcely features in recent theoretical treatments of elegy. This is largely because he writes the less-theorised genres of meditative elegy or self-elegy rather than mourning elegy, which has received by far the greatest attention from commentators. It is mortality as our common fate, or more immediately his own death, which concerns him.
Access this chapter
Tax calculation will be finalised at checkout
Purchases are for personal use only
Preview
Unable to display preview. Download preview PDF.
Notes
Eric Smith, By Mourning Tongues: Studies in English Elegy (Ipswich: Boydell Press, 1977).
Peter M. Sacks, The English Elegy: Studies in the Genre from Spenser to Yeats (Baltimore and London: Johns Hopkins University Press, 1985).
Jahan Ramazani, Poetry of Mourning: The Modern Elegy from Hardy to Heaney (University of Chicago Press, 1994).
Melissa Zeiger, Beyond Consolation: Death, Sexuality, and the Changing Shapes o f Elegy (Ithaca, NY: Cornell University Press, 1997).
The Poems of Tennyson, ed. Christopher Ricks (London: Longmans, Green and Co Ltd, 1969), 982.
Sonnet ‘On the Death of Mr. Richard West’, Thomas Gray, Poems (London: J. M. Dent and Sons, 1963), 27.
Harold Bloom, The Anxiety oflnfluence (New York: OUP, 1973).
John Betjeman, ‘On a Portrait of a Deaf Man’, Collected Poems (London: John Murray, enlarged edn, 1973), 96; Sylvia Plath, ‘Daddy’, Collected Poems (London: Faber, 1981), 183; Dylan Thomas, ‘Do not go gentle into that good night’, Collected Poems 1934–1952 (London: J. M. Dent and Sons, 1952), 116.
Edmund White, The Burning Library: Writing on Art, Politics, and Sexuality, 1969–1993 (London: Picador, 1995), 138–9.
Macbeth, William Shakespeare, The Complete Works, ed. Peter Alexander (London and Glasgow: Collins, 1951), 1024.
Herbert W. Starr, Twentieth Century Interpretations o f Gray’s Elegy (Engelwood Cliffs, NJ: Prentice-Hall Inc., 1968), 7.
T. S. Eliot, The Complete Poems and Plays (London: Faber, 1969), 180; Carol Ann Duffy, Selected Poems (Harmondsworth: Penguin, 1994), 28.
Sigmund Freud, ‘Thoughts for the Times on War and Death’, trans. E. C. Mayne, Civilization, Society and Religion (Harmondsworth: Penguin Freud Library 12, 1999), 77.
Ludwig Wittgenstein, Tractatus Logico-Philosophicus, trans. D. F. Pears and B. F. McGuinness (London: Routledge and Kegan Paul, 1971), 6.4311.
Samuel Johnson, ‘Milton’, Lives of the English Poets (London: Dent and Sons, 1968), I. 96.
Edmund Goldsmid, A Collection of Epitaphs and Inscriptions, interesting either from historical associations or quaintness of wording (Edinburgh, 1885; Collectanea Adamantcea XII), II, 36.
Lovers, Rakes and Rogues, ed. John Wardroper (London: Shelfmark Books, 1995), 192. Surprisingly, Peter Sacks does not cite this poem in his book The English Elegy, in which he argues in Freudian and Lacanian terms, that elegy is founded on a symbolic self-castration in propitiation of the father figure of Death.
A. E. Housman, Collected Poems and Selected Prose, ed. Christopher Ricks (Harmondsworth: Penguin, 1989), 41.
Edward Fitzgerald, Rubaiyat of Omar Khayyam (Harmondsworth: Penguin, 1989), 50.
Thomas Gray, ‘Elegy’, Poems (London: J. M. Dent and Sons), 30.
Poems o f Gerard Manley Hopkins, ed. W. H. Gardner (London: OUP, third edn, 1948), 94.
Rosalind Fergusson, Penguin Rhyming Dictionary (London: Penguin, 1985), 278.
James Fenton, ‘Philip Larkin: Wounded by Unshrapnel’, The Strength of Poetry (Oxford: OUP, 2001), 63.
‘Nothing Gold Can Stay’, Complete Poems o f Robert Frost (London: Jonathan Cape, 1951), 248.
Leonardo da Vinci, The Literary Works, ed. Jean Paul Richter (London: Phaidon, 1970), II, 242.
‘Der Tod und das Madchen’, by Matthias Claudius, set by Franz Schubert, D.531 (1817); www.recmusic.org/lieder/c/claudius/d531.html (accessed 14.vii.2004).
Georges Bataille, Death and Sensuality: A Study o f Eroticism and the Taboo (New York: Ballantine Books Inc. 1969), 12.
Camille Paglia: Sexual Personae: Art and Decadence from Nefertiti to Emily Dickinson (Yale: Yale University Press, 2001), 15.
A. T. Tolley, Larkin at Work (Hull: Hull University Press, 1997), 127.
R. J. C. Watt (ed.), A Concordance to the Poetry of Philip Larkin (Hildesheim: Olms-Weidmann, 1995), 223–4. The singular noun ‘human’ never occurs. The plural occurs again only in the very late, light poem ‘Dear Charles, my muse’; ‘human’ occurs as an adjective in ‘Sympathy in White Major’.
In Jacques Derrida, The Gift of Death, trans. David Wills (Chicago and London: University of Chicago Press, 1995), 46.
Martin Heidegger, Being and Time, trans. John Macquarrie and Edward Robinson (Oxford: Blackwell, 1973), 284.
Edward Thomas, Collected Poems (London: Faber, 1949), 92.
Jonathan Dollimore, Death, Desire and Loss in Western Culture (Harmondsworth, Penguin, 1999), xxvi.
Sylvia Plath, ‘Edge’, Collected Poems (London: Faber, 1981), 272.
Philip Larkin, ‘The days of thy youth’, written before 1939. About Larkin 13, April 2002, 27.
Oliver Marshall, ‘A Letter from Loughborough’, About Larkin 15, April 2003, 18.
Edna St Vincent Millay, Collected Poems (New York: Harper and Brothers, 1956), 123.
‘The Ship of Death’, The Complete Poems o f D. H. Lawrence, ed. Vivian de Sola Pinto and Warren Roberts (London: Heinemann, 1972), II, 979.
Epicurus, The Extant Remains, trans. Cyril Bailey (Oxford: OUP, 1926), 85.
Richard Rorty, Contingency, Irony, and Solidarity (Cambridge: CUP, 1989), 23.
‘Senecas Troas Act 2d Chor’, The Poems of John Wilmot Earl of Rochester, ed. Keith Walker (Oxford: Blackwell, 1988), 51.
Seamus Heaney, ‘Joy or Night: Last Things in the Poetry of W. B. Yeats and Philip Larkin’, The Redress of Poetry: Oxford Lectures (London: Faber, 1995), 146–63. See also James Booth, ‘The Turf Cutter and the Nine-to-Five Man: Heaney, Larkin, and “the Spiritual Intellect’s Great Work”’, Twentieth-Century Literature 43.4, Winter 1997, 369–93.
Edna Longley, ‘“Any-angled Light”: Philip Larkin and Edward Thomas’, Poetry in the Wars (Newcastle upon Tyne: Bloodaxe Books, 1986), 128.
W. B. Yeats, ‘Lapis Lazuli’, The Poems (London: J. M. Dent and Sons, 1992), 341.
John Gay, Poetry and Prose (Oxford; OUP, 1974), I, 253.
In James Boswell, The Life o f Samuel Johnson (London: OUP, 1952), 1358.
Richard Monckton Milnes (ed.), Life, Letters and Literary Remains o f John Keats (London: Edward Moxon, 1848), II, 91.
Copyright information
© 2005 James Booth
About this chapter
Cite this chapter
Booth, J. (2005). Empty Gestures. In: Philip Larkin. Palgrave Macmillan, London. https://doi.org/10.1057/9780230595828_7
Download citation
DOI: https://doi.org/10.1057/9780230595828_7
Publisher Name: Palgrave Macmillan, London
Print ISBN: 978-1-349-51417-5
Online ISBN: 978-0-230-59582-8
eBook Packages: Palgrave Literature & Performing Arts CollectionLiterature, Cultural and Media Studies (R0)