It was written and rewritten and finally published in the collection of poems, also called The Whitsun Weddings. It is one of three poems that Larkin wrote about train journeys. The rhyming scheme is a,b,a,b,c,d,e,c,d,e - a rhyme scheme similar to that used in various of Keats ' odes.
Philip Larkin was what was known as a poet of the Movement. His poetry and poems, such as The Whitsun Weddings, was written in such a way that it reflected the lack of importance of Britain in a post-war world, and also echoed the changes that Britain was going through.
The shift from a mostly-rural to a mostly-urban economy was also something that Larkin touched upon, as well as the idea of Britain being The whitsun weddings little bit outdated in terms of technology and innovation.
Larkinian poems are never about a bright future, but always hinting at an unhappiness that is just below the surface. Postwar ennui in Britain reached an all-time high in the years following Britain was an economic mess — suffering from the loss of their colonies, austerity measures, and a staggering debt that the war had pressed it under.
This was echoed, partly, in the poetry of the time. Poetry written then was all about looking back to better days, getting back to the idea of the brave and noble Great The whitsun weddings of kingdoms and Queen Victoria.
It was all about nostalgia; a sense of belonging that had been stamped out of England by this point. It is one of his longest poems, at eight stanzas of ten lines each, and it describes a train journey from Kingston upon Hull through the countryside.
As the train churns through the heatwave that the narrator describes, he gradually expands his view to take in the people that are around him, including a wedding party that is seeing couples boarding the train. The Narrator thinks, for a little bit, about the people and their response to the wedding, cynically breaking them down into their appearances.
As the train moves southward, he turns instead to the newlywed, and considers the hugeness of what they have done, and how ultimately, it is only a big deal to the couple getting married.
Like with all Larkin poems, The Whitsun Weddings is melancholy and bitter, with a vague sense that nothing will ever be right. Larkin also had a tendency to write on trains for quite a few of his poems, as he found that this gave him the opportunity to observe life without participating in it.
Larkin has always been, first and foremost, an observer and a note-taker of life; a librarian of the moments, but not really taking part in it. Stanza 2 English countryside was considered — both in poetry, and beyond — to be some of the most beautiful that the world has seen. England poetry, in particular nature poetry, had been built on this idea of the English countryside.
A ripple of land; such little hills, the sky Can stoop to tenderly and the wheatfields climb; Such nooks of valleys, lined with orchises, Fed full of noises by invisible streams; And open pastures, where you scarcely tell White daisies from white dew, — at intervals The mythic oaks and elm-trees standing out Self-poised upon their prodigy of shade, — The notion of the Romantic countryside, according to Larkin, has been sullied by the presence of modernization: Ironically, although Larkin abhorred the Romantic ideal of the nature and the countryside, Robert Rehder believed that Larkin had more in common with the Romantics than he wanted there to be.
Note also the misery in those lines, the despair of a defaced countryside. The increasing joblessness made further droves of people move after them, thus leaving England in a patchwork state of being, one that Larkin echoes in his poem.
There is something miserable and scrabbled about the English countryside that Larkin is writing about now. He is too aloof from the audience he wants to communicate with. The speaker seems to be describing them from an omniscient standpoint, however the attempt to describe them in broad terms, and the use of the plural form, is reductive in its capacity.
By leaning on stereotype, he reduces them to nothing more than cardboard place settings. By painting the wedding party with a broad brush, he makes the event itself seem ordinary.
Despite the fact that Larkin is writing about life, his poems have a distinct lack of living creatures in it. Furthermore, the wedding is placed as something ordinary. His poetry takes things and makes them ordinary and commonplace, and it is partially due to the fact that Larkin strove to write simple poetry.Larkin's 'The Whitsun Weddings' reflected the lack of importance of Britain in a post-war world, and also echoed the changes that Britain was going through.
"The Whitsun Weddings" is one of the best known poems by British poet Philip Larkin. It was written and rewritten and finally published in the collection of poems, also called The Whitsun Weddings.
It is one of three poems that Larkin wrote about train leslutinsduphoenix.com: Philip Larkin. Whitsun, or Whit Sunday, is the seventh Sunday after Easter (Pentecost), deep into spring, when people often marry.
During the ’50s, it was also an opportune weekend to wed because of financial advantages afforded by the British tax code and, as a long weekend, a good one for holiday traveling.
The Whitsun Weddings That Whitsun, I was late getting away:Not till about One-twenty on the sunlit Saturday Did my three-quarters-empty train pull out, All windows down, all cushions hot, all sense Of being in a hurry gone.
We ran Behind the backs of houses, crossed a street Of blinding windscreens, smelt the fish-dock; thence The river's level . Philip Larkin, The Whitsun Weddings (Faber, ) Philip Larkin's fifth collection of poetry, The Whitsun Weddings, was the one that firmly established him as one of Britain's major poets.
He remains today one of the best-known and most popular British neoformalists.4/5. In his poem guide, Joshua Weiner refers to Larkin as “was Britain’s poet laureate of disappointment.”Though this poem is about weddings, its mood is less than celebratory, and the approach is a realistic and impersonal at a cultural phenomenon of a popular wedding weekend.