Philip Larkin’s Poetry: Themes, Form, Style, Imagery and Symbolism
the “speed” of the poem, to which also contributes to the narrative use of both points.
There are two resources that become structural markers in all poems, something that
there is to very consider in the translation.
Some authors have discussed if a symbolist poet could consider itself to Larkin,
and although Barbara Everett affirms that she uses some of the ideas and techniques of
the French symbolist poetry (1980, 237), Regan clarifies that we could consider him a
poet antisymbolist who makes a use ironic of the ideas and symbolist techniques (1991,
34). In fact, one of his first poems, “Femmes Damnées” (1943), is an adaptation sui
generis of the “Femmes Damnées” of Baudelaire, whereas Hartley (1988, 135) finds in
“If, My Darling” an echo of “Spleen” of Baudelaire.
Ana Balakian defines the baudeleriano symbolism as “to refinement of the art of
ambiguity to express the indeterminate in human sensibilities and in the natural
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