Philip Larkin’s Poetry: Themes, Form, Style, Imagery and Symbolism
Martin affects this rooting of the poetry of Larkin in his time when
affirming: “Taken together, his poems afford a remarkable panorama of British
life at mid-century, particularly as it has been lived in the towns of the North
and Midlands”. (1989, 144).
Between the famous works: “Awful Foot” (T315, 22) of “Dockery and is”; “That
bases” (119, 10) of “Home is Under Sad”; or those telephones that “crouch” (T333, 45)
in “Aubade”. That is to say, that for Larkin, if the poetry must be originated in the
experience, nothing can be left outside. Both mention that there is a process that he
characterizes as: “the prosaic phrases guarantee the more elevated and ‘poetic’ elements,
rooting them in commonplace reality” (1992, 89)103.
As Raine says, “Larkin censored nothing on the grounds about what it was
considered unpoetic, he was resigned to swallowing everything'” (Raine, 1986, 37)
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