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). And Larkin himself would affirm: “Nowadays nobody believes in `poetic' subjects any dwells than they believe in poetic diction” (1983, 83). For him a process takes place that characterizes this means: “the prosaic phrases guarantee the dwells elevated and ‘poetic’ elements, rooting them in commonplace reality” (1992, 89) 103. And Whalen, talking about to Larkin and Lawrence, affirms that “poets of
the tempo and contradictions of modern life. Uses a lot of allusions, to show that literature (poetry) is one continuous body from past to present. Uses the objective correlative, includes many new elements that used to be considered unpoetic before him. Highly experimental with language, believed that a poet should write verse imitating actual speech – different rhythms, varying form – free verse, rhyme, etc. First masterpiece “The Love Song of J. Alfred Prufrock”. Best known for “The Waste
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