A Practical Criticism on 'Here by Phillip Larkin 'Here' was published in 1964 as part of a collection of poems collectively titled 'The Whitsun Weddings'

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Hayley Goodwin                27/10/2005

Miss King

A Practical Criticism on ‘Here by Phillip Larkin

‘Here’ was published in 1964 as part of a collection of poems collectively titled ‘The Whitsun Weddings’. It explores the feelings and judgements towards a location and the falsity of the modern industrial culture as it consumes traditional life. The poem describes the mixed judgements of the narrator as he passes through the town on a train journey, as well as concomitantly examining the features of a emblematic reversed journey from ‘industrial’ restraints to ‘unfenced existence’

The first stanza opens with the word ‘swerving’ which is repeated twice more in the same verse, suggesting that the train is trying to avoid something, such as the irrevocable destruction of the surrounding nature. This theory is supported by the description of the ‘thin and thistled’ fields; they are no longer flourishing as their well-being is not the priority. This reflects the condition of society as elderly people are often neglected due to the increasing concentration on modernism.

The first line describes the effect that the industrial revolution has had on society with its ‘rich industrial shadows’. The adjective ‘rich’ offers images of wealth and prosperity which would be a result of the industrial advancement of the town. However this positivism is withdrawn with the noun ‘shadows’ placed in juxtaposition, which pragmatically suggests that the light is being blocked out and therefore, personified as a living organism, the town cannot grow and flourish.

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The effect of nature on life is mirrored in the movement of the ‘widening river’s slow presence’. The river gives an impression of reassurance, and endurance over industrialism. The use of the lengthened assonance slows the pace and contributes to the feeling of security and tranquillity. This reference to water is continued later in the poem with the description of the ‘beach of shapes and shingle’ in the final stanza. This is the dream of the narrator as the sea is wild and untamed and allows liberated expression of self through ‘unfenced existence’, in a stark contrast to the ...

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