Monday, February 25, 2019

Larkin’s use of language Essay

The poems that I run done chosen to comment on from the collection The Whitsun Weddings by Philip Larkin are Here, zilch to be said and Faith Healing. I have chosen to pen about these three because they are all very different in terms of theme, voice communication, verse form and Larkins message and purpose. Here is the interruption poem of The Whitsun Weddings. It locates the reader in Larkins England and centres around a transit the protagonist is making from London to Northumberland via Larkins hometown of Hull.Larkin uses a range of language and writing devices to express his feelings and at clippings his prejudices through his poetry and he does this especially well in Here. The prime(prenominal) stanza begins with swerving east. The formulate swerving suggests a dangerous gesture and a lack of witness from the person or thing that is swerving. When someone swerves it is usually to avoid something so by using the word swerving Larkin is immediately presenting the rea der with a sense of avoidance and lack of control.Larkin then goes on to say that the handle are too thin and thistled to be called meadows. This records that he is red ink through an area of land, which cannot sort of be classed as countryside but is not quite urban. This could possibly be a representation of how Larkin is feeling at the time about smell because even the countryside is not genuine therefore Larkin may be commenting on the falsity of life because of its in-between state.The words minute and thistled are harsh becomeing words that make up head rhyme. This head rhyme may have been used to mimic the gentle hissing hearty of the train or can moving along the track or road. The harsh belonging words are probably applied as a vent for Larkins disdain on a philosophical level for the falsity and lack of true meaning in life and on a smaller level for the land he is passing through that is not quite beautiful enough to be countryside.A technique that interests m e is used in the line harsh-named finish. This phrase uses a repetition of the /h/ sound, which is quite a hard sound to adjudicate and therefore in truth encumbrances the readers rhythm. This includes alliteration of the /h/ sound but also a kind of onomatopoeia because the word halt is truly a word that sounds like a stoppage or halt and actively brings the reader to a momentary pause. The word harsh is actually a harsh word, which adds more emphasis to the phrase.This technique is very useful because it immerses the reader in the journey of the protagonist as it actually halts their time period when the protagonists train comes to a halt. Larkin uses a lot of alliteration in Here, an example of this occurs in the first stanza when alliteration occurs four time in the space of two lines Swerving to solitude of skies and scarecrows, haystacks, hares and pheasants. There is a repetition of the word swerving which reiterates the lack of control of the protagonist.It also shows the plowshare of the journey that is taking him through the countryside and he is swerving east outside(a) from the towns and towards the countryside. The repetition of the /s/ hissing sound gives a sense of animate and also replicates the sound of the train or car moving. The /s/ sound runs throughout two lines which links them together and helps demonstrate the onward movement of the protagonist and the passage of time. The actual shape of the letter /s/ is menses and therefore mimics the journey flowing onward.In the last line of the first stanza Larkin describes the entrance to a town by saying the shining gull-marked soil gathers to the surprise of a large town. Gull-marked mud can be used as a comparison to harsh-named halt a a few(prenominal) lines previously and demonstrates the difference between town and country. The comparison between harsh-named halt and gull-marked mud can also be drawn through the dash between the first two words (which could be used to show th e onward motion of the journey) and the alliteration used of the /h/ and /m/ sounds.

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