I have no belief in 'tradition' or a common myth-kitty or casual allusions in poems to other poems or poets." How is this attitude reflected in Philip Larkin's poetry?

The Rejection of Poetic Tradition

Larkin’s rejection of tradition manifested in several key ways. Firstly, he eschewed the use of mythological allusions common in earlier poetry, particularly that of T.S. Eliot and the Modernists. He believed these allusions created an unnecessary barrier between the poem and the reader, requiring a level of cultural literacy that he felt was exclusionary. Instead, Larkin opted for a directness of language and imagery, drawing from the everyday experiences of ordinary people.

Everyday Language and Specificity

Larkin’s commitment to avoiding tradition is evident in his use of colloquial language and his focus on specific, often unremarkable, details. He deliberately avoided elevated diction and poetic clichés, preferring the language of everyday speech. This is powerfully demonstrated in poems like ‘This Be The Verse’ (1964), which employs a blunt, almost prosaic tone to address the complexities of familial relationships. The poem’s opening lines, “They fuck you up, your mum and dad,” are a stark departure from the conventional poetic treatment of parental figures.

Rejection of Grand Narratives and Universal Themes

Unlike many poets who sought to explore universal themes of love, loss, and mortality through grand narratives, Larkin focused on the particular and the localized. His poems often center on specific places – Hull, Leicester – and the lives of ordinary people within those contexts. ‘The Whitsun Weddings’ (1964), while seemingly observing a universal event, remains grounded in the specific details of a train journey and the fleeting glimpses of the wedding parties. He avoids imposing a larger meaning onto these events, allowing them to speak for themselves.

Minimal Allusion and Intertextuality

Larkin consciously minimized allusions to other poems or poets. While not entirely absent, such references are rare and often serve to highlight the limitations of tradition rather than to participate in it. He wasn’t interested in building upon a pre-existing poetic conversation; he wanted to create something entirely new. This is in direct contrast to poets like Eliot, whose work is densely layered with allusions to classical literature and other poets.

The Impact on Form and Structure

Larkin’s rejection of tradition also influenced his formal choices. He largely adhered to traditional forms – quatrains, sonnets – but often subverted them through his use of colloquial language and his focus on mundane subjects. He wasn’t interested in experimenting with radical new forms, but rather in using traditional forms to express a distinctly modern sensibility. ‘Aubade’ (1960) is a prime example, utilizing a traditional form to explore the anxieties of aging and mortality in a strikingly direct and unromanticized manner.

Examples in Specific Poems

• ‘Church Going’ (1955): The poem explores the decline of religious belief, but avoids any sentimental or nostalgic longing for the past. The speaker’s observations are detached and analytical, reflecting Larkin’s skepticism towards traditional institutions.
• ‘High Windows’ (1967): This poem directly confronts the limitations of human experience and the inevitability of death, but does so without resorting to religious or philosophical consolation. The imagery is stark and unflinching, reflecting Larkin’s commitment to realism.
• ‘Mr Bleaney’ (1960): The poem offers a portrait of a working-class man, focusing on the mundane details of his life. It avoids any romanticization of poverty or hardship, presenting a realistic and unsentimental view of working-class existence.