Aiman Rashid: 2299-FLL/BSENG/F20

Hareem Islam: 2331-FLL/BSENG/F20

Alina Iltfaat: 2287-FLL/BSENG/F20

Fatima Tanveer: 2355-FLL/BSENG/F20

Gul Rukh: 2349-FLL/BSENG/F20

Wasima Naz: 2286-FLL/BSENG/F20

Hira Liaquat: 2320-FLL/BSENG/F20

Submitted To: Maam Khamsa Qasim

Subject: Post War Literature

 Philip Larkin

Aiman Rashid: This part has been taken from the book Englishness and Post-Imperial
Space by Milton Sarkar

Placing Philip Larkin in the vast literary scenario:

Post-Imperial Situation:
Philip Larkin was a true post-war poet. It was a Post Imperial situation. The term post-
imperial has been used in the context of the post-war situation as the loss of empire not only
affected politics but also literature and the lives of the common man.
This situation is traced in the work of Larkin and Hughes, as Alex Goody says, “They share
their absorption with this place (England) as one that is, or is being, lost and can only be
partially glimpsed in decay through the form of poetry (by Larkin) or must be forcefully
recreated in poetry to resist the inevitable decay (Hughes). For both, it is the heritage that is
being lost”.

Englishness:
Englishness and its Evolution:
It is seen as an important concept in the poetry of Philip Larkin. Milton Sarkar mentions how
Steve Panday calls “Englishness a literary concept”. Englishness has been evolving for
centuries. Intricately connected with the values emanating from England as a geographical
space and England as a socio-cultural space, Englishness as an abstract idea is intrinsic to the
identity of a people who gradually became politically powerful, so much so that the sun never
set on the British Empire.

Englishness and Empire:

The sense of power became associated with England, which extended its political domination
over a large number of colonies. That is why Simon Gikandi rightly observes that an English
identity cannot be imagined "outside the history of Empire and the culture of colonialism"
(213). The empire, even when it ceased to exist, went on to exercise a vital role in the English
consciousness for a long time. This sense of power was gradually absorbed in the very
concept of Englishness. Their English superiority was put to a severe test.
Effect of loss of Empire:
Impacts of Empire’s decline:
It created a sense of loss, a vacuum. At the social and political level, several forces were at
work and these contesting forces were vying for primacy. As a result, the socio-political
structure was transforming. The new order required new priorities, and waste outside the
country had to be cut to create a new economic order at the domestic level. Withdrawal from
the role of the empire-builder, from the centrality of attention and activity, was something to
which creative writers were responding in their own ways.

Response of Creative Writers:

The insecurity and angst caused by the loss of empire made the whole British psyche shrink.
Frustration and disillusionment, even anger were evident in their works. Insularity, in turn,
ruled the roost with most of the writers who became more and more concerned with the
"English" elements in their writing. Thus we find the great international and cosmopolitan,
themes, of Eliot for instance, being replaced by ones of narrow domestic importance like the
description of the changing English countryside, or fauna like crows, hawks, pikes, otters,
jaguars, and foxes or by trivial objects like bicycles and trains. For these poets, who came
after World War II with memories of shells, mortars, concentration camps, and the
concomitant angst, fretfulness, and remorse still fresh in their minds, "Englishness" emerged
as a sign of failure to come to terms with contemporary England. To them Englishness was a
"confirmation" (Heaney, "Englands" 341) of their threatened identity.

The Movement:
The Movement poets' primary concern was to reassess poetry by reacting against the
Romanticism, or rather neo-Romanticism, of the 1940s - Dylan Thomas being its best
representative. Thus they were hostile to a perceived formlessness, poetic excess, and self-
indulgence. They wanted to replace these with a new formal discipline (often by dint of
traditional meters).
 They looked at the everyday world through their poetry and there was a sense that
they were seeking to deal with the commonplace life rather than with the flights of
imagination that their predecessors found so absorbing.
  Shunning "sensational imagery," "exotic settings" and "irrational
reverberations, Movementoers were out to produce an "ordinary brand of poetry"
(Weatherhead 617).
 Stuart Ward has suggested that both the "Angry Young Man" movement and the
satire boom of the late 1950s and early 1960s attacked the present for failing to live
up to an imperial past. The question of literature, in other words, is bound up with the
crisis of national identity.
 Larkin condemned the "American" view (propounded by Pound and Eliot) that
"somehow every new poem has to be the sum of all old poems like the latest Ford"
(Requirements 50). Kingsley Amis asserts, "[N]obody wants any more poems about
philosophers or paintings or novelists or art galleries or mythology or foreign cities
or other poems" (quoted in Enright 17-18). Every poem opines Larkin, “must be its
own sole freshly created universe" (Required 79).

According to the Movementeers, poetry should always have a human touch, without which it
becomes sterile and dry. Poetry must contain "the smell of soil and soiled flesh, the reek of
humanity" (Davie, Energy 165).

Hareem Islam: This part has been taken from the Article Larkin’s Conceit by Peter
Snowdown

Larkín's conceit by Peter Snowdown:

Introduction:
The article discusses Philip Larkin's poetry, specifically his collection “The Less Deceived”,
and how it has been received as a masterpiece of modern poetry. Stephen Watson, argues that
Larkin's poetry has been praised for its unique tone and voice, but that this praise overlooks
the fact that Larkin's poetry is often characterized by a pessimistic outlook on life.

Stephen Watson’s critical view on Larkin’s work:

Watson analyzes Larkin's poem “Lines on a Young Lady's Photograph Album” as an example
of this pessimism, arguing that the poem presents a speaker who is obsessed with the past and
unable to engage with the present. The speaker is fascinated by the photographs in the album,
but this fascination is tinged with a sense of disappointment and disillusionment. Watson
argues that this disappointment is not just a personal response, but is rather a result of the
speaker's inability to engage with the world around him.

Structural and Imagery Analysis (Reinforcing Pessimism):

The poem's structure and imagery were also analyzed, with Watson arguing that the poem's
use of metaphor and imagery serves to reinforce the speaker's pessimistic outlook. The
poem's final line, “Smaller and clearer as the years go by”, is seen as a particularly telling
example of this, as it suggests that the speaker's nostalgia is a form of escapism from the
present.

Exploration of Persona in Larkin's Poetry:

Watson also discusses the idea of the “persona” in Larkin's poetry, arguing that the speaker in
the poem is not simply a fictional creation, but rather a representation of Larkin's voice and
perspective. Watson argues this makes the poem's pessimism more troubling, as it suggests
that Larkin's outlook on life was characterized by a similar sense of disappointment and
disillusionment.

Stylistic Analysis of Philip Larkin’s Poetry:

 Philip Larkin's poetry is characterized by a unique tone and voice: Larkin's
poetry is known for its distinctive tone and voice, which has been praised by critics
and readers alike. His poetry is often described as having a unique individual tone,
which is a hallmark of his style. This tone is characterized by a sense of intimacy,
honesty, and directness, which gives his poetry a sense of immediacy and emotional
resonance.

 His poetry is often praised for its technical skill and mastery of form: Larkin's
poetry is highly regarded for its technical skill and mastery of form. He is known for
his use of traditional forms, such as the sonnet and the villanelle, and his ability to
craft poems that are both formally elegant and emotionally resonant. His use of
language is precise and economical, and he is skilled at using metaphor and imagery
to convey complex emotions and ideas.
 Larkin's poetry is also characterized by a pessimistic and nostalgic outlook on
life: Despite its technical skill and mastery of form, Larkin's poetry is also
characterized by a pessimistic and nostalgic outlook on life. His poems often express
a sense of disappointment, disillusionment, and nostalgia. This pessimism is not just a
personal response but is rather a result of Larkin's observations of the world around
him. He is disappointed by the failings of modern society and the decline of
traditional values. Example: The poem “Lines on a Young Lady's Photograph Album”
is a prime example of Larkin's pessimistic and nostalgic outlook. The poem presents a
speaker who is obsessed with the past and unable to engage with the present. The
speaker is fascinated by the photographs in the album, which serve as a reminder of
past experiences and memories. However, this fascination is tinged with a sense of
disappointment and disillusionment, as the speaker realizes that the past is
irretrievable and that the present is unsatisfactory.

 The poem's structure and imagery serve to reinforce the speaker's pessimistic
outlook: The poem's structure and imagery serve to reinforce the speaker's
pessimistic outlook. The poem's use of metaphor and imagery, such as the comparison
of the photographs to “nutritious images” and the description of the speaker's eye as
“swivel”, creates a sense of detachment and disillusionment. The poem's structure,
which is divided into short, fragmented stanzas, also contributes to a sense of
disjointedness and disconnection.

 The idea of the “persona” in Larkin's poetry is problematic: The idea of the
“persona” in Larkin's poetry is problematic, as it blurs the line between the speaker
and the poet himself. This makes it difficult to determine whether the speaker's
pessimistic outlook is a reflection of Larkin's views or simply a fictional creation.
Larkin's use of the persona raises questions about the nature of identity and the
relationship between the poet and the speaker.

 Larkin's poetry can be seen as limiting and escapist: Larkin's poetry can be seen as
limiting and escapist, as it often presents a pessimistic view of life. This pessimism
can be seen as a form of escapism, as it allows the speaker (and, by extension, the
poet) to avoid engaging with the complexities and challenges of the present. Larkin's
 poetry can also be seen as limiting in its focus on the individual and the personal,
rather than engaging with broader social and political issues.

Despite these limitations, Larkin's poetry remains a powerful and important body of work,
offering insights into the human condition and the complexities of modern life. Its technical
skill and mastery of form make it a joy to read and study, while its pessimistic outlook and
nostalgic tone provide a unique perspective on the world. Ultimately, Larkin's poetry is a rich
and rewarding body of work that continues to resonate with readers today.

Alina Iltifaat: Continuation of the article

Shifts from reality to imagery:
In his poem ‘Lines,’ Phillip Larkin shifts from reality to imagery, by showing how perception
changes for readers. An exploration of Phillip Larkin’s poetry particularly focuses on the
movement from reality to imagery and the overarching sense of failure and paralysis depicted
therein. In ‘Lines,’ the progression from concrete reality to symbolic pretext is traced,
revealing a shift in perception from the reader’s narrative standpoint.

Existential Malaise in Larkin’s Poetry:

the logical framework of Larkin’s poetry diverges from this narrative perception, as
exemplified in ‘As Bad as a Mile.’ Here, Larkin portrays a specific technical failure which is
the inability to successfully deposit a chewed apple into a waste-paper basket which serves as
a microcosm for a broader existential malaise. Through the imagery of the apple remaining
unbitten in the palm, Larkin symbolizes the erosion of willpower and the diminishing
capacity for sensual pleasure and love.

Connection Through Shared Emotions:

Larkin’s poetry often hinges on this irrational movement, where a singular incident morphs
into a generalized condemnation of human fulfillment and pleasure. Despite the lack of
logical cohesion, Larkin’s verses resonate with readers, prompting introspection on the
complexities of human experience and the futility of seeking solace in transient pleasures.
Intricacies of human emotion:
His poetry delves into the intricacies of human emotion and often explores the themes of
nostalgia, envy, and existential longing. What sets Larkin apart is his ability to maintain a
certain detachment from the events and emotions he describes. Rather than immersing
himself fully in the experience, he crafts his verses with a sense of distance, allowing readers
to engage with the feelings without feeling overwhelmed.

Metaphor and Imagery:

Central to Larkin’s poetic technique is his use of metaphor and comparison, which he
employs to condense complex emotions into tangible images. By doing so, he enables readers
to grasp the essence of the sentiment without being burdened by its full weight. This
detachment, or “telos” as some might call it, serves as a guiding principle in Larkin’s choice
of subject matter and language, ensuring that his poetry remains accessible and relatable.

Constructing Archetypal Worlds:

Larkin’s approach to poetry goes beyond mere emotional expression. His work reflects a
broader commentary on the nature of experience and perception. Rather than presenting a
faithful rendering of reality, Larkin constructs a world populated by archetypal characters and
situations drawn from English social consciousness. These familiar caricatures serve as
vessels for his emotional explorations, inviting readers to project their own experiences onto
the narrative canvas.

Unveiling Disillusionment:
Yet, as Larkin’s body of work evolves, a sense of disillusionment begins to emerge. His use
of persona, once a tool for social critique, becomes a double-edged sword, trapping both poet
and reader in a cycle of judgment and self-condemnation. The characters he once condemned
now mirror his limitations, blurring the line between observer and observed.

Quest for Oblivion:

In moments of introspection, Larkin contemplates the possibility of escape, envisioning a
realm of “blankness” devoid of judgment or emotion. This desire for oblivion reflects a
deeper existential angst, a longing for release from the constraints of human experience. Yet,
even in this pursuit of emptiness, Larkin finds solace, recognizing the inherent futility of
seeking fulfillment in a world defined by its absence.

Exploring Complex Emotions through Simplicity:

Phillip Larkin wrote poems that talk about deep feelings simply. Imagine little lambs learning
to walk in the snow. They feel lost and cold without their mom. That’s how Larkin felt
sometimes, like life was confusing and cold. He used words to show how he felt. But his
poems were never too hard to understand. Larkin’s poems were about his struggles and
sadness. He wondered about life’s meaning and why it could feel so empty.

Critiques and Connections in Phillip Larkin’s Poetry:

Even though some people thought his poems were too simple, many others liked them. They
saw themselves in Larkin’s words, feeling lonely, sad, or lost. His poems reminded them that
it’s okay to feel that way sometimes. But some critics said Larkin’s poems didn’t go deep
enough. They wanted more from his writing. Still, Larkin’s poems connected with lots of
people because they touched on feelings everyone has felt at some point, like loneliness,
sadness, and the uncertainty of life.

Conclusion:
Overall, the article presents a nuanced and critical analysis of Larkin's poetry, arguing that
while it is undoubtedly masterful, it is also characterized by pessimism and nostalgia that can
be seen as limiting and escapist. In conclusion, Philip Larkin's poetry is a complex and
multifaceted body of work that defies easy categorization. While it is characterized by a
unique tone and voice, technical skill, and mastery of form, it is also marked by a pessimistic
and nostalgic outlook on life. Furthermore, Larkin's poetry can be seen as limiting and
escapist, presenting a pessimistic view of life and avoiding engagement with broader social
and political issues.
 Introduction to Dylan Thomas’s Poetry

Dylan Thomas was born in Swansea, Wales an area that is rich in folklore. The analysis of
his poems mirrors his sincere relationship to Wales. That's why he is possibly the most
notable Welsh poet. Thomas was influenced by the Romantic Movement from the beginning
of the nineteenth century and this can be seen in a number of his best works. Typical
attitudes and techniques of Romanticism dominate "The Collected Poems of Dylan Thomas”
such as imagination, emotions, intuition, spontaneity, and the organic form. He is known for
his imaginative use of language and vivid imagery in the poem which is influenced by
modern movements such as symbolism and surrealism, but he borrowed them without
adhering to any creed. He was particularly concerned with disassociating himself from the
surrealist movement because he felt his conscious craftsmanship was contrary to the methods
of group 5. In the late 1930s and the 1940s a movement called the Apocalypse, which
heralded myth and decried the machine and politics and Thomas mostly believed in its
principles and he soon associated himself with its group 6. Moreover, Thomas can be seen as
an extension into the twentieth century of the general movement called Romanticism. In the
Romantic Tradition, the poets generally avoid referring to death and they prefer to escape to a
World of fantasy which isolates them from all the miseries and sufferings of life but there are
poets like Keats and Emily Dickinson who have accepted the inevitability of death and
considered it as a natural phenomenon of life. Similarly, Dylan has accepted death as a part of
the life cycle and has not been portrayed as a monster gobbling up human lives but rather
treated it with an optimistic viewpoint That's why Thomas's early poetry is concerned with
the celebration of the divine purpose that he saw in all humans such as" life “, death, love,
birth, and religion. Thomas's poetry is specialized by a dominion theme which is controlled
either by birth or death. That is why his early period of writing is called the " womb tomb"
era to begin a new technique of writing using his style and images which are usually called
"vibrant images" to convey a complex emotion that matches his philosophical poetry. Thomas
shares some of his views regarding poetry and he says "If you want a definition of poetry say,
poetry Is what makes me laugh or cry or yawn that Makes my toenails twinkle, what makes
me Want to do this or that. All that matters about poetry is the enjoyment of it, however tragic
that might be"
Moreover, the exploration of the human psyche and even the unconscious is one of the major
concerns of Dylan Thomas's poetry. As it was the age of Freud Some critics think that
Thomas is a follower of Freud for using some images like" ladder", "towers" and "water ".
They think that many of his poems are dreams and many constructed according to Freud's
dream work once he was asked if he was influenced by Freud and he said that he did and said
"My poetry is the record of my struggle from darkness to some measure of light”. Thomas as
a Modern poet was greatly affected by the World Wars. The outbreak of the war not only
shocked Dylan but also silenced him to a great extent. The war for Thomas was the ultimate
representation of those aspects of life that he preferred to reject as he felt difficulty in coping
with them. " The advent of war filled Dylan with horror" (Watkins). During the war period,
Thomas wrote very little poetry between 1941 and 1945. He wrote " Ceremony after a Fire
Raid" in 4 years, some of his poems dealt directly with the experience of war like" A Refusal
to Mourn, the Death by Fire, of a Child in London" and “Ceremony after a Fire Raid".

THE HANDS THE SIGNED THE PAPER by Dylan Thomas

"The hands that signed the paper" is an outcry against the war and cruelty of political leaders.
In the poem, Dylan Thomas criticizes political leaders for their self-serving, and pitiless
management of international agreements and lack of genuine compassion for their fellow
humans.
The poems' narrative does not suggest any one particular event related to the past or present
but is a reflection of our leaders at large.
The subject of the poem is the hand that signs the peace treaty and it has been used as a
metaphor for a heartless and cruel ruler who is insensitive to his fellow citizens.
Using the leader's "hand" to stand in for the leader, or for political power itself, the speaker
remarks that the signing of a single treaty has reshaped the world. It has destroyed a "city,"
divided a "country," toppled a "king," and caused the deaths of countless ordinary people.
The hand wields godlike power, yet it belongs to an ordinary, vulnerable person, and the
result is monstrous and wanton destruction. The poem implies, then, that it's unnatural and
catastrophic for one person to hold so much power over so many other lives.
The poem portrays the ruler as a godlike ruler over ordinary people. by signing the treaty
rather than sustaining or restoring peace, however, the ruler caused mass violence. Directly or
indirectly, it wrecked "a city," split "a country" in half, "did a king to death" (brought down
another powerful leader), and "Doubled the globe of dead" (killed millions).
The speaker also acknowledges the human frailty of the leader whose "hand" this is. For
example, the speaker notes that this "mighty hand leads to a sloping shoulder." The ruler is
politically powerful but not physically powerful (broad-shouldered and strong). Even the
"finger joints" of this hand are humbly human, "cramped with chalk." The hand belongs to a
mere mortal, so there's the suggestion that, in wielding godlike power, the leader is out of
their depth. They might be morally as well as physically weak, and that weakness might make
their political strength all the more disastrous.

Dylan Thomas spreads a ray of hope in hapless situations in many of his poems, especially
dealing with the theme of death. According to him, death has to be celebrated like birth as
death leads to new birth. Lament and funeral ceremony are part of are the part of the poem
people trudging in such hapless situations but in literature or life, elegy always ends with a
ray of hope as the mourners realize that death is an inevitable part of life and the dead
becomes one with the cosmos thereby the universality of death is the same for all be it the
mourner or the dead.
Dylan’s Ceremony after a Fire Raid deals with the death of a new Ceremony after a Fire Raid
presents love to be the ultimate value and experience in life through the line, “Love is the last
light spoken”. When the world is destroyed and violated by the violence of war, love can only
endeavor the promise of continuation of life, and love of God has the power to save the
world, which is the main belief that guides the Christian life and as inscribed in John (3:16)
that “For God so loved the world, He gave His only begotten son that whose so ever believeth
in him will not be perished but have everlasting life”. The same reference to love as the
ultimate value is also presented at the end of the poem, After the Funeral. The positive
luminous energy of love through the line, “seed of sons in the loin of the black husk left”
revives some left-over hope in the minds of the people after the distress of war. Love is
energized with light that the poet says, “the last light spoken” which means the last hope
revived or the left-over hope.
The idea of love is considered to be the positive energy in After the Funeral and helps man to
survive against the odds and absurdity of death. Love remains as a cry, reaffirms the force of
life. Death can only decay the physical body and separate the physical presence of the person
but love eternally remains according to I Corinthians 13:8, “Prophesies,

Ceremony After a Fire Raid by Dylan Thomas

Ceremony after a Fire Raid was written in 1945 and published in 1946 under the collection,
Death and Entrances. The subject of the poem is an innocent infant dead in war, completely
burned in the arms of its mother. The poet sheds light upon reality in attempting to
comprehend the complexity and absurdity of death. “The essence of this poem lies in the
hope of overcoming death and all the destructive elements of life” (Daiches, 17). The
unknown child victimized in the violence of war is neither a soldier nor an adult but a civilian
and a child. Vernon Watkins commented on language that “the sermon style language affirms
the funeral ceremony. Violence of war and death is transported through the phrase, “kneading
mouth” which numbs the senses of people and which desires milk from the mother to nourish
as the civilian desires for security from the country when his motherland is in grave distress
out of war and lack of peace as the mother in the poem in grave and “tongue nodded blind”
and the motherland turns to be coal as the “black breast of the grave” of the mother due to the
nuclear explosion. The just-born child encountering death is parallelized with the depiction of
the future of the motherland in the grave.
The idea of love is considered to be the positive energy in After the Funeral and helps man to
survive against the odds and absurdity of death. The absurdity of the child’s death in the
anonymous streets of London is significant as the child is not an ordinary child but represents
the whole community of people in London who are victimized by the tragedy of war. The
child’s death illuminates the problem of death in human existence due to war.

Citation:
 Sarkar, Milton. “Englishness and Post-imperial Space”.
 Snowdon, Peter. "Larkin's Conceit." Critical Survey, vol. 3, no. 1, 1991, pp. 61-70.
Berghahn Books.