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ISBN:0140864113
Author: Alan Bennett,Philip Larkin
ISBN13: 978-0140864113
Title: The Whitsun Weddings (Audio, Faber)
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ePUB size: 1317 kb
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Language: English
Category: Poetry
Publisher: Penguin Audio; abridged edition edition (April 1, 1997)

The Whitsun Weddings (Audio, Faber) by Alan Bennett,Philip Larkin



Larkin's 'The Whitsun Weddings' reflected the lack of importance of Britain in a post-war world, and also echoed the changes that Britain was going through. The Whitsun Weddings Analysis. Stanza 1. Larkinian poems focus on microcosm worlds, full of the daily hustle and bustle of people getting about their business. In the opening, the narrator’s life is measured in numbers: one-twenty, for time, for the train; he creates, in the space of a few lines, this world that, at once, seems both important and hurried, as well as empty and slightly sad. Larkin also had a tendency to write on trains for quite a few of his poems, as he found that this gave him the opportunity to observe life without participating in it. Larkin has always.

Philip Larkin, "The Whitsun Weddings " from Whitsun Weddings. Reprinted by permission of Faber and Faber, Ltd. Source: Collected Poems (Farrar Straus and Giroux, 2001). This Poem has a Poem Guide. How does Philip Larkin convey sensory experience through specific detail? Gather a few sense observations on your own route somewhere. Try building a poem around them.

Published April 5th 2012 by Faber and Faber Poetry. Author(s): Philip Larkin. The Whitsun Weddings (Hardcover). Published 1964 by Random House. Philip Larkin, Alan Bennett. ISBN: 0140864113 (ISBN13: 9780140864113).

The Whitsun Weddings is a collection of 32 poems by Philip Larkin. It was first published by Faber and Faber in the United Kingdom on 28 February 1964. It was a commercial success, by the standards of poetry publication, with the first 4,000 copies being sold within two months. It contains many of Larkin's best known poems, such as 'The Whitsun Weddings', 'Days', 'Mr Bleaney', 'MCMXIV', and 'An Arundel Tomb'.

Philip Larkin (1922-1985) remains England's best-loved poet - a writer matchlessly capable of evoking his native land and of touching all readers from the most sophisticated intellectual to the proverbial common reader. The late John Betjeman observed that 'this tenderly observant poet writes clearly, rhythmically, and thoughtfully about what all of us can understand'. Behind this modest description lies a poet who made greatness look, in Milton's prescription, 'simple, sensuous and passionate'

The Whitsun Weddings’ is the title poem in Philip Larkin’s 1964 volume of poems. The poem, describing a journey from Hull to London on the Whitsun weekend and the wedding parties that Larkin sees climbing aboard the train at each station, is one of Larkin’s longest great poems and one of his most popular. As with many of Larkin’s poems, it’s the little local details that make ‘The Whitsun Weddings’ such a memorable evocation of England in the post-war era. James Wood, in his excellent book How Fiction Works, recalls a teacher friend of his who would give his students Larkin’s poem with key words blacked out.

Fiction based on Larkin's life. In 1999, Oliver Ford Davies starred in Ben Brown's play Larkin With Women at the Stephen Joseph Theatre, Scarborough, reprising his role at the Orange Tree Theatre, London in 2006. The play was published by Larkin's usual publishers, Faber and Faber. Set in the three decades after Larkin's arrival in Hull, it explores his long relationships with Monica Jones, Maeve Brennan and Betty Mackereth. The Whitsun Weddings. Two appendices of all other published poems, including XX Poems.

This audiobook contains a selection of Philip Larkin's poetry.
Reviews: 7
Yananoc
The best spoken rendition of these poems, or any Larkin poems, I have heard. Besutifully read and recorded.
Direbringer
see headline. larkin is just another academic who managed to spin a few lines that proponents of the technical schools of literature wont shut up about. form and rhyme and meter, cadence and structure, slant rhyme and synesthesia are terms for the academics not poets. certainly worthy of merit these are works from a developed talent, they are just not my style so i give it a rating of ok
Vishura
I sat down to read (actually, re-read) THE WHITSUN WEDDINGS already of the opinion that Philip Larkin, for me, is one of the three greatest poets in the English language of the Twentieth Century. Re-reading THE WHITSUN WEDDINGS only re-enforced that opinion.

THE WHITSUN WEDDINGS, from 1964, is one of three collections of his mature verse that Larkin released for publication during his lifetime (the other two being "The Less Deceived", 1955, and "High Windows", 1974). It contains what I believe is not only Larkin's best poem, but one of the best from the Twentieth Century period -- "Dockery and Son". In all, there are thirty-two poems in the book. The longest is the title poem, "The Whitsun Weddings", at eighty lines; the shortest is only six lines. One of the things I like about Larkin is that his poetry is formal. For example, more than three-quarters of the poems in this volume employ end-rhyme. But Larkin is very deft in working within his formal constraints (his use of enjambement is particularly skilled and creative), so that rarely do his poems feel at all conventional or strait-jacketed.

Larkin released THE WHITSUN WEDDINGS when he was forty-two. Already, the most conspicuous theme is how suddenly life has gone by. (Example, from "Dockery and Son": "Life is first boredom, then fear. / Whether or not we use it, it goes".) There are related musings on the attractions of bachelorhood (or is it fear of commitment?) and an ambivalent attachment to the structure and discipline of work (Larkin was a university librarian). Several of the poems give voice to Larkin's uneasy relationship with formal religion and two of them express his love for jazz. The overall tone is one of melancholy, with a distinct trace of nostalgia -- not in the form of a desire to go back in time but rather in the bitter recognition of the passage of time.

Here is one of the more unheralded small gems from the volume, entitled "Home is so Sad":

Home is so sad. It stays as it was left,
Shaped to the comfort of the last to go
As if to win them back. Instead, bereft
Of anyone to please, it withers so,
Having no heart to put aside the theft

And turn again to what it started as,
A joyous shot at how things ought to be,
Long fallen wide. You can see how it was:
Look at the pictures and the cutlery,
The music in the piano stool. That vase.
Naril
My introduction to Philip Larkin and his collection of verse,' The Whitsun Weddings' I owe to my friend David Evennett, one-time Member of Parliament for Erith and Crayford. Back when I was researcher for a Member of Parliament, I had an avocation as a poet. David discovered this, and recommended Larkin as a poetic voice worthy of attention. (His researcher acted surprised, blurting out loud much to our amusement, 'And here I always took you for a Philistine!') I have been grateful ever since, as I frequently return to this slim volume of verse for inspiration and reflection.
This volume of poetry includes 32 poems. A small book first published in 1964, it has proven so popular (something rare in poetry circles) that it has been reprinted four times during the 1970s, four times during the 1980s, and continues to be reprinted periodically up to the present day.
John Betjeman, one-time poet laureate of England, once commented of Larkin that 'this tenderly observant poet writes clearly, rhythmically, and thoughtfully about what all of us can understand.' This is the key to Larkin's verse -- accessibility. There are no obvious poetical devices that overpower the meaning or the language; there are no forced schemes, however brilliantly executed, that impose themselves on the reader. The gentle rhythms carry the reader like a slow-moving train on a well-cushioned track.
The poem `Mr. Bleaney' is the one David first drew attention to when I brought in the small book a few days after his recommendation.
But if he stood and watched the frigid wind
Tousling the clouds, lay on the fusty bed
Telling himself that this was home, and grinned,
And shivered, without shaking off the dread
That how we live measures our own nature,
And at his age having no more to show
Than one hired box should make him pretty sure
He warranted no better, I don't know.
These words resonate with me at different times in my life, as they did with David. There is a desire to make someone of oneself, to have something to show for one's life. In the development of Mr. Bleaney's life, and his successor in the rented room, one can take stock and reappraise one's own life. What is the value, and how is it calculated?
Larkin's poetry frequently turns to the matter of religion and spirituality, without getting overly fussy or remote. In the poem Water, Larkin gives a very brief description of a spirit-freeing and pluralistic yet communal experience.
Larkin addresses the issues of age and youth, of love and loneliness, of despair and hope, all within the space of these 32 wonderful poems. The poem `Wild Oats' incorporates all of these themes in one compact, bittersweet tale of life. Who could fail to wonder at the matter-of-fact and poignant description of the man who couldn't commit to one woman, having met only briefly her more beautiful friend, and seven years later is still unable to forget? The poem `A Study of Reading Habits' likewise, dealing with dreams conjured up through reading during youth gone the way of reality in middle age, ending with a too-familiar sour-grapes feeling, `Books are a load of crap'.
Of course, I mustn't neglect the title piece, `The Whitsun Weddings'. Perfectly capturing mood and manner of weddings, the routine and the cycle of life, Larkin in fact uses the image of travelling by rail as a subtle motif for the journey through life, the Whitsun Weddings being a stop through which many (a dozen couples in this poem) proceed on their way to lives that will be lived out in `London spread out like the sun / Its postal districts packed like squares of wheat.'
Larkin's final word in this collection is a very worthy word -- one that will preach, in the words of a cleric friend of mine -- and one that brings to very sweet encapsulation his image of the Arundel Tomb, carefully and tenderly drawn for us in words, evoking images of when it was first created to how it is perceived today in its state of weathered testimony of the couple buried together:
Their final blazon, and to prove
Our almost-instinct almost true:
What will survive of us is love.
May these poems survive.