{"id":2917,"date":"2024-08-20T06:02:02","date_gmt":"2024-08-20T06:02:02","guid":{"rendered":"https:\/\/afflatuscreations.com\/?p=2917"},"modified":"2024-08-20T06:10:32","modified_gmt":"2024-08-20T06:10:32","slug":"nature-earths-immeasurable-surprise","status":"publish","type":"post","link":"https:\/\/afflatuscreations.com\/index.php\/2024\/08\/20\/nature-earths-immeasurable-surprise\/","title":{"rendered":"NATURE: \u201cEarth\u2019s immeasurable surprise\u201d"},"content":{"rendered":"\t\t
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\u00a0<\/strong><\/p>

NATURE: \u201cEarth\u2019s immeasurable surprise\u201d <\/strong><\/p>

Larkin in comparison with Wordsworth and Robert Frost<\/strong><\/p>

\u00a0<\/p>

——————————————————————————————–<\/p>

Synopsis:<\/strong><\/p>

\u00a0<\/p>

Larkin carves a niche as a poet of nature as he treats nature as the source for fragile happiness in his contact with nature. He does not recall the events of his contact with nature. As a nature poet, he marks a cleat-cut difference between Wordsworth and Robert Frost. Nature is plentiful with its beauty in variety for the gaiety of onlookers. Poets look at nature and react to it in diverse ways. Some poets like Wordsworth worship nature, giving it the status of divinity. Some poets like Robert Frost treat nature as the source for rejuvenation on their momentary contact with nature. Some poets like Philip Larkin enjoy the beauty in nature for a little while and shares the plight of transient lives of leaves and flowers. He observes cyclic changes in nature and sympathies with the pathetic plight of the non-human world. He shares the suffering of animals, birds, and other objects of nature.<\/p>

\u00a0<\/strong><\/p>

Key words:<\/strong><\/p>

\u00a0Nature, Wordsworth, beauty, gaiety, worship, Robert Frost, momentary, contact, source, rejuvenation, Larkin, enjoy, beauty, concur, time, powers, concern, transient, trees, greenness, grief, suffering, seasons, cycle, objects, man, animals, birds, insects,\u00a0\u00a0<\/p>

\u00a0<\/p>

———————————————————————————————<\/p>

\u00a0<\/strong><\/p>

Research Article<\/strong>:<\/p>

\u00a0<\/p>

Nature is plentiful with its beauty in variety for the gaiety of onlookers. Poets look at nature and react to it in diverse ways. Some poets like Wordsworth worship nature giving it the status of divinity. Some poets like Robert Frost treat nature as the source for rejuvenation on their momentary contact with nature. Some poets like Philip Larkin enjoy the beauty in nature for a little while, sharing the suffering of trees for the transient lives of leaves and flowers.<\/p>

\u00a0<\/p>

Philip Larkin carves a niche as a nature poet although he did not write extensively about it. He finds nature as “earth’s immeasurable surprise” but regrets the brevity of verdant and floral beauty. Their beauty does not have eternity. In the endless stream of time, the greenness of leaves, which is associated with joy, transforms into the brownness of leaves at the time of their fall, reflecting their transitory nature. Larkin feels it \u201ca kind of grief\u201d as he has sensitive heart not only for the suffering of trees but also for human suffering. The joy in life diminishes to sorrow due to seasonal changes.<\/p>

\u00a0,<\/p>

The trees are coming into leaf<\/p>

Like something almost being said;<\/p>

The recent buds relax and speed,<\/p>

\u00a0 Their greenness is a kind of grief\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cThe Trees\u201d (CP, 166)<\/p>

\u00a0<\/p>

The charms of leaves and flowers diminish to fall. Larkin feels sorry for the leaves and flowers that do not stay longer on the stems as treasures for the pleasure of onlookers. Their glory is transient for leaves fall in autumn and flowers fall after their ephemeral beautiful life. Leaves shed but the trees have inherent power in wearing new leaves by means of the “yearly trick of looking new” (TWW-12) in place of the leaves fallen due to winter’s deathblow.<\/p>

\u00a0<\/p>

Time in its endless flux, brings about changes in the life of man as per annual seasons. Keats appropriately calls them Human Seasons in his poem, Human Seasons\u2019. The seasonal changes occur in both nature and man, as the both, \u201cexist in a linear-time dimension\u201d. Nature exists in time\u2019s cyclical patterns.\u00a0 Nature exhibits seasonal cycles and natural recurrences in the flux of time,<\/p>

\u00a0<\/p>

Time is the echo of an axe<\/p>

Within a wood.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Poem: XXVI (CP, 295)<\/p>

\u00a0<\/p>

In the strict governance of time, winter puts an end to the cycles of seasons every year.\u00a0 The changes in the life of man are akin to those in the life of trees \u201cevery year\u201d.\u00a0 The seasonal changes in nature are cyclic in the reign of time.\u00a0 The trees as in \u201cThe Trees\u201d have the renewal of life and look \u201cafresh\u201d every year whereas man has no such inherent powers.<\/p>

\u00a0<\/p>

Larkin draws a striking contrast between man and nature though man is its integral part. Man\u2019s fragility contrasts with that of the trees’ restorative technique in the seasonal cycle.\u00a0 Man\u2019s flow of life is in contrast with man for he lacks in the internal and integral restorative power.\u00a0 His life becomes transient in time\u2019s flux as delineated in \u201cSolar\u201d and in \u201cSad Steps\u201d:<\/p>

\u00a0You exist openly;<\/p>

\u00a0 Our needs hourly<\/p>

\u00a0 Climb and return like angels.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cSolar\u201d (CP, 159)<\/p>

\u00a0<\/p>

\u00a0Of being young: that it can\u2019t come again,<\/p>

\u00a0But is for others undiminished somewhere\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cSad Steps\u201d\u00a0\u00a0 (CP,\u00a0\u00a0 169)<\/p>

\u00a0<\/p>

When man is deprived of the restorative power, he feels sorry for vulnerability.\u00a0 Nature has restorative powers: \u201cthe yearly trick of looking new\u201d (TWW,12).<\/p>

\u00a0<\/p>

Though the trees have magical powers for restoration and mysterious technique of looking new every year in the incessant flow of time, the beauty of spring is transient and vulnerable because it wilts and withers away with the approach of winter as life that ends with the coming of death at time\u2019s call.\u00a0 The green leaves fall in autumn in the wake of the disruption of winter, causing \u201ca kind of grief\u201d.<\/p>

\u00a0<\/p>

For Larkin, man’s life for transience, “Suffering is exact\u201d (CP, 32) is akin to trees’ grief as Larkin tells mankind and feels for mankind for its transitory nature. As a poet and man, he therefore shares the suffering of the human and the non-human worlds. He says that man lives to suffer when he fails in his lifelong struggle in search of meaning.\u00a0 He universalizes human suffering by the use of \u201cwe\u201d. He therefore shares the suffering of a rape victim as an observer from distance but makes the reader understand and share her pathetic plight:<\/p>

\u00a0<\/p>

Even so distant, I can taste the grief,\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 “Deceptions” (CP-32)<\/p>

\u00a0<\/p>

Larkin finds an analogy in the lives of creatures like man and those of trees, shrubbery, and creepers. He marks a clear-cut departure from Wordsworth in the treatment of nature on one hand and Robert Frost on the other.<\/p>

\u00a0<\/p>

Larkin\u2019s early volume of poems, The North ship<\/em><\/strong> shows the signs of Romanticism as in Yeats\u2019s early poems, \u201ca paradise\u201d.\u00a0 Poem III of The North ship<\/em><\/strong> presents Larkin\u2019s love of moonlit night:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The moon is full tonight<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And hurts the eyes<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It is so definite and bright,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 What if it has drawn up<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 All quietness and certitude of worth<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Wherewith to fill its cup.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Poem: III (TNS, 14)<\/p>

\u00a0<\/p>

Larkin submits himself to the beauties of nature:\u00a0 moon, meadows music, wind, etc., but comes to the world of reality where he finds full of sadness:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 How to recall such music, when the street<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Darkens? Among the rain and stone places<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I find only an ancient sadness falling,\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Poem: IX, (TNS, 21)<\/p>

\u00a0<\/p>

With the advent of spring, \u201cAll catches alight\u201d (CP, 272) and birds \u201care crazed with flight\u201d in delight. This Larkin’s attitude towards nature underwent a startling transformation to be unique and mark a distinction from Wordsworth.<\/p>

\u00a0<\/p>

For Larkin, the delight of spring is however transitory as winter falls every year in the flow of time to destroy the beauty of spring.\u00a0 The line in the poem, ‘All catches alight’, \u201cA drum taps: a wintry drum\u201d (CP, 273) reminds us of the inevitability of the advent of winter to destroy the beauty of spring as death that destroys youth in time\u2019s flux,<\/p>

\u00a0<\/p>

Larkin watches the beauty of spring and gets fragile happiness but feels sorry for the brevity of spring. He entertains the readers for their participation in nature, but he watches nature from a distance.\u00a0 For him, nature looks outwardly beautiful for its ephemeral pleasure on one hand. He shares the suffering of trees on the hand. He does not get any consolation from the cyclic patterns of nature as in \u201cThe Trees\u201d. He feels sympathy for the trees’ \u201cgreenness is a kind of grief\u201d (CP, 166). He describes spring in \u201cComing\u201d which presents him momentary pleasure in the beauty of the \u201cfresh-peeled voice of a thrush\u201d (CP, 33).\u00a0 He deals with all the seasons in the flow of time including autumn as in \u201cBroadcast\u201d. He enjoys child-like pleasure in walking through the thickly wide spread of fallen leaves:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I lose<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 All but the outline of the still and withering<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Leaves on half-emptied trees. \u201cBroadcast\u201d (CP, 140)<\/p>

\u00a0<\/p>

Wordsworth, like other Romantic poets, goes to nature for its sights, scents and sounds to be its thrall to its sensuous beauty. He gets engrossed into the beauty of nature for bliss. He worships nature since he finds ecstasy and solace in contact with nature. He treats nature as mother and teacher. He gets infinite pleasures for the treasures of nature. He revives the memories of the beauteous forms of nature seen earlier.<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And then my heart with pleasure fills<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And dances with the daffodils.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0 \u201cThe Daffodils\u201d (Poetical works)<\/p>

\u00a0<\/p>

Wordsworth stresses the harmony that exists between the soul of man and the soul of nature whereas Robert Frost has contact with nature for momentary pleasure in its contact only to do the work at hand with new vigor and enthusiasm. Wordsworth on the contrary gets engrossed into the beauty of nature to enjoy bliss:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A poet could not but be gay<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In such a jocund company;<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I gazed \u2013 and gazed \u2013 but little thought<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 What wealth the show to me had brought. \u201cThe Daffodils\u201d<\/p>

\u00a0<\/p>

Larkin\u2019s treatment of nature is different from Wordsworth\u2019s. Larkin is against nature-worship like the other Movement poets. In Larkin, nature is time-bound. For the transience of leaves and flowers, he feels sorry for that. He has contact with nature for a fragile happiness in contrast with Wordsworth. He remains outside nature\u2019s romantic powers. As Bruce Martin points out,<\/p>

\u00a0<\/p>

\u201cLarkin is equally intent on deromanticizing Nature and man\u2019s place in it. For one thing, he doesn\u2019t talk about Nature very often\u2026 We see a poet regretting that Nature is not as Wordsworth promised, with Larkin, we find a man so removed from the nineteenth\u2013century debate over Nature that he never thought to take seriously the notion of Nature as imminent benign.\u201d<\/p>

\u00a0<\/p>

The momentary contact with nature helps Robert Frost to forget the stress and strain of reality on one hand and leave him refreshed and rejuvenated to attend his duties with new vigor and enthusiasm on the other.<\/p>

\u00a0<\/p>

Larkin is in contrast with Robert Frost who draws a line between man and nature but watches the beauty of nature for a short while. In the momentary contact with nature, he feels refreshed and rejuvenated to have new vigour and enthusiasm. The fact is clear in his poem “Birches”. He describes his momentary climb to heaven by swinging birches. He comes back, realizing his sense of duty on earth:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Earth is the right place for love<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I do not know where it is likely to go better<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cBirches\u201d (Mountain Interval<\/em><\/strong> & CP, 153)<\/p>

\u00a0<\/p>

For Larkin, nature bestows on its beholder ephemeral pleasure. He does not recall the memory of the pleasure got at the sight of beauties in nature unlike Wordsworth. In this connection, he comments, \u201cDeprivation is for me what daffodils were for Wordsworth\u201d. His poems reflect his not being one with his environments:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 No, I have never found<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The place where I could say<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 This is my proper ground,<\/strong><\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Here I shall stay;\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0\u00a0 <\/strong>\u201cPlaces, Loved Ones\u201d (CP, 99)<\/p>

\u00a0<\/p>

\u00a0\u00a0 Larkin\u2019s treatment of nature is evident in poems like \u201cspring\u201d.\u00a0 He keeps away from nature, as Wordsworth\u2019s type of union is impossible for him:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0 The branch-arrested mist of leaf, and me,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Threading my pursed-up way across the park<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And indigestible sterility.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cSpring\u201d (CP, 39)<\/p>

\u00a0<\/p>

Larkin has contact with the beauty of the songs of the stars, \u201ctheir blazing solitude\u201d for a fragile pleasure but comes back to \u201cthe unquickened world\u201d as a sign of his separateness from nature:<\/p>

\u00a0<\/p>

The stars sang in their sockets through the night:<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2018Blow bright, blow bright<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The coal of this unquickened world\u2019.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cNight Music\u201d (CP, 300)<\/p>

\u00a0<\/p>

Larkin draws a human parallel to the non-human world. \u201cFirst sight\u201d reflects the fact that lambs do not understand that the vast land, covered with snow in cold weather, provides rare possibilities of life for them:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 They would not grasp it is they knew,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 What so soon will wake and grow<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Utterly unlike the snow.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cFirst Sight\u201d (CP, 112)<\/p>

\u00a0<\/p>

Here lambs are ignorant of \u201cthe eroding agents\u201d (TLD, 26) of time to bring about changes in them.\u00a0 Larkin studies the action of grasping in the lambs that are like children in Blake\u2019s Songs of Innocence<\/em><\/strong> and bird in Eliot’s “Burnt Norton” of Four Quartets.<\/strong> Larkin says that the lambs \u201cwould not grasp\u201d as Robert Frost does in \u201cAt Woodward\u2019s Gardens\u201d, referring to monkeys:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 They might not understand a burning \u2013 glass.<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 They might not understand the sun itself.<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 It\u2019s knowing what to do with things that counts.\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cAt Woodward\u2019s Gardens\u201d (Robert Frost\u2019s Poems<\/em><\/strong>)<\/p>

\u00a0<\/p>

Larkin is very much content with the momentary happiness that he gets in nature.\u00a0 His poetry reflects his love of nature and nature\u2019s hold on man.\u00a0 His love of nature is seen in his cycle rides and walks in the countryside as Dale Salwak says,<\/p>

\u00a0<\/p>

On Sunday, therefore, he would sometimes ask one of us, if we happened to be free, to accompany him on cycle-rides or walks. The open country is very accessible from Hull; in all directions, one has only to travel three or four miles to reach wide pleasant, if flattish, countryside.<\/p>

\u00a0<\/p>

As Larkin is against nature-worship, he remains outside nature\u2019s powers of attraction and absorption.\u00a0 As Bruce Martin says, \u201cThe most honest and sympathetic figures in Larkin\u2019s world go largely unrewarded; with a rare exception those habits of mind become merely their own rewards, necessary but insufficient for genuine joy.\u00a0 The outsider for Larkin is always a pathetic figure\u201d.<\/p>

\u00a0<\/p>

Hence, Larkin\u2019s treatment of nature comes closer to Robert Frost in \u201cStopping by woods on snowy Evening\u201d.\u00a0 The Frost speaker comes back from nature like the Larkin speaker.\u00a0 The Frost speaker is for his momentary escape to the beauty of nature but comes back to realize the sense of man with the sense of duty:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0 Woods are lovely, dark and deep<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 But I have promises to keep<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And miles to go before I sleep<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And miles to go before I sleep.<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cStopping by woods on a snowy Evening\u201d<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Robert Frost:\u00a0 The Aim was sung<\/em><\/strong>, 10)<\/p>

\u00a0<\/p>

Larkin has a momentary contact with nature but comes back to realize his inevitable share in the suffering of human and non-human worlds as he has sensitivity to suffering.\u00a0 As Blake Morrison points out, \u201c\u2026 nature is seen not as an autonomous organism which sometimes inspires \u2018sublime\u2019 feelings but as a mechanism calculated to induce, and existing solely for human pleasure\u201d.\u00a0<\/p>

\u00a0<\/p>

Larkin is a nature poet in a different way. He is conscious of nature\u2019s powers and their effect on man.\u00a0 He beholds nature from distance for a momentary pleasure, making the reader participate in the scene.\u00a0 He responds to nature on his way:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 To wake, and hear a cock<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Out of the distance crying,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 To pull the curtains back<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And see the clouds flying-\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cDawn\u201d (CP, 284)<\/p>

\u00a0<\/p>

Larkin is interested in depicting the life of a common man and nature around him in a unique way but not in Wordsworth\u2019s tradition. He is an uncommon poet of the common man because of his own sensitivity to suffering, especially the suffering of a common man.\u00a0 Larkin\u2019s depiction of life is like that of Wordsworth\u2019s \u201cstill, sad music of humanity\u201d.<\/p>

\u00a0<\/sup><\/p>

Larkin as a poet is more attentive to human suffering than to the non-human world.\u00a0 As Davie says in support of Larkin that the Movement poet \u201cmakes himself numb to non-human creation in order to stay compassionate towards the human\u201d.<\/p>

\u00a0<\/p>

The fragility of the natural world is like that of human world.\u00a0 \u201cCut Grass\u201d reflects the emotion of sadness, attributed to the transience of grass. Larkin shares its suffering as he shares that of man in the strict governance of time. Not even a blade of grass leaves his heart unmoved when it is cut off.\u00a0 The positive response even to the blade of grass shows his sensitivity to the suffering of flora, like the blade of grass as in \u201cCut Grass\u201d.\u00a0 The life of grass is brief like that of man.\u00a0 When grass is cut off, the stalks of grass breathe their last,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Cut grass his frail:<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Brief is the breath<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Mown stalks exhale.<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Long, long the death.<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cCut Grass\u201d (CP, 183)<\/p>

\u00a0<\/p>

Here nature, as a benevolent force, evokes joy in the hearts of onlookers.\u00a0 The poet\u2019s response to the human and non-human worlds is unique.\u00a0 \u201cGladly my tongue\u201d shows his positive response to nature.\u00a0 The image of the golden sheep serves as a source of joy in \u201cTo a Very slow Air\u201d but \u201cTriple Time\u201d written in the later stage presents a startling transformation in his treatment of nature as the sheep stand for disappointed hopes:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A valley cropped by fat neglected chances<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 That we insensately forbore to fleece.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cTriple Time\u201d (CP, 73)<\/p>

\u00a0<\/p>

\u00a0Despite their constant growth in ageing, the trees come to begin afresh because of their restorative powers every year. In nature, trees have rebirth and renewal though they grow old. It is spring, which is responsible for the renewal of being fresh in the trees every year:<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Yet still the unresting castles thresh<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 In full grown thickness every May<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Last year is dead, they seem to say,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Begin afresh, afresh, afresh.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cThe Trees\u201d (CP, 166)<\/p>

\u00a0<\/p>

The trees have grief with the advent of winter but all the joys with the coming of spring to fill nature with full of charms. Their sorrow alternates with their joy. Unlike man, the trees have rebirth and the renewal of spring every year.\u00a0 J. R. Watson points out this welcome feature: \u201cYet each year they imply the renewal of all things, the rebirth of the world in a recreation of the paradisal time\u201d.<\/p>

\u00a0<\/sup><\/p>

\u201cSolar\u201d presents the theme of time, which is responsible for day and night cycle and the cycle of seasons in a year. Larkin presents the sun rising and setting and the earth\u2019s travel on its own axis in a year,<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The eye sees you<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Simplified by distance<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Into an origin.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cSolar\u201d(CP, 159).<\/p>

\u00a0<\/p>

The sun, which serves as the symbol for energy, force, warmth, and life, enables the nine planets to revolve in their respective orbits.\u00a0 As Terry Whalen studies Larkin\u2019s attitude towards sun, \u201cThe sun appears in Larkin\u2019s world as benevolent and mysterious and as the signification of a dignity to life and a hope.\u201d<\/p>

\u00a0<\/p>

Man depends on the sun for life. The sun makes the earth rotate and becomes responsible for the cycle of seasons. Man\u2019s needs are \u201chourly\u201d as he travels through time. The “solar” doesn\u2019t mean \u201csun\u201d but the solar system and the nine planets rotate to bring about cyclic changes. The constant recurrence of day and night system in \u201cSolar\u201d is attributed to the sun that is suggestive of time\u2019s endless movement. The sun is eternal in ruling over the whole of human and non-human life:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 You exist openly,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Our needs hourly<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Climb and return like angles,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Unclosing like a hand,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 You give for ever.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cSolar\u201d (CP, 159)<\/p>

\u00a0<\/p>

Time in its flow makes the moon wax and wane spanning a month to culminate in a year. The earth\u2019s revolution around the sun makes the year witness the cyclic system of seasonal occurrence. The poem reflects man\u2019s beholding \u201cEarth\u2019s immeasurable surprise\u201d (TWW, 36). As a result, \u201cone shivers slightly, looking up there\u201d (CP, 169) as an outsider.<\/p>

\u00a0<\/p>

The moon is suggestive of youth and vigour, and spring is suggestive of youth is renewed once a year but not youth. The moon reminds him of his youth in the past,<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Is a reminder of the strength and pain<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Of being young; that can\u2019t come again,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 But is for other undiminished somewhere.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cSad Steps\u201d (CP, 169)<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Larkin marks a clear-cut distinction by not sentimentalizing his youth in contrast with the Romantics.<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The cyclical movement of water in nature from the sea via the cloud to the sea is suggestive of the ceaseless flow of time. Water is invincible and uncontrollable like time.\u00a0 The sea serves as an inexhaustible source for any havoc to cause a colossal loss:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Rain patters on a sea that tilts and sighs.<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Above the sea, the yet more shoreless day,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Riddled by wind, trails lit-up galleries:<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 They shift giant ribbing, sift away<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Such attics dread of me! Such absences!\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cAbsences\u201d (CP, 49)<\/p>

\u00a0<\/p>

Larkin sympathises with the loss in \u201cThe Mower\u201d. The Larkin speaker shares the suffering of an innocent insect eating animal:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A hedgehog jammed up against the blades;<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Killed. It had been in the long grass,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I had seen it before; and even fed it, once.<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Burial was no help:\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cThe Mower\u201d (CP, 214).<\/p>

\u00a0<\/p>

Larkin has a sensitive heart for suffering and so he expresses his heart-felt grief over the demise of a hedgehog:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Next morning, I got up and it did not<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The first day after death, the new absence<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Of each other, we should be kind<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Where there is still time.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cThe Mower\u201d (CP, 214)<\/p>

\u00a0<\/p>

Larkin shares the pain of the rabbit, poked with a walking stick by a city visitor to the countryside:<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Caught in the center of a soundless field<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 While hot inexplicable hours go by.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u201cMixomatosis\u201d (CP, 100)<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Thus, Larkin shares the suffering animals like rabbits but also that of birds like pigeons:<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 On shallow slates the pigeons shift together,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Backing against a thin rain from the west<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Blown across each sunk head and settled feather.\u00a0\u00a0 \u201cPigeons\u201d (CP, 109)<\/p>

\u00a0<\/p>

\u201cAt Grass\u201d explores a human parallel to the racehorses. The horses reach the age of retirement in the endless passage of time:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The eye can hardly pick them out<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 From the cold shade they shelter in,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Till wind distresses fail and mane;<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Then one crops grass, and moves about<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 – The other seeming to look on –<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And stands anonymous again.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cAt Grass\u201d (CP, 29)<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>

Larkin turns pathetic on their retirement. \u201cThey can hardly pick them out\u201d. The horses recall the richness of the past. He has a special quality not only in sharing the suffering of human and non-human worlds but also in the drawing of a human parallel to the non-human world. He projects his ideas into the flora and the fauna, attributing human motives in their actions. He expects the flora and fauna to think, guess or understand like human beings with a view to establishing an analogy between man and nature or between the human and the non-human worlds. As Blake Morrison says that Larkin has \u201cinterest in drawing a human parallel and in pointing a moral\u2026\u201d.<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0<\/p>

The horses are at present free in the pensioned retirement position with some pleasant memories like retired human beings:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Do memories plague their ears like flies?<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 They shake their heads. Dusk brims the shadows<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026 the crowds and cries<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 All but the unmolesting meadows.<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Almanacked, their names live; they<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Have slipped their names, and stand at ease,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Or gallop for what must be joy,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And not a field glass sees them home,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Or curious stop \u2013 watch prophesies:<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Only the groom, and the groom\u2019s body<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 With bridles in the evening come.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cAt Grass\u201d (CP, 29).<\/p>

\u00a0<\/p>

The expression: \u201cThey shake their heads\u201d, reflects the attribution of human motives as in Robert Frost:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 He gives his harness bells a shake<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 To ask if there is some mistake.<\/p>

\u201cStopping by Woods on a Snowy Evening\u201d<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 (Robert Frost: The Aim was Sung, 10).<\/em><\/strong><\/p>

\u00a0<\/p>

The last line of \u201cAt Grass\u201d: \u201cWith bridles in the evening come \u201cmeans as the first line of \u201cGoing\u201d, \u201cThere is an evening coming in\u201d does. John Lucas describes the conclusion as \u201cthe beautiful ending\u201d \u201cwith its almost pagan suggestion of life slipping into the shadows.\u201d<\/p>

\u00a0<\/p>

The poem \u201cWires\u201d also shows that the cattle gain maturity through painful experience like men. When time flows, young cattle become old with the knowledge of \u201cElectric limits to their widest senses\u201d (CP, 48).<\/p>

\u00a0<\/p>

Larkin says in \u201cAbsences\u201d about the elements of nature: rain, storm, water, waves, sea, etc. Water, which is symbolic of time, comes in the form of rain from clouds to flow to the sea as an unending source for the clouds to bring rain again,<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Rain patters on a sea that tilts and sighs,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Fast \u2013 running floors, collapsing into hollows,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Tower suddenly, spray-haired, contrariwise,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Where there are no ships and no shallows.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cAbsences\u201d (CP, 49).<\/p>

\u00a0<\/p>

All the elements and objects in nature:\u00a0 wind, moon, trees, cock, etc., in the incessant movement remind us of time. In \u201cWedding Wind\u201d the wind which is found \u201cthrashing\/My apron\u201d (TLD, 15) blew all wedding night and all wedding day to create the feeling of fear because of the violence of nature elements. Nature as portrayed in \u201cWedding Wind\u201d is an instrument that time handles to bring about many changes against the wishes of the bride and the bridegroom.\u00a0 The wind conspires to spoil the happiness of the wedded couple:<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The wind blew all my wedding-day,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And my wedding-night was the night of high wind;<\/p>

\u00a0\u00a0\u00a0\u00a0 And a stable door was banging, again and again. \u201cWedding Wind\u201d (CP, 11)<\/p>

\u00a0<\/p>

The wind blows not only to spoil the happiness of the couple but also to cause suffering to beasts and animals.\u00a0 So, the speaker shares their suffering. The ever-blowing wind, which is suggestive of time flowing endlessly, devastates not only the happiness of the human world but also that of the non-human world.\u00a0 The poet presents a lively description of the wind and its devastation.<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u2026 All is the wind<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Hunting through clouds and forests, thrashing<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 My apron and the hanging clothes on the line. \u201cWedding wind\u201d (CP, 11).<\/p>

\u00a0<\/p>

The speaker admits his being defeated by the raging of the wind and tries \u201cto go and shut it\u201d, leaving me\/stupid in candlelight, hearing the rain” (CP, 11).<\/p>

\u00a0<\/p>

The wind is a disruptive force of nature, but the speaker feels how wind is favourable to him,<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Outside, the wind\u2019s incomplete unrest<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Builds and disperses clouds about the sky,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 And dark towns heap up on the horizon.<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 None of these cares for us.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u201cTalking in Bed\u201d (CP, 129).<\/p>

Nature reflects the beholder\u2019s emotions.\u00a0 The speaker in \u201cUgly sister\u201d watches nature outside, staying inside. The objects of nature reflect the speaker\u2019s emotions and feelings:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Let the music, and violin, cornet, and drum<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Drowse from my head.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u201cUgly Sister\u201d (CP, 292).<\/p>

\u00a0<\/p>

Larkin lays emphasis on man\u2019s separation from nature to reflect his complex relation with her (it).\u00a0 Nature has negative rewards to bestow on man. Janice Rossen is right in referring to man\u2019s complex relation with nature: \u201cSeparation from nature occurs in much of Larkin\u2019s work, and he may have created poetry out of his lack of a satisfying connection with it\u201d<\/p>

\u00a0<\/sup><\/p>

Nature\u2019s forces are around man\u2019s habitation. The church building in the passage of time collapses and nature\u2019s forces enter it.\u00a0 Grassy plants grow up in the cracks of the church building.\u00a0 Nature becomes a part of church building,<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Grass, weedy pavement, brambles, buttress, sky,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A shapeless recognisable each week,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A purpose more obscure.\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 \u00a0\u00a0\u00a0\u00a0\u201cChurch Going\u201d (CP, 97).<\/p>

\u00a0<\/p>

Larkin draws a distinction between man\u2019s limited powers and nature\u2019s unlimited powers.\u00a0 In course of time, church collapses allowing natural forces to enter it.\u00a0 He ultimately admits nature\u2019s dominance in the endless flow of time.\u00a0 He, as an agnostic, seeks isolation not only from nature but also from religion, facing a basic problem that he does not know \u201cwhat to look for\u201d.<\/p>

\u00a0<\/p>

Larkin watches not only nature but also the social activities and festivities in isolation.\u00a0 His relationship with nature is so complex that one cannot understand.\u00a0 He watches the wind blowing endlessly in the dark during the night with its destroying forces. He deals with nature as a destroying force in the later poetry but not in the earlier poetry.\u00a0 His earlier poetry reflects the speaker\u2019s fragile pleasure in the watching of nature:<\/p>

\u00a0<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 I lie and wait for morning, and the birds,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 The first steps going down the unswept street,<\/p>

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Voices of girls with scarves around their heads. Poem:\u00a0 XVI (CP, 277)<\/p>

\u00a0<\/p>

Larkin, as the poet of nature, finds fragile happiness in his contact with nature.\u00a0 Keeping away from the scene of nature, he observes cyclic changes in nature and sympathies with the pathetic plight of the non-human world.\u00a0 He concurs with the powers of nature in destroying man\u2019s desires.<\/p>

Poetcrit, <\/strong>37-2 July-December 2024<\/p>

\u00a0<\/p>

NOTES<\/strong><\/p>

\u00a0<\/strong><\/p>

Abbreviations: Collected Poems (CP). The North Ship (NS), The Less Deceived (TLD), The Whitsun Weddings (TWW), High Windows (HW)<\/p>

\u00a0<\/p>

Bruce Martin, Philip Larkin<\/em><\/strong>, (Larkin: Longman, 1957) 54.<\/p>

Larkin, Required Writing<\/em><\/strong>, (London, Faber & Faber, 1986) 47.<\/p>

Dale Salwak (ed), Philip Larkin: The Man and his work<\/em><\/strong>, (Iowa, Iowa Press, 1989) 29.<\/p>

Bruce Martin, Philip Larkin<\/em><\/strong>, 59<\/p>

Blake Morrison: The Movement: English Poetry and Fiction of the 1950s<\/em><\/strong>. London: Cambridge University Press, 1980) 168.<\/p>

Davie, (Quoted in Blake Morrison),\u00a0 171.<\/p>

  1. R. Watson, \u201cThe Other Larkin\u201d Critical Quarterly<\/em><\/strong>. Vol. 17, No. 4, Winter 1975, 356.<\/li><\/ol>

    Terry Whalen, Philip Larkin and English Poetry<\/em><\/strong>, (London: Macmillan, 1986) 72.<\/p>

    Blake Morrison, The Movement<\/em><\/strong>, 170.<\/p>

    John Lucas, Modern English Poetry: From Hardy to Hughes<\/em><\/strong>: A Critical Survey, (London: Macmillan, 1986), 201.<\/p>

    Janice Rossen, Philip Larkin: His Life\u2019s Work<\/em><\/strong>, (Iowa: Iowa Press, 1989) 38.<\/p>

    \u00a0<\/p>

    \u00a0<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

    \u00a0 NATURE: \u201cEarth\u2019s immeasurable surprise\u201d Larkin in comparison with Wordsworth and Robert Frost \u00a0 ——————————————————————————————– Synopsis: \u00a0 Larkin carves a niche as a poet of nature as he treats nature as the source for fragile happiness in his contact with nature. He does not recall the events of his contact with nature. As a nature […]<\/p>\n","protected":false},"author":1,"featured_media":2922,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[7],"tags":[],"class_list":["post-2917","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-poems"],"yoast_head":"\nNATURE: \u201cEarth\u2019s immeasurable surprise\u201d - Afflatus Creations<\/title>\n<meta name=\"description\" content=\"Larkin carves a niche as a poet of nature as he treats nature as the source for fragile happiness in his contact with nature.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/afflatuscreations.com\/index.php\/2024\/08\/20\/nature-earths-immeasurable-surprise\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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