The symbolist or Yeatsian poetry, on the other hand, aims at transcendental effects; it employs symbols which tend to make it difficult to understand; it is most often vague in its meaning and it therefore mystifies the reader; it is highly allusive; it is very learned and demands from the reader a high degree of intelligence and vast knowledge; it generally tends to obscurity. Does the emphasis on emotion and self-expression in Romantic poetry make you sick? At Grass, a Poem of the Movement, and Yet Having a Yeatsian Touch The poem entitled At Grass is realistic in every detail. Not a Well-Organized Group of Poets with a Well-Defined Programme It has been admitted by many critics that the poets of the Movement did not exist as a coherent literary group. The closing lines seem to suggest, in a symbolic manner, the freedom from sexual orthodoxy or conventionality. Another critic remarks: The poem entitled At Grass is realistic in every detail. The characteristic features of the work of this group of poets might roughly be described as dissenting and nonconformist, cool, scientific, and analytical. Larkin's voice on the page - full of hesitations and qualifications which give the impression of a mind caught in the act of thinking - is particularly suited to reading aloud.
The poem is analytical, and more of an intellectual piece than an emotional one. By doing this, Larkin helped shake up the norms of British poetry during 1950s and paved a way for future poets! He says: In course of time, he says, superstitious women might visit the forsaken churches to look for remedies for the ailments of their children. Actually, Larkin had, in the beginning, been deeply influenced by the symbolist poetry of W. Enright, John Wain, Elizabeth Jennings, Thom Gunn, Robert Conquest and of course, Philip Larkin. It was no longer requisite for members to fight and defend one another's work as they had become accepted members of the literary world.
They recognize their own abysmal urban landscapes, skilfully caught with just a whiff of English films of the nineteen-fifties. The poem has a traditional iambic structure and a lucid, rational argument; its speaker is presented as an ordinary, fallible, and clumsy individual. There is also a marked element of irony behind the poem. But it has also been admitted that these poets operated as a significant cultural influence. He regards The Whitsun Weddings as a poem belonging to the Movement, and he also says that Larkin continued to defend and develop the principles central to the Movement programme. Instead it was a loosely tied group of poets who saw themselves as individuals that shared a common objective against Modernism and Romanticism.
These lines, and some of those which follow, contain a realistic picture and realistic thinking. As for Larkin, the appearance of his poems in several anthologies of the nineteen-fifties encouraged the idea of his collaboration with the Movement. Do you want to go back to traditional structured poetry? These features of this poem are in keeping with the Movement preferences. Scott in 1954 to refer to a group of poets including Kingsley Amis, Donald Davie, D. Bleaney in our esteem but raises the intellectual man like the poet himself in our eyes, though speaking in a self-depreciatory manner. Larkin's first job after University, running a local library in Shropshire, became his wage-earning career for the rest of his life, taking him to university libraries in Leicester, Belfast and finally Hull, where he stayed for thirty years. Then the picture of the moon and the clouds is perfectly realistic.
The poem is written in regular stanzas of nine lines each, with nothing innovative or fanciful either about the diction or about the imagery. The need to improve the form of the law led to the adoption of consolidating and codifying Acts. In course of time, critics began to point out several other common features in the poetry of this group. This poem then contains a picture of how these race-horses were at one time the cynosure of all eyes, and how they won the races, thus bringing honour to themselves and financial gain to those spectators who had staked their money on the hopefuls. The poets within the Movement included Kingsley Amis, Elizabeth Jennings, Donald Davie, Robert Conquest, Thom Gunn, D. This poem then contains a picture of how these race-horses were at one time the cynosure of all eyes, and how they won the races, thus bringing honour to themselves and financial gain to those spectators who had staked their money on the hopefuls.
The Movement is here for you! There is nothing here to mystify us; nothing vague, and certainly nothing obscure in the poem which is written in regular stanzas of six lines each and which makes use of rhyme. Yet stop I did: in fact I often do, And always end much at a loss like this, Wondering what to look for; wondering, too, When churches will fall completely out of use What we shall turn them into, if we shall keep A few cathedrals chronically on show, Their parchment, plate and pyx in locked cases, And let the rest rent-free to rain and sheep. The new poetry, he said, was free from both mystical and logical compulsions, and was empirical in its attitude to everything. In his comprehensive survey of the development of modernist literary studies, he demonstrates that the current conception of English literary modernism and its established historical accounts are largely dominated by the exclusionary aesthetic perspective and restrictive critical assumptions that the early modernist writers deployed to define their art. Indeed,-the closing lines are replete with associations and suggestions, though these are of a vague nature and somewhat mystifying.
Lodge attributed The Movement's decline to the publication of the New Lines anthology. Symbolically speaking, the poem depicts the glorious achievements of a man in his past life and the ordinary, prosaic life which he is leading now in his old age which would soon be followed by the groom, namely death. Did you read that right folks? The realism of the lines such as the following is also noteworthy: And ate an awful pie, and walked along The platform to its end to see the ranged Joining and parting lines reflect a strong Unhindered moon. Instead of varied sestets, Larkin's evenly rhymed stanzas with the a b a b c d e c d e pattern as well as the enjambement take on the reader unstopping like the narrator's journey by the train. They preferred everyday pictures to sensational imagery, and prioritised a friendly, colloquial tone over rhetorical complications. Questioned on this point, Larkin said that the members of this group did not have many artistic aims in common but that they agreed, in general, in things which they found funny or derisible.
An honesty of thought and feeling was added to the clarity of expression among those features. Scott, of , to describe a group of writers including , , , , , , and. Thus, through the medium of poetry, the group attempted to displayed the value of British poetry over the new Modernist movement. Specifically they wanted to demonstrate the significance of English poetry against the relatively new Modernist poetry. This poem, according to him, appears to be both reverent and irreverent.
And then follow three pictures which mystify us. Thus he takes what may be regarded as the middle course between the aims of the Movement and the aims of those poets against whom the Movement poets had revolted. But the concluding lines about the sun-comprehending glass and the deep blue air behind it are profoundly symbolic and somewhat mystifying too. The Movement, says a critic was surely not a well-organized group of poets with a clear and consistent programme of ideas. The Movement, which, from its uncertain beginnings in the 1950s, has come to define a prolific era of English poetry, is one of such problematic groupings. Entering a church, Larkin looks around himself and describes everything that meets his eyes—the small neat organ, the fading flowers which had been placed there on Sunday last, the Bibles, and so on.
The term Movement was coined by J. One final note: compiling this list was a huge pleasure but also a rather painful act of literary selection. Faith Healing, Also a Movement Poem Faith Healing is, again, a Movement poem. Well worth it, for the price of lunch. This critic saw the speaker in this poem simply as Larkin; and he accordingly showed a deplorable inability to respond to the poem as structure and discourse. Indeed, there was never an organised school of poets armed with manifestos and some of the lead figures even denied a conscious involvement, though they appeared together in a number of anthologies and radio programmes.