Skip to main content

Philip Larkin: Voices and Values

  • Chapter
Philip Larkin: The Man and his Work

Abstract

Philip Larkin had a good voice. By that I mean that it was effective in conveying his meaning, agreeable to listen to, and capable of registering different shades of feeling with some sensitivity. Although he suffered from a stammer at one period of his life, he controlled his voice so well during his mature years that its hesitations became almost undetectable; and his reading and speaking voice had an instantly pleasing, even winning quality about it. It was also, as some voices are, instantly recognisable: it was Philip’s voice, and no one else’s, and as we lament his death we may well realise the sensitivity of Tennyson’s

But O for the touch of a vanish’d hand,

And the sound of a voice that is still!

This is a preview of subscription content, log in via an institution to check access.

Access this chapter

Chapter
USD 29.95
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
eBook
USD 39.99
Price excludes VAT (USA)
  • Available as PDF
  • Read on any device
  • Instant download
  • Own it forever
Softcover Book
USD 49.99
Price excludes VAT (USA)
  • Compact, lightweight edition
  • Dispatched in 3 to 5 business days
  • Free shipping worldwide - see info

Tax calculation will be finalised at checkout

Purchases are for personal use only

Institutional subscriptions

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

Notes

  1. Bill Ruddick, ‘“Some ruin-bibber, randy for antique”: Philip Larkin’s Response to the Poetry of John Betjeman’, Critical Quarterly, vol. xxviii (Winter 1986) pp. 63–9.

    Article  Google Scholar 

  2. Philip Larkin, Le Nozze di Pentecoste, trs. Renato Oliva and Camillo Pennati (Torino, 1969) p. 115.

    Google Scholar 

  3. Charles Salter, ‘Unusual Words Beginning with “un”, “en”, “out”, “up” and “on”, in Thomas Hardy’s Verse’, Victorian Poetry, vol. xi (Winter 1973) pp. 257–61.

    Google Scholar 

  4. Seamus Heaney, ‘Englands of the Mind’, in Preoccupations: Selected Prose, 1968–1978 (London: Faber and Faber, 1980), esp. p. 150.

    Google Scholar 

  5. Roland Barthes, Writing Degree Zero, trs. Annette Lavers and Colin Smith (New York: Harcourt, Brace and World, 1968) pp. 10–11.

    Google Scholar 

  6. Francis Berry, Poetry and the Physical Voice (London: Faber and Faber, 1962) pp. 102–3.

    Google Scholar 

  7. See Franklin R. Rogers, Painting and Poetry, Form, Metaphor and the Language of Literature (Lewisburg: Bucknell University Press, 1985) for a discussion of metaphor and the visual perception.

    Google Scholar 

  8. R. P. Draper, Lyric Tragedy (London: Routledge and Kegan Paul, 1985) p. 214.

    Book  Google Scholar 

  9. Barbara Everett, Poets in their Time: Essays on English Poetry from Donne to Larkin (London: Faber and Faber, 1986) p. 245. There are two fine essays on Larkin in this book; this quotation is taken from the second of them, ‘Larkin’s Edens’.

    Google Scholar 

  10. J. R. Watson, ‘The Other Larkin’, Critical Quarterly, vol. xvii (Winter 1975) pp. 347–60.

    Article  Google Scholar 

Download references

Authors

Editor information

Editors and Affiliations

Copyright information

© 1989 Dale Salwak

About this chapter

Cite this chapter

Watson, J.R. (1989). Philip Larkin: Voices and Values. In: Salwak, D. (eds) Philip Larkin: The Man and his Work. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-09700-5_10

Download citation

Publish with us

Policies and ethics