Classic and Contemporary Poetry: Explained

Philip Larkin's "How to Sleep" meditates on the elusive nature of sleep and the parallels between falling asleep and confronting mortality. Through vivid imagery and contemplative reflections, Larkin explores the physical and psychological states associated with sleep, drawing connections to themes of innocence, humility, and surrender.

The poem begins with an evocative comparison: "Child in the womb, / Or saint on a tomb — / Which way shall I lie / To fall asleep?" This opening juxtaposes two contrasting images of rest: the fetus in the womb, representing innocence and potential, and the saint on a tomb, symbolizing death and eternal peace. By posing this question, Larkin sets the stage for a contemplation of sleep as a state that mirrors both birth and death. The choice of how to lie down becomes a metaphor for how one approaches the act of falling asleep, highlighting the complexity and significance of this seemingly simple act.

The imagery of the "keen moon" staring "From the back of the sky" and "the clouds are all home / Like driven sheep" creates a serene yet slightly unsettling nocturnal scene. The moon's intense gaze suggests a watchful, almost intrusive presence, while the clouds' return to their "home" evokes a sense of completion and restfulness that contrasts with the speaker's wakefulness. This tension between the tranquil night and the restless mind sets up the central conflict of the poem.

Larkin then shifts to the passage of time, marked by "Bright drops of time, / One and two chime." The metaphor of time as "bright drops" emphasizes its relentless, measured progression, further heightening the speaker's awareness of their inability to sleep. The description of lying "straight / With folded hands" like a "Convent-child, Pope" invokes images of piety and submission, suggesting that these postures are associated with a calm, meditative state. The comparison to "sea-leveled sands" implies a sense of mental tranquility and emptiness, akin to the stillness and smoothness of sands washed by the sea.

Despite adopting these serene postures, the speaker acknowledges that "sleep stays as far." The failure to achieve sleep despite the calm, orderly pose leads to a shift in approach: "Till I crouch on one side / Like a foetus again." This fetal position signifies a return to a primal, instinctive state, embodying a surrender to the body's natural inclinations. The line "For sleeping, like death, / Must be won without pride" draws a direct parallel between sleep and death, both of which require a humble acceptance and relinquishment of control.

The poem concludes with the idea that true sleep can only be attained with "a nod from nature, / And a lack of strain, / And a loss of stature." This acknowledgment underscores the need for humility and the abandonment of conscious effort. The phrase "a nod from nature" suggests that sleep is ultimately a natural, involuntary process, beyond the reach of deliberate action or pride. The "loss of stature" implies a reduction in one's sense of self-importance and ego, reinforcing the notion that sleep, like death, demands a complete submission to forces beyond one's control.

In "How to Sleep," Larkin masterfully captures the intricate relationship between sleep and the human psyche, illustrating the tension between conscious effort and natural surrender. Through rich, contemplative imagery and thoughtful reflections, he explores the broader existential implications of sleep, positioning it as a metaphor for the humility and acceptance required to navigate life's ultimate uncertainties. The poem's introspective tone and profound insights offer a deep, resonant commentary on the nature of rest and the human condition.

Copyright (c) 2025 PoetryExplorer

Discover our Poem Explanations and Poet Analyses!

Other Poems of Interest...