Classic and Contemporary Poetry: Explained

Philip Larkin's "Poetry of Departures" explores the romantic allure and subsequent disillusionment of abandoning one's life for a fresh start. Through candid introspection and evocative imagery, Larkin examines the tension between the seductive fantasy of escape and the harsh reality of such an action, ultimately revealing a deep-seated ambivalence towards the idea of departure.

The poem opens with the notion of hearing about someone's radical decision to "chuck up everything / And just clear off," often recounted second or even fifth-hand. This initial detachment underscores the idea that the allure of departure is often experienced vicariously, through stories rather than personal experience. The voice conveying this tale "will sound / Certain you approve / This audacious, purifying, / Elemental move," suggesting a universal admiration for the boldness and purity of such an action.

Larkin acknowledges this admiration, noting, "And they are right, I think. / We all hate home / And having to be there." This sweeping statement taps into a common sentiment of restlessness and dissatisfaction with domestic life. Larkin's personal disdain is palpable as he describes his room with its "specially-chosen junk, / The good books, the good bed, / And my life, in perfect order." The use of "perfect order" is ironic, highlighting the stifling and predictable nature of his existence.

The departure of others leaves the speaker "flushed and stirred," likening the excitement to the titillating moment when "Then she undid her dress" or the cathartic release of "Take that you bastard." These comparisons convey the visceral thrill and rebellious satisfaction that the idea of departure evokes. The speaker's reaction, "Surely I can, if he did?" hints at the temptation to follow suit, suggesting that the act of leaving becomes a form of validation and empowerment.

However, this temptation ultimately serves as a motivator to remain "sober and industrious," as the speaker admits, "But I’d go today." This ambivalence reflects a deep internal conflict: the yearning for escape versus the pull of responsibility and routine.

In the final stanza, Larkin delves into the fantasy of departure, imagining himself swaggering "the nut-strewn roads" and crouching in a "fo’c’sle / Stubbly with goodness." These images evoke a romanticized vision of freedom and simplicity, contrasting sharply with his current life. Yet, the speaker recognizes this fantasy as "artificial" and a "deliberate step backwards." The phrase "to create an object: / Books; china; a life / Reprehensibly perfect" captures the inherent contradiction in abandoning one structured life only to construct another, equally constraining one. The word "reprehensibly" suggests a moral judgment on the pursuit of a seemingly perfect yet ultimately hollow existence.

"Poetry of Departures" masterfully captures the duality of the human desire for escape and the realities that tether us to our current lives. Through a blend of candid introspection and vivid imagery, Larkin reveals the deep ambivalence towards the idea of abandoning everything for a fresh start. The poem reflects a universal tension between the allure of freedom and the comfort of familiarity, ultimately questioning the value and authenticity of both states of being.

Larkin's language and structure enhance the poem's impact, with its conversational tone and seamless flow mirroring the internal dialogue of the speaker. The repetition of the fantasy versus reality theme throughout the poem underscores the ongoing struggle between desire and duty. "Poetry of Departures" stands as a poignant meditation on the human condition, exploring the complexities of aspiration, dissatisfaction, and the elusive nature of true freedom.

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