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Monday 27 January 2014

'Here' by Phillip Larkin

'Here' is about a journey home to Hull and the speaker's opinions on the town.

In the first stanza there is a lot of rapid movements, with repetition of "swerving", making the movements of the train sound very "harsh". The "halt" of the train and the almost violent movements could be metaphorical for the shock and disbelief of the speaker's sight of Hull. The fields that are "too thin and thistled to be called meadows" suggest deprivation and decay of Hull. The "rich industrial shadows" create a negative image to me, that the man made things that cost money cause shadows onto natural things, causing darkness. The fields may be "thin and thistled" because of the "shadows" caused by buildings, blocking the light for the fields to reach their full potential of growing into "meadows". The "shining gull-marked mud", although isn't a pleasant image or most probably bird poo on mud, the fact that it's "shining" could suggest that because it's nature, it's still a good thing.

In the second stanza there are "domes", "statues" and "spires" which even though are man made, I think are still an attractive image because they can show culture. However because they are in a "cluster" amongst "cranes", it becomes a negative image as it is too crowded and could be suggesting that too much of anything can be bad. The "residents from raw estates" will "steal" and "push" to fulfil "their desires" showing that their motive is "dead straight" and clear. It seems that the working class people crave to spend because they're "dwelling where only salesmen and relations come", suggesting that is all they are interested in. The working class people in Hull are "a cut price crowd, urban yet simple", again suggesting that they have a simple and clear focus and will do what they like to achieve what they want. The "slave museum, tattoo shops (and) consulates" all sound like very normal places to be found in a regular town.

In the last stanza, the harsh movements stop and are now at a "stand" which could suggest calmness.
In the last line of the third stanza and going on to the fourth stanza, "loneliness clarifies" in "isolate villages" and the "silence stands like heat". I think to begin with, the loneliness and silence is portrayed as being negative, particularly because silence is described as "heat" making it sound uncomfortable and obvious, this is perhaps because it is in contrast with the busyness the speaker had experienced in Hull just before. The "unnoticed thicken, hidden weeds flower", which could be a metaphor for when alone, thoughts can grow and how it is a positive thing to be alone sometimes. Also, they're growing thicker which shows that being left alone nourishes them. However, because they're "weeds" as opposed to a more pleasant flower, it could suggest that the speaker is still slightly uncomfortable with the idea of being alone but is starting to realise. I also think it could be the
speaker suggesting that nature should be left alone. Half way through the stanza "luminously-people air ascends", this creates an image of everyone surrounding the speaker ascending in an almost heavenly way, leaving the speaker, now pleasantly alone. "Luminously" suggests that the speaker saw the light and had a sudden realisation that being alone doesn't have to mean something negative and feeling lonely. The speaker realises that when alone, there is "unfenced existence", which can be a positive thing because it means there are no restrictions and allows someone to be completely themselves and become more comfortable and aware of their own thoughts and feelings. It shows that being alone sometimes can be comfortable and beneficial for someone's personality, rather than instantly feeling unhappy when alone. The speaker "facing the sun" suggests to me a sense of hope and potential for life, and also made me realise the smallness of one person compared to the immenseness of the world. Being alone allows people to become "out of reach", which could mean being safe and free from anyone or anything else.




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