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Philip Larkin - The Whitsun Weddings

That Whitsun, I was late getting away:
  Not till about
One-twenty on the sunlit Saturday 
Did my three-quarters-empty train pull out,
All windows down, all cushions hot, all sense
Of being in a hurry gone. We ran 
Behind the backs of houses, crossed a street
Of blinding windscreens, smelt the fish-dock; thence 
The river's level drifting breadth began, 
Where sky and Lincolnshire and water meet.

All afternoon, through the tall heat that slept 
  For miles inland, 
A slow and stopping curve southwards we kept. 
Wide farms went by, short-shadowed cattle, and 
Canals with floatings of industrial froth; 
A hothouse flashed uniquely: hedges dipped 
And rose: and now and then a smell of grass 
Displaced the reek of buttoned carriage-cloth 
Until the next town, new and nondescript, 
Approached with acres of dismantled cars.

At first, I didn't notice what a noise
  The weddings made
Each station that we stopped at: sun destroys
The interest of what's happening in the shade,
And down the long cool platforms whoops and skirls
I took for porters larking with the mails,
And went on reading. Once we started, though,
We passed them, grinning and pomaded, girls
In parodies of fashion, heels and veils,
All posed irresolutely, watching us go,

As if out on the end of an event
  Waving goodbye
To something that survived it. Struck, I leant
More promptly out next time, more curiously,
And saw it all again in different terms:
The fathers with broad belts under their suits
And seamy foreheads; mothers loud and fat;
An uncle shouting smut; and then the perms,
The nylon gloves and jewellery-substitutes,
The lemons, mauves, and olive-ochres that

Marked off the girls unreally from the rest. 
  Yes, from cafés
And banquet-halls up yards, and bunting-dressed 
Coach-party annexes, the wedding-days 
Were coming to an end. All down the line 
Fresh couples climbed aboard: the rest stood round; 
The last confetti and advice were thrown, 
And, as we moved, each face seemed to define 
Just what it saw departing: children frowned
At something dull; fathers had never known

Success so huge and wholly farcical;
 The women shared
The secret like a happy funeral;
While girls, gripping their handbags tighter, stared
At a religious wounding. Free at last,
And loaded with the sum of all they saw,
We hurried towards London, shuffling gouts of steam.
Now fields were building-plots, and poplars cast
Long shadows over major roads, and for
Some fifty minutes, that in time would seem

Just long enough to settle hats and say 
  I nearly died,
A dozen marriages got under way. 
They watched the landscape, sitting side by side
- An Odeon went past, a cooling tower, And 
someone running up to bowl - and none 
Thought of the others they would never meet 
Or how their lives would all contain this hour. 
I thought of London spread out in the sun, 
Its postal districts packed like squares of wheat:

There we were aimed. And as we raced across 
  Bright knots of rail 
Past standing Pullmans, walls of blackened moss 
Came close, and it was nearly done, this frail 
Travelling coincidence; and what it held
stood ready to be loosed with all the power
That being changed can give. We slowed again,
And as the tightened brakes took hold, there swelled 
A sense of falling, like an arrow-shower 
Sent out of sight, somewhere becoming rain.

Added: on June 1st, 2006 at 7:04 AM | Viewed: 20873 times | Comments (15)


The Whitsun Weddings - Comments and Information

Poet: Philip Larkin
Poem: The Whitsun Weddings
Volume: The Whitsun Weddings
Year: Published/Written in 1958

Comment 15 of 15, added on December 11th, 2008 at 8:26 AM.

you'll have to excuse us but we have lives and have been using your wonderful comments to help us do our analysis. love you xxx
P.S especially you Jenny C

Hayley, Hannah&Jay from United Kingdom
Comment 14 of 15, added on June 9th, 2006 at 5:32 AM.

There is an interesting reference to Philip Larkin's views on love in the film 'Four Weddings and a Funeral'. Unfortunately people tend to dwell on the Auden poem John Hannah reads at the funeral rather than the director's, Richard Curtis, interesting interpretation of Larkin's intended meaning in The Whitsun Weddings.

Just before Charles (Hugh Grant) fully realises his love for Carrie, Matthew (John Hannah) is shown wearing Philip Larking glasses which has not happened at all throughout the rest of film, nor does it happen again, giving his short speech authority. When Charles runs out after Carrie, proving his love for her, it begins to rain- '...an arrow-shower / Sent out of sight, somewhere becoming rain.'

I think that by watching this part of the film, it may help to give people who find it hard to make sense of this poem an interesting understanding of its meaning.

A moving film and a powerful poem.

Abel from United Kingdom
Comment 13 of 15, added on June 1st, 2006 at 7:04 AM.

I think it's also worth noting in the last stanza the passive: 'There we were aimed.' and other uses of the passive. I can't help but feel that there are connotations of a higher force compelling these actions, which is an interesting enough notion in itself when we're discussing Larkin's poetics; especially if you take these in conjunction with poems like 'Ambulances' and 'Here', which, in my opinion seem very strongly linked with the nihilist and perhaps absurdist* mood of the time, which was recently coming to light.

* Branch of existential philosophy explored by Albert Camus in 'L'étranger', 1942.

Walker

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