History
The first poem in it, chronologically, to be written was "Going," of February 1946. It is about death, and, according to Andrew Motion, is the kind of poem for which Larkin "is so often regarded as an unrelievedly pessimistic poet" Its concluding lines, "What is under my hands, / That I cannot feel? / What loads my hands down?", presage the helplessness, the dread of the atrophying of emotion, the despair, and the magnetic terror of death in the poems that follow. These are Larkin's most persistent themes. Throughout the collection, the feeling of diminishment and loss is pervasive, whether in the visit of a cyclist to a church in the volume's best known poem, "Church Going," or in the alienation of the speaker looking at a photograph of a young lady, or in the man in "Toads" beaten by work into an imprisonment he then wills, or even in the "I" who "starts to be happy" when light strikes on the "foreheads" of houses. "Beneath it all," ends the poem "Wants," "desire of oblivion runs." This desire for death simultaneously horrifies and allures. Philip Larkin said on more than one occasion that his discovery of Thomas Hardy's poetry was a turning point in the writing of his own poetry: "I don't think Hardy, as a poet, is a poet for young people. I know it sounds ridiculous to say I wasn't young at twenty-five or twenty-six, but at least I was beginning to find out what life was about, and that's precisely what I found in Hardy. In other words, I'm saying that what I like about him primarily is his temperament and the way he sees life. He's not a transcendental writer, he's not a Yeats, he's not an Eliot; his subjects are men, the life of men, time and the passing of time, love and the fading of love... When I came to Hardy it was with the sense of relief that I didn't have to try and jack myself up to a concept of poetry that lay outside my own life -- this is perhaps what I felt Yeats was trying to make me do. One could simply relapse back into one's own life and write from it. Hardy taught one to feel rather than to write -- of course one has to use one's own language and one's own jargon and one's own situations -- and he taught one as well to have confidence in what one felt. I have come, I think, to admire him even more than I did then."Philip Larkin, "The Poetry of Hardy," in Required Writing: Miscellaneous Pieces 1955-1982 (Faber and Faber 1983), pages 175-176. The poems in ''The Less Deceived'' are formalist. Like his admired Thomas Hardy, Larkin invents stanza forms of intricate patterns that become one with the content of the poems. His rigorous adherence to these patterns brings the sadness into sharp relief and gives the emotions their authority. The poet's refusal to publish any but the most perfectly realized poems marked him, from this book onward, as a literary artist of high accomplishment. With this book Larkin became, albeit unwittingly, a spokesman for his times. Written in a post–Poems
*Lines on a Young Lady's Photograph Album *Wedding-Wind *Places, Loved Ones *Coming *Reasons for Attendance *Dry-Point *Next, Please *Going *Wants *Maiden Name *Born Yesterday *Whatever Happened? *No Road *Wires * Church Going *Age *Myxomatosis *Toads *Poetry of Departures *Triple Time *Spring *Deceptions *I Remember, I Remember *Absences *Latest Face *If, My Darling *Skin *Arrivals, Departures *At GrassSee also
*References
{{DEFAULTSORT:Less Deceived, The 1955 poetry books English poetry collections Poetry by Philip Larkin