Look at two poems by Larkin that deal with our subjection to time and the painfulness of memory, and explore how he achieves his effects. (Love Songs in Age and Reference Back)

Love Songs in Age and Reference Back are both poems by Philip Larkin that allot with the bother of memories and our subjection to time. In severally, Larkin talks of the elbow cortege melody gage provoke memories, be it the sheet medicinal drug Love Songs in Age, or the records in Reference Back. The tone of the poems is very similar, with a negative depression denotative in the final stanza of apiece poem, with Reference Back dealing with the agony of memories over time, and the theme of Love Songs in Age beingness the overrating of love. disrespect this, there are a result of differences in the way Larkin achieves his effects, in both the structure and language. In Reference Back the narrator is talking of see home, and the lack of communication surrounded by himself and his mother, and how this is the way it has always been. Larkin uses the banter unsatisfactory four times in the poem, to describe the hall, room, the mothers age and the sons prime. This put s emphasis on the musical theme expressed in the final stanza; that we romanticise the noncurrent and therefore whole tone that the present pales in comparison and fellowship feelings of dissatisfaction as by playacting differently we could have kept it so.

This idea of romanticising the past is similarly seem to an extent in Love Songs in Age Both poems exist of three stanzas; the first introducing the situation, the penultimate talking of the consequence of the music and the concluding stanza summarising what Larkin wishes to demonstrate to the reader. In Reference Back these stanzas are distinctly detached by full stops at th e intercept of each line, while in Love Son! gs in Age Larkin uses enjambment. This can be seen amid all three stanzas with stood/Relearning how between the first and second... If you regard to pay off a full essay, order it on our website: BestEssayCheap.com

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