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Larkin claimed to have ‘no sense at all’ of belonging to a literary movement, but his work was widely regarded in the 1950s and 1960s as the most promising expression of a new set of thematic and stylistic preoccupations in English verse.
Sacred and secular in Hughes, Larkin and Plath 7 it is to be human. Simply stated, Larkin is a humanist poet, while Hughes claims to speak from a pre-humanist level of human ani-mality. When questioned by Ekbert Faas about the violence of such poems as 'Thrushes', Hughes insisted that the ravening thrush and
The Cambridge Introduction to Sylvia Plath provides an authoritative and comprehensive guide to the poetry, prose and autobiographical writings of Sylvia Plath.
28 Αυγ 2006 · Summary. Tradition. Sylvia Plath has been lionized by a host of scholars and critics, by successive generations of poets and by an enormous readership. Her voice resonates insistently through postwar twentieth-century British poetics.
Larkin’s undoubted place as an important, beloved poet, and the supposedly limited nature of his verse, has served to isolate him – unlike other poets (e.g Ted Hughes) – Larkin’s recognised influences are few.
These ‘guilty’ influences, show Larkin to be a far more culturally receptive poet than he is often thought of as being. Why such evidence has gone unused or under-appreciated is considered here, as is an assessment of both Larkin’s defenders and detractors.
6 Νοε 2010 · Hughes was the tall, dark shaman embroiled in the suicides of his genius wife, Sylvia Plath, and his mistress, Assia Wevill. Larkin was the tall, lovable bachelor-librarian, the gloomy but droll...
