A Figure of 8

This poem follows the daily routine of a young child in education who has begun rebelling against the view of the world that he has been taught in school. The title could have multiple meanings: the child (persona) in the poem could be eight years old. It is also an infinity sign, and could present the idea of going round in circles; life is full of monotomy and routine. This could be relevant to the persona who appears to have a daily routine which primarily involved education.
     The school in which the child is educated is referred to as 'Mr Theophilus's jail', suggesting that he feels confined by his learning, and that it is simply society's expectation that he be educated. The classroom is described as being 'sun-striped', possibly symbolising the bars of a prison cell. Whilst in school 'the boy half listens to a story / of royalty-loving Christopher Robin.' This is a reference to a character from the popular childs' book 'Winnie the Pooh', suggesting that the persona is at a young age. These lines also depict the way in which 'Mr Theophilus' teaches the child patriotic, innocent lessons which deflect from the reality of the outside world. The fact that the persona 'half listens' could be a portrayal of how, no matter what we are taught in school, half of our minds will always work independantly and we will desire an obtention of knowledge through our own means. A comical tone is created through Abse's reference to 'Fatty Jones'.
     The second stanza shows the persona to be 'free, at last', portraying the extent of confinement which his school provides. Abse's positioning of a comma between the words 'free' and 'at last' exaggerates the persona's sheer desperation to get out of the school, which he sees as a 'jail'. Abse's very visual description of the child's actions as he enters the outside world also emphasise his happiness; he appears to feel elated as 'he jet-roars out of school' and 'soars between the Hs / of the Millennium Stadium'. Abse presents the division between childhood and adulthood as he talks of the boy metaphorically 'fl[ying] to Africa / to see naked women'. This portrays the child's mind fantasising about adult themes which are probably inappropriate for his age, elements which have been hidden from him at school. It appears that he is independantly crossing the boundary between childhood and adulthood, and grasping at the idea of being grown-up (as most children of that age do). This more adult tone is sharply and comically shifted back to one of immaturity and childhood in the final line of the second stanza: 'farts H2Ss.'
     The humorous, childlike tone of the poem changes in the third stanza. This stanza is short and obtains a dramatic edge, as the reader is told that 'someone has bombed the park.' This could be a reflection of how the persona's naivety and childhood are failing; he is becoming more aware of the adult world and the disasters which occur (all of which have been hidden from him by the teacher's innocent stories). This idea is continued through the first two lines of stanza four as Abse describes how 'Both the swings are on fire, / the empty see-saw is charred'. This destruction of childhood objects appears to suggest his naivety is being destroyed - he is no longer protected from reality. 'The wooden horses' which are 'running wild' could symbolise the persona himself, and how with age children in general become harder to control (they begin to think for themselves and realise what is going on outside of the textbook).
     The childlike tone is recovered slightly as Abse makes reference to 'the enemy' who 'is a brute' - this paints an image of imaginary games, as does the claim that '(a sorcerer has cast his spell)'. The boy then 'Safely ... comes home to base', creating a sense of protection and suggesting that, at home, he is hidden from the outside world, safe from the harm of reality. The final stanza shows the persona 'chalk[ing] across the garden shed / FUCK WINNIE THE POOH.' This strongly symbolises a rebellion against the stereotypes and conformities of society, and the naivety which the child appears to be sick of. The final stanza acts as a concluding, humorous revelation that the persona, and children in general, cannot be protected forever and are looking for ways out of the monotonous routine which they are trapped inside - but for a certain amount of time at least, they must be drawn back in their 'figure of 8'.

A Wall

'A Wall' is a short poem which presents the idea that we take many things for granted, and leave a lot of things unrecognised and unappreciated. It appears that Abse is enlightening the reader on how much we miss and do not notice, and how everything has a purpose and an identity.

     In the first stanza, Abse tells of how 'You won't find [the wall] named in any guidebook', highlighting the fact that this ordinary piece of brickwork goes unnoticed and unappreciated daily. However, he describes how 'No other walls are adjacent to it', depicting the fact that everything and everyone is unique and obtains their own identity. The wall 'Seemingly unremarkable', suggesting that there is more to things than meets the eye, and portraying how remarkability is masked by appearance. Abse describes the wall in question as being made up of 'Stones of different sizes, different greys' - this imagery is dull and unappealing, emphasising how appearance can be misleading, and possibly how people ignore things/other people due to their appearance.

     The second and final stanza shows the narrator warning the reader not to 'say this wall is useless, that the grass / On the shadow side is much like the other'. This advice seems to suggest that everything and everyone has an individual purpose and is unique, obtaining their own identity and having the ability to help others. The reader is given a list of the ways in which this particular wall aids and protects aspects of nature and the animal kingdom, such as the 'huddling sheep in the slanting rainfall'.

     This short poem presents a powerful message; Abse appears to be portraying how even the things that we do not appreciate and take for granted have a use, and we need to consider the beauty of everything, as beauty lies deeper than the surface which our eyes see. Everything is created with the purpose of bringing a new light to life in individual ways, and Abse is drawn to the wall because it is genuine.

The Death of Aunt Alice

This poem tells the tale of the narrator visiting the funeral of a lady named Aunt Alice, who is shown to be dramatic, eccentric, exaggerated and comically pessimistic. The poem explores themes of death, fate, family and irony. Abse creates a casual, slightly sarcastic tone, and this contrasts intriguingly with the underlying tones of death. The overall effect of the poem is a comical one, although the humour is dark and presents the serious message that death awaits us all, whether it be expected or unexpected.
     The first stanza presents Aunt Alice's funeral as being extremely ironic. It was 'orderly' and 'correct', contrasting with the 'high catastrophe' which she most 'relished'. The reader sees straight away that Aunt Alice was eccentric, and that the funeral which she received did not suit her. Her personality deserved an 'opera-ending'; the ending to her life should have been more extravagant to match the life she lived.
     It becomes obvious by the end of the second stanza that the narrator knew Aunt Alice very well, and was often present when she comically and ironically brought up her pessimistic views. 'You talked of typhoid when we sat to eat; / Fords on the M4, mangled, upside down, / just when we were going for a spin'. These observations made by Aunt Alice are ironic due to her bringing them up at the worst possible moments. They are also darkly humorous, but present the underlying message that death waits around every corner, and many of the daily events that we embark on without a thought (such as sitting down to eat or going for a drive) are possible passages to our deaths. It appears that Abse is presenting death as an unpredictable, often unexpected element, through the voice of Aunt Alice.
     'Such disguises and such transformations!' - this beginning line of stanza three could symbolise how we see everything as being beautiful and positive when we cover our eyes and minds from reality, but everything is not as it seems. By using an exclamation mark, Abse effectively makes the line sound sarcastic and comical. The narrator goes on to tell of how, to Aunt Alice, 'Even trees were but factories for coffins' - did Aunt Alice's character see the worst in everything, or did she just see the truth? Even things associated with beauty, such as 'roses', were seen through Alice's eyes as 'decoys to rip boys' eyes with thorns'. The fact that she 'relished on high catastrophe'  is emphasised through the narrator's observation of Alice's friends: 'none to bore you by dying naturally.' This is comical and obtains a slight tone of sarcasm. The word ‘SPECTACULAR’ is notably associated with commonness, similarly to ‘Fords’, and this emphasises the casual tone of the poem and possibly depicts the way in which Alice spoke of death in a very matter-of-fact manner - gore did not appear to phase her.

     In stanza four, the narrator goes on to talk of Alice's friends, naming them as 'A', 'B' and 'C'. By presenting a lack of identity and not using names, it could be argued that Abse is suggesting a lack of factuality within Aunt Alice's observations (maybe things aren't as pessimistic as she perceives?). This could also be interpreted as everyone is but a letter, and the same fate will eventually present itself to us all - therefore identity is somewhat meaningless. This stanza is highly comical, and Abse creates a tone of dark humour: 'C., so witty, so feminine, 'Pity / she ended up in a concrete mixer.'
     The tone shifts in the final stanza to something much less humerous and more sad: 'But now, never again, Alice, will you utter / gory admonitions'. By presenting 'tall stories' as Aunt Alice's 'eternity', Abse could possibly be implying that we must not focus on the unpleasant details and possible realities of life, or it will become all you are, all you talk about. It could be argued that he is suggesting it is better to enjoy life and ignore the possible paths to death, although they do very much exist in around every corner.
     The structure of this poem consists of five stanzas with six lines each. The structure is clear and ordered, echoing the fashion of the funeral. There is no rhyme scheme used, and this could depict Abse's view that death is unpredictable and unknown. The overall tone of the poem is somewhat casual with notes of sarcasm which contrast with the underlying theme of death and the many ways in which it looms over us.
     This poem could be linked to many of Larkin's poems as he frequently discusses death, but one that stood out to me as presenting a very clear link is 'Ambulances', which symbolises the inevitability of death and the common fear that it is just around the corner for us all.

Two Photographs

'Two Photographs' by Dannie Abse is a poem which explores the passing of time and how it erodes memory. It investigates themes of old-age, identity, time and memory, and Abse touches on how the past remains (or does not remain) in the present. Two photographs of Abse's grandmothers, Doris and Annabella, are used to stimulate the content of the poem.
     A description of each grandmother is presented in the first stanza. Annabella appears as 'slim', 'vulnerable' and 'Pretty', contrasting completeley with Doris who is 'portly', formidable' and 'handsome'. The reader sees straight away that the two women are opposites, possibly explaining Abse's later statement that he 'do[es] not think they liked each other.' This contrast is also highlighted through how the two invidividuals dress; 'Annabella wears a demure black frock with an amber / brooch' whereas Doris is dressed in 'a lacy black gown with a string of pearls.' This description presents Annabella as reserved and modest, possibly shy, whereas the 'lace' of Doris' dress holds connotations of seduction. The fact that our image of each grandmother is built up purely on appearance could portray the persona's disintegrating memory and how he can only conjure up a memory of his relatives based on the photographs before him.
     The separation of the first and second stanza seems odd, as the opening line of the second stanza is carrying on directly from the final line of the first. This could be a depiction of the division between the two women, emphasising the distance between them having any similarities. Abse goes on to state the location and date of ech photograph; each was taken in Wales, one in 'Ystalyfera' and the other in 'Bridgend' - we are not enlightened as to which grandmother lives where, further suggesting a lack of memory concerning details of the ladies. The final line of the second stanza again focuses on the dissimilarity of the grandmothers by making a reference to the familiar saying 'chalk and cheese': 'Both were told to say, 'Cheese'; one, defiant, said 'Chalk!'' Again we are not told which woman was 'defiant', and Abse leaves it up to the reader's individual judgement. Based on the descriptions previously given I am swayed to thinking that it was Doris who 'said 'Chalk!'' due to her appearing slightly more 'out-there' and Annabella being reserved and 'vulnerable'. However, this presents the question of whether personality matches appearance - it could be argued that Abse did not suggest who made this outburst to prompt the reader to consider this, and also to portray his lack of rememberance.
     The third stanza shows yet more contrasts between the two women, this time focusing on their characteristics and personality traits instead of appearance. Doris 'Ate pork!' - the shock depicted through the exclamation mark is due to followers of the Jewish faith being forbidden to eat pork as it was seen as 'unclean meat'. Dannie Abse was Jewish, as was his parents, and so his grandmother Doris most probably was too; this presents her as slightly rebellious and not willing to conform. Abse tells of how Annabella 'told Doris she was damned / indecorous', suggesting that she did not agree with her 'improper' ways and supporting Abse's opinion that they did not like each other.
     A sense of rivalry and competition between the grandmothers is depicted in the fourth stanza as the persona recalls a dream he had which presented the two women standing 'back to back, / not for the commencement of a duel / but to see who was taller!' From this moment onwards the tone of the poem appears to shift from being fairly light-hearted to sad and depressing. A stereotypical image of 'grandmothers' is created through Abse's description of 'buns of grey hair, of withered rose', and he tells of how this semblance now seems 'illusory, fugitive', as if his memory of the two ladies is dissolving rapidly and he cannot stop it. '(sieved through leaky curtains) / and disappears when and where that sunbeam goes' - these two lines appear to suggest how memories can disappear without warning, how the disintegration of recollection is unpredicatable and cannot be controlled. The words 'sieved' and 'leaky' could suggest time filtering the persona's memories and, as details get lost along the way, eventually it is only the 'two photographs' which can remind him of his grandmothers.
     The final stanza gives a depressing perception of death, and it could be argued that by questioning 'Of two old ladies once uxoriously loved, / what's survived?', Abse is suggesting that once you die you no longer make an impression on the people that once loved you, and eventually everyone gets forgotten. This view is pessimistic and sad, especially because the two sentimental photographs (the only remains of the women) show only the surface and present no depth concerning their personalities. In the final two lines it appears the persona is accepting the idea that the same thing will eventually happen to him too, with his 'children' and his 'children's grandchildren' forgetting about him as time passes until eventually it seems as if he 'never lived.'
     It could be argued that the irregular rhyme scheme echos the irregularity of memory and how the course of time can create an uneven rhythm of memory and recollection. The structure of the poem is also irregular - there is a different amount of lines in each stanza - and this gives it a strange appearance, looking unlike standard poems. This could possibly be a portrayal of the decievement of appearance and photography.

Imitations

'Imitations', like 'Sons', explores the relationship between father and son and the similarities between the two individuals. The poem appears to tackle themes of passing time, innocence, finding yourself and identity. The title could suggest the persona's son immitating him, or how teenagers in general appear to immitate other people when young and find it hard to find themselves individually.
     In the first stanza, Abse uses a caesura to separate 'my son and I' from 'The other side of the glass' - this could symbolise the division between the persona and his son or, more generally, old and young, and the reference to different sides of 'the glass' could also present this idea. Abse uses caesuras frequently within this poem, possibly to reinforce this interpretation.
     Abse then uses an odd reference to 'snowflakes' which fall during a 'surprised April.' It is strange and unexpected to experience snow during springtime - this could be interpreted as a presentation of the idea that the world is unexpected and forever changing, just like an adolescent. It could symbolise the way life throws surprises at you. This interpretation links effectively with Larkin's 'First Sight' and especially the phrase within the poem: 'Earth's immeasurable surprise'. The 'whitewash'  of snow could also symbolise innocence and purity, and this could suggest that the persona's son - at the age of 16 - is unspoilt, and is yet to be corrupted by things that come with maturity and the passing of time. The snow also creates an image of something blank and unmarked, as if the son in the poem has not found who he is yet due to his youth, and so 'imitates' what he sees around him.
     The persona describes his son as 'an approximate man.' This suggests that he has nearly matured into a 'man' but is not quite there yet; this could be a presentation of his son grasping at maturity but not fully obtaining it (similar to 'Sons'), and how he is acting older than he is in the way that teenagers do when really, underneath this 'imitation', he is still a child. The persona also describes his son as 'my chameleon, / my soft diamond, my deciduous evergreen.' A fond, loving tone is created here and the persona appears as if he relies on his son - this is the reverse of normality, as it is usually the son who relies on their father. The persona's descriptions also hold connotations of disguise, and this could possibly be a portrayal of the son masking himself with a faked maturity when really, underneath this pretence that most teenagers undertake, the persona knows what he is really like.
     A comical tone of disgust is created in the second stanza as the persona talks about his son listening to 'pop forgeries of music'. This could depict the persona looking back nostagically upon the music of his era that he used to love, and comparing it with light-hearted distaste to the modern music which his son listens to. This interpretation creates a sense of division between young and old, father and son. However, this phrase could be taken literally when looking at the next phrase: '- how hard it is to know'; the father could be discussing his son's illegal downloading of music and how he is unaware of the extent. This could be linked to how he doesn't always know what his son is doing - their is a sense of concealment and mystery regarding the life of his son. This point is carried on as he presents the possibility that his son could be 'dream[ing] of some school Juliet I don't know.'
     Towards the end of the second stanza 'a blur of white blossom, whiter snow' is said to be 'gusting suddenly, despite a sky half blue'. This could again suggest the unpredictability of nature and how time is passing at a fast rate; everything is constantly changing and we, as humankind, have a lack of control. The presentation of a 'sky half blue' could be similiar to a 'cup half full' - it is possible that Abse is depicting the division between optimism and pessimism, or how things may seem good but there is always a dark cloud on the horizon. The 'blur of ... snow' again presents the idea of a blank slate and an innocence which remains until age and time corrupt the youthful.
     The final stanza obtains a nostalgic tone as the persona tells of how he is 'elsewhere and the age my cool son is, / my father alive again (I, his duplicate). He appears to be remembering his past in relation to his son's present, and considering the fact that his son is alike to him in the same way that he was alike to his own father. He describes 'his high breath, my low breath, sticking to the glass', and this creates a touching image of tall and short, old and young - father and son.
     '... two white butterflies stumble, held each / to each, as if by elastic, and pass.' - it could be argued that the two butterflies symbolise the relationship between father and son, and how no matter what happens it will always be a pure relationship that is unbreakable. The fact that Abse uses 'elastic' to describe the bond between them could suggest that despite the persona's son attempting to move away and find himself on his own, he will always be brought back to his father due to family/blood relations.

Sons

This poem explores the relationship between father and son. It also follows themes of growing up, youth and adolescence, the passing of time and the past itself. The persona in the poem appears to be looking back on his youth with perspective, and considering how alike his son is to his own adolescent self. The similarities between himself and his son make his remember things about himself when he was his son's age.
     The first line of the first stanza uses sibilance and alliteration; 'Sarcastic sons slam front doors.' This creates an almost jokey tone as if the persona finds his son's 'mood swings' slightly amusing. Abse goes on to describe how his son's actions make him think of 'Cardiff outskirts where, once, captured acres played / at being small tamed gardens...' Here we see the persona remembering and reminiscing his own youth, and this memory suggests a childlike, imaginitive game where he possibly was pretending to own a house and garden of his own (faked maturity?). 'Now my son is like that, altering every day'; here the reader gets the persona's direct opinion that his son is very much like his adolescent self. We also gather the impression that his son is forever changing, physically and mentally, maturing and growing with the passing of time. This presents the idea that nothing stays the same, just as the persona in Abse's poem is looking back on his youthful self as an almost seperate indiviual to his current person.
     In the second stanza, the persona describes himself as being alike to 'those new semis that seem ashamed', as well as his son. This seems an odd comparison to make, and could possibly be seen to suggest a sense of feeling out of place, standing out in an area that makes him feel as if he does not belong. This interpretation is strengthened in the following stanza in which Abse makes a reference to 'London', where his son is currently slamming a door, and then to 'Cardiff', Abse's hometown. This creates a sense of discomfort and unfamiliarity, as if he sticks out like a 'new semi' in London due to his cultural identity.
     'At the frontier of Nowhere order and chaos clash': this could be a presentation of adolescence and a wish to 'find yourself' when you're young. An emphatic, understanding tone is created as the persona questions 'who's not lived at the frontier of Nowhere' - it appears that the persona is acknowledging things in his son that he has already experienced for himself. By giving it a capital 'N' Abse presents 'Nowhere' as a place, giving the impression that it is somewhere everyone has to visit before eventually finding 'Somewhere'. Abse's juxtaposition of the two opposites 'prim and brash' at the end of this stanza could portray a teenager's changing emotions and altering moods. It could also suggest a sense of wanting to be independant and looked-after at the same time, and wanting to be mature but in reality still being young. The question mark used after this juxtaposition could depict the uncertainty of being an adolescent.
     The reader experiences a philosophical shift at the beginning of stanza four which is very much alike to Larkin: 'Strange a London door should slam / and I think thus, of Cardiff evenings'. We are again reminded of how the persona's son takes him back to his own past, prompting him, almost forcing him, to remember his youth. A childlike, imaginative game is again presented in the fourth stanza as Abse describes a Cardiff-based memory of 'ruins where ghosts abide.' He also uses another comparison, this time of 'Anglo' and 'Welsh' - 'half town, half countryside.' This use of yet more opposites could be a reference to the persona's son not knowing how he is yet, as if to himself he feels 'nameless'. The word 'Awkward' creates a further sense of dis-belonging and not fitting in, both concepts which the majority of teenagers struggle with.
     The fifth stanza sees the persona exclaim: 'Son, you are like that and I / love you for it.' These lines powerfully enforce the understanding, emphatic tone of the poem, presenting a good relationship between father and son. 'In adult rooms / the hesitant sense of not belonging quite'; this could be a presentation of how his son is trying to clutch at maturity but does not obtain it yet, and how he is 'hesitant' in accepting he is still just a child, trying desperately to act older than his age.
     The last three lines of this final stanza appear to be a warning from the persona to his son: 'Too soon maturity will switch off your night, / thrust fake electric roots, the nameless becoming / wrongly named and your savage darkness bright.' The persona is looking back on his own past with perspective and possibly seeings his own mistakes/regrets be relived through his son. '...the nameless becoming wrongly named' could suggest that his son is 'getting in with the wrong crowd', or being led down the wrong path. This ending is slightly pessimistic as it seems to be stating that the son's fate is doomed to follow that of his father. However, the final two words - 'darkness bright' - are oxymorons, and this could be a final representation of how, although they are very similar, the persona and his son will always remain different people, and could therefore have very different fates.
     This poem links nicely with many of Larkin's poems: these include 'Dockery and Son', 'Love Songs In Age' and 'Reference Back'.

In the Theatre

This poem explores 'A true incident' which occured 'in 1938, in Cardiff'. Dr Wilfred Abse, a doctor and Dannie Abse's brother, assisted a leading surgeon in locating a brain tumour on a patient who was under 'local anaesthetic', and was therefore 'fully awake throughout the operation'. The poem appears to consider the place of the soul within one's body, and the division between soul and brain (if there is one).
     Wilfred's account of the operation drifts into Dannie's poem throughout, blurring the line between truth and untruth, as well as conciousness and unconciousness. This haziness could echo the unknown element of a person's 'soul' and where it lies, as well as if it is seperate, or connected to, the brain. The poem obtains a mysterious quality; the reader has to make a judgment on whether the patient cries out as a reaction against the surgeon prodding his brain, or whether he speaks because of it.
     Free will is shown as being abandoned in the first stanza; the patient is described as 'blink[ing] again and again / because of the fingers of Lambert Rogers', making him appear as a puppet-like 'dummy'. This manipulation is shown again in the fourth stanza when the nameless patient speaks with a 'ventriloquist voice', portraying how these haunting words appear to be controlled by what is happening to his brain. This could also suggest a division between soul and brain, echoing the idea that each think/feel different things. It could be argued that this division is also reflected through the separation of 'Sister saying' and 'sister thinking'. Abse's continual reference to the 'soul' implies something different than neural processes.
     Roger's fingers are described as moving 'rash as blind man's, inside his [the patient's] soft brain.' The word 'rash' makes Roger's actions appear frantic and unsafe, and the description of the patient's 'soft brain' is grotesque, whilst obtaining a matter-of-fact tone which makes the incident even more sinister. Lambert Roger's becomes even more 'desperate' in the second stanza as the growth begins 'ticking its own wild time'. This suggests that time is running out, and the procedure is being carried out under extremely stressful and frantic circumstances, adding to the tone of 'horror'. As the operation continues 'more brain [becomes] mashed because of the probe's braille path'. This is Abse's second reference to lack of eyesight, and it hurls the reader into suspense as the procedure appears increasingly dangerous and unprecise, whilst the prospect of success/recovery decreases simultaneously.
     The third stanza shows the patient crying out: 'You sod, / leave my soul alone, leave my soul alone,'. This appears to be a reaction to the 'cracked record in the brain', although the reader is prompted to question where the soul is placed and if the brain connects to it. The word 'cracked' could further suggests divisions and separation between brain and soul/self. This grim exclamation 'petrifies' the onlookers and Rogers draws out 'the probe'.  The patient's voice is describes as 'arctic' and 'odd', making him sound almost inhuman and creating a horrificly sinister image of the scene.
     The final stanza of 'In the Theatre' shows the patient's words 'blur and slow' as he begins to die. The word 'slow' suggests the slowing down of the patient's organs and breathing. This hazy final scene is portrayed through the structuring of his last utterance: '...leave ... my ... soul ... alone ...' This last bit of speech 'cease[s] at last when something other died'; it could be argued that through this phrase, Abse is implying the soul lives on even when the body dies/organs stop functioning. When the patient dies, 'silence matched the silence under snow' - this phrase holds connotations of graves and death.

The Boasts of Hywel ab Owain Gwynedd

The title of this poem refers to Hywel who was a Welsh warrior-prince and poet. He was the first to develop the courtly love lyric in Welsh; amongst his eight compositions is a gorhoffedd, otherwise known as a 'boasting poem', which expresses his love for his country. He was the son of Owain Gwynedd and played a major part in the occupation of Ceredigion (Cardiganshire) by the house of Gwynedd. This connects with the poem because the speaker is boasting about all the different women who he has 'been with' in the space of only a week.
     The first stanza tells the reader of Sunday's to Wednesday's women. A boastful tone is created straight away in the first line as the speaker refers to his use of 'skilled ... zealous verse'. He describes the first as 'my busty next', showing what he can see and not what he can feel. There is a clear emphasis on the woman's physical attributes, instantly portraying the persona as superficial, objectifying and slightly crude. He makes a reference to her 'whiteness', depicting her to be better than 'pear blossom'. The colour white holds connotations of purity and innocence; this contrasts with the brash tone of the speaker.
     Abse states that 'Not to love' Tuesday's woman would be a 'sin' - although love is mentioned here, it perhaps refers to her physical appearance and actions and is not based on emotion. Her name is 'Gwladus' - this is a Welsh girls name which means 'Lame'. This is degrading and disrespectful, further suggesting that the persona is using the woman instead of obtaining feelings of love towards her. The speaker appears flirtatious and a tease as he tells of the second lady's 'pigeon-coos', and how he 'woo[s]' her until her cheeks 'flush like rosy apple skin'. Abse uses the word 'thrust'; this creates a sexual tone and sounds slightly rough, making the intercourse appear very separate from love.
     Wednesday's lady is called 'Generys' - again, this is a Welsh girls name and means 'mistress', possibly even more degrading than 'lame'! The speaker tells of how he uses 'Dry old hymns... to please / her.' This suggests that he finds the hymns extremely boring, but he would go to any extent to make a woman fall for him. This presents the persona as having low morals and shallow values. It only takes 'One small cherry-englyn' (a traditional Welsh short poem form) for 'Hunydd' to become the speaker's 'devotee.' This sounds demeaning and undignified, as if the woman is very naive and easily tricked by the persona's manner of deceit. This tone is continued into the next line, which describes 'Hawis' as his 'epic regular'. This phrase could suggest that it is normal, everyday women who fall for the speaker's 'poetry of endearment'.
      Abse uses language referring to flowers and nature to describe his Saturday within which the persona 'score[s] and score[s].' The words 'orchard' and 'efflorescence' suggest prosperity, joy and flowering; he obviously feels a great thrill from having so many different women, and enjoy sexual intercourse with each one. The speaker goes on to hope that 'her name stay secret for her husband's sake'; this presents the fact that he goes for married women as well as those who have no romantic attachments. He appears to feel a smug sense of accomplishment, even though what he is doing is deceitful and immoral.
     The final stanza refers to 'lick[ing] up juices' - this sexual innuendo expresses the persona's passion and suggests he can have whoever he wants, and do with them as he wishes, as long as his 'busy tongue keeps / quiet.' This also strengthens the importance of both him, and the women he is sleeping with, keeping 'quiet' - not only so that their husbands don't find out, but so the individual females don't become aware of the fact that he is 'sleeping around'.
     The structure of this poem is simple yet out of the ordinary; each stanza has a different number of lines which creates an 'awkward' layout. The words 'her' and 'quiet' each stand alone in separate lines, focusing the reader's attention on them; these words are significant as the poem explores his different women and how it is vital that they, and he, keep quiet about the situation. There are a lot of end stop lines present in 'The Boasts of Hywel ab Owain Gwynedd', along with enjambment and caesura. This allows the speaker control of how the poem is supposed to be read.
     'Love', 'betrayal, 'unfaithfulness' and sex/passion are all themes which this poem explores. He shows love for each women differently, uses the women, does not stay with one woman and has sexual intercourse with each. It is also clear that the persona relies on elements of literacy to obtain the women; Abse makes reference to 'couplets', 'hymns', 'englyn', 'poetry of endearment' and 'eulogy'. It could be argued that Abse is portraying how powerful literacy can be, and how a vast majority of poetry and music revolves around themes of love.

Welsh Valley Cinema, 1930s

This poem appears to explore the division between reality and fantasy; the cinema symbolises the dream-like imaginations of the 1930s population who were suffering terrible hardships. The 1930s saw a time of great social and economic depression, and the cinema seems to offer a form of escapism in 'Welsh Valley Cinema'.
     The opening stanza presents reality as disappointing and gloomy straight away; the words 'slums', 'pit' and 'darkness' all present the persona's surroundings as morbid and poverty-stricken. This is then juxtaposed with the 'lordly stout' cinema. It is describes as being 'grand...', 'boasting' and 'gaudy-bright' - this language presents the cinema as an almost beacon shining against the dull monochromes of reality. It is clear that the cinema provides a complete contrast to the lives that the viewers are living; it acts as an escape into a world of light and glamour.
     The ending of the second stanza describes the cinema as 'disappear[ing], a dream underground.' This presents the dream-like fantasy of film to be unattainable and unreachable; it is there to watch and observe, but never to keep for your own (the viewers will never own the lifestyles of the characters within the films). The word 'dream' portrays the fact that it is merely a diversion from reality, and it must come to an end eventually when the crowd will be faced once again with reality. This could be a suggestion from Abse that all things pleasurable come to an end, and we must endure the hardships of life with the odd diversion - this gives a very pessimistic tone to the poem.
     A reference is made to 'silicosis' in the third stanza; this appears to be a theme within the poem as Abse also mentions 'ronchi' and 'asthma'. These lung and breathing-related diseases hold connotations of smoking, and could represent many things; one interpretation of these references could be that films glamourised cigarettes and smoking whilst never portraying the dangers (in the 1930s), and so the consequences of smoking on the viewers yet again displayed the fact that their lives would never match up to those shown through the medium of cinema. Another interpretation could be that the diseases symbolise the gruesome harshness of reality, strengthening Abse's point that life is a hardship and will never be dreamlike or film-like. It could also be a depiction of the era; during the 1930s, the damages of cigarettes were not completely known and certainly not as publicised as they are now. This continuation of smoking despite the damages could be portrayed through the phrase: 'And still the Woodbine smoke swirled on'.
     By describing the viewers as 'shoeless' in the third stanza Abse emphasises the poverty which they suffered. This point is strengthened in the last line of this stanza: '(No flies on Cary. No holes in his socks.)' Here he is making a reference to Cary Grant who was a famous actor in the 1930s, and this sarcastic phrase points out how different the film-world is from reality, emphasising again how unattainable it is and how they do not have to suffer the hardships of the viewers - they . There is mention of 'glycerine tears' which suggest the film stars as being almost inhuman, and 'an elegance of chandeliers' depicts the glamour and wealth which the viewers' lives are lacking. This phrase contrasts strongly with the 'flies' and 'holes in ... socks'.
     The final stanza shows 'THE END' of the cinematic production - 'of course, upbeat.' It could be argued that Abse is showing how our minds are filled with images and films of perfect lives, glamour and wealth, but in reality this perfect ending will never come - life is hard and the 'upbeat' endings of films are lies. This links in with two of Larkin's poems which follow similar themes; 'Essential Beauty' and 'Sunny Prestatyn'. The gloominess of reality is depicted with strong descriptive imagery in the closing stanza; the crowd are 'glum' as they troop out into the 'unemployed, gas-lamped street'. He describes them as stepping out into the 'trauma of paradox'; the contradiction of the dreamlike world of cinema and reality is shown through this phrase. The crowd are dreary as they are met once again with reality; there is a tone of pessimistic gloom. He also describes this reality as a 'familiar malice', portraying the fact that this miserable actuality is all too comfortable, as if the persona as those around him have fallen into a depressing routine. The word 'malice' could also suggest that the world is cruel and those inside it intentionally harmful. It could argued that the reference to the 'striking of the small Town's clocks' in the final line is a presentation of death and how it is inevitable - everyone's time is coming, everyone has an individual ticking clock for themselves, and this ends the poem with an extremely pessimistic tone.

The Game

This poem compares the game of football to the Faust Legend. The Faust Legend obtains the concept that knowledge comes with a terrible price; a man wished to know everything, and so made a pact with the Devil that one of his demons (Mephistopheles) would be his servant for twenty-four years and give him all his knowledge. After this twenty-four years, the man was taken to hell by the Devil and stayed there for eternity. This links to the poem as 'The Game' follows a theme of corruption. Religion, sport and the passing of time are other themes which the poem follows.
     Throughout 'The Game', Abse presents his home team (Cardiff City) as the side of God; he does this by using angelic phrases to describe them, such as 'cherubs'. He presents the opposing team as the side of the Devil by making references to the Devil himself and 'Mephistopheles'. The first two stanzas give an impression of the scene; an strong image of the stadium is created with its' 'goal posts' and 'brassy band' where 'a hundred matches spark.' The second stanza holds a reminiscent tone as the persona 'recall[s] records' and 'the old songs'. Abse also makes references to 'Fred Keener' and 'Hardy', both legendary players for Cardiff City. He gives the crowd animalistic features; he describes it as an 'injured beast' which 'roars', giving the reader an impression of its' incredible mass and portraying the violence which can occur over football games. These phrases depict the savageness of football, and how the fans turn almost into animals with their pride; an image is created of their immediate urgency to see their team obtain victory.
     The third stanza sees the game begin, and religion is used to describe much of it. He describes himself and the other fans as 'cheer[ing] the Good' and 'hiss[ing] at passing Evil.' The players are described animalisticly in a similar way to the crowd; Abse tells of how they 'howl for blood'. By using this phrase he presents the game as a matter of life and death, portraying how important football is to many people and how victory becomes a vitality, not just something trivial. There is a reference to corruption at the end of this stanza; 'Demons have agents: the Referee is bribed.'
     Half-time is signaled in the fourth stanza with an impressive save from the opposing goal-keeper; 'Satan rose / higher than the others in the smoked brown gloom'. This phrase uses strong imagery of the setting with Abse creating a formidable tone through the word 'gloom'. He applies yet another reference to religion, and it could be argued that Abse is comparing sport and faith to suggest that humankind worships 'The Game' in the same way that others may worship a God - it appears to be a significant part of his life.
     Nostalgia creeps in to the fifth stanza, and Abse describes 'Memor[ies]of faded games' as he and the crowd reminisce. '...the band played the same military airs / as when the Bluebirds once were champions', and this suggests that although many things change with the passing of time, the past is still remembered and filters in to the present; things that have become memories, such as past football victories are not forgotten, and this again shows the importance of sport and how it is a significant part of many peoples' lives.
      In the sixth stanza the game recommences. The caesura used in the final line suggests urgency as if the game is hitting its' peak and every move counts: 'Heads up!' Reference is made to 'Ted Drake' and 'Dixie Dean', both rivals Southampton, Arsenal and Everton. The 'forwards scheme' mentioned is the area of the pitch where strikers and forwards play (near the goal). The Faust Legend is referenced again in the seventh stanza, and it could be argued that Abse is comparing 'Faust [that] must pay that fee' to the fans that have become too arrogant of victory, too sure in their knowledge that the Bluebirds would win the game.
     The final stanza produces a strong image of the 'Silent...stadium' where 'Only the pigeons beneath the roofs remain.' There is a sense of loss and sadness, and a disappointed realisation of the outcome of 'The Game'. Abse uses pathetic fallacy to depict this: 'natural the dark, appropriate the rain'. He describes the newsboys as 'threatening', suggesting hurt pride and a sense of embarrassment at the thought of the rest of the world knowing his team lost. This could also be a reference to the gaining of knowledge, linking to Faust; sometimes it is best for certain areas of knowledge to remain unobtainable, as they come at a price (in this case, humiliation).
     The structure of this poem is nine stanzas long and has an iambic pentameter, with an 'ab' rhyme scheme - this regularity contrasts with the uncertainty of a football game.

Return to Cardiff

'Return to Cardiff' is about Abse returning to his hometown when he is grown up. The poem explores the journey from childhood to adulthood and the significance of time; how it changes a person's perspective and creates memories which fade into the past. The tone of the poem is sad and slightly depressing - Larkin looks back upon his up-bringing in Cardiff as being almost false, his childhood-self unaware of the reality of his future and what time was to bring.

     Abse describes Cardiff, his hometown, as holding his 'First everything'; he experienced his 'first / cigarette' and 'first botched love affair' within the walls of the city. It appears that Cardiff holds the majority of Abse's milestone memories - the firsts that he describes are important factors of childhood, possibly regretful learning curves. Abse's use of short sentencing and a caesura makes the sentence 'First everything.' seem dramatic and significant, echoing the importance that these childhood memories hold for him - they are sentimental. He also describes 'Faded torments' suggesting that he was bullied at points within his youth, the word 'Faded' holding connotations of scars - the isolation which he 'indulg[ed]' in effected him in such a way that, although now fragments of his past, he still remembers the events.

     The first line of the second stanza holds a slightly mocking tone: 'less a return than a raid'. It appears that Abse is poking fun at his immaturity and anticipation for the future when he was a child, suggesting that his opinions and views have altered with the passing of time, and he has become more knowledgeable about the reality of life. 'Of course the whole locus smaller' - Abse could be making reference to how a child sees everything as big, new and exciting, and with age comes the sad realisation that things are not as we 'dream' them to be, but instead appear as 'toy facade[s]'. This suggestion that maturity brings on a bleak view of reality is also presented in Larkin's poem 'Home Is So Sad', which also looks back upon the past as a happier time.

     The third stanza opens with an image of 'Unfocused voices in the wind, associations, clues, odds and ends...' This adds a slight confusion to the tone of the poem; it is as if Abse is clutching at the memories of his past, but with time has come a new perspective and now he finds the truth difficult to find (his childhood is presented as a falsity due to him being naive and unsure of the truth at the time). The lack of identity given to these 'voices' and the vagueness of the phrase 'odds and ends' suggests that Cardiff has become unfamiliar to Abse - it  no longer is what he is used to, no longer home. This interpretation is supported in the final line of the fourth stanza: '...a city of strangers, alien and bleak.'

     The disappointment of reality is strengthened in the fourth stanza when Abse contrasts Cardiff as 'what [he] wanted it to be' with 'what it unashamedly is'. His hometown is presented as a disappointment, a place which, with time, has become 'alien and bleak'. Abse uses the word 'Illusory' to describe some childlike settings and memories which contrast with the 'real' elements of the present Cardiff which he has revisited, such as the 'smell of ripe, damp earth when the sun comes out, / a mixture of pungencies, half exquisite and half plain.' It could be argued that this contrasting mixture represents Abse's 'exquisite' childhood memories of imagination and adventure contrasting with the 'plain', disappointing reality of the present life he has found himself living.

     The final stanza presents Abse's 'other Cardiff' as disappearing (this probably being a reference to the Cardiff which he saw from his childhood perspective), and he describes how 'the boy [he] was not and the man [he is] not / met, hesitated, left double footsteps, then walked on.' It appears that Abse is separating his childhood-self from his adult-self, as if he has become a different person to who he was as a child. He not only presents disappointments within factors of his life and his surroundings, but also with himself: 'the boy I was not and the man I am not'. This suggests that he sees himself as a failure - he was not who he wished to be as a child, and is not who he wishes to be now. This ends the poem with a depressing, pessimistic tone. 

Down the M4

This poem explores the passing of time and how death is inevitable; just like the journey which Abse finds himself on as he travels 'Down the M4', the destination of death awaits us all. The tone of the poem is depressing and slightly downbeat, and it appears Abse is remembering the past as a much happier time - this is similar to many of Larkin's poems, such as 'Love Songs In Age'.
      The first word of the poem screams out at the reader due to Abse's appliance of an exclamation mark: 'Me!'. This begins 'Down the M4' in a dramatic way, and suggests sarcasm as the rest of the line is read: 'dutiful son going back to South Wales...'. Abse tells of how his mother's friends are now often 'disrobed' - this could suggest madness/dementia, and creates a degrading image of the elderly women in question. He goes on to explain how his 'aunts and uncles, too, go into the hole, one by / one.' This could be interpreted in two ways; it could be argued that Abse is symbolising the graves, and therefore deaths, of his family members through the phrase 'the hole', or he could be saying they too are beginning to lose their minds through old age. The final line of the first stanza describes how 'The beautiful face of [his] mother is in its ninth decade.' - this further reference to time and age holds a sad tone, as if Abse is regretful, almost mournful of the fact that his mother is ageing.
     Abse describes his mother's stories as 'monotonous' in the second stanza. This use of language makes the tone even duller and more depressing as the reader begins to see that Abse's visits to his 'beautiful mother' have become more of a chore than a pleasure - he is being 'dutiful'. He feels his hair 'turning grey' as he listens to her; by portraying himself as a vision of old age, Abse strengthens the idea that death becomes closer for everyone each day. The phrase also suggests that the monotony of his visits to his mother, and the repetition of their conversations (most probably due to her lack of memory which is a by-product of old age) is ageing him, not just time itself. Again, this presents the visits as duties and not events which he looks forward to.
     The third stanza makes reference to identity and religion, two common themes within Abse's poetry. 'the village' are presented as a voice of discrimination: 'Tell the truth,... / you're no Jewess.' This suggests that society did not accept Abse's mother's mother's identity and accused her of lying, highlighting the prejudice which Abse and his family were faced with. His emphasis on the words 'They're' and 'You're' portrays the isolation which she felt; she was not part of the majority and stood apart from the rest, similarly to Abse's childlike self in 'Red Balloon'. The fact that he is discussing his 'mother's mother' could be a presentation of how the language is dying out too.
     The final line of this poem is negative and depressing: 'It won't keep.' Abse appears to be making reference to the tune he is humming; it could be argued that this 'tune' is symbolic of his mother's life, and how it is not permanent, as is no other life. This idea that nothing lasts could be linked with Larkin's 'Love Songs In Age' which explores the way in which love is not permanent and does not 'solve' or 'satisfy'.
     The layout and structure of 'Down the M4' is visually intriguing on the page, and could be representative of many different things. It could be argued that the contrast of long, complex sentences with short lines echoes the way in which a road (such as the M4) can have long, straight stretches before being met with short, snappy corners or turnings. This interesting structure could also be a possible depiction of how one's life span can be long or short; death reaches us all, and we do not know when it will arrive.

Red Balloon

When researching this poem, I found that the symbolism of the balloon in question has been interpreted in many different ways; for example, it can be seen as representing happiness and confidence, and the importance of keeping these two things alive. However, in my opinion (and in the opinion of others), the balloon itself is symbolic of Abse's Judaism - it represents religion and identity, and the poem shows how these two things are often challenged throughout a person's life.

    The first two stanzas give a description of the balloon's journey towards Abse as it 'sailed across the startled town, / over chapels, over chimney-pots,' before he possessed it and polished it until 'it shone like living blood.' Abse's use of the word 'startled' could possibly suggest the fact that Judaism was not something Cardiff - the town in which he grew up - was used to or familiar with; it was something to be shocked by, something out of the ordinary. The repetition and alliteration used in the second line of the first stanza creates a childlike persona, which is very effective as Abse is talking about his childhood in this poem. The phrase 'living blood' is a juxtaposition - it creates a shocking, slightly sinister tone which creates a foundation for the rest of 'Red Balloon'.

     'It was my shame, it was my joy' - the opening line of the third stanza could reflect the way in which Abse's religion became everything about him, bringing him positivity and negativity all at the same time. It could be argued that this line shows the reader how Judaism was a huge part of his life. Abse then describes how 'From all of Wales the rude boys came, / it ceased to be a toy.' The phrase 'rude boys' suggests isolation and intimidation, and the next line could possibly represent how Abse was beginning to understand what his religion meant, and with this knowledge it became significant - it was no longer just a word.

     In the fourth stanza, Abse refers to the balloon as '...my balloon, my red balloon'; this use of a possessive pronoun depicts how protective he was over his religion, and although it appears to have made him vulnerable at times (as seen later in the poem), it made him strong and he felt possessive of his uniqueness. Abse then tells of how his balloon 'soared higher like a happiness', and it could be argued that this echoes his emotions. This stanza could be seen as portraying the positive effects of his religion; it was not just something that brought on bullying and discrimination, but also something which inflicted happiness on Abse and consolidated his identity. This interpretation is strengthened in the first two lines of the next stanza: 'Nine months since, have I boasted of / my unique, my only precious'. He appears proud of what isolates him and sees his religion as something which sets him apart, makes him special.

     However, the next half of this stanza change the tone of the poem; 'but to no one dare I  show it now / however long they swear their love.' This suggests a shame and shyness which contrasts with Abse's previous boastfulness. This echoes the first line of the third stanza, which also contrasts 'shame' with 'joy'. Again, Abse appears to be portraying how Judaism made him feel a wide variety of emotions. This presents religion as a very powerful, life-altering force. 'however long they swear their love' suggest that Abse has a lack of trust in people, even those he is close to; when reading this line it raised the question: who/what created this insecurities? This is partly answered in the seventh stanza, where Abse tells of someone exclaiming 'Your red balloon is a Jew's balloon, / let's get it circumcised.' This language is degrading and vulgar, and extremely disrespectful towards Abse's religion. It gives the reader an insight into the more unpleasant side of the religion he followed which made him 'unique', and suggests that he was bullied and discriminated because of it.

     The eighth stanza provides the reader with some vivid, deeply unpleasant descriptions of 'the boys' attacking Abse's balloon; 'some lunged, some clawed at my balloon'. This could be interpreted as Abse being physically or verbally attacked due to his religion. He then goes on to state how 'still it did not burst' - this emphasises how it is fragile yet he gives it strength, just like his pride in his religion makes him strong and protects him against the discrimination which he is faced with. 'Give up, give up your red balloon' - this repetition makes the statement sound taunting, unfriendly and aggressive. The line could be symbolic of society putting constant pressure on Abse to change his religion.

     The language used in the final stanza creates an extremely childlike and vulnerable tone; 'Father, bolt the door, turn the key, / lest those sad, brash boys return'. A frightened, innocent persona is created, in turn constructing a sad tone which evokes sympathy from the reader (towards Abse). 'to insult my faith and steal / my red balloon from me' - these last lines separate faith from the balloon. This could be seen as the balloon in fact representing happiness, which is consolidated through his right to live peacefully within the religion which he has chosen to serve. The fourth stanza supports this interpretation: 'my red balloon, / soared higher like a happiness'. 

     The themes which this poem follow are religion, isolation, prejudice, Jewish and Welsh partnerships, and identity. 'Red Balloon' could be linked to some of Larkin's poems, these being 'The Importance of Elsewhere', 'Water' and 'As Bad as a Mile'.

Leaving Cardiff

This poem by Abse is about the journey from Cardiff, his hometown in Wales, to London, where he makes the move away from home for the first time. The tone of the poem is one of sadness and loss, and it becomes very clear that Abse's feelings about leaving Cardiff are not ones of positivity or happiness. The first stanza ends with a line which portrays a sense of neglect; the docks are described as having 'derelictions' from which Abse 'prepare[s] to sail from'. The word 'derelictions' makes it sound as if the docks of Cardiff no longer care for Abse, and are neglecting him, instead of him neglecting them.
      The second stanza obtains strong imagery which is consolidated through descriptions that bring the setting of Abse's poem to life for the reader. The waves below him are described as 'slack hammocks', making them sound calm, peaceful and comforting, possibly suggesting that the seas of his hometown held him safely and he is about to be exposed to rougher waves (London) which are unfamiliar. He goes on to describe how the 'black shapes upon the pier / make the furthest star seem near.' This could be seen as portraying the way in which the elements of Cardiff which Abse has grown familiar with, and loves dearly, suddenly aren't clear anymore; they are just black shapes as they become more absent, yet they still hold comfort and a sense of belonging ('make the furthest star seem near').
     The third stanza describes how 'the funnels negations blow'. This suggests an absence of positivity and creates a sad tone, strengthening my opinion that Abse does not want to leave. This becomes concretely clear throughout the rest of the stanza; he tells of his 'eyes, like spaces, fill[ing]'. It appears that he is almost mourning the loss of his hometown - as it will seem lost to him, or him lost from it - and the word 'spaces' suggests a feeling of emptiness.
      In the fourth stanza, Abse uses a phrase which is slightly unclear/confusing, and could be interpreted in many different ways: 'For what who would choose to go / when who sailing made no choice?' My interpretation of these two lines is that Abse is telling the reader of his lack of choice in leaving Cardiff; it appears that he is being moved from his hometown by something other than will and want of a different future, and that he does not want to go. His emphasis on the word 'who' suggests a lack of identity, as if by leaving Cardiff he is losing his identity/a part of himself. He then goes on to explain how he knows he cannot 'be the same man twice.' Again, many different interpretations could be made about this phrase, but in my opinion he is suggesting that he cannot be the same man in London as he previously was in Cardiff. It could be argued that Abse is portraying how he will have a different cultural identity, and will therefore be a different person.
     The final two lines of this poem create a tone of new beginnings mixed with the sadness of moving on from the past: 'the boats under the hill / of Penarth unload and move on.' These boats could possibly be symbolic of people (maybe even Abse in particular), and how humankind often uproots and moves on to someplace new.

Ambulances

'Ambulances' explores death, and the way that it will eventually reach everyone, just as ambulances visit 'All streets in time'. Like some of his other poems, such as 'Faith Healing', Larkin makes reference to religion. This is apparent in the first line; the ambulances are described as being 'Closed like confessionals'. This holds connotations of religion and churches, and it could be argued to Larkin is saying doctors are the new priests. The word 'confessionals' also suggests a lack of identity - you don't know who is inside the ambulances, it could be anyone. He goes on to describe the vehicles as being a 'Light glossy grey' and presenting 'arms on a plaque' - this depicts a logo of health, suggesting authority. The vehicles 'come to rest at any kerb: / All streets in time are visited.' This presents the idea that anyone could be next - life is fragile. The ambulances are described in a way that makes them seem almost god-like; they are there when needed.
     The second stanza presents children as being 'strewn'; this sounds negative, as if the kids are objects which have not been tidied away and cannot be controlled. Larkin then goes on to describe the woman as 'coming from the shops / Past smells of different dinners'. This could be seen as a misogynistic stereotype of women from Larkin, and also snobbish in the presentation of different smells conjured up from, possibly bad, cooking. The next line displays an oxymoron: 'A wild white face' is said to be seen over the top of 'Red stretcher-blankets'. The word 'wild' suggests a face which is frantic, possibly animalistic, whilst 'white' holds connotations of pureness and a bland face. This contrasts with Larkin's use of alliteration, which makes them sound as if they belong together when in fact, they are a confusing pair. The final line of the second stanza presents the person in the ambulance as an 'it', being 'carried in and stowed' as if they were baggage. The word 'it' again gets rid of all identity, strengthening the earlier interpretation that anyone could be next, and there is no way of knowing when you will die. They patient/invalid is made into an object - it doesn't matter who it is in the ambulance, they are just seen as an ominous symbol.
     The first line of the third stanza presents another oxymoronic phrase; there is a 'solving emptiness / That lies just under all we do'. It could be argued that, through this phrase, Larkin is saying life is meaningless due to the fact that we are all going to die eventually. The tone of this poem is extremely pessimistic, and here it becomes clear that Larkin's message is that we are born to die, yet we all seem to deny it. This pessimistic tone is continued throughout the rest of the poem, and the final two lines finalise the idea that death comes closer as time goes on: 'Brings closer what is left to come, / And dulls to distance all we are.' These lines act as a realisation of the importance of life, and how we all have the same fate awaiting us, dissolving the 'unique random blend / Of families and fashions'.
     In my opinion, the ambulances in this poem symbolise a democratic path to death - they are available to everyone, and appear everywhere, just as death does. The rhyming pattern is a regular half-rhyme (some feminine), and it could be argued that the regularity portrays going back to the beginning, adding optimism to the gloomy, depressing tone of the poem. Enjambement is used within 'Ambulances', and this could possibly echo the feeling of movement and travel - a vehicle speeding from one town to the next. Larkin's ideas become more philosophical and complex as the poem goes on and the sentence length increases, contrasting with the receding time of life.

Home Is So Sad

This is a short poem by Larkin which explores themes of nostalgia and the idea of a heartbroken, lonely home who's owners have left it behind. Larkin presents the house as having an emotional response; he uses anthropomorphism to make the home come alive, portraying it as a character. For example, the home is said to 'wither' and feel 'sad' - this creates a tone of heartbreak, supposedly stemming from the fact that the home is 'bereft / Of anyone to please' (it's owners have left).
    Typical of other poems within The Whitsun Weddings collection, such as 'Love Songs In Age', Larkin nostalgically looks back upon time which have past - better times - '...what it started as, / A joyous shot at how things ought to be, / Long fallen wide.' These lines in the second stanza portray a sense of disappointment; the life which Larkin has been presented with is inadequate to what he imagined his future to entail. It appears that the home is not in fact sad, but Larkin was sad at home due to the things which passed and no longer remain. These things are represented through some simple elements: '...the pictures and the cutlery. / The music in the piano stool. That vase.' These are all the things that made him happy before, and they hold connotations of jolly things; the word 'pictures' makes the reader think of friends, family and memories, whilst 'cutlery' suggests dinner parties. The reader interprets 'The music' as being jolly, and the fact that it is now hidden away 'in the piano stool' could possibly depict the way in which it is in the past, and no longer acts as a source of happiness for Larkin. The word 'vase' suggests flowers, which themselves hold connotations of happiness and new life. The caesura used in the final line splits it into two sentences, the final one consisting of just two words: 'That vase.' This is dramatic and abrupt, and appears to finalise Larkin's opinion that the past is gone, and cannot be returned.