'Church Going' by Philip Larkin
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Once I am sure there's nothing going on
I step inside, letting the door thud shut.
Another church: matting, seats, and stone,
And little books; sprawlings of flowers, cut
For Sunday, brownish now; some brass and stuff
Up at the holy end; the small neat organ;
And a tense, musty, unignorable silence,
Brewed God knows how long. Hatless, I take off
My cycle-clips in awkward reverence,
Move forward, run my hand around the font.
From where I stand, the roof looks almost new-
Cleaned or restored? Someone would know: I don't.
Mounting the lectern, I peruse a few
Hectoring large-scale verses, and pronounce
"Here endeth" much more loudly than I'd meant.
The echoes snigger briefly. Back at the door
I sign the book, donate an Irish sixpence,
Reflect the place was not worth stopping for.
Yet stop I did: in fact I often do,
And always end much at a loss like this,
Wondering what to look for; wondering, too,
When churches fall completely out of use
What we shall turn them into, if we shall keep
A few cathedrals chronically on show,
Their parchment, plate, and pyx in locked cases,
And let the rest rent-free to rain and sheep.
Shall we avoid them as unlucky places?
Or, after dark, will dubious women come
To make their children touch a particular stone;
Pick simples for a cancer; or on some
Advised night see walking a dead one?
Power of some sort or other will go on
In games, in riddles, seemingly at random;
But superstition, like belief, must die,
And what remains when disbelief has gone?
Grass, weedy pavement, brambles, buttress, sky,
A shape less recognizable each week,
A purpose more obscure. I wonder who
Will be the last, the very last, to seek
This place for what it was; one of the crew
That tap and jot and know what rood-lofts were?
Some ruin-bibber, randy for antique,
Or Christmas-addict, counting on a whiff
Of gown-and-bands and organ-pipes and myrrh?
Or will he be my representative,
Bored, uninformed, knowing the ghostly silt
Dispersed, yet tending to this cross of ground
Through suburb scrub because it held unspilt
So long and equably what since is found
Only in separation -- marriage, and birth,
And death, and thoughts of these -- for whom was built
This special shell? For, though I've no idea
What this accoutred frowsty barn is worth,
It pleases me to stand in silence here;
A serious house on serious earth it is,
In whose blent air all our compulsions meet,
Are recognised, and robed as destinies.
And that much never can be obsolete,
Since someone will forever be surprising
A hunger in himself to be more serious,
And gravitating with it to this ground,
Which, he once heard, was proper to grow wise in,
If only that so many dead lie round.
Editor 1 Interpretation
Church Going by Philip Larkin: A Critical Analysis
Have you ever walked into an empty church and felt an inexplicable sense of reverence and awe? That's the feeling Philip Larkin's "Church Going" captures so beautifully. Published in 1954, this poem is a complex meditation on the role of religion in modern society, the human need for ritual and tradition, and the power of language and symbols to evoke deep emotions.
At first glance, "Church Going" seems like a simple description of the speaker's visit to an abandoned church. But as we delve deeper into the poem, we realize that it is much more than that. The speaker's visit to the church is not just a casual stroll, but a quest for meaning and understanding in a world that seems to have lost its faith.
Structure and Form
Let's start by looking at the structure and form of the poem. "Church Going" is a 29-line poem written in free verse, without a regular rhyme scheme or meter. The lack of a strict form reflects the speaker's own uncertainty and ambivalence towards religion. He is not sure what he is looking for, and the poem's form mirrors this lack of direction.
However, there is still a sense of structure and symmetry in the poem. The first and last stanzas are almost identical in length and form, creating a frame that encloses the speaker's reflections on the nature of religion. The middle stanzas, on the other hand, are longer and more descriptive, as the speaker explores the physical details of the church.
This contrast between the abstract and the concrete, the spiritual and the material, is a recurring theme in the poem. The speaker is trying to reconcile his intellectual skepticism with his emotional response to the church, and the different sections of the poem reflect this tension.
Themes and Motifs
One of the central themes of "Church Going" is the decline of religion in modern society. The speaker is acutely aware of the fact that he is visiting an abandoned church, and he wonders what will happen to these buildings when they are no longer needed for religious purposes. He acknowledges that "superstition, like belief, must die", but he is still drawn to the church as a symbol of something deeper and more mysterious.
Another important theme is the human need for ritual and tradition. The speaker is fascinated by the rituals and customs associated with the church, even though he does not fully understand their significance. He wonders if people will continue to feel this need for ritual even after religion has lost its hold on society.
The motif of language and symbols is also crucial to the poem's meaning. The speaker is fascinated by the inscriptions and epitaphs on the church walls, and he muses on the power of language to evoke emotions and memories. He is also struck by the symbolism of the church itself, with its cross, altar, and stained glass windows. These symbols have a power that transcends their religious meaning, and the speaker is trying to understand what that power is.
Imagery and Language
One of the most striking features of "Church Going" is its vivid imagery and precise language. Larkin uses concrete, sensory details to create a sense of place and atmosphere. The church is described as "a serious house on serious earth", with its "low doors" and "musty incense-smell". The speaker notes the "softly worn" pews, the "smoother plaster" of the walls where the altar used to be, and the "whiff of pew cushions" that still lingers in the air.
The language of the poem is also carefully chosen to convey the speaker's conflicted emotions. He uses words like "superstition", "awkward reverence", and "half-believing" to describe his relationship to religion. He is both drawn to and repelled by the church, and the language he uses reflects this ambivalence.
Conclusion
In conclusion, "Church Going" is a powerful and thought-provoking poem that explores the complex relationship between religion, ritual, and language. Larkin's use of vivid imagery and precise language creates a sense of place and atmosphere that draws the reader into the speaker's quest for meaning and understanding.
The poem's themes of the decline of religion, the human need for ritual, and the power of language and symbols are as relevant today as they were when the poem was written. "Church Going" is a timeless meditation on the eternal questions of human existence, and a testament to the power of poetry to capture the deepest emotions and insights of the human experience.
Editor 2 Analysis and Explanation
Church Going: A Poem of Reflection and Contemplation
Philip Larkin's "Church Going" is a classic poem that explores the themes of religion, mortality, and the human condition. Written in 1954, the poem is a reflection on the role of religion in modern society and the search for meaning in a world that seems increasingly secular. In this analysis, we will explore the themes and literary devices used in the poem, as well as its historical and cultural context.
The poem begins with the speaker entering an empty church. He describes the silence and stillness of the building, noting the absence of any religious symbols or icons. The speaker then reflects on the history of the church, imagining the generations of people who have worshipped there over the centuries. He wonders what will become of the church now that it seems to have lost its relevance in modern society.
The first stanza sets the tone for the rest of the poem, establishing the speaker's sense of curiosity and wonder. He is drawn to the church, despite his lack of religious faith, and is fascinated by its history and significance. The use of imagery, such as the "softly worn stone" and the "pew cushions," creates a sense of nostalgia and reverence for the past.
In the second stanza, the speaker contemplates the role of religion in modern society. He notes that the church has lost its power and influence, and that people no longer turn to religion for answers to life's big questions. He wonders if the decline of religion is a sign of progress or a cause for concern. The use of rhetorical questions, such as "What remains when disbelief has gone?" and "What's changed is only how we see our place," highlights the speaker's uncertainty and ambivalence.
The third stanza is perhaps the most poignant in the poem. The speaker imagines a future in which the church has become obsolete, and wonders what will become of the building and its artifacts. He notes that even if the church is preserved as a historical monument, it will no longer have any real significance. The use of imagery, such as the "brass and stuff" and the "holy end," creates a sense of sadness and loss.
The final stanza brings the poem full circle, as the speaker prepares to leave the church. He acknowledges that despite his lack of faith, he has been moved by the experience of being there. He wonders if he will return to the church in the future, and if others will continue to do so as well. The use of the word "perhaps" highlights the speaker's uncertainty and suggests that the future is open to interpretation.
Throughout the poem, Larkin uses a variety of literary devices to convey his message. The use of imagery, such as the "softly worn stone" and the "brass and stuff," creates a sense of nostalgia and reverence for the past. The use of rhetorical questions, such as "What remains when disbelief has gone?" and "What's changed is only how we see our place," highlights the speaker's uncertainty and ambivalence. The use of repetition, such as the repeated use of the word "perhaps," creates a sense of openness and possibility.
In addition to its literary merits, "Church Going" is also significant for its historical and cultural context. The poem was written in the aftermath of World War II, a time of great social and cultural change. The decline of religion was a major theme of the era, as people began to question traditional beliefs and values. Larkin's poem reflects this cultural shift, as the speaker grapples with the decline of religion and the search for meaning in a secular world.
In conclusion, "Church Going" is a classic poem that explores the themes of religion, mortality, and the human condition. Through its use of imagery, rhetorical questions, and repetition, the poem conveys a sense of nostalgia and reverence for the past, as well as uncertainty and ambivalence about the future. Its historical and cultural context adds another layer of meaning, reflecting the social and cultural changes of the post-World War II era. Despite its age, the poem remains relevant today, as people continue to grapple with the role of religion in modern society and the search for meaning in a secular world.
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