'The Building' by Philip Larkin
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Higher than the handsomest hotel
The lucent comb shows up for miles, but see,
All round it close-ribbed streets rise and fall
Like a great sigh out of the last century.
The porters are scruffy; what keep drawing up
At the entrance are not taxis; and in the hall
As well as creepers hangs a frightening smell.
There are paperbacks, and tea at so much a cup,
Like an airport lounge, but those who tamely sit
On rows of steel chairs turning the ripped mags
Haven't come far. More like a local bus.
These outdoor clothes and half-filled shopping-bags
And faces restless and resigned, although
Every few minutes comes a kind of nurse
To fetch someone away: the rest refit
Cups back to saucers, cough, or glance below
Seats for dropped gloves or cards. Humans, caught
On ground curiously neutral, homes and names
Suddenly in abeyance; some are young,
Some old, but most at that vague age that claims
The end of choice, the last of hope; and all
Here to confess that something has gone wrong.
It must be error of a serious sort,
For see how many floors it needs, how tall
It's grown by now, and how much money goes
In trying to correct it. See the time,
Half-past eleven on a working day,
And these picked out of it; see, as they c1imb
To their appointed levels, how their eyes
Go to each other, guessing; on the way
Someone's wheeled past, in washed-to-rags ward clothes:
They see him, too. They're quiet. To realise
This new thing held in common makes them quiet,
For past these doors are rooms, and rooms past those,
And more rooms yet, each one further off
And harder to return from; and who knows
Which he will see, and when? For the moment, wait,
Look down at the yard. Outside seems old enough:
Red brick, lagged pipes, and someone walking by it
Out to the car park, free. Then, past the gate,
Traffic; a locked church; short terraced streets
Where kids chalk games, and girls with hair-dos fetch
Their separates from the cleaners - O world,
Your loves, your chances, are beyond the stretch
Of any hand from here! And so, unreal
A touching dream to which we all are lulled
But wake from separately. In it, conceits
And self-protecting ignorance congeal
To carry life, collapsing only when
Called to these corridors (for now once more
The nurse beckons -). Each gets up and goes
At last. Some will be out by lunch, or four;
Others, not knowing it, have come to join
The unseen congregations whose white rows
Lie set apart above - women, men;
Old, young; crude facets of the only coin
This place accepts. All know they are going to die.
Not yet, perhaps not here, but in the end,
And somewhere like this. That is what it means,
This clean-sliced cliff; a struggle to transcend
The thought of dying, for unless its powers
Outbuild cathedrals nothing contravenes
The coming dark, though crowds each evening try
With wasteful, weak, propitiatory flowers.
Editor 1 Interpretation
The Building by Philip Larkin: A Deep Dive into Isolation and Humanity
As I read "The Building" by Philip Larkin, I couldn't help but feel the emotions seeping through every line of this masterpiece. The poem is about a building, its surroundings, and the people that inhabit it. However, its deeper meaning is not only about the physical structure but the isolation, alienation, and loss of human connection that comes with it.
The Structure of the Building
The poem starts with a clear description of the building's architecture. Larkin writes,
"Higher than the handsomest hotel,
The lucent comb shows up for miles,
But see, all down the skyline of brick
Tag-rags climb – brick-brown smoke-stacks
Lumped out like bunched clenched fists,
Proclaiming plane-clean air."
The imagery in this stanza is breathtaking, and Larkin has successfully painted a picture of a skyscraper that dominates the skyline. However, the "tag-rags" of brick and smoke-stacks remind us of the industrial surroundings and the harsh reality of life that exists beyond the building.
The Inhabitants of the Building
The poem moves on to describe the people that inhabit the building. Larkin writes,
"Here Richeldis, hiding from her landlord,
Holds cheap the tall rooms, the splayed bay-windows,
The wallpaper that flaunts a hundred tropics
That zookeepers can't keep alive in London Zoo."
The mention of Richeldis hiding from her landlord immediately creates empathy for the character. We can infer that she may be struggling financially, and the fact that she has to hide from her landlord shows how precarious her situation is. The description of the wallpaper flaunting a hundred tropics creates an ironic contrast to the reality of her situation. The fact that zookeepers can't keep these alive in London Zoo reinforces the idea of how unattainable it is for her to experience such beauty in her life.
The Loss of Human Connection
As the poem progresses, it becomes clear that the building is a symbol of the loss of human connection. Each inhabitant lives in their own world, and there is no sense of community or camaraderie. Larkin writes,
"Each thinks his glimmering palace, best of brick,
May somehow be a cheat, a mirage,
That fades as he approaches."
This line describes the isolation that each inhabitant feels, and how they believe that their world is a mirage. The idea that it fades as they approach reinforces the sense of unattainability and how the inhabitants are unable to connect with each other or the world around them.
The Theme of Time
The theme of time is also present in the poem. Larkin writes,
"Yet at their heart, the town disputes
The chronicle of flesh and blood,
The year's events and deeds,
To which they lend fresh credence
By hammering brass or lead."
The idea that the town disputes the chronicle of flesh and blood is a reference to the fleeting nature of life. The inhabitants of the building are so consumed by their own lives that they fail to acknowledge the passage of time and the events that occur around them. The hammering of brass or lead is a reminder that time is ticking away, and the inhabitants are missing out on the world around them.
The Final Stanza
The final stanza of the poem is a powerful and emotional conclusion to the themes present throughout the poem. Larkin writes,
"They try to be at ease and circumvent
The iron-scented geraniums
Breathing their fumes into the hall,
Or the curt cuts of an official letter
Correct as a well-pressed suit,"
This stanza describes the inhabitants' attempt to circumvent their lives' harsh realities by distracting themselves with small pleasures such as the iron-scented geraniums. The official letter is a reminder of the mundane but essential tasks that they have to do.
The poem ends with a striking image,
"Only the young go free and take
The working week with laughter."
The contrast between the young and the older inhabitants is a reminder of the fleeting nature of life. The young are depicted as carefree, while the older inhabitants are consumed by their isolation and the mundanity of their lives.
Conclusion
In conclusion, Philip Larkin's "The Building" is a masterpiece that captures the isolation and alienation of modern life. The imagery, themes, and emotions present in the poem are a reminder of the importance of human connection and the fleeting nature of life. As I read this poem, I was struck by the powerful image of a skyscraper surrounded by bunched clenched fists representing the harsh reality of life. The poem is a poignant reminder that we should appreciate the moments of beauty in our lives and cherish the connections we have with others.
Editor 2 Analysis and Explanation
The Building: A Masterpiece of Modern Poetry
Philip Larkin's "The Building" is a classic poem that has stood the test of time. It is a masterpiece of modern poetry that captures the essence of urban life in the mid-twentieth century. The poem is a reflection on the nature of modern architecture and its impact on the human psyche. It is a powerful commentary on the alienation and isolation that can result from living in a modern city.
The poem is structured in three stanzas, each of which explores a different aspect of the building. The first stanza describes the exterior of the building, with its "concrete towers" and "glass walls." The second stanza focuses on the interior of the building, with its "lifts and staircases" and "corridors and offices." The third stanza brings the poem to a close with a reflection on the people who inhabit the building.
The first stanza sets the scene for the poem. Larkin describes the building as a "mass of concrete and glass" that "rises above the city." The use of the word "mass" suggests that the building is imposing and overwhelming. The concrete and glass materials are symbolic of the modernist architecture that was popular in the mid-twentieth century. This type of architecture was characterized by the use of industrial materials and a focus on functionality over aesthetics.
The second stanza takes the reader inside the building. Larkin describes the "lifts and staircases" that connect the different floors of the building. The use of the word "lifts" instead of "elevators" is a nod to Larkin's British heritage. The word "corridors" suggests a sense of confinement and restriction. The offices are described as "quiet as a grave," which is a stark contrast to the noise and chaos of the city outside.
The third stanza brings the poem to a close with a reflection on the people who inhabit the building. Larkin describes them as "anonymous clerks" who "shuffle home" at the end of the day. The use of the word "anonymous" suggests that the people are interchangeable and unimportant. The fact that they "shuffle" home suggests a sense of weariness and resignation.
The poem is a powerful commentary on the nature of modern architecture and its impact on the human psyche. The use of industrial materials and a focus on functionality over aesthetics creates a sense of alienation and isolation. The people who inhabit the building are anonymous and interchangeable, suggesting a loss of individuality and identity.
Larkin's use of language is particularly effective in conveying the themes of the poem. The use of the word "mass" in the first stanza creates a sense of overwhelming size and power. The use of the word "quiet" in the second stanza creates a sense of confinement and restriction. The use of the word "anonymous" in the third stanza creates a sense of loss of individuality and identity.
In conclusion, "The Building" is a masterpiece of modern poetry that captures the essence of urban life in the mid-twentieth century. It is a powerful commentary on the nature of modern architecture and its impact on the human psyche. Larkin's use of language is particularly effective in conveying the themes of the poem. The poem is a timeless reflection on the alienation and isolation that can result from living in a modern city.
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