Sunday, 11 May 2008
A Literary Interlude: The Whitsun Weddings (Philip Larkin)

That Whitsun, I was late getting away: Not till about One-twenty on the sunlit Saturday Did my three-quarters-empty train pull out, All windows down, all cushions hot, all sense Of being in a hurry gone. We ran Behind the backs of houses, crossed a street Of blinding windscreens, smelt the fish-dock; thence The river's level drifting breadth began, Where sky and Lincolnshire and water meet.
All afternoon, through the tall heat that slept For miles inland, A slow and stopping curve southwards we kept. Wide farms went by, short-shadowed cattle, and Canals with floatings of industrial froth; A hothouse flashed uniquely: hedges dipped And rose: and now and then a smell of grass Displace the reek of buttoned carriage-cloth Until the next town, new and nondescript, Approached with acres of dismantled cars.
At first, I didn't notice what a noise The weddings made Each station that we stopped at: sun destroys The interest of what's happening in the shade, And down the long cool platforms whoops and skirls I took for porters larking with the mails, And went on reading. Once we started, though, We passed them, grinning and pomaded, girls In parodies of fashion, heels and veils, All posed irresolutely, watching us go,
As if out on the end of an event Waving goodbye To something that survived it. Struck, I leant More promptly out next time, more curiously, And saw it all again in different terms: The fathers with broad belts under their suits And seamy foreheads; mothers loud and fat; An uncle shouting smut; and then the perms, The nylon gloves and jewelry-substitutes, The lemons, mauves, and olive-ochers that
Marked off the girls unreally from the rest. Yes, from cafes And banquet-halls up yards, and bunting-dressed Coach-party annexes, the wedding-days Were coming to an end. All down the line Fresh couples climbed abroad: the rest stood round; The last confetti and advice were thrown, And, as we moved, each face seemed to define Just what it saw departing: children frowned At something dull; fathers had never known
Success so huge and wholly farcical; The women shared The secret like a happy funeral; While girls, gripping their handbags tighter, stared At a religious wounding. Free at last, And loaded with the sum of all they saw, We hurried towards London, shuffling gouts of steam. Now fields were building-plots. and poplars cast Long shadows over major roads, and for Some fifty minutes, that in time would seem
Just long enough to settle hats and say I nearly died, A dozen marriages got under way. They watched the landscape, sitting side by side -An Odeon went past, a cooling tower, And someone running up to bowl -and none Thought of the others they would never meet Or how their lives would all contain this hour. I thought of London spread out in the sun, Its postal districts packed like squares of wheat:
There we were aimed. And as we raced across Bright knots of rail Past standing Pullmans, walls of blackened moss Came close, and it was nearly done, this frail Traveling coincidence; and what it held Stood ready to be loosed with all the power That being changed can give. We slowed again, And as the tightened brakes took hold, there swelled A sense of falling, like an arrow-shower Sent out of sight, somewhere becoming rain.
--- Philip Larkin

Posted on 8:47 AM by Hugh Fitzgerald
Comments
11 May 2008
Pali
Unless you have travelled by slow train from the north of England to London on a hot summers Sunday late afternoon, stopping at the small towns along the way, you have no idea just how perfectly how redolent and wistful and beautiful and poised this poem is.
Wonderful.
11 May 2008
Hugh Fitzgerald
You may remember, anent those local trains, and the sound of that hissing steam, what I put up more than a year ago, on March 25, 2007.
It was Edward Thomas' "Adlestrop," which described a local even more local than the Hull-to-London train that Larkin rode on Whit Saturday, prompting his "Whitsun Weddings."
Here's that poem again, with the comment I made at the time about its appearance on New York Subways, thanks to the daughter of Tanaquil LeClercq:
Sunday, 25 March 2007
In England, Now That April's Almost There
Yes, I remember Adlestrop - The name, because one afternoon Of heat the express-train drew up there Unwontedly. It was late June.
The steam hissed. Someone cleared his throat. No one left and no one came On the bare platform. What I saw Was Adlestrop - only the name
And willows, willow-herb, and grass, And meadowsweet, and haycocks dry, No whit less still and lonely fair Than the high cloudlets in the sky.
And for that minute a blackbird sang Close by, and round him, mistier, Farther and farther, all the birds Of Oxfordshire and Gloucestershire.
Edward Thomas
25 Mar 2007 Hugh Fitzgerald
Some years ago, and perhaps still today, a samaritan group paid for poems to be placed, in one of those oblong frames that run in serried ranks about the seats in subway cars, sometimes separated one from the other and sometimes cheek-by-jowl, like the long-suffering passengers looking up at them in boredom and hope and hate below, alongside the expected advertisements for ambulance-chasing lawyers and schools teaching English, poems, short poems, poems that one might read, and even think about, and perhaps possibly at some point memorize, between 14th Street and 34th, or 34th and 72nd, or 72nd and 86th.
The lady in charge of the program was the daughter of Tanaquil LeClerq, of American Indian descent and of Balanchinesque New York Ballet fame. And one of the poems that lady, or those working with her, chose for a most unlikely American audience (or so Englishmen might think), was "Adlestrop." It was in fact a good choice, especially as the reader, seated or standing, had to work to hear the gentle hiss of the steam, and the silence of no one getting on, and no one getting off, while everyone waited, and then, beyond that sole blackbird, all the birds -- of Oxfordshire, and Gloucestershire.
Adlestrop would reward reading, wherever it were to be read. But it was especially good to read it, under the well-heeled corner of 78th and Lex.
11 May 2008
Pali
Another wonderful poem. Thanks.
In my minds eye, Larkin is of course sitting in one of the old style individual compartments they had on English trains in those days. The last time I saw one of those must have been about 15 years ago on a train from Paddington to Slough and then on to Windsor. They have been faded out and like the extinction of the routemaster London buses, life has been ever so slightly lessened by it.
The exciting intimacy and enclosed space created by these carriages lent itself to romantic notions, introspection, and created a tension between private and public space within the experience of movement and journey. The open-plan train carriages of today encourage little but lethargy and irritation and exposure.
However, there are still some train routes in some parts of India where the old style individual carriage remains. If you get the chance to watch Wes Anderson's 'The Darjeeling Limited' you can catch a glimpse of the imaginative possibilities and creative romance that these lovely, funnily timeless spaces can still provoke and imply.
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