Aubade

I work all day, and get half-drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain-edges will grow light.
Till then I see what’s really always there:
Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.

The mind blanks at the glare. Not in remorse
— The good not done, the love not given, time
Torn off unused — nor wretchedly because
An only life can take so long to climb
Clear of its wrong beginnings, and may never;
But at the total emptiness for ever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,
Not to be anywhere,
And soon; nothing more terrible, nothing more true.

This is a special way of being afraid
No trick dispels. Religion used to try,
That vast moth-eaten musical brocade
Created to pretend we never die,
And specious stuff that says No rational being
Can fear a thing it will not feel, not seeing
That this is what we fear, no sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anaesthetic from which none come round.

And so it stays just on the edge of vision,
A small unfocused blur, a standing chill
That slows each impulse down to indecision.
Most things may never happen: this one will,
And we know that, and so cannot be told
To not think of it. Cold comfort, that.
The only end of age is death.
And that is all.
The only end of age is death.
And that is all.

Welcome to an exploration of Philip Larkin’s profound poem, “Aubade.” This powerful work delves into the universal human experience of confronting mortality. Often considered one of Larkin’s most significant poems, “Aubade” offers an unsparing look at the dread of death, stripped of any comforting illusions. It is a poem that resonates deeply, prompting readers to consider their own existence and the ultimate certainty of its end. Prepare to uncover the layers of meaning, the masterful use of language, and the enduring impact of this remarkable piece of literature.

Aubade Summary and Central Idea

“Aubade” is a meditation on death, experienced in the quiet, vulnerable hours before dawn. The speaker wakes at four in the morning, a time when the world is “soundless dark,” and is confronted by the inescapable reality of his own mortality. This is not a fear of pain or regret over a life unlived, but rather a terror of absolute non-existence, “the total emptiness for ever.” The poem dismisses traditional comforts like religion and rational thought as ineffective against this primal dread. It concludes with the chilling realization that while many things in life are uncertain, death is the one absolute certainty, a “standing chill” that cannot be dispelled.

The central idea of “Aubade” is the profound and inescapable dread of death, specifically the fear of annihilation and the complete cessation of being. Larkin argues that this fear is a unique and fundamental aspect of the human condition, one that no philosophy, religion, or rationalization can truly alleviate. The poem highlights the isolation of this fear, experienced alone in the dark, and its persistent presence in the human psyche.

In-Depth Analysis: Unpacking “Aubade”

Philip Larkin’s “Aubade” is a masterclass in confronting existential dread with unflinching honesty. The poem’s structure, imagery, and tone work in concert to convey a powerful message about mortality.

The Setting and Mood

The poem opens with a stark, solitary scene, establishing a mood of quiet introspection and vulnerability:

I work all day, and get half-drunk at night.
Waking at four to soundless dark, I stare.
In time the curtain-edges will grow light.
Till then I see what’s really always there:

The “soundless dark” of four in the morning is a liminal space, a time when the usual distractions of life are absent, allowing the speaker’s deepest fears to surface. This early hour, before the world awakens, symbolizes a moment of raw, unadulterated confrontation with self. The routine of “work all day, and get half-drunk at night” suggests a life lived to avoid such confrontations, making the dawn awakening all the more potent.

The Confrontation with Death

The core of the poem is the speaker’s direct engagement with death, not as an abstract concept, but as an imminent personal reality:

Unresting death, a whole day nearer now,
Making all thought impossible but how
And where and when I shall myself die.
Arid interrogation: yet the dread
Of dying, and being dead,
Flashes afresh to hold and horrify.

The phrase “Unresting death” personifies death as an active, relentless force, constantly approaching. The “arid interrogation” refers to the futile questions about the specifics of one’s demise, emphasizing the lack of answers and the sheer terror that “Flashes afresh to hold and horrify.” This is a fear that grips the mind completely, overriding all other thoughts.

The Nature of Fear: Annihilation

Larkin meticulously defines the specific nature of this dread. It is not fear of pain, regret, or judgment, but of absolute non-existence:

But at the total emptiness for ever,
The sure extinction that we travel to
And shall be lost in always. Not to be here,
Not to be anywhere,
And soon; nothing more terrible, nothing more true.

The repetition of “Not to be here, / Not to be anywhere” powerfully conveys the terrifying concept of utter annihilation. This “total emptiness for ever” is presented as the ultimate truth, “nothing more terrible, nothing more true,” underscoring the poem’s bleak realism.

Rejection of Traditional Comforts

The poem critically examines and dismisses common human attempts to mitigate the fear of death:

This is a special way of being afraid
No trick dispels. Religion used to try,
That vast moth-eaten musical brocade
Created to pretend we never die,

Religion is described as a “vast moth-eaten musical brocade,” a beautiful but ultimately worn-out and ineffective illusion. The imagery of “moth-eaten” suggests something old, decaying, and no longer fit for purpose. Similarly, rational arguments are deemed insufficient:

And specious stuff that says No rational being
Can fear a thing it will not feel, not seeing
That this is what we fear, no sight, no sound,
No touch or taste or smell, nothing to think with,
Nothing to love or link with,
The anaesthetic from which none come round.

The poem argues that the fear is precisely of the absence of feeling, thought, and connection. Death is portrayed as “The anaesthetic from which none come round,” a chilling metaphor for permanent unconsciousness and isolation.

The Inescapability of Dread

The poem concludes by emphasizing the persistent and unavoidable nature of this existential dread:

And so it stays just on the edge of vision,
A small unfocused blur, a standing chill
That slows each impulse down to indecision.
Most things may never happen: this one will,

The fear remains a “small unfocused blur,” always present, subtly influencing life. The chilling finality of “Most things may never happen: this one will” reinforces death as the singular, undeniable certainty of existence, a truth that cannot be ignored or wished away.

Literary and Poetic Devices in “Aubade”

“Aubade” is rich with literary and poetic devices that contribute to its profound impact and enduring power. Understanding these elements enhances appreciation for Larkin’s craft.

Imagery

Larkin employs vivid and often stark imagery to create a palpable atmosphere and convey complex emotions. The “soundless dark” immediately establishes a sense of isolation and quiet dread. The “curtain-edges will grow light” offers a glimmer of hope that is quickly overshadowed by the internal darkness. The metaphor of religion as a “vast moth-eaten musical brocade” creates a visual of something once grand but now decaying and ineffective. The “small unfocused blur, a standing chill” vividly describes the persistent, unsettling presence of death in the mind.

Metaphor and Simile

Metaphors are central to the poem’s exploration of death and its antidotes. Religion is metaphorically a “musical brocade,” suggesting a decorative, perhaps comforting, but ultimately superficial and fragile construct. Death itself is powerfully rendered as “The anaesthetic from which none come round,” a chilling comparison that emphasizes its finality and the complete loss of consciousness. The “unresting death” personifies death as an active, tireless entity.

Enjambment

Larkin frequently uses enjambment, where lines run on without a pause, to create a sense of continuous thought and to emphasize certain words or ideas. For example:

Making all thought impossible but how
And where and when I shall myself die.

This technique propels the reader forward, mirroring the relentless nature of the speaker’s thoughts about death. It also allows for a natural, conversational flow that belies the profound subject matter.

Alliteration and Assonance

Sound devices like alliteration and assonance add to the poem’s musicality and reinforce its themes. Alliteration, the repetition of initial consonant sounds, can be seen in phrases like “hold and horrify,” which intensifies the feeling of dread. Assonance, the repetition of vowel sounds, contributes to the poem’s somber tone, such as the long ‘a’ sound in “dark, stare,” or the ‘e’ sound in “dread, dead.”

Tone

The tone of “Aubade” is predominantly bleak, somber, and unsparingly honest. It is characterized by a profound sense of existential dread and a refusal to sugarcoat the reality of death. Despite the dark subject matter, there is also a quiet, almost resigned, acceptance of this truth, which lends the poem its powerful, authoritative voice.

Structure and Rhyme Scheme

“Aubade” is composed of four ten-line stanzas, each following a consistent AABBCDDCEE rhyme scheme. This formal structure, with its regular meter and rhyme, creates a sense of control and order, which contrasts sharply with the chaotic and terrifying subject matter. This tension between form and content is a hallmark of Larkin’s style, suggesting that even in the face of overwhelming dread, there is an attempt to impose order through art.

Conclusion

“Aubade” stands as a monumental achievement in modern poetry, offering an unflinching examination of the human confrontation with mortality. Philip Larkin’s masterful use of language, vivid imagery, and precise poetic devices creates an experience that is both deeply personal and universally resonant. The poem’s enduring power lies in its courageous honesty, its refusal to offer false comfort, and its stark portrayal of death as the ultimate, undeniable truth. Engaging with “Aubade” provides a profound insight into the human condition, making it an essential read for anyone seeking to understand the depths of existential thought in literature.