Poetry of Departures

Welcome, fellow explorers of language and thought, to a journey into the heart of Philip Larkin’s compelling poem, “Poetry of Departures.” This piece is a brilliant reflection on the universal human yearning for escape, a desire many of us feel but few dare to act upon. Prepare to delve into its intricate layers, uncover its profound insights, and appreciate the masterful way Larkin uses words to paint a vivid picture of our inner conflicts.

Sometimes you hear, fifth hand,
As epitaph:
He chucked up everything
And just cleared off,
And always the voice will sound
Certain you approve
This audacious, purifying,
Elemental move.

And they are right, I think.
We all hate home
And having to be there:
I detest my room,
It’s specially chosen junk,
The good books, the good bed,
And my life, in perfect order:
So to hear it said

He walked out on the whole crowd
Leaves me flushed and stirred,
Like Then she undid her dress
Or Take that you bastard;
Surely I can, if he did?
And that helps me to stay
Sober and industrious.
But I’d go today,

Yes, swagger the nut strewn roads,
Crouch in the fo’c’sle
Stubbly with goodness, if
It weren’t so artificial,
Such a deliberate step backwards
To create an object:
Books; china; a life
Reprehensibly perfect.

Understanding “Poetry of Departures”

“Poetry of Departures” by Philip Larkin is a profound exploration of the human desire to abandon one’s established life and embark on a new, unburdened path. The poem captures the complex emotions surrounding such a radical act, moving beyond a simple romanticization of escape to a more nuanced critique of its true nature.

What is “Poetry of Departures” About?

At its core, “Poetry of Departures” delves into the speaker’s reaction to hearing about someone who has dramatically “chucked up everything / And just cleared off.” This secondhand account triggers a powerful internal conflict within the speaker, revealing a deep-seated yearning for freedom from the mundane and the predictable. The poem explores the allure of breaking free from societal expectations and the comfort of a seemingly “perfect” but ultimately stifling existence. It is a meditation on the fantasy of starting anew, shedding responsibilities, and embracing an unknown future.

The Central Idea: The Complex Allure of Escape

The central idea of the poem is not merely the desire for escape, but the profound ambivalence and irony inherent in that desire. The speaker is simultaneously drawn to the idea of radical departure and deeply skeptical of its authenticity and ultimate value. While he acknowledges the universal appeal of such an “audacious, purifying, / Elemental move,” he ultimately questions whether true liberation can be found in a deliberate act of rejection. The poem suggests that even a dramatic departure might be another form of self-construction, an “artificial” attempt to create a different kind of “object” or identity, rather than a genuine escape from the self.

Why This Poem Resonates

“Poetry of Departures” resonates with many readers because it articulates a common, often unspoken, discontent with the routines and expectations of modern life. The speaker’s admission, “We all hate home / And having to be there: / I detest my room,” strikes a chord with anyone who has felt trapped by their circumstances, possessions, or carefully constructed life. The poem’s power lies in its honest portrayal of this internal struggle, acknowledging both the seductive fantasy of radical change and the sobering realization of its potential futility. It invites readers to reflect on their own desires for freedom and the compromises they make in their daily lives.

In-Depth Analysis: Unpacking “Poetry of Departures”

Larkin masterfully constructs “Poetry of Departures” to reveal a speaker grappling with profound internal conflict. Each stanza meticulously builds upon the speaker’s evolving thoughts and feelings about the act of leaving.

The Romanticized Notion of Departure

The poem opens by introducing the concept of departure as a heroic, almost mythical act. The phrase “Sometimes you hear, fifth hand, / As epitaph: / He chucked up everything / And just cleared off,” immediately establishes the story as a legend, passed down and embellished. The use of “epitaph” suggests a finality and a legacy, elevating the act of leaving to something worthy of remembrance. The description of this move as “audacious, purifying, / Elemental” highlights the romanticized view society often holds for those who dare to break free. It implies a cleansing, a return to a more fundamental state of being, which is deeply appealing.

The Discomfort of “Home”

The second stanza shifts from the general observation to the speaker’s personal experience, revealing the source of his fascination with departure. The blunt confession, “And they are right, I think. / We all hate home / And having to be there: / I detest my room,” is startlingly honest. It challenges the conventional idea of home as a sanctuary, portraying it instead as a place of confinement. The speaker’s “specially chosen junk, / The good books, the good bed, / And my life, in perfect order” are not sources of comfort but rather symbols of a stifling predictability. This meticulously ordered life, far from being desirable, becomes a cage from which the speaker longs to escape, making the idea of departure all the more tempting.

The Vicarious Thrill and Lingering Doubt

The third stanza captures the immediate, visceral impact of hearing about someone else’s departure. The news that “He walked out on the whole crowd / Leaves me flushed and stirred,” evokes a powerful emotional response, akin to intense excitement or even rebellion. The striking similes, “Like Then she undid her dress / Or Take that you bastard,” are deliberately provocative, equating the thrill of departure with raw, primal experiences of desire and defiance. This vicarious thrill leads to a momentary surge of courage: “Surely I can, if he did?” However, this fleeting inspiration is quickly tempered by reality, as the thought “helps me to stay / Sober and industrious.” This line reveals the speaker’s internal struggle, where the fantasy of escape serves only to reinforce his commitment to his current, unfulfilling life. Despite this, the underlying longing persists: “But I’d go today.”

The Artificiality of Radical Change

The final stanza delivers the poem’s critical turning point, where the speaker articulates his profound skepticism about the true nature of such departures. While he imagines the romanticized image of “swagger the nut strewn roads, / Crouch in the fo’c’sle / Stubbly with goodness,” he immediately dismisses it as “artificial.” The imagined life, though seemingly rugged and authentic, is ultimately a “deliberate step backwards / To create an object.” This powerful insight suggests that even the act of rejecting a conventional life can become another form of self-conscious construction, a performance designed to create a new identity. The rejection of “Books; china; a life / Reprehensibly perfect” is not a true escape from artifice, but merely a trade for a different kind of manufactured existence. The irony is palpable: the very act of seeking authenticity can become inauthentic.

Literary Devices in “Poetry of Departures”

Philip Larkin’s “Poetry of Departures” is rich with literary devices that enhance its meaning, evoke specific emotions, and contribute to its lasting impact. These techniques are not mere embellishments but integral to the poem’s profound exploration of human desire and disillusionment.

• Assonance: The repetition of vowel sounds within non-rhyming words creates a sense of musicality and subtly links ideas. For instance, the repeated ‘e’ sound in “Sometimes you hear, fifth hand” draws attention to the secondhand nature of the story. Similarly, the ‘o’ sound in “The good books, the good bed” emphasizes the perceived comfort and order that the speaker finds stifling.
• Consonance: The repetition of consonant sounds within words or at the end of words adds texture and emphasis. The ‘ck’ sound in “He chucked up everything” reinforces the abruptness and decisiveness of the act of leaving. The ‘s’ sound in “Yes, swagger the nut strewn roads, / Crouch in the fo’c’sle / Stubbly with goodness” creates a rough, almost tactile quality, mirroring the imagined ruggedness of the departed life.
• Enjambment: Larkin frequently employs enjambment, where a line of poetry continues onto the next without a grammatical pause. This technique creates a sense of continuous thought and momentum, mirroring the restless desire for escape. For example, the lines “And always the voice will sound / Certain you approve” flow seamlessly, suggesting the automatic societal approval of such a bold move. Another instance is “So to hear it said / He walked out on the whole crowd,” which propels the reader forward, reflecting the speaker’s eagerness to hear more about the departure.
• Imagery: Vivid sensory details are used to create clear pictures in the reader’s mind, grounding the abstract ideas in concrete experience. Phrases like “nut strewn roads” and “Crouch in the fo’c’sle” evoke specific, almost tactile, images of a rough, unconventional life. The description of “It’s specially chosen junk, / The good books, the good bed” paints a clear picture of the speaker’s domestic environment, which he paradoxically detests.
• Metaphor: The entire poem functions as an extended metaphor for the human condition of longing for an idealized freedom. The physical act of “clearing off” is not just a literal departure but a symbolic attempt to shed the burdens of identity, responsibility, and societal expectations. The “life / Reprehensibly perfect” is a metaphor for the gilded cage of conventional existence.
• Symbolism: Objects and places in the poem carry deeper meanings. “The good books, the good bed” symbolize the trappings of a comfortable, bourgeois life that, for the speaker, has become suffocating. The “fo’c’sle,” a cramped and humble crew’s quarters on a ship, symbolizes a deliberate rejection of comfort and a embrace of a simpler, perhaps more authentic, existence. However, the speaker ultimately sees this as a manufactured symbol, not a genuine one.
• Simile: Direct comparisons using “like” or “as” are used to vividly convey the speaker’s intense emotional reactions. The lines “Leaves me flushed and stirred, / Like Then she undid her dress / Or Take that you bastard” employ powerful, almost shocking similes to equate the thrill of hearing about departure with raw, primal experiences of desire and defiance, highlighting the profound impact this idea has on the speaker.
• Irony: A significant device in the poem is irony, particularly situational irony. The speaker yearns for escape and finds the idea thrilling, yet he ultimately concludes that such a radical departure is “artificial” and merely “a deliberate step backwards / To create an object.” The irony lies in the realization that the pursuit of ultimate freedom might itself be a constructed, rather than truly liberating, act.

Poetic Devices in “Poetry of Departures”

Beyond specific literary figures, Larkin employs broader poetic techniques that shape the poem’s rhythm, tone, and overall artistic effect, contributing to its unique voice and enduring power.

• Diction: Larkin’s word choice is a crucial element of the poem’s impact. He masterfully blends colloquialisms with more formal or evocative language. Phrases like “chucked up everything” and “cleared off” create an immediate, conversational, and relatable tone, reflecting everyday speech. This contrasts with more elevated terms such as “audacious, purifying, / Elemental move,” which lend a sense of grandeur and societal approval to the act of departure. This blend of informal and formal diction highlights the speaker’s internal conflict and the complex perception of escape.
• Free Verse: The poem is written in free verse, meaning it does not adhere to a strict, regular rhyme scheme or meter. This choice allows Larkin to create a natural, conversational rhythm that closely mimics the flow of human thought and speech. The absence of rigid formal constraints enables the poem to explore complex emotional states with greater flexibility and authenticity, emphasizing the content and emotional nuance over strict poetic form.
• Stanza Form: “Poetry of Departures” is structured into four octaves, or eight-line stanzas. This consistent stanza length provides a subtle underlying structure without imposing rigid formality. Each octave allows for the development of a distinct phase in the speaker’s contemplation, moving from the general idea of departure to personal longing, then to vicarious thrill, and finally to a critical assessment. This measured progression helps to organize the speaker’s evolving thoughts and arguments.
• Tone: The poem’s tone is remarkably complex and ambivalent, shifting between longing, cynicism, envy, and critical detachment. Initially, there is a tone of romantic admiration for the “audacious” act. This quickly gives way to a tone of personal discontent and even detestation for “home.” The speaker then expresses a vicarious thrill, almost a rebellious excitement, before settling into a tone of skeptical, almost world-weary, critique regarding the “artificial” nature of such departures. This multifaceted tone prevents the poem from offering simplistic answers, reflecting the intricate nature of human desires.

Conclusion: The Enduring Resonance of Departure

“Poetry of Departures” stands as a powerful testament to Philip Larkin’s ability to articulate the profound complexities of the human spirit. Through a speaker who is both drawn to and critical of the idea of radical escape, the poem invites us to examine our own yearnings for freedom and the often-unseen compromises we make. It challenges the romanticized notion of simply “clearing off,” suggesting that true liberation might be an internal journey rather than a geographical one. This poem remains a vital exploration of discontent, aspiration, and the enduring question of what it truly means to live an authentic life, making it a timeless and deeply resonant work for anyone who has ever dreamed of leaving everything behind.