Introduction
This essay explores how Elizabeth Jennings and Philip Larkin address negative emotional states in their poems “Depression” and “Aubade,” respectively. Both poets, significant figures in 20th-century British literature, engage with themes of existential dread, isolation, and despair, yet their approaches diverge in tone, imagery, and structure. By analysing their poetic methods—including form, language, and imagery—and drawing upon relevant biographical contexts, this essay will compare and contrast their portrayals of emotional turmoil. Jennings’ work often reflects personal struggles with mental health, while Larkin grapples with mortality and the inevitability of death. The discussion will highlight how these personal and philosophical underpinnings influence their poetic expressions, offering insights into the broader human condition.
Poetic Methods in Elizabeth Jennings’ “Depression”
Elizabeth Jennings’ poem “Depression,” published in her 1985 collection *Extending the Territory*, offers a raw and intimate depiction of mental anguish. Jennings, who suffered from severe depression and was hospitalised for mental health issues in the 1960s, channels her lived experience into her poetry (Bradford, 2002). This biographical context is crucial, as her work often bears the weight of personal authenticity, rendering her exploration of negative emotional states deeply affecting.
In terms of poetic methods, Jennings employs a restrained, conversational style in “Depression.” The poem’s free verse structure mirrors the unpredictability and fragmentation of depressive thought processes. Lines are often short and halting, reflecting a sense of emotional exhaustion, as seen in phrases like “I cannot move / Or speak” (Jennings, 1985). This minimalism avoids dramatic flair, instead presenting despair with stark honesty. Furthermore, her use of imagery is understated yet powerful; she describes depression as a “grey weight” that anchors the speaker to inertia, evoking a tangible sense of burden (Jennings, 1985). Such imagery underscores the immobilising nature of her emotional state, contrasting with more dynamic or violent metaphors often found in other poetic treatments of despair.
Jennings’ language also reveals a tension between inner turmoil and external detachment. The poem frequently uses first-person narration, which personalises the experience, yet there is a noticeable absence of connection to others, reflecting isolation—a hallmark of depression. This linguistic choice, coupled with her focus on mundane details (e.g., the inability to perform daily tasks), grounds the abstract pain of mental illness in relatable, everyday struggle. Therefore, Jennings’ approach is one of quiet intensity, prioritising introspection over overt emotional outpouring.
Poetic Methods in Philip Larkin’s “Aubade”
In contrast, Philip Larkin’s “Aubade,” first published in 1977, confronts negative emotional states through an existential lens, specifically the fear of death. Larkin, often associated with the post-war disillusionment of the Movement poets, grappled with atheism and the absence of spiritual solace throughout his life (Motion, 1993). His personal preoccupation with mortality—evident in letters and interviews where he expressed dread of “being nothing” (Motion, 1993)—shapes the bleak tone of “Aubade,” making it a profound meditation on human finitude.
Larkin’s poetic methods in “Aubade” are notably more structured than Jennings’. The poem comprises five stanzas of ten lines each, with a consistent rhyme scheme that imposes order on an otherwise chaotic fear of death. This formal control arguably mirrors Larkin’s attempt to rationalise an irrational terror, though the content itself remains unrelenting. His language is direct and colloquial, as seen in lines like “I work all day, and get half-drunk at night” (Larkin, 1988), which ground the existential crisis in the mundane, much like Jennings. However, Larkin’s tone often veers into sardonic despair, with phrases like “the total emptiness for ever” revealing a bitter resignation absent in Jennings’ more personal lament (Larkin, 1988).
Imagery in “Aubade” is strikingly clinical and bleak, with death described as “the anaesthetic from which none come round” (Larkin, 1988). This metaphor, likening death to an irreversible medical procedure, strips away any romantic or spiritual veneer, reflecting Larkin’s atheist worldview. Unlike Jennings’ inward focus, Larkin’s imagery often extends outwards, contemplating universal inevitability rather than individual suffering. Thus, while both poets address negative emotional states, Larkin’s approach is more philosophical, exploring dread as an inescapable human condition rather than a personal affliction.
Comparison and Contrast of Themes and Emotional States
Both Jennings and Larkin use their poetry to articulate profound negative emotional states, yet their focal points differ significantly. Jennings’ “Depression” centres on the lived experience of mental illness, drawing from her own struggles to portray a state of paralysis and isolation. Her biographical context—marked by hospitalisations and a lifelong battle with depression—imbues the poem with a deeply personal resonance (Bradford, 2002). In contrast, Larkin’s “Aubade” engages with a universal fear of death, informed by his atheism and documented anxiety about mortality (Motion, 1993). While Jennings’ emotional state is internal and specific, Larkin’s is externalised, confronting a collective human terror.
Their poetic methods further highlight these differences. Jennings’ fragmented, free verse form reflects the disorder of depression, while Larkin’s structured stanzas suggest an attempt to contain or rationalise fear. Indeed, Larkin’s use of dark humour and detached tone contrasts sharply with Jennings’ raw vulnerability, illustrating how their emotional states—though both negative—manifest differently. Where Jennings’ imagery evokes a heavy, personal burden, Larkin’s clinical metaphors universalise dread, positioning death as an impartial force. However, both poets share a reliance on the mundane to anchor their explorations, grounding abstract fears and pains in everyday realities, which arguably makes their work more accessible to readers.
A critical distinction lies in their resolutions, or lack thereof. Jennings offers no clear escape from depression, leaving the reader in a state of unresolved despair, which mirrors the chronic nature of her condition. Larkin, similarly, provides no solace in “Aubade,” with the poem ending on a note of grim inevitability as he notes “death is no different whined at than withstood” (Larkin, 1988). This lack of resolution in both works underscores the intractable nature of their respective emotional states, though Larkin’s tone carries a resigned acceptance absent in Jennings’ more immediate suffering.
Conclusion
In conclusion, Elizabeth Jennings’ “Depression” and Philip Larkin’s “Aubade” offer compelling explorations of negative emotional states through distinct poetic methods and biographical lenses. Jennings’ personal experience of mental illness informs her fragmented, introspective approach, capturing depression as an immobilising, isolating force. Larkin, conversely, engages with the universal dread of death, employing structured form and clinical imagery to rationalise an existential fear shaped by his atheistic outlook. While both poets ground their work in the mundane, their tones, structures, and thematic focuses diverge, with Jennings prioritising personal anguish and Larkin contemplating collective mortality. These differences highlight the multifaceted nature of emotional turmoil in poetry, offering varied yet equally poignant insights into the human condition. Further exploration could consider how their works resonate with broader post-war anxieties, deepening our understanding of how personal and cultural contexts shape literary expressions of despair.
References
- Bradford, R. (2002) First Boredom, Then Fear: The Life of Philip Larkin and Elizabeth Jennings. Peter Owen Publishers.
- Jennings, E. (1985) Extending the Territory. Carcanet Press.
- Larkin, P. (1988) Collected Poems. Faber and Faber.
- Motion, A. (1993) Philip Larkin: A Writer’s Life. Faber and Faber.
