"Mr.

Bleaney":

'This was Mr. Bleaney's room. He stayed

The whole time he was at the Bodies till

They moved him.' Flowered curtains, thin and frayed,

Fall to within five inches of the sill,

Whose window shows a rectangle of brick,

Dull greens and mauves, where algae thrives

And weeds have pushed their way through cracks.

'He liked it here.'

'He stayed here till the Bodies moved him.'

On the floor, a rectangle of paler tile

Surrounds the sink. A towel-horse stands

A yard away, where the towel's hung

To dry. The mirror's tarnished, giving back

A dull reflected face that's further away.

'He liked it here.' The Bodies took him away.

Themes

Mortality Death Mysterious Death

→ Isolation → Mundane life.

Explanation Atmosphere of dullness

→ description of washroom which is very old fashioned, he didn't tried to

change the surrounding with the Passage of times,

→ Rectangle of paler tiles symbolize the limitation of life.

→The paling of Tiles Shows the Aging

Paler tiles shows the contrast b/w all the surrounding

Towel horse also symbolize tridaliad

The dullness of palnen of Tiles show. the lack of cleanliness by Bleaney

→ The dejection life or lack of Interest in life is the reason he's not enthusiast
in cleaning.

→ Mirror →Reflection The tarnished Symbolize the decay of life & blurnen of
identity

→ Despite the flaws. In the lifestyle according to a Normal or stands of

Today's life It brings him comfort from the feeling of Isolation but in the end
this also has to be taken away by his sudden death

Modern Poetry Mr. Bleaney: Analysis:

• The room symbolize the simplicity and ordinary green mauves Mr Bleaney
room show lack of excitement in Mr. Bleaney life.

• This line suggest that someone likely and internally decreased person until
his body moved by others.

Sense of comfort in isolation even in such bad environment

Rectangle shape: It represents confinement, isolation or serve of being

trapped by sadness.

Bleaney could be seen as a selection of humane condition highlighting •

universality of emotional a struggles

Themes:

Confinement and isolation. Neglect and abandonment

Overgrown weeds and thriving algae suggests lack of care and allusion

Resilience: Despite Neglect weed continues to overgrow human capacity

This creates a sense of mundane and everyday tale.

Drainage of emotions: The sink association With water and drainage could
imply the draining away of emotion, leaving one feeling imply.

How we live measures our own nature.

1st line: It introduces the subject Mr. Bleaney and his room. The use Of was
instead of is implies that he is no longer occupies in the room.

2nd line. It reveals that Mr. Bleaney spends most of his time at his
workplace. till / They moved him Suggest that Mr. Bleaney’s Stay was term
mated by some external force. The use of “they” implies a sense of
institutional or beurocratic control.
3rd line: The representation of the curtains is Describing the condition of the
room. The main character “Mr. Bleaney did not pay any attention to the
room. It creates a sense of worn out, faded elegance. The curtains also use
to Cover or hide something no privacy. (Health ,Decaying life , privacy,lack of
Comfort, United.)

4th live: The shortened length of the curtains show the constriction of his •
life and adds a sense of precision five inches and observation It shows rigid
or limited nature.

This line creates an image of Something(incomplete life ) That is almost

complete an adequate. -The empty space at the window represents the
absence and ambiguity in Mr. Bleaney’s life. The overall tone a sense of is
neutral and creates detachment and absence, but the attention to details
shows the sense the of intimacy and familiarity with room.

Mr Bleaney

'This was Mr Bleaney's room. He stayed

The whole time he was at the Bodies, till

They moved him.' Flowered curtains, thin and frayed,

Fall to within five inches of the sill,

Whose window shows a strip of building land,

Tussocky, littered. 'Mr Bleaney took

My bit of garden properly in hand'

Bed, upright chair, sixty-watt bulb, no hook

Behind the door, no room for books or bags 'I'll take it.'

So it happens that I lie

Where Mr Bleaney lay, and stub my fags

On the same saucer-souvenir, and try

Stuffing my ears with cotton-wool, to drown

The jabbering set he egged her on to buy.

I know his habits - what time he came down,

His preference for sauce to gravy, why

He kept on plugging at the four aways

Likewise their yearly frame. the Frinton folk

Who put him up for summer holidays,

And Christmas at his sister's house in Stoke.

But if he stood and watched the frigid wind

Tousling the clouds, lay on the fusty bed

Telling himself that this was home, and grinned,

And shivered, without shaking off the dread

That how we live measures our own nature,

And at his age having no more to show

Than one hired box should make him pretty sure

He warranted no better, I don’t know. May 1955

Church Going

‘Church Going by Philip Larkin is a thought-provoking poem about religion

and history. The speaker decides that no matter what churches represent,
they should be preserved.

This is a seven stanza poem that is is made up of sets of nine lines. Each of
these strophes is constructed with a specific, but somewhat halting rhyme
scheme in mind. Philip Larkin has chosen to make use of both full and half
end rhymes. These varying endings give the poem a feeling of
unpredictability. One is never quite sure when the words are going to fall into
line, or step out, breaking the pattern in Church Going

One such instance of these varied types of rhymes is in the first stanza in
lines one and three as well as two and four. The poet lines up the words "On"
and "stone" to rhyme, as well as "shut" and "cut." The former are connected
through a half-rhyme and "shut" and "cut" through a full rhyme.

Brunette Coleman was a pseudonym used by the poet and writer Philip
Larkin. In 1943, towards the end of his time as an undergraduate at St John's
College, Oxford, he wrote several works of fiction.

Born: August 9, 1922, Coventry, United Kingdom

Died: December 2, 1985, Kingston upon Hull, United Kingdom

The poem “Church Going” was published in his poetic collection “The Less
Deceived” in 1954 (Larkin, 2012). This poem deals with the question about
the importance of the holy place like Church in the life of modern man.

Mostly iambic Pentameter with Regular Rhyme The poem consists of seven
stanzas of nine lines each. Larkin uses ababcaece, an interesting rhyme
scheme “Church Going” uses very a good deal of iambic pentameter and a
regular rhyme scheme.

“Church Going” Setting The setting is an empty church, apparently

located amid the “suburb scrub” (humble suburban landscape) through
which the speaker has been cycling.

Themes: Superstition Religion Spirituality. Man and the

Natural World

Time The Desire for Human Connection. Religion The Established

Church. The Need to Worship. The Ceremony of Ritual. The
Future of the Church

What is the theme of the poem Church Going?

The primary theme of the poem-clear from its title, “Church Going” is
religion. The speaker is not a religious person, and he takes a dismissive,
even disdainful, attitude toward religious belief.

The Decline of Faith Larkin observes the empty, worn-out church,

symbolizing the decline of faith in modern society.

Rituals and Superstitions The speaker notes the habitual and ritualistic
nature of church-going, questioning its significance.

Mortality and Transience The poem touches on the theme of mortality, as

the speaker contemplates the impermanence of human existence.

Isolation and Disconnection Larkin portrays the church as a place of

isolation, where individuals are disconnected from each other and from a
higher power.

The Search for Meaning The poem’s speaker is on a quest to understand

the significance of the church and its rituals, reflecting a broader search for
meaning in life.

Nostalgia and Tradition Larkin expresses a sense of nostalgia for the

traditions and cultural heritage associated with church-going.
These themes, among others, are woven throughout Larkin’s thought-
provoking poem, “Church Going”.

Summary of the poem.

‘Church Going’ by Philip Larkin describes the emotions experienced by a

speaker who is inexplicably drawn to the exploration of churches.

The poem begins with the speaker entering into a building the reader later
discovers is a church. He is not sure why exactly he wants to be there, and is
even more confused by what he sees inside. He has seen many altars, pews,
and bibles before and does not feel any type of reverence towards them. The
speaker reads briefly from the Bible and Upon leaving the church he
contemplates what the building represents and what it will mean when all
the believers are long dead. He pictures the very last explorer of the building
and wonders whether he or she will be like him, curious but emotionless.

Church Going concludes with the speaker deciding that no matter what the
building might mean, it is important for humanity that churches be
maintained. He sees them as being places of coming together and
acceptance of one's common humanity with the rest of the world.

The poem begins with the speaker entering into a building the reader later
discovers is a church. He is not sure why exactly he wants to be there, and is
even more confused by what he sees inside. He has seen many altars, pews,
and bibles before and does not feel any type of reverence towards them. The
speaker reads briefly from the Bible and exits. Upon leaving the church he
contemplates what the building represents and what it will mean when all
the believers are long dead. He pictures the very last explorer of the building
and wonders whether he or she will be like him, curious but emotionless.
‘Church Going’ concludes with the speaker deciding that no matter what the
building might mean, it is important for humanity that churches be
maintained. He sees them as being places of coming together and
acceptance of one’s common humanity with the rest of the world.
recognised, and robed as destinies...can never be obsolete". The narrator is
saying that the area is so important to so many people that the place will
never truly fade. "Robed as destinies" suggests the ordainment, the
validation, of such important life events, such as the marriage, death and
births mentioned earlier. The final statement is concluded in the last stanza.

Once I am sure there's nothing going on

I step inside, letting the door thud shut

Another church matting, seats, and stone,

And little books, sprawlings of flowers, cut

For Sunday, brownish now, some brass and stuff

Up at the holy end; the small neat organ,

And a tense, musty, unıgnorable silence,

Brewed God knows how long Hatless, I take off

My cycle-clips in awkward reverence,

Church Going' begins with the speaker describing, through initial action
phrases, his entering into a place. In the first two lines it is unclear to the
reader where exactly this speaker is and what is so important about making
sure, "there's nothing going on." The reader might ask, what is this place
that it needs to be empty for one to enter? What could have been "going
on?"

The speaker checks to make sure the structure is clear and steps inside. He
mentions the fact that the door closes with a "thud" behind him. It is both
sealing him into the space, and keeping the exterior world out.

If one had not assumed the identity of the structure from the title, the next
line makes known to the reader that the speaker is exploring a church.
Immediately it becomes clear why the space needed to be empty so that he
could explore inside it. There is an important word mentioned in this section
that changes the feeling of the poem, "Another." This is not the first time that
he has entered into an abandoned, or simply empty, church.

The speaker glances around and notices all the items that are consistent
throughout all the churches that he has visited. There are books, and
sets,and "stone." He is unsurprised by these sights. He also takes in the fact
that there is some "brass and stuff / Up at the holy end." This mundane way
of referring to the altar at the front of the church says a lot about the
speaker. He does not hold any reverence or respect for the space he is in.

Amongst all the physical things he notices, he also feels an "unignorably

silence" that is overwhelming in the space. It seems to the speaker that the
church has been absent of people for quite a long time.

Move forward, run my hand around the font

From where I stand, the roof looks almost new

Cleaned, or restored? Someone would know. I don't

Mounting the lectern, I peruse a few

Hectoring large-scale verses, and pronounce

'Here endeth' much more loudly than I'd meant

The echoes snigger briefly. Back at the door

I sign the book, donate an Irish sixpence,

Reflect the place was not worth stopping for

The speaker moves "forward" to the front of the church and "run[s]" his hand
over the pews. Once he has made it to the front he looks around and notices
what seem to be complete repairs and restorations done to the roof. This is a
curious fact about the space as it is so devoid of people There is no one there
to ask why this is the case.

The speaker continues his journey through this religious space and takes to
reading from the Bible. He speaks a few "large-scale verses" in an increased
volume, spreading the words around the space. His projected voice comes
back to him in an echo.

This ends his tour of the church and he departs after leaving an "Irish
sixpence, an incredibly small amount of money, in the donation box. He
comes to the conclusion that this place was not worth visiting.

Yet stop I did: in fact I often do,

And always end much at a loss like this,

Wondering what to look for; wondering, too,

When churches fall completely out of use

What we shall turn them into, if we shall keep

A few cathedrals chronically on show,

Their parchment, plate and pyx in locked cases,

And let the rest rent-free to rain and sheep

Shall we avoid them as unlucky places?

The speaker seems to have some kind of inner conflict about his attraction to
churches. He knows, and knew, that there would not be anything new inside,
but he stopped anyway. This is not unusual for him. He "often" does it and
winds up in this same mental space. The man is frequently entering into the
churches, searching through their religious objects, and then leaving
unsatisfied. He does not yet know what he is looking for but is always left
with one specific question.

He is curious about what the church will be like, or what the human race will
utilize all the churches for when the very last believer is gone. When they
have fallen "completely out of use" will they be avoided "as unlucky places?"
Or will the "sheep" have full rein over their interiors?

Or, after dark, will dubious women come

To make their children touch a particular stone,

Pick simples for a cancer, or on some

Advised right see walking a dead one?

Power of some sort or other will go on

In games, in riddles, seemingly at random;

But superstition, like belief, must die,

And what remains when disbelief has gone?

Grass, weedy pavement, brambles, buttress, sky,

In the fourth stanza of Church Going', the speaker continues his

contemplation of what the churches will become when all the religiously
devoted have passed on. One idea the speaker has about the fate of these
places is the continued existence of their power. He considers the possibility
that in the future people will still come to them for a variety of spiritual
reasons. Mothers might bring their children to "touch a particular stone" for
luck, or perhaps people will come to see the dead "walking."

He knows that "Power of some sort will go on" even if the traditional religious
context is lost. The "superstition" he knows will surround the place "must die
as well. One day, even the "disbelief of the superstitions will be lost. All that
the building will be is "Grass.brambles, buttress, sky." It will be no more than
its walls.

A shape less recognisable each week,

A purpose more obscure. I wonder who

Will be the last, the very last, to seek

This place for what it was; one of the crew

That tap and jot and know what rood-lofts were?

Some ruin-bibber, randy for antique,

Or Christmas-addict, counting on a whiff

Of gown-and-bands and organ-pipes and myrrh?

Or will he be my representative,

As time passes this conglomeration of architectural elements will fall further

into disrepair. It will become "less recognizable" as the days move forward
until its original purpose is completely unknown.

The speaker embraces a new question in this starıza. He is considering who

the very last believer or pilgrim, or seeker of truth will be who enters the
building. Will this person even comprehend where he or she is? What, he
wonders, will this man or woman think as the final remnants of a dead
religion?

The last person, he assumes, will be "one of the crew who knows what a
"rood-loft" is. This is a reference to what is more commonly known as a rood
screen. It is a feature of late medieval church architecture that was situated
between the chancel and nave at the front of the church.

In the final lines of this stanza, the speaker contemplates who this person is.
Will they be a "Christmas-addict or someone who is there solely to seek out
"organ-pipes and myrrh," and all the religious ephemera of the church?
Lastly, he considers the option that the seeker will be as is he, someone who
is "uninformed" and unclear on the purpose of religion.

Bored, uninformed, knowing the ghostly silt

Dispersed, yet tending to this cross of ground

Through suburb scrub because it held unspilt

So long and equably what since is found

Only in separation - marriage, and birth,

And death, and thoughts of these - for which was built

This special shell? For, though I've no idea

What this accoutred frowsty barn is worth,

It pleases me to stand in silence here,

As Church Going begins to conclude the speaker continues his prospective

description of who the last visitor of the church will be. This person might be
as he is, curious about the place because of its long-lasting nature. It has
"held unsplit" for so long, one might wonder what has allowed it to survive.
The onlooker might think on further in the same vein as he, wondering what
the "frosty barn is worth" and how, without knowing its worth, it can please
one to "stand in silence here."

A serious house on serious earth it is,

In whose blent aır all our compulsions meet,

Are recognised, and robed as destinies

And that much never can be obsolete,

Since someone will forever be surprising

A hunger in himself to be more serious,

And gravitating with it to this ground,

Which, he once heard, was proper to grow wise in,

If only that so many dead he round

The final stanza of Church Going' returns to the speaker's own thoughts, he
has finished contemplating what could be and resumes his own present
musings. Up until this point, the reader might be under the impression that
the speaker holds no real regard for religion or the true structure of the
church. This is quickly dismissed with the first line of this stanza. He states
that the church is, "A serious house on serious earth." It has a true and
worthy purpose and should not be made fun of. It is a place where all the
"compulsions" or impulses of human beings meet.

Here, the truth of human existence is "recognized and celebrated. The fact of
this, he thinks, should not ever become "obsolete." It is important enough to
be remembered forever. The church will "forever" bring out a "hunger" is one
that cannot be discovered through any other means. The discovery of
"serious[ness]" will remain with one until the end. A man or woman who has
rediscovered something in themselves will take it with them to "this ground.
They will return to the churchyard and the place where "so many dead lie
round."

Analysis

Larkin's Church Going reflects upon the place of churches in society and how
they will last. Larkin bases the poem on his experience when visiting a
church. Throughout the poem, Larkin moves towards a general, universal
#statement: religion will survive, even after churches fall into disrepair.

In the poem, the narrator initially identifies the deterioration of churches.

Larkin's word choice in stanzas 1: "brownish", "musty" and "sprawlings" give
the impression of something uncared for. Brownish and musty, in particular
suggest decay. Sprawlings connotes spread out in a disordered fashion. The
negative description of the church shows the narrator's first impression.
Larkin's description of the poor condition of the churches progresses to show
his lack of admiration for churches.

Larkin in "Church Going" puts forth the view that he is unimpressed by

churches. He describes them as "another church": it's the same as the others
and there is nothing that makes it stand out. While musing whether the
church's roof is new or been cleaned Larkin says: "Someone must know: I
don't". This is very dismissive. The narrator does not appreciate the cosmetic
effort. The narrator also talks about donating money to the church and draws
the conclusion that "the place was not worth stopping for". Larkin struggles
to understand the significance or the importance of churches.

Stanza 3 begins "Yet stop I did" showing to the reader an immediate shift in
the narrators thinking and attitude. The narrator describes himself as "at a
loss" - he doubts whether his initial views were true. This is the point in the
poem in which the narrator wonders "when churches fall completely out of
use, What we shall turn them into". The narrator has already identified that
churches are fading but now he wonders what will happen to the buildings
when they "completely fall out of use". This is where the poem shifts and
begins moving towards the general, universal statement.

Larkin's poem has a weak rhyme scheme. Larkin's weak rhymes such as
"here" and "idea" in stanza 6 and "were" and "myrrh in stanza 5 suggest
uncertainty and weak ideas. The narrator in the later stages of the poem is
doubting his initial thoughts, realising there is more to the church than he
first thought, and is struggling to come to a conclusion. This is also shown in
stanzas 4-6 as he asks a lot of questions including: "what remains when
disbelief is gone?". This doubt shows the progression of the narrators ideas
as he questions himself.

Larkin illustrates the idea in "Church Going" that religion will survive even
after churches fade. This is shown in stanza 6 when the uses of a church are
listed: "marriage, and birth, and death". The effect of placing these as a list
place them firmly in the poem, reflecting how constant these are in our lives.
It suggests that as long as we continue to love and marry, to die and have
children then religion will survive as these are times are times when we look
for comfort and would turn to religion.

The narrator expresses the view that the church is unimportant, it is how it
the religious associations affect a person that counts "I've no idea, What this
accoutred frowsty barn is worth, It pleases me to stand in silence here".
Describing the church as "accoutred" and "frowsty", is very negative and
archaic show that the church is old fashioned and that its place in modern
society is obsolete. The narrator says it is being in the church that pleases
him not specifically the church. This suggests that the importance is the
associated ideas of the church that matter. It is at this point the narrator
concludes.

The final stanza is where the narrator draws the conclusion. He says that he
is "gravitating with it to this ground". It is the church site that is important
and the significance of the church outweighs the importance of the physical
building. The narrator feels that the "blent air all our compulsions meet, Are
recognised, and robed as destinies...can never be obsolete”. The narrator is
saying that the area is so important to so many people that the place will
never truly fade. “Robed as destinies” suggests the ordainment, the
validation, of such important life events, such as the marriage, death and
births mentioned earlier. The final statement is concluded in the last stanza.

Line By Line Explanation 7th stanza

“Church Going begins with the speaker describing, through initial action
phrases, his entering into a place. In the first two lines it is unclear to the
reader where exactly this speaker is and what is so important about making
sure, “there’s nothing going on.” The reader might ask, what is this place
that it needs to be empty for one to enter? What could have been “going
On?” The speaker checks to make sure the structure is clear and steps
inside. He mentions the fact that the door closes with a “thud” behind him. It
is both sealing him into the space, and keeping the exterior world out. If one
had not assumed the identity of the structure from the title, the next line
makes known to the reader that the speaker is exploring a church.
Immediately it becomes clear why the space needed to be empty so that he
could explore inside it. There is an important word mentioned in this section
that changes the feeling of the poem, “Another.” This is not the first time that
he has entered into an abandoned, or simply empty, church. The speaker
glances around and notices all the items that are consistent throughout all
the churches that he has visited. There are books, aral sets, and “stone.” He
is unsurprised by these sights. He also takes in the fact that there is some
“brass and stuff Up at the holy end.” This mundane way of referring to the
altar at the front of the church says a lot about the speaker. He does not hold
any reverence or respect for the space he is in. Amongst all the physical
things he notices, he also feels an “unignorably e silence that is
overwhelming in the space. It seems to the speaker that the church has been
absent of people for quite a long time.

Line By Line Explanation 6th stanza

The speaker moves "forward" to the front of the church and "run[s]" his hand
over the pews. Once he has made it to the front he looks around and notices
what seem to be complete repairs and restorations done to the roof. This is a
curious fact about the space as it is so devoid of people. There is no one
there to ask why this is the case.

The speaker continues his journey through this religious space and takes to
reading from the Bible. He speaks a few "large-scale verses" in an increased
volume, spreading the words around the space. His projected voice comes
back to him in an echo.

This ends his tour of the church and he departs after leaving an "Irish
sixpence," an incredibly small amount of money, in the donation box. He
comes to the conclusion that this place was not worth visiting.

Line By Line Explanation 5th stanza

The speaker seems to have some kind of inner conflict about his attraction to
churches. He knows, and knew, that there would not be anything new inside,
but he stopped anyway. This is not unusual for him. He "often" does it and
winds up in this same mental space. The man is frequently entering into the
churches, searching through their religious objects, and then leaving
unsatisfied. He does not yet know what he is looking for but is always left
with one specific question.
He is curious about what the church will be like, or what the human race will
utilize all the churches for when the very last believer is gone. When they
have fallen "completely out of use" will they be avoided "as unlucky places?"
Or will the "sheep" have full rein over their interiors?

Line By Line Explanation 4th stanza

In the fourth stanza of 'Church Going", the speaker continues his

contemplation of what the churches will become when all the religiously
devoted have passed on. One idea the speaker has about the fate of these
places is the continued existence of their power. He considers the possibility
that in the future people will still come to them for a variety of spiritual
reasons.

Mothers might bring their children to "touch a particular stone" for luck, or
perhaps people will come to see the dead "walking"

He knows that "Power of some sort will go on" even if the traditional religious
context is lost. The "superstition" he knows will surround the place "must
die" as well. One day, even the "disbelief" of the superstitions will be lost. All
that the building will be is "Grass...brambles, buttress, sky." It will be no more
than its walls.

Line By Line Explanation 3rd stanza

As time passes this conglomeration of architectural elements will fall further

into disrepair. It will become "less recognizable" as the days move forward
until its original purpose is completely unknown. The speaker embraces a
new question in this stanza. He is considering who the very last believer or
pilgrim, or seeker of truth will be who enters the building. Will this person
even comprehend where he or she is? What, he wonders, will this man or
woman think as the final remnants of a dead religion?

The last person, he assumes, will be "one of the crew" who knows what a
"rood-loft" is. This is a reference to what is more commonly known as a rood
screen. It is a feature of late medieval church architecture that was situated
between the chancel and nave at the front of the church.

In the final lines of this stanza, the speaker contemplates who this person is.
Will they be a "Christmas-addict" or someone who is there solely to seek out
"organ-pipes and myrrh," and all the religious ephemera of the church?
Lastly, he considers the option that the seeker will be as is he, someone who
is "uninformed" and unclear on the purpose of religion.
Line By Line Explanation 2nd stanza

As 'Church Going begins to conclude the speaker continues his prospective

description of who the last visitor of the church will be. This person might be
as he is, curious about the place because of its long-lasting nature. It has
"held unsplit" for so long, one might wonder what has allowed it to survive.
The onlooker might think on further in the same vein as he, wondering what
the "frosty barn is worth" and how, without knowing its worth, it can please
one to "stand in silence here."

Line By Line Explanation 1st Stanza

The final stanza of "Church Going' returns to the speaker's own thoughts, he
has finished contemplating what could be and resumes his own present
musings. Up until this point, the reader might be under the impression that
the speaker holds no real regard for religion or the true structure of the
church. This is quickly dismissed with the first line of this stanza. He states
that the church is, "A serious house on serious earth." It has a true and
worthy purpose and should not be made fun of. It is a place where all the
"compulsions" or impulses of human beings meet.

Here, the truth of human existence is "recognized" and celebrated. The fact
of this, he thinks, should not ever become "obsolete." It is important enough
to be remembered forever. The church will "forever" bring out a "hunger" is
one that cannot be discovered through any other means. The discovery of
"seriousness]" will remain with one until the end. A man or woman who has
rediscovered something in themselves will take it with them to "this ground."
They will return to the churchyard and the place where "so many dead lie
round."

TED HUGHES AS A MODERN POET

Ted Hughes is a very important modern British poet. As a poet, he commands

full individual technical superiority over most of his contemporaries. He
understands modern sensibility and contemporary issues; but writes in his
own perspective. He creates before us worlds which delight and instruct us
and elevate us emotionally, intellectually and esthetically. Unlike some
modern poets so believe that a poem should not mean but be. Ted Hughes is
profoundly concerned with the subject matter of his poetry.

The major theme of his poetry is of course man, that is, the question of
human existence, man’s relation with the universe, with the natural world
and with his own inner self. He is awfully serious about this last aspect of the
problem of being, namely, the problem of human consciousness. His subjects
range from animals, landscapes, war; the problem posed by the inner world
of modern man, to the philosophical and metaphysical queries about the
status of man in this universe. His moods and methods of presentation reveal
a similar variety. Ted Hughes says about his vigour and vitality (usually
associated with violence):

“Any form of violence-any form of vehement activity-invokes the

bigger energy. To accept the energy, and find method of turning it to
good. The old method is the only one. My poems are not about
violence but vitality. Animals are not violent; they are so much more
completely controlled than me”

The main theme in his poetry is this energy which has to be turned into a
positive force. Violence is misunderstood in his poetry. Most of Hughes’s
poetry can be said to be an attempt to negotiate with these energies as we
see his argument in the case of Hawk. This poem is often criticized on the
ground that the hawk is a mouthpiece of fascism. What is forgotten,
however, is Hughes’s assertion that the Hawk symbolizes “Nature thinking.”
Secondly, the point of view in this poem is the hawks; that is to say, the
hawk is as mortal and part of creation as any other creature, violent or timid.
Right from his childhood, Ted Hughes has been interested in animals. When
his parents lived in the Calder valley, Ted Hughes had a chance to see the
world of the animals from close quarters. Hughes learnt the first lesson that
animals were by and large victims. The wild world of the animals was at the
mercy of the ordered human world. Yet, as Hughes realized and emphasized
in his poetry, the human world was fascinated by the world of the animals
because it had pushed into the unconscious what the animal world still
possessed: vat, untapped energies. As depicted in ‘That Morning’:

“Two gold bears came down and swam like men... Eating pierced
salmon off their talons”

Here, the untamed natural impulses have been beautifully externalized. As

the two bears representing the two visitors to the lake. He writes violence
chiefly of savage animals, but violence also in human nature. Indeed,
violence is one of the dominant themes in Hughes’s poetry; and for this
reason he has often been regarded as a poet of violence. But these poems of
violence by Hughes are certainly genuine poetry; and we certainly enjoy
reading them. And it is not only the sadistic persons among us who would
appreciate these poems. Even the normal reader can find a certain degree of
pleasure in them, especially because they are perfectly realistic, and very
vivid, in their depiction of brutality and Cruelty. But not violence alone but
treats nature in a unique way as in:

“A cool small evening shrunk to a dog bark and the clank of a bucket
–“

Nature is one of the most prevalent scenes in his poetry. In a way Hughes’s
poetry continues the tradition of nature poetry. But unlike Wordsworth who
found Nature a “nurse, guide and guardian,” and Tennyson who found Nature
“red in tooth and Claw” Hughes tries to take both the Wordsworthian and
Tennyson approaches to Nature. In poems like “Full Moon and Little Frieda”
Hughes can describe Nature to continue the Wordsworthian tradition, but in
poems like “Hawk Roosting” the “That Morning” Hughes recognizes the
powerful, vital, violent and predacious Nature without commenting on it. It
doesn’t mean that he copies their style. One of the causes underlying
Hughes’s greatness as a modern poet is his maturity and originality of style.
Hughes has experimented with several different styles, ranging from the
Wordsworthian and ‘their metaphysical to that of the modern East European
poets. In each case, he has made the style his own as in 'Thought-Fox'.

"The window is starless still; the clock ticks,

The page is printed"

He can convey his meaning and tone through the use of diction. As in the
above extract, as soon as the thought-fox springs into action, the vowels are
short: "brilliantly, concentratedly." The action reaches its climax in the last
line which is virtually monosyllabic: "And the page is printed." The poem thus
shows a fine blending of vowels and consonants so as to provide a fusion of
sense and sound. At other times. he uses animals as symbols. In each case,
there is a remarkable mastery over the medium, whether it is to depict a
scene, portray an animal, tell a story, or present a one-sided vision as that of
Hawk. Even the theme of violence is handled with the lexical entities. Ted
Hughes is primarily concerned with material reality not simply the reality of a
superficial urbanity but the one that governs larger questions of life and
death, Nature and the animal world, and above all, the inner world of man as
in

'Full Moon and Little Frieda':

"A dark river of blood, many boulders,

Balancing unspilled milk"

Instead of shutting his eyes to the metaphysical and spiritual questions
about life, Hughes tries to go to their bottom. He brings round that blood can
be spilled as mercilessly as milk and water. The reality is depicted in the
'boulders' troubles of life. Like Blake he shows a fourfold vision which
progresses from knowledge of the surfaces seen from a singular and
therefore one-sided perspectives to the mature philosophic perspective
which goes to the heart of the matter. He finds a close kinship between the
ambivalent but powerful forces within man and the inscrutable and terrible
working of the world of Nature. Equally remarkable is the fact that Hughes
has treated of many modern concerns, like war and violence, with an
awareness which is lacking in many of his contemporary poets. His poetry
evokes a concentrated imaginative awareness of experience in a specific
emotional response through language that he chooses and arranges for its
meaning, sound, rhythm and a purpose.

HAWK'S MONOLOGUE

I sit in the top of the wood, my eyes closed.

Inaction, no falsifying dream

Between my hooked head and hooked feet:

Or in sleep rehearse perfect kills and eat.

The convenience of the high trees!

The air's buoyancy and the sun's ray

Are of advantage to me;

And the earth's face upward for my inspection.

My feet are locked upon the rough bark.

It took the whole of Creation

To produce my foot, my each feather:

Now I hold Creation in my foot

Or fly up, and revolve it all slowly

-I kill where I please because it is all mine.

There is no sophistry in my body:

My manners are tearing off heads-

The allotment of death.

For the one path of my flight is direct

Through the bones of the living.

No arguments assert my right:

The sun is behind me.

Nothing has changed since I began.

My eye has permitted no change.

I am going to keep things like this.

About the poet:

Edward James Ted Hughes (1930-1998) was an eminent and distinguished

English poet and writer. He wrote for children and is called a children's writer.
His poems are interesting to read to children. Many critics of his age and
after that rank him as one of the best poets among his contemporaries. Ted
Hughes was British Poet Laureate and he maintained his position from 1984
until his death.

Ted Hughes was a great English poet. He was a famous English poet and
translator. He also wrote for children. He was a great 20h-century English
writer. He married Sylvia Plath. He wrote beauty and violence in the world.
Ted Hughes was a great translator. He translated many works.

This poem is written by the English poet Ted Hughes. This poem is about a
hawk who boasts of his power. He thinks that he has all power. All-powerful
people forget that one day they have to die and destroy.

Context

This poem is the monologue of an old hawk. The hawk tells us about his
beauty, power, and skill to attack and hunt other birds. he considers himself
the best of all creation. He thinks that God has used the best workmanship to
fashion his feet and feathers. It is an inborn right to attack and kill other
birds. The right to bloodshed and destruction is given to him by nature. he
does not want any change in this system. he wants to be the lord of
everything he surveys forever.

Summary | Main Idea | Hawk's Monologue:

Hawk's Monologue is a thought-provoking and realistic poem. It is about the
misuse of power, The hawk is sitting on the top of a tree. His eyes are closed
but he can judge the actions of other birds. He is a power drunk He considers
himself a superpower.

He thinks that the rays of the sun help him for the hunting of his prey. The
earth too raises its pace upward to salute him. He boasts that he is superior
to all other creatures. He flies here and there without any fear. He proves
himself the sovereign ruler of all other creatures. He boasts and proclaims
that his supremacy is permanent.

I kill where I please because it is all mine

I am going to keep things like this.

The basic theme of this poem is based on the false judgment of the hawk. He
suffers from the delusion of power. He is a power drunk. He fails to face the
realities and facts of life.

He only worships the false image of power. He is unable to judge the

temporary power, like a cruel dictator. The tragic end is wrapped in his
passion to rule others. He makes a false judgment.

Hawk's Monologue is a highly symbolic poem. In this poem, the hawk is a

symbol of power, destruction, and brutality. His cruelty is shared by the
dictators of the world. Like dictators, the hawk also has a false notion of his
power and authority.

He considers himself superior to everyone. The hawk is also a symbol of a

cruel murderer. He thinks that God has given him the power to kill his prey.
He thinks that he is unchallenged in his authority and power.

The poem Hawk's A monologue is a criticism and satire on the dictators of

the world. They claim to be superior to other people as does the hawk of the
poem. But later on, they are unable to understand the temporary nature of
their own life.

But soon they meet their own tragic end. The cruel dictators of the world
suffer from foolishness. With the passage of time, they become corrupt, and
soon they met their tragic end.

Later on, they come to know the reality of their temporary power. Through
this poem, Ted Hughes gives a moral message to all the dictators of the
world. The message is very simple but sometimes they understand it very
late.
He advises the dictators that they should not feel proud of their power and
authority. They must be humble and submissive before God, Who is the lord
of the lords. So cruel dictators should not consider themselves powerful and
superior.

Reference to Context and Explanation:

Lines 1-4

I sit on the top of the wood, my eyes closed. Inaction, no falsifying dream
Between my hooked head and hooked feet: Or in sleep rehearse perfect kills
and eat.

Reference

These lines have been taken from the poem Hawk's Monologue by Ted
Hughes.

Context

Hawk's Monologue is the speech of 'a a savage bird of prey who takes pride
in his unchallenged power to kill and destroy the other weak birds. The poem
also exposes the attitude and misconceptions of power-drunk persons in this
world.

This poem is a dramatic monologue delivered by the Hawk who boasts much
of his superiority over other birds. He thinks that he is the most powerful
creation of nature and has the complete right to kill others.

Explanation

In these lines, the hawk tells us about his hypocritical and cruel nature. He
says that he is sitting on the branch of a tree. His eyes are closed but he is
not misguided by his false dreams.

He is observing all things in his dreams. Even in his dreams, his hooked beak
and claws go on rehearsing the act of killing other birds. He is a master in his
art of killing other birds.

Lines 5-8

The convenience of the high trees; The air's buoyancy and the sun's rays Are
an advantage to me, And the earth's face upward for my inspection.
Reference and Context

Same as for lines 1-4

Explanation

In these lines, the hawk shows himself as superior to other creatures. He

thinks that he is the lord of everything. Nature has provided him with many
advantages for his plunderers' activities.

He says that the tall trees in the forest, the buoyant air, the rays of the sun,
and the vast surface of the earth all have been created for his convenience.
Owing to these facilities he can easily locate, control, and hunt his prey. He
enjoys all these comforts fully.

Lines 9-12

My feet are locked upon the rough bark. It took the whole of creation To
produce my foot, my each feather,Now I hold Creation in my foot.

Reference and Context Same as for lines 1-4

Explanation

In these lines, the hawk considers himself the best creature of God. God has
gifted him the power to kill and destroy the other birds. Hawk himself asserts
that his feet are firmly fixed upon a rough trunk of a tree.

He further says that the services of the entire creation were used to produce
his feet and each of his wings. He is the ruler of all creations. Allah Almighty
has paid special attention to making each part of his body. His feathers are
also very strong like his feet. There is no flaw in any part of his body.

Lines 13-16

Or fly up, and revolve it all slowly I kill where I please because it is all mine.
There is no sophistry in my body: My manners are tearing off heads
Reference and Context Same as for lines 1-4

Explanation

In these lines, the hawk tells us that when he flies, the whole universe
revolves around him. He can fly fast or slow, as he likes. He is the lord of his
territory.

He can kill his prey when and where he likes. Nobody can guess his
supernatural kind of power. There is no defect in his body. He is perfectly
made. His sole purpose is to kill and tear the other birds whenever he likes.

Lines 17-20
The allotment of death. For the one path of my flight is direct Through the
bones of the living. No arguments assert my right: Reference and Context
Same as for lines 1-4

Explanation

In these lines, the hawk says that his only job is to allot death to any bird. He
can kill the bird of his choice without being challenged by anyone. For this
purpose, he flies straight through the body of his prey and kills it at once.

Whenever he flies in the air, he tries to make his path through the bones and
flesh of the living creatures. This is his fundamental right which God has
allotted him. Nobody can argue against this right.

Lines 21-24

The sun is behind me.Nothing has changed since I began. My eye has
permitted no change. I am going to keep things like this.

Reference and Context Same as for lines 1-4

Explanation

In these lines, the poet describes the boastful nature of the hawk. The hawk
thinks and considers himself the sovereign lord of this world. He is actually a
power drunk. He considers that the sun is behind his back. The sun provides
him light to capture his prey.

It guides his sharp eyes to mark his prey and hunt it as easily as possible. He
does not like any change in the world. He wants to continue to keep things in
the same manner. He does not allow any revolution against his sovereign
rule. Even he thinks natural objects like the sun, must be under his control.

That Morning by Ted Hughes

We came where the salmon were so many

So steady, so spaced, so far-aimed

On their inner map. England could add

Only the sooty twilight of South Yorkshire

Hung with the drumming drift of Lancasters

Till the world had seemed capsizing slowly.

Solemn to stand there in the pollen light

Waist-deep in wild salmon swaying massed

As from the hand of God. There the body

Separated, golden and imperishable,

From its doubting thought a spirit-beacon

Lit by the power of the salmon

That came on, came on, and kept on coming

As if we flew slowly, their formations

Lifting us toward some dazzle of blessing

World and salmon were over.

As if these Were the imperishable fish

That had let the world pass away-

There, in a mauve light of drifted lupins,

They hung in the cupped hands of mountains

Made of tingling atoms. It had happened.

Then for a sign that we were where we were

Two gold bears came down and swam like men

Beside us. And dived like children.

And stood in deep water as on a throne

Eating pierced salmon off their talons.

So we found the end of our journey.

So we stood, alive in the river of light.

Among the creatures of light, creatures of light.

One wrong thought might darken. As if the fallen

INTRODUCTION “THAT MORNING” by Ted Hughes

The very title of “That Morning,” the next salmon poem in the second half of
River, recollects the Eliadean illud tempus moment of participation in godly
energy and a prelapsarian communion with all created beings. Both “That
Morning” and “The Gulkana,” the subsequent salmon poem, relate the
experiences of Hughes and his son Nicholas while on a fishing trip in
southern Alaska in the summer of 1980.

In “That Morning” the two men, waist deep in an Arctic river, feel the press of
an entire school of salmon sliding past them. Here “doubting thought”
retreats, while the body becomes “a spirit-beacon/Lit by the power of the
salmon.” The walls that divide man from man and man from all other orders
of creation slide away as the fish elevate the fisherman’s perceptions
“toward some dazzle of blessing.” The experience reconstitutes reality for

Hughes. And when the gold bears enter and sport, and eat salmon as if
sharing their dinner with the fishermen, the entire event becomes a
paradisal joumey’s end, a moment of participation in the allness of being, lit
by the beams of spirit brightness. So the men stand “alive in the river of
light/Among the creatures of light, creatures of light.” Mind, body, the
moment of perception, and the perceived are transfigured into one unity, one
Divine Body of Imagination.)

Reference: These lines are the part of “That Morning” by 20 th-century

English poet Ted Hughes.

Context: The poem “That Morning” is about a fishing expedition but the
glories and awesome sight of plenty of beautiful salmon leave the poet spell-
bound. This sight takes the poet to the world of vision and he learns to be
compassionate and kind to the animals. On the contrary the closing part of
the poem throws light on instinctive behaviours of animals. Catching and
killing fish are acts of violence but here compassion and violence are two
opposed realities with their use and abuse. The poem is poet’s journey into
the world of vision. Apparently we see him on a fishing campaign but the
sight of swaying mass of fish with silver glow of scales turn him to look at the
fish in quite a different way. The silver glow of the salmon becomes divine
light and heavenly bliss.

Explanation: (Write following lines after given explanation for the

lines.)

The poem has an unconventional rhyme-scheme however the rhythm sounds

usual. Hughes has frequently used the run-on lines and some lines run
through three to four stanzas. We can also trace alliteration in some of the
lines. Use of epithet lend meaning, beauty and flow to expression of thought;
inner map, sooty twilight, drumming drift, pollen light, doubting thought, a
spirit beacon are examples of Hughes art of versification etc. The poet does
not mention his catch of salmon anywhere. In the poem. His catch most
probably is compassion that he takes back home.

Critical Analysis of That Morning

“That Morning” is a poem by Ted Hughes, a renowned British poet. The poem
is part of Hughes’s collection titled “River,” which was first published in
1983. The “River” collection is known for its focus. On nature, particularly
rivers and their surrounding environments.

Critical Analysis of That Morning

Lines 1-3

We came where the salmon were so many

So steady, so spaced, so far-aimed

On their inner map,

We came where the salmon were so many

This line establishes a sudden, striking contrast between the human

observers (we) and the natural world. The abundance of salmon (so many)
not only highlights nature’s richness but also suggests a world thriving
independently of human influence.

Salmon The salmon symbolizes the unstoppable force of nature. Their

presence in large numbers underscores the vitality and resilience of the
natural world.

So steady, so spaced, so far-aimed

Hughes uses concise, impactful descriptions to convey the salmon’s

purposeful movement. ‘Steady implies a relentless, unwavering commitment
to their journey, reflecting the powerful instinct driving them.

‘Shared’ suggests a harmonious, natural order in their movement, indicative

of an innate understanding of their environment and purpose.”

“Far-aimed highlights the salmons’ long -distance migration, driven by deep-

routed biological imperatives.

On their inner map,

The term “inner map’ is particularly significant in understanding the salmon
in Hughes’s poem. This metaphor suggests an intrinsic, perhaps genetic,
sense of direction that guides the salmon to their spawning grounds.

It speaks to the remarkable navigational abilities of these creatures, which

are driven by instinct rather than learned knowledge or conscious decision-
making.

Lines 3-6

England could add

Only the sooty twilight of South Yorkshire

Hung with the drumming drift of Lancasters.

Till the world had seemed capsizing slowly.

England could add

Only the sooty twilight of South Yorkshire

The industrial north of England, specifically South Yorkshire, is known for its
coal mining and heavy industries. “Sooty” suggests pollution and darkness,
typical of industrial areas, especially during heavy coal use.

“Twilight” can symbolize a transition or fading, possibly referring to the

decline of the industry or the dimming of day, which could metaphorically
represent harder times or the shadow of war.

Hung with the drumming drift of Lancasters

“Lancasters” refers to the Avro Lancaster, a British bomber aircraft

extensively used during World War II. The “drumming drift” evokes the sound
of these planes, a constant, ominous presence in the skies.

This line shows the unease and the omnipresent threat of war. It also ties the
industrial landscape to the war effort, as many industrial regions were
heavily involved in wartime production.

Till the world had seemed capsizing slowly

This line uses the metaphor of a capsizing world to convey a sense of

upheaval and disorientation. The slow capsizing could represent the gradual
but profound changes brought about by war and industrial decline.
It affects both the physical landscape and the psychological state of the
people living there. It suggests an upside-down world where the familiar
becomes unstable and uncertain.

The external reality of war, symbolized by the Lancasters, directly influences

the internal state of individuals and societies.

The slow capsizing of the world indicates a shift in collective consciousness.

There is a change in how. People view their lives and futures in the face of
ongoing conflict.

Lines 7-9

Solemn to stand there in the pollen light

Waist-deep in wild salmon swaying massed

As from the hand of God..

Solemn to stand there in the pollen light

The “pollen light” suggests a particular quality of light, possibly Linged with
the golden hue of pollen. It creates an atmosphere that is almost sacred or
ethereal. Standing solemnly in such light implies a deep, respectful
engagement with the natural world.

Waist-deep in wild salmon swaying massed

Here, the speaker is immersed in nature, literally waist-deep among a large,

dense group of wild salmon. This immersion conveys a sense of unity with
nature.

“Waist-deep” suggests deep immersion in the natural environment. The

speaker is not merely observing from a distance but is physically surrounded
and engulfed by the natural phenomenon, indicating a profound connection
with nature.

“In wild salmon” emphasizes these creatures’ natural and untamed aspects.
“Wild” contrasts with anything domesticated or controlled by humans. It
highlights the raw and primal force of nature.

“Swaying massed” conveys the dense, collective movement of the salmon.

“Swaying suggests a rhythmic, almost synchronized motion, while “massed”
implies many salmon, creating a powerful image of abundance and collective
behavior in the natural world.

As from the hand of God.

This line elevates the scene to a spiritual or divine level. It implies that the
scene, especially the abundance and behavior of the salmon, is so awe-
inspiring and majestic that it is a manifestation of a higher power’s work.

Lines 9-12

There the body

Separated, golden and imperishable,

From its doubting thought a spirit-beacon

Lit by the power of the salmon

There the body

It refers to a moment of deep connection with nature, where the poet

experiences a profound sense of being part of the natural world. “There”
indicates a specific moment or place where this realization. Occurs.

Separated, golden and imperishable.

It symbolizes a state of transcendence or enlightenment achieved through

this deep connection with nature.

“Separated” suggests a detachment or division from something else. In a

symbolic context, it could imply a state of being set apart from life’s
ordinary, mundane, and physical aspects.

It might represent a spiritual or existential separation, such as the distinction

between the physical and the spiritual, or the everyday self and a higher
state of consciousness.

Golden” symbolizes something precious, valuable, or of excellent quality. It

can also imply a sense of purity, perfection, or an idealized state. Gold is
associated with the divine or the sublime in many cultures and literary
contexts.

“Imperishable” indicates something that cannot decay or be destroyed,

suggesting timelessness and endurance. In a spiritual context, it may refer to
eternal or transcendent aspects of existence or consciousness beyond
physical limitations.

From its doubting thought

This line means that when someone sees a beautiful and powerful natural
scene, like being surrounded by wild salmon, it can make their thinking
clearer and help them feel more connected spiritually. It is like their doubts
and questions disappear for a moment.

A spirit-beacon

Lit by the power of the salmon

This imagery suggests that the presence or movement of the salmon is a

spiritual or metaphysical illumination (spirit beacon).

The phrase “lit by the power of the salmon” indicates that the natural force
and vitality of the salmon are enlightening or awakening in a spiritual or
emotional sense.

The salmon’s journey is not just a physical migration but also holds a more
profound, almost mystical significance.

Lines 13-15

That came on, came on, and kept on coming

As if we flew slowly, their formations

Lifting us toward some dazzle of blessing

That came on, came on, and kept on coming

This repetition emphasizes the relentless, continuous movement of the

salmon. It reflects the persistent, unyielding nature of their journey, often
against strong water flow. It symbolizes determination and resilience.

As if we flew slowly, their formations

Lifting us toward some dazzle of blessing

These lines metaphorically suggest that the spectacle of the salmon is

spiritually or emotionally elevating the observers (perhaps the speaker and
companions).

The “formations” of the salmon seem to have an uplifting effect as if the

observers are being carried or lifted towards a higher understanding or state
of grace (“some dazzle of blessing”).

It could imply a sense of awe, enlightenment, or a profound connection to

nature that elevates the human experience to something more transcendent.

Lines 16-19

One wrong thought might darken.

As if the fallen

World and salmon were over.

As if these Were the imperishable fish

That had let the world pass away-

One wrong thought might darken.

This line suggests the fragility of the moment or the experience. It implies
that a single negative or misplaced thought could overshadow or diminish
the significance and beauty of the scene.

It could be a comment on the human tendency to be distracted by negative

thoughts, which can eclipse the appreciation of the present moment or the
natural world.

As if the fallen.

World and salmon were over.

These lines seem to ponder a hypothetical end of the “fallen world” and the
salmon. The “fallen world” could refer to a world that has lost its way,
perhaps environmentally or morally.

The idea that this world and the salmon could be “over” evokes a sense of
finality, possibly hinting at environmental concerns or the transient nature of
beauty and life.

As if these

Were the imperishable fish

The salmon is imagined as “imperishable,” contrasting with the earlier

suggestion of their end. It could symbolize the enduring, timeless aspects of
nature and life cycles despite the transient nature of individual lives or
species.

That had let the world pass away-

This line suggests a scenario where the salmon, as eternal or imperishable

beings, remain while the world around them fades or changes.

It is a powerful image that could reflect the resilience of natural processes in

contrast to human civilization's impermanence, or it might suggest a kind of
natural wisdom in the salmon, enduring beyond human concerns and
impacts.
Lines 20-22

There, in a mauve light of drifted lupins,

They hung in the cupped hands of mountains

Made of tingling atoms. It had happened.

There, in a mauve light of drifted lupins,

This opening sets a scene of serene beauty. The "mauve light" suggests a
soft, gentle illumination, possibly at dawn or dusk, creating a dreamlike
atmosphere.

Lupins, which are flowering plants, add to the sense of a lush, natural
setting. This phrase paints a picture of a tranquil and almost mystical natural
landscape.

They hung in the cupped hands of mountains.

The salmon (presumably continuing from previous lines) are described as

being 'held' by the mountains. This "cupped hands" metaphor personifies the
mountains, suggesting a nurturing, protective quality.

It conveys a sense of harmony and integration between the salmon and their
environment, as if the natural world is cradling or cherishing them.

Made of tingling atoms. It had happened.

The phrase “Made of tingling atoms” adds a sense of vibrancy and energy,
perhaps reflecting the dynamic ever-moving essence of life and nature

“It had happened” implies a significant event or realization has occurred. It

could refer to the culmination of the salmon’s journey, a moment of profound
natural beauty, or a deeper spiritual or existential revelation experienced by
the observer.

Lines 23-27

Then for a sign that we were where we were

Two gold bears came down and swam like men

Beside us. And dived like children.

And stood in deep water as on a throne

Eating pierced salmon off their talons.

Then for a sign that we were where we were

This phrase suggests a moment of realization or confirmation, indicating that

the observers are precisely where they are meant to be. It sets up an
expectation for a significant event or encounter that confirms their place in
the natural world.

Two gold bears came down and swam like men

The appearance of “two gold bears” (likely referring to a species like brown
or grizzly bears, known for their golden-brown fur) adds a majestic and
powerful element to the scene.

Describing their swimming as “like men” anthropomorphizes the bears,

attributing human qualities to them. It bridges the human and natural
worlds.

Beside us. And dived like children.

This line continues to humanize the bears, comparing their diving to

children’s playful, carefree actions. It creates an image of joy and natural
playfulness, further enhancing the connection between humans, animals,
and nature.

And stood in deep water as on a throne

The bears are depicted as regal and commanding, standing in the water like
on a throne. This powerful imagery elevates the scene, giving the bears a
majestic, almost royal status within their natural domain.

Eating pierced salmon off their talons.

The final line brings the focus back to the interaction between the bears and
the salmon, a natural occurrence depicted here with a certain raw elegance.

Lines 28-30

So we found the end of our journey.

So we stood, alive in the river of light,

Among the creatures of light, creatures of light.

So we found the end of our journey.

This line suggests the culmination of a quest or search, not just in a physical
sense but also in a spiritual or existential sense. The journey’s end is a
significant achievement or understanding, possibly a deep connection with or
insight into the natural world.

So we stood, alive in the river of light,

It could symbolize a state of enlightenment or heightened awareness. The

“river of light might represent nature’s energy and life force. It indicates the
speaker’s immersion in the vibrancy and dynamism of the natural world.

Among the creatures of light, creatures of light.

The repetition of “creatures of light” emphasizes the idea of purity, beauty,

and perhaps a divine or transcendent aspect of the natural creatures
surrounding them.

It suggests that these creatures and the natural world possess an inherent
luminescence or spiritual quality

“Creatures of light” can have a spiritual or mystical connotation, suggesting

that these creatures connect to a higher realm or possess a spiritual
significance beyond their physical existence.

In Hughes’s work, animals often embody deeper meanings or natural forces.

Describing them as “creatures of light” could suggest they are not only part
of the natural world but also bearers of something more transcendent or
mystical.

Interest in animals compels Ted Hughes to write poems about them. He loves
animals and likes to portray their images in his poetry. It is, therefore, he is called
the poet of animals. “That Morning” is a clear analysis of an animal’s psyche
through which Ted Hughes portrays the critical theme of violence. In this poem,
the poet shares his and his son’s experience of fishing. It is evident from the
biography of Ted Hughes that he perfectly knew the animal psyche. This poem is
one of the two salmon (a species of fish) poems; another one is “The Gulkana”.
The poem is from the collection of “River”. The poem also shares some attributes
of Emily Dickinson’s poetry.
Ted Hughes along with his son Nicholes went fishing where he decided to write
this poem. He could not exclude animals nor could he exclude the theme of
violence from it. He was interested in animals right from his childhood. He spent
most of his time with them in Calder Valley. Animals’ world was his own world. He
knew their nature; he wanted to study them. Rarely, any poem by Ted Hughes is
found in which he had not talked about animals. Even while explaining the
process of writing poetry, he used the fox as a symbol. In this poem, the poet
shows us the world of fish. It does not matter whether an animal belongs to the
sea or dessert, Ted Hughes wants to know about it. This poem elaborates on the
theme of violence through fishes and bears. He has converted his fishing
experience into a beautiful poem.

Critical Analysis of “That Morning” | Poem by Ted Hughes

Critical analysis of starting lines of “That Morning” demonstrates that it starts with
the description of salmon fishes. The poet has reached the river. He gazes at the
movement of salmons and observes it minutely. Climate description is also there
in starting lines of the poem.

The initial lines of the poem are about the weather. Salmons have also been
introduced to the readers. The illustration of beautiful images increases the
charm of the poem. The poet gazes at a group of salmons. It seems to him that
they are performing some kind of ritual. They are looking incredibly beautiful to
him. He feels salmons are getting heavenly satisfaction while performing some
kind of ritual. Brightness has overwhelmed them and they are shining in the deep
water. Ted Hughes has created a wonderful sketch of fishes.

The poet is not alone, feeling the sanctity of fish; his son is also feeling the same.
It is, therefore, he uses the word “we” instead of “I” everywhere. Nevertheless,
the ritual ceremony of the fishes has not ended yet; with every second the poet
and his son can feel an increase in the holiness of salmons. Besides fish, the
poet’s mind is also blessed. Although only salmons are performing a ritual yet the
poet is also blessed. His mind has been filled with thoughts. The blessing, that he
is feeling, is actually his imagination. After seeing fish, his mind connects with
nature.

“As if we flew slowly, their formations”; this line indicates that the poet is
imagining his own world, in which he feels peace, harmony and blessings. There
is also a fear in his mind that any wrong thought can end this blessing. “One
wrong thought might darken. As if the fallen; World and salmon were over”; these
lines reveal that the poet cannot think to think anything else. Meaning thereby,
he cannot divert his attention toward any other subject otherwise he will lose his
peaceful imagination. The line “That had let the world pass away—” shows the
superiority of the fishes to everything because the poet feels that these fishes are
everlasting. It is highly ironic. In the end, we would witness the transient life of
salmons.

Salmons are beautifully enjoying their devotional world. They were in marvellous
mountains, shaped like a bow, along with some green plants. But suddenly the
poet and his son witness a dreadful moment. Two bears came from somewhere,
tore the salmons into pieces and ate them. It was the end of their journey.
Critical Analysis of Symbolic Significance of “That Morning” transpires that the
poem’s start and its end are entirely opposite to each other. The theme of
violence is evident in the last part of the poem. The entire poem is a symbol of
life. It depicts the reality of life. Ted Hughes wants to say that life goes on in this
way. There are many good days in life but suddenly due to an incident, we lose
everything. It also shows the brutality of stronger over weaker. It is the law of
nature: “Destroy the weaker for pleasure; if not for pleasure than for need”. In
this case, salmons are weak and bears are strong; therefore they eat salmons for
their needs. Life is full of charms and at the same time full of tragedies. A sudden
change can take a person from heaven to hell and from hell to heaven. Life is also
full of wonders. Every day, many wonders are witnessed by people. Life goes on
like this. The poem is very much close to reality. It reveals a universal truth. The
poet presents the reality of life. Some people in life are like salmons, who do no
harm to others but still, some bears eat [hurt] them. Life is a mixture of both good
and bad.

In short, the poem is a beautiful representation of life. It has a charm of its own
but it is also dreadful. Beauty lies in the eyes of the beholder. It depends on the
beholder and how he sees it. Similarly, life lies in the mind. If a person is free from
worries, he would find peace and harmony while seeing salmons but if he has
witnessed the brutality of bears, then his mind sees brutality in everything. Fear
will never leave him. Ted Hughes shows two main aspects of life; the good aspect
and the bad aspect. “That Morning” is a highly symbolic poem and it is about the
reality of life.
Related Questions:
 Write Critical Analysis of “That Morning by Ted Hughes”.
 “That Morning” shows a critical analysis of life. Elaborate.
 “That Morning” is a highly symbolic poem by Ted Hughes. Write a
symbolic critical analysis of “That Morning”.