BLAKE _MORRISON

TheMovement
4

J?

ENGLISH POETRY A N D FICTION

O F THE 1950s

Oxford New York Toronto Melbourne

OXFORD UNIVERSITY PRESS

1980

Oxford Universig Press, Waiton Street, Oxford ox2 ~ D P

OXFORD LONDON GLASOOW
NEW YORK' TORONTO MELBOURNE WELLINGTON

KUALALUMPUR SINGAPORE HONGKONG TOKYO

DELHI BOMBAY CALCUTTA MADRAS KARACHI
NAIROBI DAR ES SALAAM CAPE TOWN

O Blake Morrison

Contents

1980

A11 rights reserved. No part of this publication may be reproduced,

stored in a retrievalsystem, or transmitted in any form or by any means
electronic, mechanical, photocopying, recording. or otherwise, without
the prior permission of Oxford University Press
British Library Cataloguing in Publication Data
Momson, Blake .
The Movement.
1. English poetry - 20th century - History and
criticism
2. English fiction - 20th century - History
and criticism
I. Title
8211.9'1409 PR601 79-41268
ISBN 0-19-212210-X

Preface

vii

Acknowledgements ix
Introduction ,1
1 The Origins of the Movement
2 Class and Culture 55
3 The Sense of an Audience

10

99

4 Against Romanticism 145

5 Traditiop and Belief 192
6 Divergent Lines: The Movement
after 1956 238
Notes

285

Select Bibliography
Index

Set by Hope Services, Abingdon

and printed in Great Britain
at the Uniuersity Press, Oxford
by Eric Buckley
Printer to the University

316

307

18

The Origins of the Movement

The Movement

19

-- ...-.- - ..-----.- -.- -

further allusion t o 'Dover Beach'. Arnold's poem begins 'The

sea is calm tonight./The tide is full, the moon lies fair'. Larkin
compresses these lines ('The moon is full tonight') and goes
on to share Arnold's lament for the 'certitude' (both use this
word) lost from the modern world:
The moon is full tonight
And hurts the eyes,
It is so definite and bright.
What if it has drawn up
All quietness and certitude of worth
Wherewith to fill its cup,
Or mint a second moon, a paradise? For they are gone from earth.

'And hurts the eyes' is so colloquial as to sound like

mockery, and from the point-of-view of Larkin's development
this is the most interesting feature of the poem: it briefly
hints at a Movement-like impatience with solemn Romantic
postures. Similarly, when Larkin writes in Poem XXVII 'In
the past/There has been too much moonlight and self-pity:/
Let us have done with it', there is briefly a hint of selfcondemnation and a suggestion that new tones and attitudes
will have t o be adopted.
'Release', the penultimate poem in Bright November,
suggests that Amis shared Larkin's hopes and ambitions.
Written at the end of the Second World War, it pronounces
the present 'a time for revision of thought' and gestures
towards a future in which the poet will be famous: 'Now I
must awake and speak. Now I must cause/Something that
will want to remember me'. Such grandiose declarations are
common among young poets, but Arnis had already shown
signs of a valuable change of direction. In his poem '0Captain!
My Captain!' (the title borrowed from Whitman) he had, like
Larkin, subverted the pose of the Romantic dreamer. As in
Henry Reed's 'Lessons of the War', to which the poem is
almost certainly indebted, the voice of an experienced
military officer is played off against that of a romantic

young recruit:
Useless to fill the head with pointless abstractions
About time; time is always expressed in hours;
And another thing, you; just come away from that window;
It isn't manly to be always staring at flowers.
I could talk about other things which you must not do,
Such as staying sober, or hating a dirty picture.
- What's that? you wish you could fall in love?
Fetch the M.O., major; this fellow's got a stricture.

Amis has spoken of the army as an experience which

toughened and matured him,'' and the poem seems partly to
describe this process: the captain brusquely interrupts the
recruit's vague meditations about 'music' and 'flowers' and
'love', insisting on the need to be 'manly'. In the years after
1947 Amis gave increasing attention to this 'second voice'
and to the development
of a dialogue in which the tough
.
pragmatist would gradually win out.
The promise of a Movement manner is present in The
North Ship znd Bright November, then, but Arnis and Larkin
still required an outlet through which they could consolidate
their development and clarify their aims. This purpose was
partly served by Mandrake, an Oxford-based little magazine,
edited from 1945 to 1947 by John Wain and Arthur Boyars
(after that Boyars assumed .sole control). The third issue
(May 1946) contained two poems by Wain and two by
Phillip (sic) Larkin. None of these was subsequently collected,
but Larkin's 'Plymouth', at least, is revealing about his continuing struggle to find a distinctive manner. The poem
betrays the influence of Dylan Thomas ('rivers of Eden,
rivers of blood') and of Yeats ('The hands that chose them
rust upon a stick'), but in its closing lines looks forward to a
poetry that, by implication, would demand the rejection of
such influences:
Let my hands find such symbols, that can be
Unnoticed in the casual light of day,
Lying in wait for half a century

24

The Movement

Jennings liked the last line sufficiently to reworkit in 'Black

and White' as 'But love is always moving off'.16 It owes a lot .
to the last line of Amis's 'Retrospecty-'and love is always
moving somewhere else'-which she could have seen either in
Bright November or in the fifth issue of Mandrake. Alternatively, the coincidence might mean only that Amis and Jennings were both indebted to Empson, whose poetry also makes
much use of rather offhand and 'throwaway' last lines beginning with the word 'and': 'And stave off suffocation until
winter', 'And pump the valley with the tunnel dry', 'And learn
a style from despair'.
If Jennings in the early 1950s was imitating Empson, this
would not be wholly surprising: in 1950John Wain had written
an article about Empson for Penguin New Writing, and the
article was widely read and influential, particularly amongst
young poets in Oxford. Wain's article, reprinted in his Preliminary Essays was far from adulatory (he expressed doubt as
to whether it was 'worth trying to decipher' Empson's moreobscure poems), but did serve to draw attention to a poet
whose wit and erudition young intellectuals could readily
admire. The article presented Empson as being at least as important as his more celebrated contemporaries (Auden, Day
Lewis, MacNeice), and its final rhetorical flourish-'he has,
after all, written at least a dozen poems which pass every
known test of greatness: and who has done more?'- -overrode
all previous reservations. The impact of Wain's article can be
seen in little Oxford magazines like Trio and Departure, and
in the early issues of George Hartley's magazine Listen, which
was founded in 1954: contributors like A. Alvarez, Bernard
Bergonzi, George MacBeth, Anthony Hartley, Gordon Wharton,
Jonathan Price and James Harrison all write Empsonian verse.
One of the refrains from Empson's 'Aubade'-'It seemed the
best thing to be up and go'-seems to have had special resonance for this generation of poets, for several of them produced
variations on it:

The Origins of the Movement

Because these things take time, they had to go
(John w&, 'Thoughts on Abandoning.

25

. .')

You could not come, and yet you go

(Elizabeth J ennings, 'For a Child Born Dead')
A minute holds them, who have come to go
(Thom Gunn, 'On the Move')
When the alarm clock rang they had to go
(Gordon Wharton, 'This and That1)
I t is ourselves that are the first to go
(James Harrison, 'Villanelle')

Wain's championing of Empson was similar to Amis's championing of Auden in Oxford Poetry: both these poets could
be held up as examples of writers unaffected by the neoRomantic modes popular in the 1940s. Amis and Michie
printed poems which were indebted to Auden, but excluded
those adjudged to show the 'harmful influence' of Dylan
Thomas; Wain recommended Empson as an antidote to 'punchdrunk random "romantic" scribblers', and cited his work as
evidence that 'it is harder to produce an accurate statement
than a careless rapture'." The Movement was now, by 1950,
becoming more conscious of its aims, and anti-Romanticism
became an increasingly important part of its programme. It
began to define the texture of its own poetry by contrasting
it with 'the poetry of the 1940s'. By this phrase it meant the
poetry not of Roy Fuller, N u n Lewis, Keith Douglas and
Henry Reed, poets who it on the whole admired, but of Dylan
Thomas, David Gascoyne, Edith Sitwell, W. R. Rodgers and
of the poets (notably Henry Treece and Tom Scott) who had
appeared in the neo-Apocalyptic anthology The White Horseman (1941). By taking these figures to be 'the poets of the
1940s' the Movement inevitably produced a distorted picture
of the decade, but it was one that allowed their own work to
appear to be a radical departure, the 'new poetry'. .
Wain's Mixed Feelings (1951) is perhaps the first real example of aMovement departure from 'the poetry of the 1940s'.
Published by the University of Reading School of Fine Art, it

32

The Movement

the great Romantic poets, and his stance was an implicit rebuke
to the efforts of 1940s neo-Romantics. In this way, Leavis,
though not a poet himself, was able to influence the poetry
of the Movement. Gunn has said that Leavis's famous Scrutiny
essay on Shelley was instrumental in '[helping one] to hold
in leash, or to acertain extent transform, one's own self-pityF6
Davie also owed much to Leavis's example. The five poems
which he had published in an anthology in 1946, were immature, making archaic, overtures to the heart in the way that
the early Larkin and Amis had done:
Turn, two-faced heart,
By mind caught out.
So heart and heart, and heart
That mind doth flout,
A keener compound smart
Will breed, and deeper d o ~ b t . ~ '

By the early 1950s, however, Davie had decided that, as he

puts it in 'At Knaresborough', 'the heart is not to be solicited'.
Poems like 'Among Artisans' Houses', 'Hypochondriac Logic'
and 'Pushkin: A Didactic Poem' (all of them completed by
October 1951) show Davie abandoning lyricism and feeling
for a poetry of reason and statement. The poems show a
general indebtedness to Leavis's rigour, and the last of them
also has a specific debt to Leavisian ideas about the 'Line of
Wit' and lost 'organic community': '
Self-consciousness is not at fault
In itself. It can be kept
Other than morbid, under laws
Of disciplined sensibility, such
As the seventeenth-century Wit.
But all such disciplines depend
On disciplines of social use,
Now widely lost.

It is a feature of Davie's early poems that they read at times

like critical essays: he seems to be attempting to incorporate
into poetry certain qualities (fastidiousness, scepticism, care-

The Origins of the Movement

33

fully constructed argument) vir-hich,though not usually thought

,of & 'poetic' qualities, can be found in Leavis's criticism.
The impact of Leavis on Enright was made much earlier:
by 1942 Enright .was already expressing opinions which bore
the mark of Leavis's influence and which looked forward to
the Movement. His review 'Ruins and Warnings' took exception
to the latest collections of Spender and of the neo-Apocalyptic
poet Henry Treece:
M; Spender has given us plenty of evidence from which to deduce his
inability to use his imagination in a truly poetic way. Like those of so
many of our contemporary poets, his imaginative faculties alternate
spasmodically between the bathetic 'plain statement' kind of thing and
that ghastly modem Homeric metaphor which fills one with regressive
yearnings for the good old Georgians of yesteryear. .Mr Henry Treece,
on the other hand, has Imagination by the ton. But Treece (a member
of the not-so-new and not-so-apocalyptic New Apocalypse) is a semisurrealist poet and that kind of Imagination has always been quite unrationed. It strikes me that the semi-surrealist poet occupies a highly
privileged position on Pamassus: when he can't go on meaning any
longer he can always slip into a stanza or two of non-meaning (which
relieves him of the strain genuine poets must occasionally suffer under)."

The insistence on the effort demanded by poetry; the commitment to moderation implicit in the pejorative 'unrationed';
the suggestion that 'Imagination' is not self-evidently desirable; and the esteem for clarity of meaning (if not of 'bathetic
"plain statement"'); these at once betray the influence of
Leavis and anticipate the Movement. Enright's capacity to
put together such a comprehensive statement of Movement
belief as early as 1942 may suggest that he was precociously
certain of the direction which contemporary poetry should
take; more probably, though, it simply confirms the compatibility of orthodox Leavisite judgment with what was eventually to be the Movement programme.
Enright's first serious attempts to write poetry seem to have
begun when he went to Egypt in 1947. His little-known
Season Ticket was published in Alexandria in 1948 and was
well received by the Times Literary Supplement on 19 August

34

The Movement

1949. Eight of these poems were retained in The Laughing

Hyena (1953)' and what is striking about them is Enright's
vigorous, debunking and familiarizing treatment of nature.
A wave 'tosses the nervous yellow crabs/And hurries away.
Then returns a little later/To reclaim its busy passengers'; the
palm tree is 'volatile' and 'young dates hang from her cheeks
like beads of sweat'; the willow tree has 'long hair' which
'trails/Across the earth's relaxed and hairy chest'. The rather
jaunty images seem intended as a reaction against what Enright
had called 'modem Homeric metaphor', and they prefigure
the kind of imagery to be used by Enright himself, and by
Amis, when the Movement was more firmly established.
Enright's preoccupation with metaphor around this time is
also evident in an attack, in 1947, on what he saw as the
undiscriminating editorial policy of Poetry London, which
was regarded in some quarters as the leading poetry magazine
in England.29 'I have written this article,' Enright claimed,
'not merely because I consider Poetry London a rather uninspired collection of verse, but because I believe it has a positively harmful influence on contemporary writing.' Enright
exempted from his criticisms only one Poetry.London contributor, Henry Reed, whose 'Lessons of the War' he admired
because 'too modest, or too wise, to attempt to deal directly
with War' (this approval of a modest and oblique approach to
'big subjects' is again indicative of an emerging Movement
aesthetic). Otherwise Enright is unremittingly hostile to Poetry
London, developing his earlier Scrutiny criticisms of the metaphorical excess of neo-Romanticism: 'There really ought to
be a society for the prevention of cruelty to metaphors. These
Poetry London poets flog their overworked metaphors mercilessly, force them into the most unnatural postures, pour gallon
upon gallon of obscure pathos into them, until they burstinto bathos.' Enright was equally critical of an alternative
school of social realists, arguing that the editor of Poetry
London, Tambimuttu, had 'confused intellect with the "I
Spy" game of the Reporter poets'. This deploring of political

The Origins of the Movement

35

reportage ('1930s poetry'), on the one hand, and metaphorical

lavishness ('1940s poetry') on the other, later became a common Movement theme. It was in very similar terms in the
introduction to New Lines in 1956 that Conquest dismissed
both 'residual nuisances like the Social Realists' and 'the
debilitating theory that poetry must be metaphorical'.
Enright's disparaging view of Poetry London was shared by
the Oxford contingent of the Movement: Mandrake in October
1947 called its special Tenth issue 'disastrous'. Poetry London
was identified as the chief purveyor of the '1940s poetry'
which the Movement wished to oppose. Apart from Keith
Douglas and Henry Reed, the only Poetry London contributor to have earned respect seems to have been Allan Rodway,
who published under the pseudonym Edwin Allan: when
Amis met Rodway in 1954, he told him that he had been
influenced by the example of Edwin Allan's light verse. Otherwise, the Movement felt hostile to Poetry London: its title and
its flamboyant editor Tambimuttu,nicknamed6Tamby-Pamby '
by Conquest,30 had Bohemian and metropolitan associations
for which the Movement felt a Leavisite mistrust. There may
also have been personal grievances against Poetry London:
Tambimuttu has said that some of the Movement poets sent
him their work, but were among those whom 'Poetry London
rejected from 1939-51 as not very interesting'.31 For those
Movement poets who saw it, Enright's attack must have
sharpened and dignified their animosity.
There was, however, one Movement poet who appeared in
Poetry London, and who helped destroy its values from within.
Having had three poems accepted by the magazine in the previous couple of years, Donald Davie published one of his first
critical articles there, 'The Spoken Word', in November 1950.
This followed up a suggestion by S. L. Bethell in the previous
issue that Anglo-American poetry was moving into a new but
conservative phase. Davie found evidence to support Bethell's
suggestion in an American anthology, Poets of the Pacific,

36

The Movement

The Origins of the Movement

edited by Yvor Winters. The anthology, he said, would satisfy

poets looking,for 'a new perspective and a new departure',
for Winter's Stanford group were of the view

K a l Shapiro, Richard Wilbur, Robert Lowell, Randall Jarrell and a dozen

more. . .
One result of this study of American verse byyounger English poets
was to help them back t o an understanding of, and respect for, poetic
form. The American poets, however much they differed from one
another in style and outlook, were united in being conscious craftsmen.33

that a poem is none the worse for being built ar&nd a structure of
rational discourse, and that a poet's intelligence can be brought into
play as effectively when he follows a rational argument as when he has
They recognize the
recourse to witty metaphor or juxtaposition .
achievements of French symbolists, and of post-symbolists and experimentalists such as Eliot, Pound, W allace Stevens and Hart Crane; but
they think that this vein is now worked out and that healthy poetry
today must find again a basis in rational philosophy. I n general they
eschew free verse and write in strict metre and in rhyme. .
For the young English poet resentful of the tyranny of the 'image' in
the restricted sense of 'metaphor' (whether inflated into symbols,
worried into conceits, or compressed into 'striking' epithets), this
American anthology points in a direction which may provide a wholesome alternative; i.e. i t points to a renewed poetry of statement, openly
didactic but saved by a sedulously noble diction, from prosiness.32

..

..

This is one of the earliest examples of a Movement manifesto, for while purporting to describe an American anthology,
Davie is giving expression to a number of ideas central to the
Movement programme. He addresses himself specifically to
'the young English poet', confident that like-minded contemporaries do exist.
Davie's confidence was justified. Some of the virtues which
he found in the Winters anthology-'intelligence', rational
argument, severity of design-John Wain had also been finding
in contemporary American poetry. Ironically, as Wain explains, he owed his introduction to such poetry to the leading
n e o - ~ o m k t i cof the day-a writer whom, as the result of the
re-discovery of clarity and argument, the Movement would
displace:
I well remember, in 1947, the excitement of a reading by DylanThomas
in Oxford; as well as poems of his own, he readus Americanpoems from
an anthology some friend had sent him. . . Whoever i t was who had
the kind thought of sending Thomas that book, he started a great many
budding poets reading John Crowe Ransom, AllenTate, Wallace Stevens,

37

That the Movement were able in the late 1940s and early
1950s to discover an increasing number of poets whose 'conscious craftmanship' lent support to their own aesthetic,
would seem to indicate a growing sureness of purpose. In
1949, Davie even managed to include Eliot in his design,
arguing, in another manifesto-like essay, that Eliot's turning
away from Corbitre and revaluation of Milton signified a
conviction that contemporary poetry must 'be re-organized,
by an emphasis not upon wealth and experiment, but upon
~ also spoke of 'a new
order, severity, and c o r r e ~ t n e s s ' . ~He
movement of spirit in society', and it was this idea-that of
a new society or zeitgeist requiring a new poetry-that was to
prove most crucial to the estabIishment of Movement poetry
over the next few years.
In the late 1940s, then, Cambridge poets like Davie and
Enright were reaching much the same conclusions about contemporary poetry as were their Oxford counterparts. There
may indeed have been mutual influence, for.it seems likely
that Amis and Wain, for example, would have seen at least
some of the work published by Davie and Enright in Scrutiny,
The Critic, Poetry London, Cambridge Writing and Prospect,
just as Davie and Enright might have seen Wain's contributions
to Mandrake and Penguin N e w Writing. J. W. Saunders has
pointed out that periodicals and magazines can often 'compensate the poet for lack of centres in which he can meet his
colleagues',35 and around 1950-with Arnis in Swansea, Davie
in Dublin, Enright in Birmingham, Holloway in Aberdeen,
Larkin in Belfast and Wain in Reading-such 'compensation'
was undoubtedly essential to the formation of a Movement
aesthetic. What is certain is that Davie's critical study, Purity

286

The Movement

to paper things I have said or written to them privately, I have not

felt that my jokes sounded unworthy of their reputations'.
2. This is reported to be Larkin's joke to Philip Oakes, 'The Unsung
Gold Medallist', Sunday Times Magazine, 27 March 1966, p. 65. .
3. Wain, Preliminary Essays, p. 189.
4. Amis, 'Anglo-Saxon Platitudes', Spectator, 5 April 1957, p.445.
This seeks to discover 'the most boring long poem in English', and
considers as candidates Troilus and Criseyde ('that footling rigmarole'), PiersPlowman, Sir Gawain and the Green Knight, Havelock
the Dane and The Owl and the Nightingale ('nobody in full possession of their faculties could enjoy them'). See also I Like It Here,
p. 72, which describes The Dream of the Rood as 'some piece of
orang-utan's toilet-requisite from the dawn of England's literary
heritage'.
5. Larkin, 'Four Conversations', p. 76.
6. Edmund Crispin, 'An Oxford Group', Spectator, 17 April 1964,
p. 525.
7. Morgan, quoted by Philip Oakes, 'The Unsung Gold Medallist', p. 65.
8. Wain, A House for the Truth, p. 67.
9. Wain, Sprightly Running, p. 204. Amis, in What Became of Jane
Austen?, p. 175 also refers to this undergraduate novel, which was
never published and which was more serious in tone than Lucky Jim.
10. See Amis in The Poetry of War, 1939-45, ed. Ian Hamilton, New
English Library (London), 1972, p. 155.
11. Oxford Poetry 1949, eds. Amis and Michie, p. 3.
12. Jennings, 'New Novels', Listener, 9 April 1964, p. 601.
13. Amis, letter to O'Connor, 21 Jan. 1958.
14. Conquest, letter to O'Connor, 12 May 1958.
15. Jennings in Poetry Review, Aug-Sept. 1949, p. 252; Not collected.
16. Jennings, 'Black and White', Listener, 1 4 April 1955, p. 654. Not
collected.
17. Amis and Michie, Oxford Poetry 1949, p. 4; Wain, Preliminary
Essays, p. 174.
18. Larkin, quoted in John Horder, 'Poet on the 8.15', Guardian, 20
May 1965, p. 9.
19. Amis, quoted in Clive James, 'Kingsley Amis - A Profile', p. 22.
For a similar comment, see Amis, 'Real and Made-up People',
Times Literary Supplement, 2 7 July 1973, p. 847.
20. Amis, quoted in 'The Art of Fiction - LIX: Interview with Kingsley
Amis', Paris Review, 16 (Winter 1975), 45.
21. Davie, 'The Varsity Match', Poetry Nation, No. 2 (1973), p.73.
22. Gunn in My Cambridge, ed. Ronald Hayman, p. 145.
23. Ibid, p. 140.

Notes

287

24. Coleman in Gmnta, 15 Nov. 1952, p. 81. The same issue contained
Gunn's 'Carnal Knowledge', His 'A Village Edmund', 'The Beach
Head' and 'A Mirror for Poets' also appeared in Granta around this
time.
25. Enright, Conspirators and Poets, p. 31; Davie in My Cambridge, ed.
Hayman, p. 86; Gunn, ibid., pp. 138-9.
26. Gunn quoted in Ronald Hayman, Leavis, Heinemann (London),
1976, p. 50.
27. Davie in Poetry from Cambridge in Wartime, ed. Geoffrey Moore,
Fortune Press (London), 1946, p. 27.
28. Enright in Scrutiny, I1 (1942-3), 78-9.
29. Enright, 'The Significance of Poetry London', The Critic, I (Spring
1947), 3-10.
30. Conquest, 'Rhyme-Lag', Spectator, 24 Jan. 1958, p. 111.
31. Tambimuttu, Poetry London-New York, No. 1 (March-April l956),
p. 2.'
32. Davie, The Poet in the Imaginary Museum, pp. 3-5.
33. Wain, (ed.) Anthology of Modern Poetry, p. 33.
34. Davie, 'Towards aNew Poetic Diction',Prospect, 2 (Summer1949), 5.
35. Saunders, The Profession of English Letters, Routledge (London),
1964, p. 235.
36. Wain, in Mandrake, No. 9 (1953), p. 266; Enright, in Nimbus, 2
(Autumn 1953), 3-6.
37. Empson, 'Monks and Commissars', New Statesman, 1 3 Dec. 1952,
p. 724; Fraser, 'The New Smoothness', New Statesman, 15 Nov.
1952, p. 582.
38. Amis, letter to Listener, 6 Nov. 1952, p. 771.
39. Enright, 'Signs of the Times', The Month, Aug. 1952, p. 107.
40. Conquest, letter t o New Statesman, 26 Dec. 1953, p. 822.
41. Enright, 'Verse: New, Old and Second-Hand', The Month, Nov.
1951, p. 309.
42. Gunn, 'Four Conversations', pp. 69-70.
43. Davie, Purity of Diction in English Verse, p. 198.
44. Larkin, 'Four Conversations', p. 72; Wain, Sprightly Running, p.
168;Wain 'The "Third" Man', Twentieth Century, Dec. 1956, p. 504.
45. Davie, 'Augustans New and Old', Twentieth Century, Nov. 1955,
p.465.
46. In Springtime, ed. G. S. Fraser, for instance, we are told that 'Irish
poets, like Mr Larkin, though writing in standard English, reflect
another regional value, that of rootedness' (p. 12); and in the 'Notes
on Contributors' section of Alan Brownjohn's magazine Departure,
3 (Spring 1955), 20, we are told that Larkin was 'born in Northern
Ireland'.

324

Index

Index

Prince, F. T. 193
Prokofiev, Serge 76
Proust, Marcel 1, 76, 21 1
provincialism 6,46-7, 53-8,61-5,
71, 146, 167, 178, 242-3,
255,266,270-71
Prynne, Jeremy 2 73
Raban, Jonathan 144
Rabinovitz, Rubin 172
Raine, Kathleen 49
Ransom, John Crowe 36
rationalism 9, 27, 36, 48, 119,
137,189,273,278-80
realism 9, 163-7, 169, 178, 189,
211,215,245, 257,271
Redgrove, Peter 244
Reed, Henry 18, 25, 34-5
Richards, I. A. 31,130,138
riddle 119-20, 219
Riding, Laura 218
Rilke, Rainer Maria 130
Rimbaud, Jean Nicolas Arthur 14,
190
Robson, Wallace 9, 52, 137
Rodgers, W. R. 25, 156-7, 159
Rodway, Allan 35
see also Allan, Edwin
Romanticism 5, 7, 17-18, 21, 25,
29,32,34,36,43-4,48,50,
102, 109-10, 119, 145-91,
201-2, 218, 240-41, 244,
246-8,264-5,277-8,282
Rosenthal, M. L. 124
Rousseau, Jeangacques 166, 173
Salinger, J. D. 63
Sartre, Jean-Paul 132, 186,249
Sassoon, Siegfried 199, 215-16
Saunders, J. W. 37, 116
Scannell, Vernon 9
Scott, J. D. 1, 3,49, 51-3
Scott, Tom 25

Scrutiny 28, 31-2, 34, 37, 63,

115,266,268
Second World War 12-13, 19,
29-30, 78, 81, 87-91, 172,
193,228
self-consciousness 99, 118, 167-8,
272
Sergeant, Howard 3,47, 243
Sexton, Anne 244
sex 23, 27, 66, 69-70, 104, 122,
156, 179-84, 196-7, 254,
260,277,280-81,283
Seymour-Smith, Martin 106-7
Shakespeare, William 114, 178
Shapiro, Karl 37
Shelley, Percy Bysshe 32, 162,
168-9
Sillitoe, Alan 68, 73, 245
Singer, Bums 43
Sitwell, Edith 25, 30, 49-50, 58,
156,193
Sixties, The 2, 29, 210, 254-7,
260,279,282
Smith, James 31
Snow, C. P. 52
Socialism 77-9, 84, 249,256,260
social mobility 65-6, 68, 71-2,
247,254-5
Social Realists 34-5
Sophocles 87
Spark, Muriel 245
Spectator, The 1, 3-4, 30, 48-9,
51, 61, 132,211,225,24042
Spender, Stephen 29-31, 33, 52,
58, 63, 65, 91, 155, 180,
197,.240
Squire, Sir John Collings 199
Sri Ramakrishna 132
Stafford, William 204
Stevens, Wallace 36,43
Storey,David 68, 73,245
Suez 81,88,96,248-50

Surrealists 155
syllabics 275-6
Symbolism 36,49, 119,134,1489,271
syntax 157, 211-13
Tambimuttu 34-5
Taplin, Walter 5 1
Tate, Allen 36
Tennyson, Alfred Lord 194
Third Programme, The 2,28,42-3
Thirties, The 2-3, 9, 21, 29, 35,
55, 65, 76, 91-3, 155, 209,
259
Thomas, Dylan 1, 16, 19, 25-7,
36,47, 56,58, 139,145-56,
159, 173, 175, 179, 184-6,
193,218,244,265
Thomas, Edward 199-202, 204,
235
Thompson, E. P. 249
Thurley, Geoffrey 7
Thwaite, Anthony 9, 5 1
Tiepolo, Giambattista 139-40
Times Literary Supplement 2, 33,
51-3,225-6,244,249,265,
2 74
Timms, David 116, 188,196,225
Tolkien, J. R. R. 26
Tolstpy, Count Leo 132
Tomalin, Nicholas 30
Tomlinson, Charles 6, 101, 108,
268-70,275
'toughness' 19, 21,23,30-31,45,
52, 65, 103, 180-82, 247,
281
Toynbee, Philip 46
translation 2 7 1-2
Treece, Henry 25, 33, 176
Tynan, Kenneth 246
Upward, Edward 11

Van Gogh, Vincent 132

325

Viereck, Peter 173

~ a g n e rRichard
,
173
WAIN, John
education 14-16, 19, 22, 57,
205, 227-8
friendship with Amis 14-1 6,40
friendship with Larkin 14-16,
29,40
influences 12, 16, 24-6, 94,
103-4, 115, 138, 159, 207,
227-8,265
formation of the Movement 23,20, 28-30,36-8,40-54
broadcasting 42-8, 55, 239
views on class 56-9, 62, 65,
69-70, 73,247
politics 82, 89-90, 92, 94,97,
246,249,251-2,261
a t t i ~ d eto the reader, 111-12,
114-15, 119-20, 129, 1335,137-9
attitude to Romanticism 1467, 156, 159, 164-8, 174,
177-9,265, 278
'tradition' 198, 205-9, 211,
218,230,236,245,274
religion 2 2 7-8
end of the Movement 238-9,
241-2, 260,265-6,278
Works discussed
Fiction: Hurry On Down 4, 78, 11, 13, 16, 2 6 , 2 9 , 4 1 ,
51-3, 63-4, 66, 69-70, 73,
84, 90, 133, 156-7, 167-9,
176, 181,245
Poetry: Mixed Feelings 25-7,
124
Waugh, Evelyn 51, 58, 60, 242,
279
'We' 99,108,120-21,123-4,126,
131-2, 137, 142-3, 229,
259,263