{"id":144208,"date":"2020-04-09T11:00:42","date_gmt":"2020-04-09T15:00:42","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=144208"},"modified":"2020-04-09T11:35:19","modified_gmt":"2020-04-09T15:35:19","slug":"all-love-all-beauty","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2020\/04\/09\/all-love-all-beauty\/","title":{"rendered":"All Love, All Beauty"},"content":{"rendered":"

Kay Ryan examines a favorite Philip Larkin poem.<\/em><\/p>\n

\"\"<\/a>

Philip Larkin.<\/p><\/div>\n

Dublinesque<\/strong><\/p>\n

Down stucco sidestreets,
\nWhere light is pewter
\nAnd afternoon mist
\nBrings lights on in shops
\nAbove race-guides and rosaries,
\nA funeral passes.<\/p>\n

The hearse is ahead,
\nBut after there follows
\nA troop of streetwalkers
\nIn wide flowered hats,
\nLeg-of-mutton sleeves,
\nAnd ankle-length dresses.<\/p>\n

There is an air of great friendliness,
\nAs if they were honouring
\nOne they were fond of;
\nSome caper a few steps,
\nSkirts held skilfully (Someone claps time),<\/p>\n

And of great sadness also.
\nAs they wend away
\nA voice is heard singing
\nOf Kitty, or Katy,
\nAs if the name meant once
\nAll love, all beauty.<\/p>\n

\u2014Philip Larkin<\/em><\/p>\n<\/blockquote>\n

This poem sends feeling down a narrow channel, and you don\u2019t even know it\u2019s feeling until it explodes in a delicious mist at the end. It looks like a lot of scenery, local Dublin color, first the \u201csidestreets\u201d with their \u201cpewter\u201d light from the \u201cafternoon mist\u201d that causes the lights to be on in the poky shops of a particularly stock-Irish description \u201cabove race-guides and rosaries.\u201d Larkin\u2019s art is on intensely quiet display: so much atmosphere is generated in so few words. It\u2019s gray, it\u2019s low, it\u2019s mean, it\u2019s tight, and something is coming<\/em>. Nice to start with that preposition, \u201cDown<\/em> stucco sidestreets.\u201d Each element moves into the next: street>light>mist>light bulbs hanging over \u201crace-guides and rosaries.\u201d It feels cozy, damped down, dim. A channel, but for what? Larkin is so good at creating motion in a poem. <\/p>\n

A funeral! This is a tiny poem, so all of this happens before it registers. But if one were to anticipate what kind of funeral this would turn out to be, you\u2019d expect it to be \u2026 narrow and gray. Which is just what it isn\u2019t. It\u2019s loose and colorful, filled with warmth and exchanges, capers, clapping, song: \u201cA troop of streetwalkers \u2026 honouring\u2009\/\u2009One they were fond of.\u201d Larkin gives us their dress, which feels so flowery and flouncy and animated, the opposite of the narrow street\u2014\u201cwide flowered hats,\u2009\/\u2009Leg-of-mutton sleeves,\u2009\/\u2009And ankle-length dresses.\u201d Consider this attention to dress that sounds anachronistic even for the time. These women sound like Miss Kitty from Gunsmoke<\/em>, attractive like that. And there\u2019s a gang of them, they are their own self-approving community, progressing down the streets after the hearse, flamboyantly what they are, warm, united, and sad.<\/p>\n

The poem moves to the interior so seamlessly. The static streets are invaded\u2014the Dublin mist is rent\u2014by this gaudy funeral. First the women\u2019s clothes, then their women\u2019s capers. Things are getting more and more animated. The poem brims with warmth by the end of stanza three, and stanza four brings it home through a single exquisitely baffled detail, a specific so specific that it becomes unspecific: are they singing of \u201cKitty, or Katy\u201d?<\/p>\n

This stanza is a marvel. First notice how cinematic it is. This whole poem has been movie-like; the passage of the procession into and then out of the frame of the poem.<\/p>\n

In this last stanza we don\u2019t see them at all, just the disembodied voice \u201cheard singing,\u201d just the trailing voice raised in song. That means we have come to Larkin\u2019s real stage, always: the pure interior. This place tends to be troubled when he gets there, but in \u201cDublinesque\u201d it is incredibly sweet. Maybe because Larkin has watched like a camera, he hasn\u2019t got his usual gloom spiral going. It\u2019s a sound camera, and doesn\u2019t quite catch the name: Kitty, or Katy. And now the relaxation of this camera discipline: \u201cAs if the name meant once\u2009\/\u2009All love, all beauty.\u201d<\/p>\n

Enough cannot be said about this ending. Let me point out first the parallels in the rhythm and single instance in the poem of rhyme: of Kitty, or Katy\u2009\/\u2009all love, all beauty.<\/p>\n

The unrhymed poem ends, then, with a rhyme, and it opens on two of the great themes in all poetry: love and beauty. It invokes all<\/em> love, all<\/em> beauty. And guess what? It works; we feel the tide.<\/p>\n

Because Larkin has succeeded in narrowing the opening to the point of blur. Kitty or<\/em> Katy. This is so specific to this Dublin moment that it isn\u2019t at all specific. Exact identity is lost as love and beauty are lost except absolutely available at the same fuzzy moment. First Larkin goes to the trouble to create a rich moving picture; then he erases it, or at least erases the object of it, Kitty or Katy, then he claps on the two biggest abstractions in English poetry: love and beauty. And it works like a charm.<\/p>\n

This is one of those moments when everything coalesces. Everything is available because everything\u2019s gone: no one is there; the street is empty.<\/p>\n

I want to think about the genius of \u201cKitty, or Katy.\u201d Everything depends upon this dislocation, this paradoxical exact focus of all love, all beauty.<\/p>\n

It\u2019s an exact focus that can\u2019t find its mark and is therefore slippery and silky word-mist. The focus is baffled and ramified; it\u2019s tiny. We don\u2019t know if it\u2019s Kitty or Katy and we can\u2019t settle. Now Larkin can dump whatever he wants into us because we are between places; that\u2019s exactly where we are: between. It\u2019s perfect for poetry that has to get into the cracks, has to find and work the cracks. There has to be some way to let in the dazzle, to perfume the works.<\/p>\n

This poem succeeds because it\u2019s short and brisk; the deep dwelling occurs at parade speed. The parade of bright flowery streetwalkers becomes a gesture, taken all together, a single surprise flowery sweep across pewter. They are the same gesture that Frost\u2019s crow makes in knocking snow onto Frost and giving his heart a change of mood. They bring a gift, then; they change the poet. Larkin is left in the street with the fumes of all love, all beauty.<\/p>\n

 <\/p>\n

Kay Ryan was appointed the Library of Congress\u2019s sixteenth poet laureate in 2008. Her poems have appeared in <\/em>The New Yorker, <\/em>The Paris Review, <\/em>The Atlantic, <\/em>The New Republic, and other periodicals. She has been the recipient of numerous accolades, including the Ruth Lilly Poetry Prize and a Guggenheim fellowship. Read her Art of Poetry interview<\/a>.<\/em><\/p>\n

Excerpted from <\/em>Synthesizing Gravity: Selected Prose<\/a>, by Kay Ryan. Reprinted with the permission of the publisher, Grove Press, an imprint of Grove Atlantic, Inc. All rights reserved.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

Kay Ryan examines a favorite Philip Larkin poem.<\/p>\n","protected":false},"author":1950,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[419],"tags":[],"class_list":["post-144208","post","type-post","status-publish","format-standard","hentry","category-arts-culture"],"acf":[],"yoast_head":"\nAll Love, All Beauty by Kay Ryan<\/title>\n<meta name=\"description\" content=\"Kay Ryan examines a favorite Philip Larkin poem.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.theparisreview.org\/blog\/2020\/04\/09\/all-love-all-beauty\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"All Love, All Beauty by Kay Ryan\" \/>\n<meta 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