Home is So Sad
The first line that all already begins with the home the domestic space a personification is used immediately to tie in the human emotions to the space in which human beings live and live out most part of their lives. Home is so sad now in this first line already Larkin takes us on a striking assertion. Home of all is a place of comfort it’s a place of safety. Home is something that we define against the outside wall it is a space we return to when we need to feel that sense of security that sense of belonging that sense of family. So the poem starts already with the almost counter-intuitive assertion. “Home is so sad” now the personification works to time in the human emotions to the physical space. So already we are alerted to the fact that this poem is not only going to be about the themes of physical objects in the home but also the human emotions associated with the home. Home is both physical and a carrier of emotion so Home is So Sad. Now, why is “Home is so sad” Larkin that goes on to explain, it stays as it was left so once again home is imbued with almost human qualities and that is evident through the verse it stays as it was left. However, this thing is also a form of stasis is also a form of immobility. Home is caught as it lasts worse shape to the comfort of the last to go. Of course last to go the human being. Now home takes on the shape of the human habitat the person who stays in the home. Now this person has left so again be alert that this form is not only about home it’s also a poem really about loss about leaving about the things we leave behind and the things we’re never going to go back to everything is temporary we hear that all the time. However home is the thing that stays is the thing that remains but it doesn’t remain immobile right it doesn’t remain totally without emotion locking allows us of the fact that home is shaped and as a specific physical condo and a physical contour is molded that a comfort of the person was lost in the physical space of the home. As if to win them back together with that personification home takes on a kind of emotional appeal. Home is shaped with the purpose of winning the person who’s left the home back. It’s almost as if the home is characterized as a supplicant someone who begs come back come back instead bereft of anyone to please. However, the brutal reality hits in the poem or loss home is the site of that loss. Instead bereft of anyone to peace it withers so dark it makes brings in that metaphor of something organic like a plant that whom is likened to home rivers having no heart to put aside the death. So home with us home has a hart home stays homey shape so all these metaphors of humanity on these matters of physical life is attributed to the home. So Larkin allows us to see how a physical space that the physical environment of the home actually is a carrier as though we might say repository of human emotions. It shows us what lost means our loss can be equated to actual human loss but also can be into it and can be sent through the contours and the remainders of home that has been left that has been abandoned. So home with us so having no heart to put aside the theft stanza a break and turn again to what it started.
Now you would see at the poem using what we call Enjambment. Now, what is Enjambment? Notice the lines it doesn’t end on a complete punctuation. To put aside that theft break and turn again to what it’s started s .So the Enjambment is then reinforced through the stanza a break the theft new stanza tourniquet to what it started as so again it builds that sense of something almost unfinished something incomplete something that home is without its human inhabitants inhabiting the space or living there and of course you would know some background knowledge stanza in Italian actually means room. So, Larkin, it might be playing on the fact that the home is built in two stanzas of all the similar lines in a sense that every line is regular I am big pentameter so there’s a clash bed with the regularity of the stanza the or business of the room and of course contrasted with the incompletion the mess the melancholic longing of a home as it is left behind as it is abandoned. So it is almost a theft something has been stolen unnaturally from the hope and of course, that theft that is something that’s missing is the human being that is supposed to be living in that space. So it’s immobile it has no power to return back to what it started as A joyous shot at how things ought to be. So it’s almost kind of fall from a state of completion from a state of original Greece if you will to something that is broken to something that is abandoned to something that has do all human emotion left in it. So a joyous shot of how things ought to be long fallen white so we see how things ought to be that sense of meekness contrasted to long fallen white. The idea of fall then either also of white something that has gone something that is all in the pot and it seems something that that is called a right we might say to lock in juxtaposes what we’ve been talking about throughout this poem. Right, that sense of how a whole orange they should be that sense of completion that sense of fullness juxtaposed to this is something that supposes wither is something that it’s abandon something that has long fallen white something that is fallen into disuse we might see. You can see how it was so towards the end the poem Larkin invokes the reader you can see how it was in an almost kind of turn to the imagery that is home. So you can see what is the evidence of that lost sight and the previous line that’s this idea of the shot a joyous shot you can see how it was. “Look at the pictures and the cutlery” so when the pronoun you will save oh, of course, the readers invited to share in their experience of the poem. Philip Larkin imposes the retail bliss is suggesting that this is a universal human experience so you can see how it was looking at the pictures and the cavalry so another said need to say anymore. You can just look at the images of the abandoned house look at the pictures family photos it we will family portraits. Speaking of the former human inhabitants speaking of all human world. Now that a human habit is got the pictures somehow look old. The pictures become just pictures nothing more and the cutlery. Of course cutlery you might think of the Greek resonance of the word home of course economics means things about the home. So some human activities that have taken place and that is indexed cutlery. The music in the piano stool so an inanimate piano stool has music in it’s not just a physical piano stool you can hear the music but of course, Larkin ironically says it’s a music that is hurt only because it is absent. That vise so no bone ends not bit further argument but the poem ends with snapshots images of things that have been left abandoned in the home. Of course to suggest what has been lost in that space so we get the piano stool we hear that music that might have been played in the past that vase the pictures and the cutlery. So the mood is sustained through the poem it’s a mood almost of elegant force it’s a mood certainly of melancholy intensity something has been lost something has been abandoned and that brings us back to the first line home is so sad. So we might sense that the probability of the emotions of loss of sadness of grief in the home.
So in this poem “Home is So Sad” Larkin shows us how a physical space is not really a physical space. A physical space is so much more a physical space is a repository. A physical space is associated with memory. And all these things make more sense when the memory is gone of course the idea of nostalgia also plays in it is a nostalgic look at what we lost. And what we’ve left the eye as we move along in life. Home is So Sad