Time and Transitions in Larkin's Poetry

Abstract

The view of taken in this paper is the Neo-Firthian, dynamic view of favoured in corpus linguistics. This view of is best expressed by Williams and Millon: ... [T]raditional phraseology, and much pre-corpus lexicography, and corpus linguistics developed on parallel lines. Those lines were effectively drawn together in the Cobuild initiative [...] Phraseologists and lexicographers seek to tame so as to list and classify for inclusion in published works. This requires an essentially static vision of where phraseological units are treated as if created ex nihilo and are simply found and classified on purely linguistic grounds as to what may and what may not be termed as a collocation. The Neo-Firthian approach developed by John Sinclair within the context of corpus linguistics is very different in that it places at the very heart of as an essentially dynamic process in which meanings are created and exploited within textual contexts. The advantage of corpus linguistics is that it allows an analysis of dynamic whilst providing the material for more reductive phraseological or computational exploitation of the data. (Williams and Millon, 2011) Williams' earlier statements that is negotiated by use of contextual features (Williams, 2010, p. 405) and that is, as Firth and Sinclair showed, an area central to language (Williams, 2010, p. 403) are in accordance with Louw's view that collocation is instrumentation for literary or Actional worlds and is fairly easily supplied (Louw, 2010, p. 90). Our sources agree that is not syntax-bound but determined by proximity, and that collocates influence the word's meaning. It will be true, then, that in a world of a poet collocates may indeed throw light on the meaning of the word that the poet tends to attach to it. This can be demonstrated by analysing the samples of concordances of 'day and 'night' taken from Larkin's corpus (for the complete concordances of 'day' and 'night' see Milojkovic (2011b)) (2): 52 lither--Creatures, I cherish you! By day, sky builds Grape-dark over the salt U 53 r's impressive lie--Upon whose every day So many ruined are May could not make 54 ove and money Ways of slow dying. The day spent hunting pig Or holding a garden- 55 h observed Celestial recurrences, The day the flowers come, And when the birds g 56 arture: only shadows Move when in the day the sun is seen for an hour, Yet to me 57 omething is always approaching; every day Till then we say, Watching from a bluf 58 ay' Sinking like sediment through the day To leave it clearer, onto the floor of 59 like long hills, a range We ride each day towards, and never reach. 17 NorJember 60 nripe day you bore your head, And the day was plucked and tasted bitter, As if s 8 d last bun: How you had laughed, the night before you left; All your potentialit 9 patterns on the curtains, drawn The night before. The milk's been on the step, 10 rs sang in their sockets through the night: 'Blow bright, blow bright The coal o 11 ing each detail We toss for half the night, but And next day All's kodak-distan 12 disperses. But We, on this midsummer night, can sneer In union at mind that coul 13 afternoons. New strong Rain-bearing night-winds come: then Leaves chase warm bu 14 alk on this or that excuse, Till the night comes to rest While some high bell is 15 home existed) letters of exile: Now Night comes on. Waves fold behind villages. 16' By day, a lifted study-storehouse; night Converts it to a flattened cube of li 17 till: bowing, the woods bemoan; Dark night creeps in, and leaves the world alone 18 about it when the meal lay done, The night drawn in, electric light switched on, 19 ht' Or resolution's aid. …

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