The Sunday after John Betjeman died Philip Larkin went to church. I was in St Mary’s Cottingham for Evensong when the familiar figure of the university librarian entered – just after the service had started. While Larkin was well known for church going, he preferred to make sure there was ‘nothing going on’ inside before crossing the threshold. I’ve no idea whether or not he stayed to the end, but his silent presence made a poignant homage to the senior poet. In death, Betjeman got Larkin into a church service, which would probably have raised a chuckle from the poet renowned for his passionate interest in all things ecclesiastical.
Like most undergraduates at Hull, I had very little to do with Larkin. He appeared during induction to speak about the library and offered the advice: ‘spending your grant on library fines is a very silly way to part with your money’. Once during a student all night work-in opposing Thatcherite cuts to higher education, Larkin stomped about in the theology and philosophy section, huffing and puffing, until a fellow student – unaware who was creating the noise – expelled a loud ‘sshhh’ in his direction. We were very studious in those days.
Although different poets, Larkin and Betjeman had a respectful and constructive relationship. In 1964 Betjeman interviewed Larkin in a BBC Monitor programme. It begins with an exploration of Larkin’s chosen context, the city of Hull. The isolation and ‘end of England’ ambiance chimed with the poet who felt so suited to its remoteness.
November often brings Betjeman to mind. His poem Winter at Home captures an England long departed. A season of quiet when the appearance of fog is welcomed as it grounds aircraft and adds to the sense of stillness. For Betjeman it is a time for reading long novels, and noting the small changes that mark the slow shift of the seasons. The moment when the Michaelmas daisies are too frost bitten for use in church and dried arrangements are put in place instead. An era when the limited supply of international goods meant people were compelled to work within the limitations – and opportunities – of the season.
John Betjeman’s devotion to the Church of England and the unique and prevailing Anglican temper of his character and imagination have been amply explored…Gardner, K. J. (2014). Strange deliberations: John Betjeman and protestant nonconformity. Christianity & Literature, 63(2), 225-256.
When it came to Christianity and Church Larkin and Betjeman could not have been more different, yet the Monitor interview suggests that there were spiritual touching points despite the outward differences. Sitting with Betjeman in an overgrown cemetery, Larkin muses that ‘everything I write… has the consciousness of approaching death’. While having a very limited knowledge of churches, Larkin says that he developed a habit of visiting them (when empty). He comments: ‘I always welcomed the feeling I had going into a church’. There is a deep interest here in the liminal, the mortal, and the endless.
I am not sure whether Larkin’s silent Evensong tribute to Betjeman is recorded anywhere. Eighteen months later Larkin himself died, and two of England’s most significant post-world war poets were gone. A tribute by the English department took place the day before I left Hull for good. It was a highlight of my three years in the university city, with Larkin’s ‘loaf-haired secretary’ present along with others who were, in one way of another, caught up in his poems.
Writing about a theological approach to Larkin, Theo Hobson makes a persuasive case that the poet’s attention to the realities of life challenge a complacent secularism. At the same time, “his pursuit of ‘undeceived’ honesty… becomes a personal myth”. This leads Larkin to flirt with nihilism but not to succumb to it. For the complacent secularist as much as for those developing a deceptive ‘sub-theological gospel’, Larkin crafts poetry that disturbs seemingly self-evident narratives.
I wonder if anything in Evensong struck a chord with Larkin’s thoughts that evening? Was there the slightest lifting of an eyebrow as the words of the Magnificat cut through the blent air: ‘He hath scattered the proud in the imagination of their hearts’.