Philip Larkin, "The Pleasure Principle." Required Writing: Miscellaneous Pieces 1955-1982 (London: Faber and Faber, 1983): 80-2.

It is sometimes useful to remind ourselves of the simpler aspects or things normally regarded as complicated. Take, for instance, the writing of a poem. It consists of three stages: the first is when a man becomes obsessed with an emotional concept to such a degree that he is compelled to do something about it. What he does is the second stage, namely, construct a verbal device that will reproduce this emotional concept in anyone who cares to read it, anywhere, any time. The third stage is the recurrent situation of people in different times and places setting off the device and re-creating in themselves what the poet felt when he wrote it. The stages are interdependent and all necessary. If there has been no preliminary feeling, the device has nothing to reproduce and the reader will experience nothing. If the second stage has not been well done, the device will not deliver the goods, or will deliver only a few goods to a few people, or will stop delivering them after an absurdly short while. And if there is no third stage, no successful reading, ,the poem can hardly be said to exist in a practical sense at all.

What a description of this basic tripartite structure shows is that poetry is emotional in nature and theatrical in operation, a skilled re-creation of emotion in other people, and that, conversely, a bad poem is one that never succeeds in doing this. All modes of critical derogation are no more than different ways of saying this, whatever literary, philosophical or moral terminology they employ, and it would not be necessary to point out anything so obvious if present-day poetry did not suggest that it had been forgotten. We seem to be producing a new kind of bad poetry, not the old kind that tries to move the reader and fails, but one that does not even try. Repeatedly he is confronted with pieces that cannot be understood without reference beyond their own limits or whose contented insipidity argues that their authors are merely reminding themselves of what they know already, rather than re-creating it for a third party. The reader, in fact, seems no longer present in the poet's mind as he used to be, as someone who must understand and enjoy the finished [81] product if it is to be a success at all; the assumption now is that no one will read it, and wouldn't understand or enjoy it if they did. Why should this be so? It is not sufficient to say that poetry has lost its audience, and so need no longer consider it: lots of people still read and even buy poetry. More accurately, poetry has lost its old audience, and gained a new one. This has been caused by the consequences of a cunning merger between poet, literary critic and academic critic (three classes now notoriously indistinguishable): it is hardly an exaggeration to say that the poet has gained the happy position wherein he can praise his own poetry in the press and explain it in the class-room, and the reader has been bullied into giving up the consumer's power to say "I don't like this, bring me something different." Let him now so much as breathe a word about not liking a poem, and he is in the dock before he can say Edwin Arlington Robinson. And the charge is a grave one: flabby sensibility, insufficient or inadequate critical tools, and inability to meet new verbal and emotional situations. Verdict: guilty, plus a few riders on the prisoner's mental upbringing, addiction to mass amusements, and enfeebled responses. It is time some of you playboys realized, says the judge, that reading a poem is hard work. Fourteen days in stir. Next case.

The cash customers of poetry, therefore, who used to put down their money in the sure and certain hope of enjoyment as if at a theatre or concert hall, were quick to move elsewhere. Poetry was no longer a pleasure. They have been replaced by a humbler squad, whose aim is not pleasure but self-improvement, and who have uncritically accepted the contention that they cannot appreciate poetry without preliminary investment in the intellectual equipment which, by the merest chance, their tutor happens to have about him. In short, the modern poetic audience, when it is not taking in its own washing, is a student audience, pure and simple. At first sight this may not seem a bad thing. The poet has at last a moral ascendancy, and his new clientele not only pay for the poetry but pay to have it explained afterwards. Again, if the poet has only himself to please, he is no longer handicapped by the limitations of his audience. And in any case nobody nowadays believes that a worthwhile artist can rely on anything but his own judgement: public taste is always twenty-five years behind, and picks up a style only when it is exploited by the second-rate. All this is true enough. But at bottom poetry, like all art, is inextricably bound up with giving pleasure, and if a poet loses his [82] pleasure-seeking audience he has lost the only audience worth having, for which the dutiful mob that signs on every September is no substitute. And the effect will be felt throughout his work. He will forget that even if he finds what he has to say interesting, others may not. He will concentrate on moral worth or semantic intricacy. Worst of all, his poems will no longer be born of the tension between what he non-verbally feels and what can be got over in common word-usage to someone who hasn't had his experience or education or travel grant, and once the other end of the rope is dropped what results will not be so much obscure or piffling (though it may be both) as an unrealized, "undramatized" slackness, because he will have lost the habit of testing what he writes by this particular standard. Hence, no pleasure. Hence, no poetry.

What can be done about this? Who wants anything done about it? Certainly not the poet, who is in the unprecedented position of peddling both his work and the standard by which it is judged. Certainly not the new reader, who, like a partner of some unconsummated marriage, has no idea of anything better. Certainly not the old reader, who has simply replaced one pleasure with another. Only the romantic loiterer who recalls the days when poetry was condemned as sinful might wish things different. But if the medium is in fact to be rescued from among our duties and restored to our pleasures, I can only think that a large-scale revulsion has got to set in against present notions, and that it will have to start with poetry readers asking themselves more frequently whether they do in fact enjoy what they read, and, if not, what the point is of carrying on. And I use "enjoy" in the commonest of senses, the sense in which we leave a radio on or off. Those interested might like to read David Daiche's essay "The New Criticism: Some Qualifications" (in Literary Essays, 1956); in the meantime, the following note by Samuel Butler may reawaken a furtive itch for freedom: "I should like to like Schumann's music better than I do; I dare say I could make myself like it better if I tried; but I do not like having to try to make myself like things; I like things that make me like them at once and no trying at all (Notebooks, 1919).

1957