The Building

Portrait of Philip Larkin
Philip Larkin 1922–1985

Higher than the handsomest hotel The lucent comb shows up for miles, but see, All round it close-ribbed streets rise and fall Like a great sigh out of the last century. The porters are scruffy; what keep drawing up At the entrance are not taxis; and in the hall As well as creepers hangs a frightening smell.

There are paperbacks, and tea at so much a cup, Like an airport lounge, but those who tamely sit On rows of steel chairs turning the ripped mags Haven't come far. More like a local bus. These outdoor clothes and half-filled shopping-bags And faces restless and resigned, although Every few minutes comes a kind of nurse

To fetch someone away: the rest refit Cups back to saucers, cough, or glance below Seats for dropped gloves or cards. Humans, caught On ground curiously neutral, homes and names Suddenly in abeyance; some are young, Some old, but most at that vague age that claims The end of choice, the last of hope; and all

Here to confess that something has gone wrong. It must be error of a serious sort, For see how many floors it needs, how tall It's grown by now, and how much money goes In trying to correct it. See the time, Half-past eleven on a working day, And these picked out of it; see, as they c1imb

To their appointed levels, how their eyes Go to each other, guessing; on the way Someone's wheeled past, in washed-to-rags ward clothes: They see him, too. They're quiet. To realise This new thing held in common makes them quiet, For past these doors are rooms, and rooms past those, And more rooms yet, each one further off

And harder to return from; and who knows Which he will see, and when? For the moment, wait, Look down at the yard. Outside seems old enough: Red brick, lagged pipes, and someone walking by it Out to the car park, free. Then, past the gate, Traffic; a locked church; short terraced streets Where kids chalk games, and girls with hair-dos fetch

Their separates from the cleaners - O world, Your loves, your chances, are beyond the stretch Of any hand from here! And so, unreal A touching dream to which we all are lulled But wake from separately. In it, conceits And self-protecting ignorance congeal To carry life, collapsing only when

Called to these corridors (for now once more The nurse beckons -). Each gets up and goes At last. Some will be out by lunch, or four; Others, not knowing it, have come to join The unseen congregations whose white rows Lie set apart above - women, men; Old, young; crude facets of the only coin

This place accepts. All know they are going to die. Not yet, perhaps not here, but in the end, And somewhere like this. That is what it means, This clean-sliced cliff; a struggle to transcend The thought of dying, for unless its powers Outbuild cathedrals nothing contravenes The coming dark, though crowds each evening try

With wasteful, weak, propitiatory flowers.

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  1. Anna United Kingdom

    I dont understand the metaphor in the second from last stanza, 'the clean-sliced cliff' can anyone give some kind of interpretation to help me - i need to write an essay on this poem. Thankyou

  2. Lauren United Kingdom

    Basically I think the 'clean-sliced cliff' represents death and these people are standing on the top of it, trying not to think about death (a struggle to transcend the thought of dying) but that's all they can think about. Really I just think the cliff is representative of how scared these patients are... if that helps at all.

  3. mark United Kingdom ↩ replying to Anna

    Anna, I think 'clean-sliced cliff' is purely descriptive. 'The Building' is Hull Royal Infirmary and as Larkin first describes it 'Higher than the handsomest hotel / The lucent comb shows up for miles.' It is a '60s built building and is 13 stories high and a really dominant landmark when you are approaching Hull.

    'Clean-sliced cliff' describes how it stands separate, cut-off from all the buildings around it and as high as a cliff (sadly, over the years, a few people have leapt to their death from some of the higher floors).

    I have worked in it as a nurse for over 20 years now, and still think of it as Larkin sees it, as well as my own more mundane workaday view of it!

  4. ernoult United Kingdom

    the building is not real

  5. Neeraj India

    Analysis of 'The Building' by Philip Larkin

    I think 'the lucent comb' in the first stanza should be read as 'the lucent tomb', the hell of all the fallen angels of lesser degree, fallen since the Original Sin. Besides, taking the building on the Christian concept of Hell, we see a series of new meanings with the colossal picture of Hell as presented by Milton in his Paradise Lost. And looking out from inside the building the world seems to be 'beyond the…

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    I think 'the lucent comb' in the first stanza should be read as 'the lucent tomb', the hell of all the fallen angels of lesser degree, fallen since the Original Sin. Besides, taking the building on the Christian concept of Hell, we see a series of new meanings with the colossal picture of Hell as presented by Milton in his Paradise Lost. And looking out from inside the building the world seems to be 'beyond the stretch of any hand'. It reminds me of the plight of Satan and his host of fallen angels damned eternally in the deep recesses of Hell, paradoxically as opposed to the tall and high 'clean-sliced cliff of Larkin. But we can easily excuse the poet for he was there to illumine us of something new. To conclude, the apocalyptic antithesis as stated by W.B. Yeats in his beauty 'The Second Coming'.

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