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Mr Bleaney and the Bean Eaters
What are the four aways in Mr Bleaney? It does seem to be despairingly urgent, as Mr Bleaney subtly moves from a recollected past to an observed present, through his mediation with the new tenant. Our sense of worth reflected by our surroundings, is this how Mr Bleaney saw himself as small and insignificant? Larkin has used the landlady and to some extent Mr Bleaney, as the focus for the humour in the poem but it is the landlady who comes across as the comic if somewhat pitiful character. Now the new tenant must take his place and do the same and reflect on how he has come to be in his situation. I know his habits - what time he came down, His preference for sauce to gravy, why He kept on plugging at the four aways - Likewise their yearly frame: the Frinton folk Who put him up for summer holidays, And Christmas at his sister's house in Stoke. The reader is presented with a landlady showing a perspective lodger a room that has been vacated by her previous tenant, the mysterious Mr Bleaney.
A Short Analysis of Philip Larkin’s ‘Mr Bleaney’
What do we learn about the former tenant and the way he lived his life from the first five stanzas? I know his habits - what time he came down, His preference for sauce to gravy, why He kept on plugging at the four aways - Likewise their yearly frame: the Frinton folk Who put him up for summer holidays, And Christmas at his sister's house in Stoke. Bleaney, like many other poems written by Philip Larkin, is a dramatic monologue in which the character of a man called Bleaney has been portrayed. This is also what the lodger now has to tell himself is home. Reproducing a single emotional concept, the poem preempts all others. He and Mr Bleany are the same.
Along with the indignities of age come a few privileges, including the knowledge that certain things will always, now, be true of you. The old pair felt that these things were worth saving, and Brooks wants to honor that by slowing the line down, inviting the reader to linger over each item in the series. In fact, Larkin offers a lot more biographical information about Mr Bleaney than Brooks does about the Bean Eaters. Speaking of lingering over each item in the series, I recommend it. The enjambment possibly mirrors the speaker's thought process, how this is suddenly occurring to him.
We know that Mr Bleaney enjoyed gardening and was good at it. But I also feel the urge to push back, respectfully, against her diminishment of that early work, because I consider A Street in Bronzeville, Annie Allen, The Bean Eaters, and In the Mecca to be as radical as anything an American poet has written. The Bean Eaters They eat beans mostly, this old yellow pair. Those first two lines are the only complete sentences in the poem. This presents a deep-seated fear for the lodger, the fear of being trapped in the same cyclic anomie as the previous tenant. Its music is audible but muted, like a radio on the other side of a wall. Of its 85 words including the title , 16 appear more than once.
He stayed the whole time he was at the Bodies , till they moved him. Larkin sincerely thought that if he could find the right words for some aspect of human experience, any reasonable reader would come around to feeling exactly the way that he — a brilliant, depressed, alcoholic, jazz-loving, commitment-averse, death-obsessed, mildly misanthropic, chronically dissatisfied Englishman — felt about it. By saying this, this is how the speaker believes Mr Bleaney is defined as, a lonely, impoverished man who lives in a hired box - he lives in his own 'death' because he is poor, and he cannot change his situation because he 'warrants no better'. The words are listed in the order in which they appear in the poem. Stuffing my ears with cotton- wool, to drown The jabbering set he egged her on to buy. In the mid-1950s he is renting a room previously occupied by a Mr Bleaney and, as he glances around the room and talks with his landlady, a picture of Mr Bleaney and the dingy room emerges. The table, like the dishes, has aged along with its owners.
This room, it symbolises death. This room, the same room he now occupies. Harsh sound, giving a more sinister, 'cold' sense which adds to the misery. And every poem is a fiction, however liberally it draws from lived experience. Mr Bleaney had no books only the bed to lie upon. Mr Bleaney is a character, finally, and his one hired box is just big enough for the necessary props. Most of them name something non-functional, but each has a specific function within the poem.
Bleaney ever thought that he was living an ambition-less life. The Bean Eaters are an elderly black couple living in a rented back room in the United States in the mid-20 th century. Larkin was a shy, undemonstrative man who spent most of his working life as the librarian at the University of Hull. He stayed The whole time he was at the Bodies, till They moved him. Mr Bleaney becomes the speakers double even though the lodger could never have known his thoughts he and Mr Bleaney become one. Sentences lengthen as the poem settles into its new digs, stretching out across more and more lines.
Arriving, as they do, in an almost satirically long line, they bring a sudden feeling of flushness, of surplus — like coming into an unexpected inheritance. The lodger stuffs his ears with cotton wool because he does not want to here any more about Mr Bleany, who is already infringing on his lifestyle, the irony being that there is no escaping the fact that, no matter how much he tries to disassociate from Mr Bleany. In her first autobiography, Report From Part One, capitalized words appear most frequently in passages about her youth. He can only speculate that Bleaney, similarly situated, would have had the same depressing thoughts, but he cannot know for sure. Prattling on about trivia, she might as well be her jabbering radio. Repetition is a way of reinforcing and a way of remembering, a reminder of where the poem has been. Bring reader + speaker back to reality and the reality for Mr Bleaney.
