Toad. The word conjures up images of a grotesque, little amphibian and yet it is this
little animal that Larkin decides to base his poem on. He describes two toads. One is
the exterior influence that society has on and individual to work, and the other is the
interior or personal prompting to work. He takes a thirty six line attempt at finding
away to elude the "squatting" of the toads, and yet in the end his conclusion is that
there is no way to hide from them.
As the poem begins, Larkin wastes no time in introducing the first toad, "Why should I
let the toad work / Squat on my life."(1-2) The first toad is said to be equal to
work. The use of this metaphor jogs one's memory to the social connotations that a toad
upholds. One of these connotations is that a toad is a repulsive little being, with an
ugliness characterized in it warts or more precisely the myth that those "uglies" are
contagious. When this interpretation is used the poet is saying that work is a ugly and
repulsive entity, and its ugliness is contagious. A second interpretation of the word
toad can be found from fairy tales. In these types of works the toad is often seen as
something detestable on the exterior and yet of great value or beauty on the interior.
An example of this is the toad that when kissed by the princess was turned into a prince.
In order for the real identity of this amphibian to be realized, one must to get past
the outer shell. In keeping with this explanation Larkin can also be seen as saying
that work at first appear as a hideous and burdensome beast and yet after careful
inspection and acceptance its true beauty is shown. Thus one sees the first toad and
views its composition as a combination of two interpretations.
A second item to note is the use of the verb "squat"(2) as the word to carry the action
of the toad. This word is definitely not one of the English languages most attractive
words. Rather by stretching one's mind it can be seen as an "ugly" verb. The use of
this "ugly" verb with a noun that already has the connotation of being ugly pushes this
metaphor to its maximum.
A second interesting metaphor in this stanza is the setting of "wit"(3) being equal to
"pitchfork"(3). This is a good parallel because it describes the versatility of wit in
terms of a pitchfork, which is also quite versatile. At the very minimum a pitchfork
can be used for two distinct objectives. It can be used as a device to picking up or
carrying something. Secondly, it can be used as weapon to fend off a foe. When using
this interpretation the question in lines three and four can be restated as, "Why can't I
use my wit to drive off work, and then also use that same wit, like a pitchfork picking
up hay, pick up the things of success?" By applying these definitions it can be seen how
Larkin's choice of words gives the metaphor tremendous depth.
Another item to be noted in the first stanza is how Larkin brilliantly uses meter to
give the metaphors added feeling. He does this first by ending lines one and three with
a double accent. This gives the rhythm an awkward feel, as well as gives the word
"work"(1) a inflection of ugliness. He also does this with the word "pitchfork"(3), which
gives it the feeling of sharpness. Together, this strengthens the persuasive effect of
the poem.
The second stanza continues on with a broadening of the description of the first toad.
Here another excellent metaphor is used when the toad is linked to a type of poison.
Larkin has just said that work "soils"(5) one with its poison and that the amount of
this poison one has to ingest is not proportional to the benefit it brings us. Instead
this poison, otherwise known as work, slowly infiltrates ones whole being and gradually
overcomes one's self. The poet has now revealed the first toad's deadly side.
The third stanza marks the beginning of a change in thought that continues for the
following two stanzas. Here the poet starts to explore the seeming escape of certain
individuals from the toad, Work, and their apparent happiness. He effectively uses
alliteration in the line "Lecturers, lispers, / Losels, loblolly-men, louts - / They
don't end up as paupers;"(10-11) to create a droning effect that makes the list seem to
go on indefinitely. This seems to make Larkin's argument better by showing this
seemingly long list of individuals who supposedly escape work by using their wits.
The metaphor of wit and pitchfork can be applied in this stanza as well, which give the
impression of frustration on the part of the poet. The question that he asked in the
first stanza, "Can't I use my wit as a pitchfork / And drive the brute off?"(3-4), is
being positively answered here, although he does not know the answer. This continues to
show how the toad is "squatting" on Larkin. Though others seem to escape it, he cannot.
Larkin now moves on to stanzas four and five, where he examines the poor people
who seem to escape work. The words "windfalls"(15) and "tinned sardines"(15) are
symbolic for poverty. "Windfalls" represent the idea of being filled with nothing.
These people are trying to live off the wind, and "Tinned sardines" are viewed as the
food poor people eat. Larkin says these people manage to elude the toad and live on
nothing or near nothing while remaining happy.
The fifth stanza goes on to say that while these work elusive people may be partially
naked and malnourished, "No one actually starves"(20) Larkin uses the word
"nippers"(17), which is slang for children, as a way of showing how these people are not
the upper class but instead the lower. This use of diction greatly expands the meaning of
the stanza.
The last section of the poem embodies the last four stanzas and here again Larkin
changes directions in his thoughts on work. He now turns inward and begins to unveil a
second toad, one that lurks within himself. Again Larkin uses symbolism to enhance his
point in stanza six, "Ah, were I courageous enough / To shout Stuff you pension!"(22)
The reference to "pension" embodies much more that just the financial security. It is
symbolic of protection from the unknown. A person with a pension does not have to worry
about the future because he will be provided for, while without this his future can be
seen as a great unknown. So Larkin says, while he may want to throw away work, which
brings him his pension, he knows that he will be casting himself into the abyss of the
unknown and therefore cannot.
The seventh stanza introduces the second toad. This new toad embodies all the
characteristics that the first did except it is found within the poet. Again it "squats"
on the poet, which is enforced through the use of alliteration. "Its hunkers are heavy
as hard luck,"(27) this phrase gives the impression of heaviness and the idea of the toad
being "stuck" inside him. This second toad the dwells within, and like the first toad,
cannot be escaped.
As the poem enters its eighth stanza the effects of this second toad are made apparent.
This inner tumor will not allow Larkin to gain success and happiness easily or without
due payment. Here the poet finally reveals what he considers symbolic of success - "The
fame and the girl and the money."(31) He continues to say that he will never be able to
get these things without succumbing to the poison of the toad. Even if there was no
exterior toad, the interior one would still torment him..
In the final stanza Larkin brings his discussion about the two toads to a closing by
saying that he does not believe that they are the same even though they accomplish the
same ending. "I don't say, one bodies the other / One's spiritual truth;"(33-34) Here
the word "spiritual" can be seen as the essence of the toad, and while both toads may
look the same they have a different composition. Larkin goes on to say, "But I do say
it's hard to lose either, / When you have both" The meaning implied here is that one toad
cannot be effectively eliminated because the other will cause the same effect. So as
long as you have one you have both.
Thus Larkins parallel between work and toads is completed, and while one may try to deny
the strength and power of the toads, one will never truly escape them. The proof of the
two toads is seen in and around onself. The plight of the toad may be upsetting and
repulsive at first, but the only peace one will find is when one learns to cohabitate
with it graciously.
Works Cited
Jon C. Scott, Raymond E. Jones, Rick Bowers, ed. "The Harbrace Anthology of Poetry." .
|