An adept of colloquialism, Philip Larkin weaves poetry brimming with clarity. Through direct engagement with common experience, Larkin conveys universal ideas of our outlook on death, marriage and religion. He wrote his poetry to elucidate these ideas: to find truth in an ordinary man’s world; to evoke a sense of fatalism and with concise language, his ideas remain popular till now. Larkin’s simple language is still relatable to current life, as death continues to become an inevitable matter. In Larkin’s final major published poem “Aubade”, he explores death’s inevitability through a man who wakes up alone in pre-dawn and contemplates his own death. The speaker “sees what's really always there”:“Unresting death”, personifying “death” as an “unresting” figure that “flashes afresh” at any moment, evoking an image of a relentless character that determines one’s “extinction.” This shows how death is always advancing towards us and is bound to happen. It is reinforced later through “this is a special way of being afraid/ No trick dispels”, speaker tells us that this fear of death is “special” because there is no way to get rid of it, to “dispel” it, which again portrays death as unavoidable. Larkin depicts death straight forward as undeniable through “most things may never happen: this one will”. It is shocking how the speaker seems so calm and shows no emotion while making such a depressed statement, showing complete acceptance of death’s inevitability and evokes a sense of fatalism. Through the alliterative stress “dread/ Of dying,” referencing a continuous sound similar to time ticking away, and the predominant iambic metre, implying an insistent inescapability. It is fascinating that Larkin’s approach differs to the contemporary mood in the 1970’s. The narrow, pessimistic, limited view on “unresting death: which, to Larkin, only ever grows a “whole day near” takes a highly dissimilar approach to the spontaneous optimism of society at the time “Aubade” was published. This emphasizes the Larkin’s idea of death as finality. Primarily, the poet illustrates time and life as a “rented world,” which can be “torn off” abruptly and “total (totally)” by death, personifying the image an omnipotent death figure. Through sensual engagement, he describes death as “anaesthetic:” connoting a slow po