Wild Oats by Philip Larkin recounts the speaker’s experience twenty years before when he met two girls: one to whom he was immediately attracted. Due to his crippling lack of self-confidence, he asks the other girl out, and the poem tells of their engagement and subsequent break-up.
This study guide is written for students and teachers of English Literature, particularly those studying CCEA’s GCSE English Literature Relationships Anthology. For more study guides from this anthology, check out the Relationships page, or the list of poems in the series at the bottom of this guide. If you are studying one of the other anthologies in the CCEA Literature course, check them out here: IDENTITY Anthology or CONFLICT Anthology.
Wild Oats
What is 'Wild Oats' all about?
Stanza 1
The poem opens with the speaker recalling his first meeting with two women: one was very attractive, described as a “bosomy English rose,” and the other wore glasses and was easier to talk to. Although he immediately lusted after the attractive woman, who he later refers to as ‘beautiful’, he ended up dating her friend.
Stanza 2
In verse two, the speaker describes his seven-year relationship with the woman he dated, during which time he wrote over four hundred letters to her. He also proposed and gave her an engagement ring. Over the years they were together, they met up at and explored different English cities.
In verse two, the speaker reveals two important facts: firstly, the engagement ended with a break up and she returned the ring. Secondly, the speaker continues to think about the more beautiful friend. He met her two more times, but he felt she was laughing at him. It may be true, or it could be that the speaker is very self-conscious and lacking in confident, so perceived her to be laughing at him.
Stanza 3
In verse three, the speaker reveals that even the break-up was long drawn out. The pair attempted to break up five times before it eventually ended, with both of them acknowledging that he was the problem (being “too selfish, withdrawn and easily bored”).
The speaker finishes by revealing that even now, twenty years later, he still carries around two pictures of the more beautiful friend in his wallet.
Context of 'Wild Oats' by Philip Larkin
Philip Larkin's life, education and career
Philip Larkin was an English poet, novelist and librarian. He was born on 9th August 1922 in Coventry, England and died on 2nd December 1985 in Hull, England.
He is known for his frank, stark and often bleakly pessimistic view of the world, as well as his skilful use of language. His poems explore themes of loneliness, disillusionment, and mortality.
Larkin was educated at home by his mother and sister, Kitty, until the age of eight. After this, he attended Coventry’s King Henry VIII Junior School. Despite his reclusive and isolated early years, he made good friendships at school.
Later, he attended St John’s College, Oxford University, where he became interested in jazz music and started writing poetry. After graduation, he worked as a librarian at the University of Leicester, then spent five years living in Belfast and working at Queen’s University library. In 1955 he became librarian at the University of Hull, where he spent the rest of his career.
Larkin’s poetry was influenced by his social, historical, and cultural context. He lived through the Second World War and its aftermath, which left a lasting impact on him and his generation. He was part of a group of post-war poets known as “The Movement,” who rejected the modernist experimentation of earlier poets in favour of more traditional forms and language. Larkin’s poems often reflect a sense of disillusionment with modern society and a longing for a simpler, more stable world.
Larkin was also influenced by his reading and personal experiences. He was an avid reader of T.S. Eliot, W.H. Auden, and other modernist poets, as well as of novels and detective stories. He was also interested in visual art, and his poems often contain vivid images and descriptions. Larkin’s personal life was marked by relationships with several women, including his longtime partner Monica Jones, and his poems often explore themes of love, sex, and relationships.
Context of 'Wild Oats'
Larkin’s 1962 poem ‘Wild Oats’ is most certainly autobiographical, although some details may be embellished or changed. In approximately 1950, Larkin met a woman called Jane Exall (the ‘bosomy English rose’ of the poem) and her friend Ruth Bowman (‘her friend in specs who I could talk to’). Larkin’s poem tells the story: he dated, proposed to and spend many years with Ruth Bowman, all the while lusting after her friend Jane. Read more of this relationship in Suzuyo Kamitani’s article, Jane Exall – “A Bosomy English Rose”.
If you enjoy ‘Wild Oats’, check out another of Larkin’s poems of disillusionment and wasted opportunity, ‘I Remember, I Remember’.
Line-by-line analysis
Title: Wild Oats
- “Sowing wild oats” traditionally refers to a young man engaging in casual or promiscuous relationships before settling down. This suggests a period of youthful experimentation and sexual freedom.
- Ironically, this is exactly what the speaker of the poem did not do. Instead, he stayed safe and avoided risk.
- The title also signifies the speaker’s unfulfilled desires and the pursuit of an idealised passion that he never fully attained. His obsession with the “bosomy English rose” represents the unattainable, while his relationship with her friend symbolises settling for less.
Stanza 1
About twenty years ago
- The opening line sets the context for the story with a retrospective tone, indicating the speaker is reflecting on past events from twenty years before.
- The vague adverb “About” suggests a casual recollection rather than precise memory, and sets the tone of nonchalance which continues throughout.
Two girls came in where I worked—
- The speaker introduces the two central female figures, setting the scene. The tone is informal and conversational, as though the speaker is recounting a story to a friend.
- The line ends with a hyphen to allow the speaker to add explanation as to who these two girls were. The pause adds to the conversational tone.
A bosomy English rose
- “English rose” is a traditional symbol of English beauty, so this metaphor suggesting the girl’s attractiveness.
- The adjective “bosomy” emphasises her physical attractiveness in a manner which is somewhat objectifying to her and to women. The connection between this adjective and the title “Wild Oats” makes the speaker seem chauvinistic and shallow, focusing on sex and physical appearance.
And her friend in specs I could talk to.
- The speaker juxtaposes the attractive girl with her more approachable friend who wears glasses (“specs”). Throughout the poem, and throughout his aquaintaince with both, the women are set up as contrasts to each other in a very demeaning way: if someone is beautiful or bosomy, they cannot therefore be appraochable, and if someone is either less attractive or wears glasss, they are easier to talk to. Indeed, the juxtaposition that the speaker creates tells us more about his own inadequacies than about the nature or personalities of either of the women.
- “Specs” is an informal colloquialism (it is a term for glasses), adding to the casual tone.
Faces in those days sparked
- The metaphor “sparked” suggests excitement and attraction, implying that appearances played a significant role in romantic interest.
- The mention of the adverb of time “in those days” suggests that the speaker perhaps sees things differently now, twenty years later. Perhaps the focus on facial features and physical beauty is not as important for him as an older man compared to his younger years. This is one of the only signs of hope in this poem that the speaker holds any remorse or regret for the way he treats these women.
The whole shooting-match off, and I doubt
- The colloquialism of the “shooting-match” is a euphemism for the entire situation or affair, implying the intensity of youthful attraction. There seems also to be a sexual inuendo in “shooting-match”, as the speaker implies that she (the “bosomy English rose”) sets off something in him that he cannot control, like a spark igniting a flame … but in a more sexual way!
- The tone is casual, continuing the conversational style.
If ever one had like hers:
- The inverted syntax (“If ever one had like hers”) emphasises the uniqueness of her face.
- The colon at the end of this line creates a pause and sets up the contrast of the next line.
But it was the friend I took out,
- Having described the facial and bodily beauty of the more attractive girl over several lines, there is an anti-climactic contrast in this line. This sudden, humorous drop in tone creates bathos, bringing the reader back down to earth and highlights the speaker’s own lack of confidence to talk or or ask out the girl he is really attracted to.
- The speaker’s choice implies a pragmatic decision, which is an irony contrast to the “Wild Oats” of the poem’s title.
- This verse ends with a comma, allowing the next verse to flow seamlessly on from it, adding to the conversational tone.
Stanza 2
And in seven years after that
- The time frame described here indicates a long-term relationship, setting up a significant investment of time. However, it also implies that the speaker is slow to act, both in proposing and moving towards a wedding, or in breaking up. His decisions seem motivated by lack of effort and confidence.
Wrote over four hundred letters,
- Hyperbole is used to emphasise the effort and communication in the relationship, possibly to underscore its tediousness. Either they wrote these love letters out of passion and joy (this is not implied in any way) or else because they spent a lot of time apart during the seven years, communicating by letter rather than in person. This seems more likely, given the mention later of meeting in various “cathedral cities”.
Gave a ten-guinea ring
- The verbs “wrote” and “gave” in this line and the previous are pragmatic and dull: no passion or love is communicated by the speaker’s description of the relationship.
- The engagement ring symbolises commitment, though the mention of its cost implies a transactional nature which lacks love or passion.
- Bearing in mind the historical context, a ten-guinea ring was a significant expense, probably several week’s wages in the 1950s, indicating at least some serious intentions by the speaker.
I got back in the end, and met
- The ring is returned, signifying the failure of the engagement. This is perhaps not shocking to the reader, who has not noted any signs of genuine passion or love in this long-drawn-out relationship. In revealing “the end” of the engagement in the middle of the poem, the speaker again uses anti-climax to create bathos. We are not being brought on a journey of romance. Instead, it feels more like a comic story which might have a punchline at some point. Certainly, the opening two lines of the poem, “About twenty years ago two girls came in where I worked…” implies a lighthearted story told at a dinner table rather than a tale of love.
- Enjambment emphasises the continuation of the story, mimicking the flow of conversation. This diminishes the power of the revelation that the engagement broke off by allowing no time to pause over it . Again, the speaker is at pains to unromanticise this story.
At numerous cathedral cities
- The setting of “cathedral cities” suggests a formality or ritual in their meetings.
Unknown to the clergy. I believe
- The meetings “unknown to the clergy” imply secrecy or impropriety, adding a humorous tone and a (false and mocking) sense of espionage. Rather than conducting a wedding in one of these cathedrals, the speaker simply meets up with his fiancée. No wedding takes place and no clergy are involved.
- The speaker immediately switches in a casual tone to thinking about the other woman, using the nonchalant “I believe” to indicate uncertainty or detachment, yet these meetings are more detailed than any he describes with his fiancée.
I met beautiful twice. She was trying
- Hyperbole is used to emphasise the contrast to the other woman, who is reduced to the adjective “beautiful”. This personification emphasises the rarity and impact of meeting the attractive woman again.
- The simple syntax and short sentence structure (“I met beautiful twice.”) underscores the straightforward, almost blunt nature of these encounters. There is no shame in the speaker’s tone for meeting up with her. The only shame is in his self-consciousness in believing she is laughing at him.
Both times (so I thought) not to laugh.
- The speaker adds a self-deprecating comment in brackets, suggesting his insecurity and self-awareness.
Stanza 3
Parting, after about five
- Vague language in “about” reflects the informal, imprecise tone reflecting the speaker’s lack of interest in the details of the relationship and the parting.
- The speaker opens the final stanza with a continuous present tense verb, mirroring the content, reflecting that the parting was an ongoing process. This line sets up the end of the relationship.
Rehearsals, was an agreement
- The metaphor “Rehearsals” suggests the relationship was like a practice or trial, not fully realised or serious, and that even their break-ups were failed attempts.
- The imbedded phrase “after about five rehearsals” adds a story-telling tone to the account. The effect is to further diminish the relationship.
That I was too selfish, withdrawn,
- The speaker admits his flaws, contributing to the self-deprecating tone.
- The tone is honest and reflective, showing self-awareness, however, there is a wry tone which does not reflect remorse or regret.
And easily bored to love.
- The triplet of adjectives runs on across two lines with enjambment, suggesting that his flaws were too many to be contained within one line. The list of faults (“selfish, withdrawn, and easily bored”) creates a rhythm that underscores the speaker’s shortcomings.
- The end-stop brings the idea to a close. The reader might perhaps expect regret or emotion, but the next line reveals more flippant disregard for emotions.
Well, useful to get that learnt.
- The informal and conversational tone continues with “well” serving as a discourse marker.
- The understatement (“useful to get that learnt”) contrasts with the serious nature of the self-realisation. Again, the speaker is flippant and anti-climactic, suggesting that he did not ever care about the relationship.
In my wallet are still two snaps
- Informal language continues with the colloquialism “snaps” (photographs).
- The speaker reveals that, twenty years after first meeting the women, he carries two pictures of the other woman in his wallet. The pictures symbolise lingering memories and his unfulfilled fantasies.
- The inverted syntax places emphasis on the photographs by having them at the end of the line.
Of bosomy rose with fur gloves on.
- The imagery of “fur gloves” adds a detail that evokes a specific, possibly glamorous memory, reinforcing the obsession with the “bosomy rose.”
- The details described in the picture suggest the youthful, carefree days of twenty years ago, but the fact that he has not moved on suggests the speaker has not moved on or learned from his break-up.
Unlucky charms, perhaps.
- Ironically, the speaker refers to the photographs as “unlucky charms,” minimising the harm he did to his relationship by keeping the pictures in his wallet.
- The closing phrase has a wistful and rueful tone which is ironic given how little he really seems to care.
- The final word, the adverb “perhaps” continues with the same dismissive tone and vagueness which has marked the story since the opening adverb “about”.
Analysis of form and structure
Verse structure
“Wild Oats” is composed of three octaves (eight-line stanzas), giving it a consistent structure that mirrors the methodical recollection of these past events.
Rhyme
“Wild Oats” is written in free verse, meaning there is no set rhyme scheme or pattern to the rhyming sounds.
This choice gives the poem a conversational tone, aligning with the casual and reflective nature of the speaker’s reminiscences.
Despite the lack of a specific rhyme scheme, there are rhyming sounds which add structure and links between ideas. These occasional rhymes help to make the poem conversational and informal. For example, in lines six and eight of the first and third stanzas, there are full rhymes (‘doubt’ and ‘out’ in verse one and ‘snaps’ and ‘perhaps’ in verse three).
Rhythm
Wild Oats does not use a specific meter. Rather, it is written in free verse, giving it a natural, conversational tone and a sense of recounting a memory.
In particular, Larkin employs enjambment extensively, which allows sentences to flow over multiple lines without a pause. This technique mimics natural speech patterns and enhances the poem’s informal tone. For instance, “Gave a ten-guinea ring / I got back in the end” seamlessly continues a thought across lines.
Themes in 'Wild Oats'
Being young
The poem reflects on the speaker’s youthful experiences with love, lust and relationships. The title “Wild Oats” suggests a period of youthful experimentation and romance.
The speaker’s infatuation with the “bosomy English rose” contrasts with the reality of his actual relationship, highlighting the idealism and naivety often associated with youth.
Self-awareness and personal growth
The speaker’s realisation of his own flaws—being “too selfish, withdrawn, / And easily bored to love”—indicates a level of self-awareness. He acknowledges these shortcomings as factors in his failed engagement. Ironically, the lingering memories of the other woman suggest that the speaker has not changed or grown over the last twenty years. His flippant tone towards these shortcomings suggests that while he sees they are true, he does not seem to care. He seems to accept his flaws (too late) but does not seem in any hurry to change.
The poem is a reflection on past actions and their consequences. The speaker looks back with a mix of regret and self-awareness, recognising the futility of his youthful self and the mistakes he made. The theme of regret is evident in the speaker’s admission that he might have wasted opportunities for genuine love and connection by being fixated on superficial attractions.
Memory and nostalgia
The speaker’s retention of the two photographs of the “bosomy rose” in his wallet symbolises how certain memories and obsessions linger, affecting one’s present and future.
The reflective and somewhat wistful tone of the poem conveys a sense of nostalgia for the past, even if that past is tinged with regret and unfulfilled desires.
The fact that, twenty years later, the speaker still lingers on the descriptions of this woman suggest that memories are significant to him.
Superficiality vs. depth in relationships
The contrast between the speaker’s attraction to the “bosomy English rose” and his actual relationship with her friend highlights the theme of superficiality in romantic relationships. The poem suggests that deeper, more meaningful connections are often overlooked in favour of surface-level attractions, leading to unfulfilling relationships. In this way, the poem can be contrasted effectively with Shakespeare’s Sonnet 130, which explores beauty and exaggerated, unrealistic standards of beauty.
Quiz
‘Wild Oats’ by Philip Larkin
Test your knowledge of the poem 'Wild Oats' by Philip Larkin
Comprehension Questions
- Using the references to time in the poem, describe the timings of the events in the poem. What can you infer about the speaker, his actions and his attitudes from this?
- Describe the two women the speaker mentions in the first stanza. How does he distinguish between them?
- What does the speaker mean when he says, “Faces in those days sparked / The whole shooting-match off”?
- Why does the speaker choose to date the woman with glasses rather than the “bosomy English rose”?
- What does the ten-guinea ring symbolise in the poem? What happened to it?
- How does the speaker describe his meetings with his fiancée in various cathedral cities? What might this setting suggest about their relationship?
- What reasons does the speaker give for the end of his engagement? What does he learn about himself through this breakup?
- What is the significance of the two photographs that the speaker still keeps in his wallet?
- How does the poem’s title, “Wild Oats,” relate to the themes and events described in the poem?
- Which poem from your anthology would you select as an appropriate poem to compare and contrast with “Wild Oats” for the theme of ‘being young’?
Before You Were Mine by Carol Ann Duffy
Both poems explore the theme of youth, but from contrasting perspectives. Duffy’s poem is nostalgic and celebratory, imagining her mother’s vibrant, carefree youth with admiration, symbolised by glamour such as a polka-dot dress and comparisons to Marilyn Monroe. In contrast, Larkin’s poem is reflective and regretful, recounting his superficial romantic pursuits and missed opportunities with a wry, self-mocking tone. While Duffy’s speaker lovingly connects with her mother’s past, seeing it as a time of excitement and potential, Larkin’s speaker critically views his own youth as marked by shallow infatuations and unfulfilled desires.
Both poems explore the theme of romantic relationships and physical beauty. While Larkin’s poem is regretful, recounting his superficial infatuation with a more attractive woman while dismissing the genuine connection he had with another, Shakespeare’s poem dismisses the superficial notions of beauty of his day. Larkin’s tone is wry and self-mocking, as he looks back on his youth with a sense of missed opportunities and unfulfilled desires. In contrast, Shakespeare’s speaker subverts traditional romantic ideals by acknowledging his mistress’s imperfections, yet ultimately expressing genuine love and admiration. While Larkin contrasts the “bosomy English rose” with the woman in specs, highlighting his shallow judgments, Shakespeare uses unconventional comparisons to emphasise the authenticity of his affection. Despite their differing tones, both poems critique superficial romantic ideals and highlight the complexities of love.
