Religious Skepticism in Philip Larkin’s Church Going, Faith Healer, and Arun Kolatkar’s Jejuri
https://doi.org /10.5281/zen od o.14978750
Author(s): Monish Tukaram Chavan
DOI: https://doi.org/10.5281/zenodo.14978750
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The Criterion: An International Journal in English Vol. 16, Issue-I, February 2025 ISSN: 0976-8165
www.the-criterion.com
https://doi.org/10.5281/zenodo.10448030
Religious Skepticism in Philip Larkin’s Church Going, Faith Healer, and Arun
Kolatkar’s Jejuri
Monish Tukaram Chavan
PhD Scholar,
K. L College, Amravati.
Article History: Submitted-27/01/2025, Revised-04/02/2025, Accepted-19/02/2025, Published-28/02/2025.
Abstract:
This paper attempts to compare, connect, and analyze the themes of religious
skepticism in Philip Larkin’s Church Going and Arun Kolatkar’s Jejuri. By focusing on their
respective portrayals of the loss of faith in modern times, the paper examines the modern skeptical
personas present in both poets. The poets question the relevance of religion and religious practices
in a world increasingly influenced by scientific progress. Through selected lines from both works,
the paper critically analyzes the attitudes of both poets toward religious institutions and rituals,
illustrating their shared skepticism and reflections on faith. Larkin’s Church Going questions the
future of the church, while Kolatkar’s Jejuri offers a more radical critique of traditional pilgrimage.
Despite their skepticism, both poets exhibit sympathy and sensitivity toward human experiences
within these religious contexts.
Keywords: Philip Larkin, Arun Kolatkar, Religious Skepticism, Church Going, Jejuri,
Modern Poetry, Loss of Faith, Religion, Pilgrimage.
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Religious Skepticism in Philip Larkin’s Church Going, Faith Healer, and Arun Kolatkar’s Jejuri
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https://doi.org/10.5281/zenodo.10448030
Introduction
Philip Larkin (1922–1985), an influential figure in English postmodern poetry, is well-known for
works such as The Whitsun Weddings, High Windows, and Church Going. His poetry often
explores themes of faith, existential doubt, and the human experience in the modern world.
Arun Kolatkar (1932–2004), an important Indian poet writing in English, is celebrated for his
bilingual works. His poetry collection Jejuri (1974), which offers a critical yet empathetic view of
the pilgrimage site Jejuri, won the Commonwealth Prize for Best Book of Verse in 1976. In Jejuri,
Kolatkar presents a radical, skeptical view of religious practices and their place in contemporary
society.
This paper explores the shared themes of religious skepticism in Larkin’s Church Going and
Kolatkar’s Jejuri, examining how both poets react to the loss of faith in modern times and critique
religious institutions and rituals. Through detailed textual analysis, this paper argues that, while
skeptical, both poets offer a sympathetic and sensitive portrayal of human experiences connected
to religion and spirituality.
Literature Review
Philip Larkin’s poem Church Going and Arun Kolatkar’s poetry collection Jejuri both explore the
theme of religious skepticism. They question the role of religion, its institutions, and rituals in a
world where faith seems to be fading. This review examines what scholars have said about these
works, focusing on how both poets express doubt about religion while still showing a deep
understanding of the human connection to faith. By examining their unique perspectives, we can
see how these two poets, from very different cultures, address similar issues.
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The Decline of Religious Faith:
One common idea in discussions about both Larkin and Kolatkar is how they explore the decline
of faith in modern society. Larkin’s Church Going reflects on how churches are becoming less
relevant in post-war England. The speaker in the poem enters an empty church, not to worship but
out of curiosity, and wonders what will happen to such spaces in the future. Scholars like King
(2009) note that the church in Larkin’s poem feels more like a relic or museum than a place of
spiritual significance.
On the other hand, Kolatkar’s Jejuri presents a sharper critique of religion in India. Set in the
pilgrimage town of Jejuri, Kolatkar’s poems focus on temples falling apart and rituals that feel
hollow. Nikam (2008) argues that the ruins in Jejuri symbolize how faith is crumbling in a world
that is becoming more practical and less spiritual. While Larkin reflects on fading tradition,
Kolatkar actively questions the value of these traditions in a modern context.
Skepticism Toward Religious Institutions and Rituals:
Both poets focus on the physical spaces of religious churches and temples, but instead of seeing
them as sacred, they describe them as ordinary or decaying. In Church Going, Larkin reduces the
church to its basic elements:
“Another church: matting, seats, and stone,
And little books, sprawling’s of flowers, cut.
For Sunday, brownish now.”
This description makes the church seem like just another building, empty of its spiritual meaning.
Naik (1984) explains that Larkin’s skepticism lies in his questioning of whether churches have any
real purpose in a society that is losing faith.
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Similarly, Kolatkar’s Jejuri examines temples not as holy places but as ruins. In the poem “Heart
of Ruin,” he describes a broken temple where:
“The roof comes down on Maruti’s head.
Nobody seems to mind.”
Kolatkar points out how people have become indifferent to the state of these religious spaces,
suggesting that their spiritual significance is fading. Jadhav (2021) notes that Kolatkar uses humor
and sharp observations to highlight how religion is often treated more as a tradition or business
than something deeply spiritual.
The Human Connection to Faith:
Even though both poets are skeptical about religion, they also show an understanding of why
people turn to faith. Larkin, for example, acknowledges in Church Going that churches still hold
meaning for people as places where they can reflect on life and its mysteries. He writes:
“A serious house on serious earth it is,
In whose blent air all our compulsions meet.”
This line suggests that even if people don’t believe in God, churches still serve as spaces where
they can confront life’s big questions. Scholars like King (2009) point out that Larkin’s skepticism
isn’t dismissive; he respects the role that religion plays in people’s lives, even as its influence
fades.
In Kolatkar’s Jejuri, there’s a similar recognition of the human need for faith, even in the face of
decay and doubt. For example, in the poem “The Mongrel Bitch,” Kolatkar describes a stray dog
taking shelter in a ruined temple. Scholars like Nikam (2008) see this as a metaphor for resilience:
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even as religious structures fall apart, they still provide a kind of refuge. Kolatkar critiques religion,
but he doesn’t dismiss the emotional and cultural connections that people have to it.
Balancing Skepticism with Empathy:
What makes both Larkin and Kolatkar stand out is their ability to balance their doubt about religion
with feelings of empathy for people. In Larkin’s poem Faith Healing, for instance, he pokes fun
at the idea of a faith healer but also shows pity for the women who come to him for comfort:
“Their eyes
Shrink to their final tears, their hearts remain.
Almost nothing.”
Here, Larkin captures the vulnerability of those who turn to faith in moments of despair. He doesn’t
believe in the faith healer’s powers, but he understands why people need hope.
Kolatkar’s Jejuri has similar moments of empathy. In “Chaitanya,” for example, Kolatkar reflects
on the quiet strength of people who maintain their faith despite the flaws in religious practices.
Patel (2021) argues that these moments demonstrate Kolatkar’s sensitivity to the struggles of
ordinary people who hold on to faith for comfort and meaning.
Comparing Two Perspectives:
Though Larkin and Kolatkar write from very different cultural backgrounds, their works share
common themes. Larkin’s church reflects the decline of Christianity in the West, while Kolatkar’s
temples reveal the tension between tradition and modernity in India. Scholars like Naik (1984) and
Jadhav (2021) suggest that despite these differences, both poets are ultimately exploring how faith
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is challenged in an increasingly skeptical world. They show us that while religion might be fading,
the human need for meaning and connection remains.
The works of Philip Larkin and Arun Kolatkar offer thoughtful and critical perspectives on religion
and faith in modern times. Both poets question the relevance of religious institutions and rituals,
yet they also show empathy for the people who still find solace in them. Larkin’s Church Going
reflects a quiet contemplation of the church’s fading role, while Kolatkar’s Jejuri takes a more
direct and critical approach to the decay of temples and traditions. Together, these works reveal
the complexities of navigating faith in a world that is increasingly skeptical but still deeply human.
Religious Skepticism in Philip Larkin’s Church Going, Faith Healer, and Arun Kolatkar’s
Jejuri:
1. The Role of Religious Institutions in Modern Society
Larkin’s Church Going begins with a seemingly casual visit to a church, where the speaker reflects
on the church’s future role in society. In the opening lines:
“Once I am sure nothing is going on,
I step inside, letting the door thud shut.
Another church, matting seats, and stone”
These lines suggest that the speaker’s visit is not motivated by faith but rather by curiosity, as if
the church were just another building to explore. The speaker questions the utility of the church,
pondering its future once religious activities have ceased. Similarly, Kolatkar’s Jejuri begins with
the poem “The Bus,” where the protagonist, Manohar, arrives at Jejuri not as a devotee but as a
tourist. Describing his arrival:
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“The door was open.
Manohar thought
It was one more temple.
He looked inside.
Wondering
Which God he was going to find”
In both poems, the religious institutions (whether a church or a temple) lack holiness for the
speakers. They are merely exploring, rather than worshipping, in these places of religious
significance. Both poets, therefore, highlight the erosion of faith in contemporary society, leading
to a more skeptical view of religious rituals and practices.
2. Skepticism and the Materialization of Religious Icons
Both poets, in their portrayal of religious settings, focus heavily on the material aspects—
architecture, ruins, and statues—rather than the spiritual or divine nature of these places. In
Larkin’s Church Going, the church is described as a “frowsty barn,” emphasizing its physical,
architectural qualities:
“What this accoutered frowsty barn is worth”
Similarly, in Jejuri, Kolatkar examines the material aspect of religious icons with a critical eye. In
the poem “Heart of Ruin,” Kolatkar describes the ruin of a temple:
“The roof comes down on Maruti’s head.
Nobody seems to mind.
Least of all, Maruti himself.
Maybe he likes the temple better this way.”
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Here, Kolatkar portrays Maruti (a Hindu god) in a ruinous temple, emphasizing the degradation of
holy spaces and the irrelevance of their divinity in the face of physical decay. Both Larkin and
Kolatkar suggest that religious institutions and icons have lost their sacred significance for the
modern skeptic, reduced instead to mere physical structures and objects.
3. The Question of Utility and the Human Connection to Religious Spaces
Larkin’s Church Going raises the question of what will happen to the church when people no
longer attend it for religious purposes. The speaker contemplates:
“For whom was built
This special shell? For, though, I’ve no idea.
What this accoutered frowsty barn is worth?”
This question echoes the broader theme of religious skepticism: What is the purpose of the church
in a society that no longer finds spiritual meaning in it? Kolatkar, too, questions the utility of
religious spaces in Jejuri. In “The Mongrel Bitch,” he describes how a dog finds shelter in the
ruins of a temple:
“The Mongrel bitch has found a place
For herself and her puppies
In the heart of the ruin.”
Here, Kolatkar seems to suggest that the only real function of the temple now is to provide shelter,
just as Larkin questions whether churches will continue to serve any real function once their
religious purpose fades. Both poets highlight the disconnect between the original religious purpose
and the contemporary experience of these spaces.
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4. A Sympathetic View of Human Suffering
While both Larkin and Kolatkar express skepticism toward religion, they also display sensitivity
and empathy for human suffering. In Larkin’s Faith Healing, the speaker mocks the faith healer
and his followers but also conveys a sense of pity for those seeking healing:
“Slowly, the women file to where he stands
Upright in rimless glasses, silver hair,
Dark suit, white collar. Stewards tirelessly
Persuade them onwards to his voice and hands”
Similarly, in Jejuri, when Manohar encounters a beggar woman, he feels pity for her situation and
gives her more money than she asks for, here also, the aspect of humanism takes place. Kolatkar
portrays the emotional vulnerability of individuals caught in the act of faith, offering a
compassionate view of their circumstances despite the broader skepticism:
“And the hills crack.
And the temples crack.
And the sky falls”
Both poets, while critical of religious practices, are not indifferent to the human condition. Their
sympathy for the individuals within these religious contexts shows a deeper understanding of the
complexities of faith and human suffering.
Conclusion
Philip Larkin’s Church Going and Arun Kolatkar’s Jejuri offer much to consider when it comes to
religion and faith in modern life. Both poets begin with skepticism, questioning whether religious
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spaces, rituals, and traditions still matter in a world that is becoming increasingly secular and
practical. Yet what makes their work so powerful is that they don’t just critique religion; instead,
they explore the deeper, more human side of why people hold faith in their lives even when the
institutions seem to fail them.
In Church Going, Larkin takes us into a quiet, empty church that feels more like a museum than a
place of worship. The speaker’s curiosity is casual and almost disrespectful at first, but by the end
of the poem, there is some realization that churches, even in their fading relevance, still hold a
unique place in people’s lives. Larkin doesn’t come to any big conclusions about faith or God, but
he acknowledges that these spaces give people a chance to reflect on life’s big questions. As he
writes, churches are “serious houses on serious earth.” Even for someone who doesn’t believe,
they still mean something.
Kolatkar’s Jejuri, on the other hand, takes us to a very different world—a pilgrimage town in India
full of temples that are falling apart. His approach is sharper and more critical than Larkin’s. He
shows us temples where idols are falling and rituals feel hollow, and he isn’t afraid to point out the
contradictions in religious practices. Yet, even as Kolatkar questions the value of these traditions,
he also shows moments of kindness. In a poem about a stray dog taking shelter in a ruined temple,
we see how even a decayed space can still provide refuge—just as faith, for all its faults, can still
give people comfort.
What ties both poets together is their ability to balance doubt with understanding. They’re
skeptical, yes, but not dismissive. Larkin, for example, reflects on how people turn to faith healers
in moments of disappointment. He doesn’t believe in the healer’s powers, but he sympathizes with
the emotional needs of those seeking help. Similarly, Kolatkar critiques the commercialization of
religion but also honors the resilience of the people who maintain their faith despite the decay
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around them. These moments remind us that faith isn’t just about institutions or rituals—it’s about
the deep human need for meaning, connection, and hope.
When we look at the two poets’ side by side, we see how their cultural contexts have shaped their
perspectives. Larkin’s church represents the decline of Christianity in the West, while Kolatkar’s
temples reflect the tension between tradition and modernity in India. But at their core, both works
wrestle with the same universal questions: What happens to faith when the world around us
changes? Their answers may be different, but they both agree that, even as religion fades or
evolves, the human need for something to hold on to remains alive.
In the end, Church Going and Jejuri leave us with more questions than answers, and that is part of
their beauty as works of art, like poetry. They challenge us to think critically about religion, but
they also remind us to approach it with empathy. Whether we find meaning in churches, temples,
or somewhere else entirely, these works show us that the search for meaning is a shared human
experience—one that continues even in the face of doubt. The way these two poets make us think
about how humanism will shape our lives and our faith in religion is profound. The doubt in their
poems is framed as a message to wake up and have faith in a humanistic approach to religion.
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