Of all the English poets, Sir John Betjeman (1906-1984) seems to stand alone. His work is hugely popular amongst readers, but because of his `simple' style of incorporating topographical place-names, contemporary allusions, humour (frequently mocking) fused with a melancholy nostalgia for a bygone world, he is never really `accepted' as a poet by fellow poets and critics, including `pseudo-intellectuals' who worship at the altar of T. S. Eliot.
Betjeman, like that other great English poet who suffers much the same snobbish disapproval, A. E. Housman (1859-1936), sought inspiration in the English countryside, towns and villages and conveyed his poetic observations, often witty, urbane and satiric with a light lyrical nostalgia; love is also a major theme, fulfilled and unrequited, with much sadness and regret and written in the structure of the ballad form. But who can fail to fall under the spell of Betjeman with such poems as `Death in Leamington', `The Arrest of Oscar Wilde at the Cadogan Hotel', `Slough', `Upper Lambourne', `Myfanwy' and `A Subaltern's Love-song'?
His interests were far-reaching, from architecture, especially the `Gothic Revival' of Victorian Church architecture, (he was founder of the British Victorian Society); railways, social history, provincial towns and conservation. He didn't take himself too seriously, not even as Poet Laureate (1972) and his Collected Works remains as a monument to the measure of the man - remembered for his conservation work, his child-like enthusiasm and as one of the nation's favourite poets! Wonderful!