What are examples from Larkin's poems that show they move particular to general and general to contemplative?

To answer this question properly would require a detailed
survey of all of Larkins' poems. For the moment, let's consider a few of the poems most
often anthologized.

"Church Going" is one example. This
poem begins with a highly particular situation: the speaker enters a country church
while he is biking through the countryside. After exploring the church and considering
the fate of churches (and, by implication, of religion in general) in an increasingly
irreligious age, he concludes that churches will never be abandoned
completely,

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Since someone will forever be
surprising

A hunger in himself to be more
serious,

And gravitating with it to this
ground,

Which, he once heard, was proper to grow wise
in,

If only that so many dead lie round. 
(59-63)

In this poem, then,
the movement is clearly from particular to general -- from the isolated bicyclist to the
unnamed "someone" who represents a deep-seated human desire for
wisdom.

The same pattern of moving from particular to
general is repeated in "MCMIV," which describes the eagerness of men to volunteer, in
1914, to take part in World War I. After describing the details of those days, the
speaker concludes, in the final stanza,

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Never such
innocence,

Never before or since, . .
.

.          .         .         
.

Never such innocence again (25-26,
32)

Here again, then, the
movement is clearly from particular experiences to a general
conclusion.

"Aubade," however, opens with a highly
particular situation and a highly personal
perspective:

I
work all day, and get half-drunk at night.

Waking at four
to soundless dark, I
stare.

Much of the
generalizing in this poem, interestingly, occurs in the middle section, as when the
speaker announces, "Death is no different whined at than withstood"
(40).

By the time the poem concludes, ten lines later,
Larkin has returned to mundane particulars:

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Work has to be
done.

Postmen like doctors go from house to house.
(49-50)

The structure of the
poem thus mimics the poem's topic, in which disturbing thoughts occur in the middle of
the night.

In another famous poem, "Explosion," almost the
entire poem is made up of particulars; Larkin leaves it to readers themselves to draw
their own general conclusions from the detailed particulars he
describes.

Finally, one other notable poem ("Sad Steps")
does indeed move from particular to general, since its final lines conclude by
mentioning

.
. . the strength and pain

Of being young; that it can't
come again,

But is for others undiminished somewhere.
(36-38)

If this very brief
survey of a few of Larkins' poems is any indication, it seems best to suggest that,
while some do move from particular to general, his poems move in ways that are
appropriate to the particular meanings of each specific work.