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About this poet

Wystan Hugh Auden was born in York, England, on February 21, 1907. He moved to Birmingham during childhood and was educated at Christ Church, Oxford. As a young man he was influenced by the poetry of Thomas Hardy and Robert Frost, as well as William Blake, Emily Dickinson, Gerard Manley Hopkins, and Old English verse. At Oxford his precocity as a poet was immediately apparent, and he formed lifelong friendships with two fellow writers, Stephen Spender and Christopher Isherwood.

In 1928, his collection Poems was privately printed, but it wasn't until 1930, when another collection titled Poems (though its contents were different) was published, that Auden was established as the leading voice of a new generation.

Ever since, he has been admired for his unsurpassed technical virtuosity and an ability to write poems in nearly every imaginable verse form; the incorporation in his work of popular culture, current events, and vernacular speech; and also for the vast range of his intellect, which drew easily from an extraordinary variety of literatures, art forms, social and political theories, and scientific and technical information. He had a remarkable wit, and often mimicked the writing styles of other poets such as Dickinson, W. B. Yeats, and Henry James. His poetry frequently recounts, literally or metaphorically, a journey or quest, and his travels provided rich material for his verse.

He visited Germany, Iceland, and China, served in the Spanish Civil war, and in 1939 moved to the United States, where he met his lover, Chester Kallman, and became an American citizen. His own beliefs changed radically between his youthful career in England, when he was an ardent advocate of socialism and Freudian psychoanalysis, and his later phase in America, when his central preoccupation became Christianity and the theology of modern Protestant theologians. A prolific writer, Auden was also a noted playwright, librettist, editor, and essayist. Generally considered the greatest English poet of the twentieth century, his work has exerted a major influence on succeeding generations of poets on both sides of the Atlantic.

W. H. Auden served as a chancellor of the Academy of American Poets from 1954 to 1973, and divided most of the second half of his life between residences in New York City and Austria. He died in Vienna on September 29, 1973.


Selected Bibliography

Poetry

Collected Poems (Random House, 1976)
Thank You, Fog: Last Poems (Random House, 1974)
Epistle to a Godson (Faber and Faber, 1972)
Academic Graffiti (Faber and Faber, 1971)
City Without Walls and Other Poems (Random House, 1969)
Collected Longer Poems (Random House, 1968)
Collected Shorter Poems 1927-1957 (Faber and Faber, 1966)
About the House (Random House, 1965)
Homage to Clio (Faber and Faber, 1960)
Selected Poetry (1956)
The Old Man's Road (Voyages Press,1956)
The Shield of Achilles (Random House, 1955)
Nones (Random House, 1951)
Collected Shorter Poems 1930-1944 (Faber and Faber, 1950)
The Age of Anxiety: A Baroque Eclogue (Random House, 1947)
The Collected Poetry of W. H. Auden (Random House, 1945)
For the Time Being (Random House, 1944)
The Sea and the Mirror (1944)
The Double Man (Random House, 1941)
The Quest (1941)
Another Time (Random House,1940)
Selected Poems (Faber and Faber, 1938)
Spain (Faber and Faber, 1937)
Look, Stranger! (Faber and Faber, 1936)
The Orators (Faber and Faber, 1932)
Poems (1930)
Poems (privately printed, 1928)

Prose

Forewords and Afterwords (Random House, 1973)
Selected Essays (Faber and Faber, 1964)
The Dyer's Hand and Other Essays (Random House, 1962)
The Enchaféd Flood (Random House, 1950)
Journey to a War (Faber and Faber, 1939)
Letters from Iceland (Random House, 1937)

Anthology

Selected Poems by Gunnar Ekelöf (1972)

Drama

On the Frontier (1938)
The Ascent of F.6 (Faber and Faber, 1936)
The Dog Beneath the Skin: or, Where is Francis? (Faber and Faber, 1935)
The Dance of Death (Faber and Faber, 1933)
Paid On Both Sides (1928)
 

The Fall of Rome

W. H. Auden, 1907 - 1973

(for Cyril Connolly)

The piers are pummelled by the waves;
In a lonely field the rain
Lashes an abandoned train;
Outlaws fill the mountain caves.

Fantastic grow the evening gowns;
Agents of the Fisc pursue
Absconding tax-defaulters through
The sewers of provincial towns.

Private rites of magic send
The temple prostitutes to sleep;
All the literati keep
An imaginary friend.

Cerebrotonic Cato may
Extol the Ancient Disciplines,
But the muscle-bound Marines
Mutiny for food and pay.

Caesar's double-bed is warm
As an unimportant clerk
Writes I DO NOT LIKE MY WORK
On a pink official form.

Unendowed with wealth or pity,
Little birds with scarlet legs,
Sitting on their speckled eggs,
Eye each flu-infected city.

Altogether elsewhere, vast
Herds of reindeer move across
Miles and miles of golden moss,
Silently and very fast.

From Another Time by W. H. Auden, published by Random House. Copyright © 1940 W. H. Auden, renewed by The Estate of W. H. Auden. Used by permission of Curtis Brown, Ltd.

From Another Time by W. H. Auden, published by Random House. Copyright © 1940 W. H. Auden, renewed by The Estate of W. H. Auden. Used by permission of Curtis Brown, Ltd.

W. H. Auden

W. H. Auden

W. H. Auden was admired for his unsurpassed technical virtuosity and ability to write poems in nearly every imaginable verse form; his incorporation of popular culture, current events, and vernacular speech in his work; and also for the vast range of his intellect, which drew easily from an extraordinary variety of literatures, art forms, social and political theories, and scientific and technical information.

by this poet

poem

I

He disappeared in the dead of winter:
The brooks were frozen, the airports almost deserted,
And snow disfigured the public statues;
The mercury sank in the mouth of the dying day.
What instruments we have agree
The day of his death was a dark cold day.

Far

poem

(To JS/07 M 378
This Marble Monument
Is Erected by the State)

He was found by the Bureau of Statistics to be
One against whom there was no official complaint,
And all the reports on his conduct agree
That, in the modern sense of an old-fashioned word, he was a
   saint,
For in everything
poem
When there are so many we shall have to mourn,
when grief has been made so public, and exposed
     to the critique of a whole epoch
   the frailty of our conscience and anguish,

of whom shall we speak? For every day they die
among us, those who were doing us some good,
     who knew it was never enough but