W. H. Auden Quotes
'Poetry makes nothing happen', wrote WH Auden. we had celebrated St Wystan's day with a reading of Auden's poems in the churchyard. But as early as the year of Yeats's death, , Auden had set out in the Partisan . But the relationship with Benjamin Britten, from which one might have expected. W.H. Auden's In Memoriam W.B. Yeats and A. Ostriker's Elegy Before the War are poetry, their other famous poems and their post-war elegies (The Shield of. Auden assigned Yeats the high praise of having written "some of the most There he continued to devote himself to Irish subjects, writing poems, plays, novels, . in Ireland rather than England, and his marriage to Georgie Hyde-Lees in
Ansen's is the more gossipy and fragmentary, but I think a rather better likeness emerges. The conversation jumps around: The next sentence is: I've seen the Stratford performance. I think that the business about Hamlet's making the King drink the poisoned cup should be done slowly and brutally. Auden once said to me: Ansen records him asking: It's an extraordinarily good play. It's about nothing at all, which is what makes it so good.
Lady Windermere's Fan has some social references, which makes it not so good. But The Importance of Being Earnest isn't a bit dated. The trouble with Shaw's plays is that they're all brain and no body, which isn't good for the stage. There may not be any body in Earnest, but at least there are clothes. Obviously you have to see it - you can't just read it.
And in the one after that: Someone asks him what he thinks of Robinson Jeffers. I only talk about people who've been dead a long time.
W. H. Auden
In private, it was a different matter. Here he is on Scott Fitzgerald: Chester gave it to me. Those long conversations between the Princeton man and his girl. One simply can't believe that he cared for her in the least. All American writing gives the impression that Americans don't care for girls at all. What the American male really wants is two things: Everything else is society.
You may say that this kind of definiteness is just a verbal trick, or proceeds merely from a childish desire to shock. But even this bizarre view of American male sexuality turns out to be based on something, observations of sexual behaviour recorded elsewhere.
An opinion that seems at first affected may turn out to have a great deal of thought behind it. For instance, the idea that Lear won't do on stage was something that Auden did think, and that he argued in detail before an audience. Once again we are lucky that among those who attended Auden's Shakespeare lectures in New York in the s were some assiduous note-takers, including Ansen.
Arthur Kirsch managed to reconstruct these lectures in a splendid volume where we find that Auden believed the storm in Lear was not, as it were, a great big metaphor for what was going on in Lear's head. The storm was a storm, "without passion"; it paid no attention to the rights and wrongs of the play's plot.Lullaby by W.H. Auden in Bangla
King Lear is the one play of Shakespeare that, in the storm scene, really requires the movies. Most movies of Shakespeare make you want to say, it's very nice, but why must people say anything?
I saw this face, and I fell in love - Telegraph
You want to see everything. If I agree with those who don't want to see King Lear on stage, it isn't because I don't think it's dramatic You may disagree with this, but Lear did eventually make at least one very good Japanese film.
Auden came very close to an ideal that eluded most poets in the 20th century: His ideas on drama were resonant: Ideally there would be no spectators. In practice every member of the audience should feel like an understudy.
The basis of acting is acrobatics, dancing, and all forms of physical skill. The music hall, the Christmas pantomime and the country house charade are the most living drama today. What happened to be missing for Auden was the ideal collaborator, the dramaturg or director who could shape and adapt his insights.
He still wrote a volume's worth of plays, of which the best is The Dog Beneath the Skin, on which Isherwood was his co-author. But he did not produce what Eliot briefly produced in Sweeney Agonistes, an original, and completely successful, concept of poetic drama. He turned to opera and wrote, with Chester Kallman, two important libretti: But the relationship with Benjamin Britten, from which one might have expected most, did not work out in the end.
Whether it could have done so might well be doubted: Another example of the inconsistency of the delineation can be observed in the fourth section, where, by employing AA-BB rhymes, A.
Ostriker alludes to the last section of W.
A voice of his own | Books | The Guardian
With regard to the formal organization of W. Tracing the rhythmic patterns, one may arrive at the conclusion that while the first section, having no rhymes and being blank verse, refers to W. Focusing first on a more personal dimension of the poems, it can be noticed that both poets, while portraying the dead, follow more or less the same scheme of description, first concentrating on the depiction of the process of passing away and then, through flashbacks, providing an image of the dead at the time when they were still alive.
Interestingly, only when the second section ensues does A. Earlier, in the preceding sections, she claims she cannot defy the impression that the image of her dead mother does not accord with the true portrait she has.
It is also essential to point to the fact that in her description of the death, A. By contrast, in the last section, the mother, still alive, is described not only as strong and energetic, but also, and this comes in stark contrast to the idealized image presented in the first section, as unpredictable, full of rage and 1 For example, many physical details in the work of I.
In like manner W. Auden, claiming, probably to the bafflement of his contemporaries, that W. Auden partly introduces his anti-heroic theme which, in a nutshell, constitutes an anti-romantic statement that great deeds are not performed by geniuses, but by otherwise ordinary individuals. Moreover, to a degree evoking the motif of an isolated suffering from his Musee des Beaux Arts, W.
As regards the description of the process of dying, W.
Auden makes an interesting use of urban metaphors, comparing W. Ostriker are equally engaged both with the personal and the political, the personal dimension in their elegies is either presented against the historical background in W. Thereby, in the examined poems, the feeling of personal loss and grief mingles with an air of uncertainty and perplexity about war.
What emanates from W. Furthermore, the following sequence is repeated twice: Auden makes a stark remark about the s Europe pervaded by an air of mutual hatred and suspicion. Ostriker juxtaposes the fact that they A.
Ostriker is, she realizes that it is mainly innocent civilians, now at the mercy of a ruthless foreign army, that are in peril: During his later American years, Auden lived mostly in New York, teaching at various colleges and universities; in he served as a major in the US Airforce Strategic Bombing Survey; and in he became a US citizen.
He was professor of poetry at Oxford University from to ; he summered on the Italian island of Ischia; he bought a house in Kirchstetten in Austria. He published more than a dozen books of poetry, as well as volumes of essays, plays and libretti. He died in Vienna on September 29, ; the death certificate gave cause of death as "hypertrophy of the heart".
By any standards, it was a life well lived. The list of great poems, if not endless, is at least very long; it can be truly shocking, the work of a great artist, in its magnitude and in scope.
Auden was a true virtuoso, in total command of techniques and forms. From his first full collection, the Poems, to the posthumously published Thank You, Foghe wrote sonnets, ballads, limericks, clerihews and couplets, dramatic monologues, elegies, odes, and prose poems.
He wrote about love, and sex, and death, and war, and politics, and religion, and psychology, and landscapes, and history, and "Corns, heartburn, sinus headaches", and Yeats, and Freud, and Shakespeare, and Schraftt's "blue-plate special".
The Collected Poems is arguably the greatest ever single-authored anthology of English poetry. Auden defined poetry as "memorable speech", and his most certainly is: Indeed, his work is dangerously quotable: Peggy Noonan, the catchiest of catchphrasers, for example, borrowed "points of light" from Auden's poem "September 1, " for the campaign speeches of the first President Bush.