Wh Auden Poetry Quotes

Poetry might be defined as the clear expression of mixed feelings.

A poet is, before anything else, a person who is passionately in love with language.

We would rather be ruined than changed We would rather die in our dread Than climb the cross of the moment And let our illusions die.

The More Loving One Looking up at the stars, I know quite well That, for all they care, I can go to hell, But on earth indifference is the least We have to dread from man or beast. How should we like it were stars to burn With a passion for us we could not return? If equal affection cannot be, Let the more loving one be me. Admirer as I think I am Of stars that do not give a damn, I cannot, now I see them, say I missed one terribly all day. Were all stars to disappear or die, I should learn to look at an empty sky And feel its total dark sublime, Though this might take me a little time.

I will love you forever" swears the poet. I find this easy to swear too. "I will love you at 4:15 pm next Tuesday" - Is that still as easy?

Funeral Blues Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum Bring out the coffin, let the mourners come. Let aeroplanes circle moaning overhead Scribbling on the sky the message He is Dead, Put crêpe bows round the white necks of the public doves, Let the traffic policemen wear black cotton gloves. He was my North, my South, my East and West, My working week and my Sunday rest, My noon, my midnight, my talk, my song; I thought that love would last for ever: I was wrong. The stars are not wanted now; put out every one, Pack up the moon and dismantle the sun; Pour away the ocean and sweep up the wood; For nothing now can ever come to any good.

O stand, stand at the window As the tears scald and start; You shall love your crooked neighbour With your crooked heart.

Christmas and Easter can be subjects for poetry, but Good Friday, like Auschwitz, cannot. The reality is so horrible it is not surprising that people should have found it a stumbling block to faith.

Mad Ireland hurt you into poetry.

Poetry makes nothing happen.

Follow, poet, follow right To the bottom of the night, With your unconstraining voice Still persuade us to rejoice; With the farming of a verse Make a vineyard of the curse, Sing of human unsuccess In a rapture of distress; In the deserts of the heart Let the healing fountain start, In the prison of his days Teach the free man how to praise.

Beloved, we are always in the wrong, Handling so clumsily our stupid lives, Suffering too little or too long, Too careful even in our selfish loves: The decorative manias we obey Die in grimaces round us every day, Yet through their tohu-bohu comes a voice Which utters an absurd command - Rejoice.

Say this city has ten million souls, Some are living in mansions, some are living in holes: Yet there’s no place for us, my dear, yet there’s no place for us.

And each in the cell of himself is almost convinced of his freedom.

SEPTEMBER 1, 1939 I sit in one of the dives On Fifty-second Street Uncertain and afraid As the clever hopes expire Of a low dishonest decade: Waves of anger and fear Circulate over the bright And darkened lands of the earth, Obsessing our private lives; The unmentionable odour of death Offends the September night. Accurate scholarship can Unearth the whole offence From Luther until now That has driven a culture mad, Find what occurred at Linz, What huge imago made A psychopathic god: I and the public know What all schoolchildren learn, Those to whom evil is done Do evil in return. Exiled Thucydides knew All that a speech can say About Democracy, And what dictators do, The elderly rubbish they talk To an apathetic grave; Analysed all in his book, The enlightenment driven away, The habit-forming pain, Mismanagement and grief: We must suffer them all again. Into this neutral air Where blind skyscrapers use Their full height to proclaim The strength of Collective Man, Each language pours its vain Competitive excuse: But who can live for long In an euphoric dream; Out of the mirror they stare, Imperialism's face And the international wrong. Faces along the bar Cling to their average day: The lights must never go out, The music must always play, All the conventions conspire To make this fort assume The furniture of home; Lest we should see where we are, Lost in a haunted wood, Children afraid of the night Who have never been happy or good. The windiest militant trash Important Persons shout Is not so crude as our wish: What mad Nijinsky wrote About Diaghilev Is true of the normal heart; For the error bred in the bone Of each woman and each man Craves what it cannot have, Not universal love But to be loved alone. From the conservative dark Into the ethical life The dense commuters come, Repeating their morning vow; 'I will be true to the wife, I'll concentrate more on my work,' And helpless governors wake To resume their compulsory game: Who can release them now, Who can reach the dead, Who can speak for the dumb? All I have is a voice To undo the folded lie, The romantic lie in the brain Of the sensual man-in-the-street And the lie of Authority Whose buildings grope the sky: There is no such thing as the State And no one exists alone; Hunger allows no choice To the citizen or the police; We must love one another or die. Defenseless under the night Our world in stupor lies; Yet, dotted everywhere, Ironic points of light Flash out wherever the Just Exchange their messages: May I, composed like them Of Eros and of dust, Beleaguered by the same Negation and despair, Show an affirming flame.

no poet can know what his poem is going to be like until he has written it.

Base words are uttered only by the base And can for such at once be understood; But noble platitudes — ah, there's a case Where the most careful scrutiny is needed To tell a voice that's genuinely good From one that's base but merely has succeeded.

But all the clocks in the city Began to whirr and chime: 'O let not Time deceive you, You cannot conquer Time

For poetry makes nothing happen: it survives In the valley of its making where executives Would never want to tamper, flows on south From ranches of isolation and the busy griefs, Raw towns that we believe and die in; it survives, A way of happening, a mouth.

But if a stranger in the train asks me my occupation, I never answer "writer" for fear that he may go on to ask me what I write, and to answer "poetry" would embarrass us both, for we both know that nobody can earn a living simply by writing poetry.

In the eyes of others a man is a poet if he has written one good poem. In his own he is only a poet at the moment when he is making his last revision to a new poem. The moment before, he was still only a potential poet; the moment after, he is a man who has ceased to write poetry, perhaps forever.

Defenceless under the night Our world in stupor lies; Yet, dotted everywhere, Ironic points of light Flash out wherever the Just Exchange their messages: May I, composed like them Of Eros and of dust, Beleaguered by the same Negation and despair, Show an affirming flame.

In the nightmare of the dark All the dogs of Europe bark, And the living nations wait, Each sequestered in its hate; Intellectual disgrace Stares from every human face, And the seas of pity lie Locked and frozen in each eye.

In the prison of his days Teach the free man how to praise

When words lose their meaning, physical force takes over. from an essay for Writers by Nancy Crampton

Although you be, as I am, one of those Who feel a Christian ought to write in prose, For poetry is magic: born in sin, you May read it to exorcies the Gentile in you.

He is the Way. Follow Him through the Land of Unlikeness; You will see rare beasts, and have unique adventures. He is the Truth. Seek Him in the Kingdom of Anxiety; You will come to a great city that has expected your return for years. He is the Life. Love Him in the World of the Flesh; And at your marriage all its occasions shall dance for joy.

Some thirty inches from my nose The frontier of my Person goes, And all the untilled air between Is private pagus or demesne. Stranger, unless with bedroom eyes I beckon you to fraternize, Beware of rudely crossing it: I have no gun, but I can spit.

The true men of action in our time those who transform the world are not the politicians and statesmen but the scientists. Unfortunately poetry cannot celebrate them because their deeds are concerned with things, not persons, and are therefore speechless. When I find myself in the company of scientists, I feel like a shabby curate who has strayed by mistake into a drawing room full of dukes.

In headaches and in worry Vaguely life leaks away, And Time will have his fancy To-morrow or to-day.

If a stranger in the train asks me my occupation, I never answer 'writer' for fear that he may go on to ask me what I write, and to answer poetry would embarrass us both.

Hunger allows no choice To the citizen or the police; We must love one another or die.

Poetry might be defined as the clear expression of mixed feelings..

In most poetic expressions of patriotism, it is impossible to distinguish what is one of the greatest human virtues from the worst human vice, collective egotism.

A.E.Housman' No one, not even Cambridge was to blame (Blame if you like the human situation): Heart-injured in North London, he became The Latin Scholar of his generation. Deliberately he chose the dry-as-dust, Kept tears like dirty postcards in a drawer; Food was his public love, his private lust Something to do with violence and the poor. In savage foot-notes on unjust editions He timidly attacked the life he led, And put the money of his feelings on The uncritical relations of the dead, Where only geographical divisions Parted the coarse hanged soldier from the don.

For love: a poet. For romance: a journalist.

How much must be forgotten out of love, How much must be forgiven, even love.

That to the adolescent is the authentic poetic note and whoever is the first in his life to strike it, whether Tennyson, Keats, Swinburne, Housman or another, awakens a passion of imitation and an affectation which no subsequent refinement or sophistication of his taste can entirely destroy. In my own case it was Hardy in the summer of 1923; for more than a year I read no one else and I do not think that I was ever without one volume or another or the beautifully produced Wessex edition in my hands: I smuggled them into class, carried them about on Sunday walks, and took them up to the dormitory to read in the early morning, though they were far too unwieldy to be read in bed with comfort. In the autumn of 1924 there was a palace revolution after which he had to share his kingdom with Edward Thomas, until finally they were both defeated by Elliot at the battle of Oxford in 1926.

The public will stand, nay even enjoy, a good deal of poetry.

A poet is, before anything else, a person who is passionately in love with language.” — W. H. Auden

Animal femurs ascribed to saints who never existed, are still *** more holy than portraits of conquerors who, unfortunately, did

As mile by mile is seen No trespasser's reproach, And love's best glasses reach No fields but are his own.

...And the truth cannot be hid; Somebody chose their pain, What needn't have happened did.

For poetry makes nothing happen.

I treasure ruefully some memories of W.H. Auden that go back to the middle 1960s, when he arrived in New Haven to give a reading of his poems at Ezra Stiles College. We had met several times before, in New York City and at Yale, but were only acquaintances. The earlier Auden retains my interest, but much of the frequently devotional poetry does not find me. Since our mutual friend John Hollander was abroad, Auden phoned to ask if he might stay with my wife and me, remarking of his dislike of college guest suites. The poet arrived in a frayed, buttonless overcoat, which my wife insisted on mending. His luggage was an attache case containing a large bottle of gin, a small one of vermouth, a plastic drinking cup, and a sheaf of poems. After being supplied with ice, he requested that I remind him of the amount of his reading fee. A thousand dollars had been the agreed sum, a respectable honorarium more than forty years ago. He shook his head and said that as a prima donna he could not perform, despite the prior arrangement. Charmed by this, I phoned the college master - a good friend - who cursed heartily but doubled the sum when I assured him that the poet was as obdurate as Lady Bracknell in 'The Importance of Being Earnest'. Informed of this yielding, Auden smiled sweetly and was benign and brilliant at dinner, then at the reading, and as he went to bed after we got home.

Life is fleeting and full of sorrow and no words can prevent the brave and the beautiful from dying or annihilate a grief. What poetry can do is transform the real world into an imaginary one which is godlike in its permanence and beauty, providing a picture of life which is worthy of imitation as far as it is possible.

Though language may be useless, for No words men write can stop the war Or measure up to the relief Of its immeasurable grief, Yet truth, like love and sleep, resents Approaches that are too intense, And often when the searcher stood Before the Oracle, it would Ignore his grown-up earnestness But not the child of his distress

Some writers, even some poets, become famous public figures, but writers as such have no social status, in the way that doctors and lawyers, whether famous or obscure, have. There are two reasons for this. Firstly, the so-called fine arts have lost the social utility they once had. Since the invention of printing and the spread of literacy, verse no longer has a utility value as a mnemonic, a devise by which knowledge and culture were handed on from one generation to the next, and, since the invention of the camera, the draughtsman and painter are no longer needed to provide visual documentation; they have, consequently, become “pure” arts, that is to say, gratuitous activities. Secondly, in a society governed by the values appropriate to Labor (capitalist America may well be more completely governed by these than communist Russia) the gratuitous is no longer regarded – most earlier cultures thought differently – as sacred, because, to Man the Laborer, leisure is not sacred but a respite from laboring, a time for relaxation and the pleasures of consumption. In so far such a society thinks about the gratuitous at all, it is suspicious of it – artists do not labor, therefore, they are probably parasitic idlers – or, at best, regards it as trivial – to write poetry or paint pictures is a harmless private hobby.

In his entire output, I can find only one piece of genuine unfairness: a thuggish attack on the poetry of WH Auden, whom he regarded as a dupe of the Communist Party. But even this was softened in some later essays. The truth is that he disliked Auden's homosexuality, and could not get over his prejudice. But much of the interest of Orwell lies in the fact that he was born prejudiced, so to speak, against Jews and the coloured peoples of the empire, and against the poor and uneducated, and against women and intellectuals—and managed, in a transparent and unique way, to educate himself out of this fog of bigotry (though he never did get over his aversion to 'pansies').

Time will say nothing but I told you so. Time only knows the price we have to pay; If I could tell you I would let you know. If we should weep when clowns put on their show, If we should stumble when musicians play, Time will say nothing but I told you so. There are no fortunes to be told, although Because I love you more than I can say, If I could tell you I would let you know. The winds must come from somewhere when they blow, There must be reasons why the leaves decay; Time will say nothing but I told you so. Perhaps the roses really want to grow, The vision seriously intends to stay; If I could tell you I would let you know. Suppose the lions all get up and go, And all the brooks and soldiers run away; Will Time say nothing but I told you so? If I could tell you I would let you know.

The primary function of poetry, as of all the arts, is to make us more aware of ourselves and the world around us. I do not know if such increased awareness makes us more moral or more efficient: I hope not. I think it makes us more human, and I am quite certain it makes us more difficult to deceive, which is why, perhaps, all totalitarian theories of the State, from Plato's downwards, have deeply mistrusted the arts. They notice and say too much, and the neighbors start talking.

Dear, though the night is gone, Its dream still haunts to-day, That brought us to a room Cavernous, lofty as A railway terminus, And crowded in that gloom Were beds, and we in one In a far corner lay. Our whisper woke no clocks, We kissed and I was glad At everything you did, Indifferent to those Who sat with hostile eyes In pairs on every bed, Arms round each other's necks, Inert and vaguely sad. What hidden worm of guilt Or what malignant doubt Am I the victim of, That you, then, unabashed, Did what I never wished, Confessed another love; And I, submissive, felt Unwanted and went out.

In Memory of W. B. Yeats 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 from his illness The wolves ran on through the evergreen forests, The peasant river was untempted by the fashionable quays; By mourning tongues The death of the poet was kept from his poems. But for him it was his last afternoon as himself, An afternoon of nurses and rumours; The provinces of his body revolted, The squares of his mind were empty, Silence invaded the suburbs, The current of his feeling failed; he became his admirers. Now he is scattered among a hundred cities And wholly given over to unfamiliar affections, To find his happiness in another kind of wood And be punished under a foreign code of conscience. The words of a dead man Are modified in the guts of the living. But in the importance and noise of to-morrow When the brokers are roaring like beasts on the floor of the bourse, And the poor have the sufferings to which they are fairly accustomed And each in the cell of himself is almost convinced of his freedom A few thousand will think of this day As one thinks of a day when one did something slightly unusual. What instruments we have agree The day of his death was a dark cold day. II You were silly like us; your gift survived it all: The parish of rich women, physical decay, Yourself. Mad Ireland hurt you into poetry. Now Ireland has her madness and her weather still, For poetry makes nothing happen: it survives In the valley of its making where executives Would never want to tamper, flows on south From ranches of isolation and the busy griefs, Raw towns that we believe and die in; it survives, A way of happening, a mouth. III Earth, receive an honoured guest: William Yeats is laid to rest. Let the Irish vessel lie Emptied of its poetry. In the nightmare of the dark All the dogs of Europe bark, And the living nations wait, Each sequestered in its hate; Intellectual disgrace Stares from every human face, And the seas of pity lie Locked and frozen in each eye. Follow, poet, follow right To the bottom of the night, With your unconstraining voice Still persuade us to rejoice; With the farming of a verse Make a vineyard of the curse, Sing of human unsuccess In a rapture of distress; In the deserts of the heart Let the healing fountain start, In the prison of his days Teach the free man how to praise.

Leaves and Angels" True fact (as my freshmen used to write): In Florence, Italy, there’s a wing of a psychiatric hospital specializing in patients who suffer from over-exposure to great art. Patients are observed experiencing delusions, free-floating anxiety, paranoia, even depression. Why? If poetry makes nothing happen, as W.H. Auden famously wrote, shouldn’t the same be true of art? Stand in front of Michelangelo’s David; what do you see? An impossibly outsized right hand, all the more beautiful for being so; and a face reminding one of Lord Byron (or is that the Apollo Belvedere?): a warp and woof between real and ideal. As for crass indifference—shouldn’t that, too, be a ticket of admission to the Florence nuthouse? Last night, a dream-voice whispered a bittersweet nothing in my ear: If you say to someone breathlessly, “I saw an angel fall in the street today!” they look at you askance. If you say to someone breathlessly, “I saw a leaf fall in the street today!” they look at you askance.               shimmering ponds of dream—                             wearying                                   of my reflection Steven Carter, A Hundred Gourds 2:2

What do you think of when you think of mourning?' Jenny asks. The question snaps me back to attention. I answer without really thinking. "I guess 'Funeral Blues' by W.H. Auden. I think it was Auden. I suppose that's not very original.' 'I don't know it.' 'It's a poem.' 'I gathered.' 'I'm just clarifying. It's not a blues album.' Jenny ignores my swipe at her intelligence. 'Does your response need to be original? Isn't that what poetry is for, for the poet to express something so personal that it ultimately is universal?' I shrug. Who is Jenny, even new Jenny, to say what poetry is for? Who am I for that matter? 'Why do you thin of that poem in particular?' "Stop all the clocks, cut off the telephone, / Prevent the dog from barking with a juicy bone, / Silence the pianos and with muffled drum / Bring out the coffin, let the mourners come.' I learned the poem in college and it stuck.