W. H. Auden

Wystan Hugh Auden[1] (21 February 1907 – 29 September 1973) was an English-American poet. Auden's poetry was noted for its stylistic and technical achievement, its engagement with politics, morals, love, and religion, and its variety in tone, form and content. He is best known for love poems such as "Funeral Blues", poems on political and social themes such as "September 1, 1939" and "The Shield of Achilles", poems on cultural and psychological themes such as The Age of Anxiety, and poems on religious themes such as "For the Time Being" and "Horae Canonicae".[2][3][4]

He was born in York, grew up in and near Birmingham in a professional middle-class family. He attended English independent (or public) schools and studied English at Christ Church, Oxford. After a few months in Berlin in 1928–29, he spent five years (1930–35) teaching in British public schools, then travelled to Iceland and China in order to write books about his journeys.

In 1939 he moved to the United States and became an American citizen in 1946. He taught from 1941 to 1945 in American universities, followed by occasional visiting professorships in the 1950s. From 1947 to 1957 he wintered in New York and summered in Ischia; from 1958 until the end of his life he wintered in New York (in Oxford in 1972–73) and summered in Kirchstetten, Lower Austria.

He came to wide public attention with his first book Poems at the age of twenty-three in 1930; it was followed in 1932 by The Orators. Three plays written in collaboration with Christopher Isherwood between 1935 and 1938 built his reputation as a left-wing political writer. Auden moved to the United States partly to escape this reputation, and his work in the 1940s, including the long poems "For the Time Being" and "The Sea and the Mirror", focused on religious themes. He won the Pulitzer Prize for Poetry for his 1947 long poem The Age of Anxiety, the title of which became a popular phrase describing the modern era.[5] From 1956 to 1961 he was Professor of Poetry at Oxford; his lectures were popular with students and faculty, and served as the basis for his 1962 prose collection The Dyer's Hand.

Auden and Isherwood maintained a lasting but intermittent sexual friendship from around 1927 to 1939, while both had briefer but more intense relations with other men.[5] In 1939, Auden fell in love with Chester Kallman and regarded their relationship as a marriage, but this ended in 1941 when Kallman refused to accept the faithful relations that Auden demanded. However, the two maintained their friendship, and from 1947 until Auden's death they lived in the same house or apartment in a non-sexual relationship, often collaborating on opera libretti such as that of The Rake's Progress, to music by Igor Stravinsky.

Auden was a prolific writer of prose essays and reviews on literary, political, psychological and religious subjects, and he worked at various times on documentary films, poetic plays, and other forms of performance. Throughout his career he was both controversial and influential, and critical views on his work ranged from sharply dismissive, treating him as a lesser follower of W. B. Yeats and T. S. Eliot, to strongly affirmative, as in Joseph Brodsky's claim that he had "the greatest mind of the twentieth century". After his death, his poems became known to a much wider public than during his lifetime through films, broadcasts and popular media.

W. H. Auden
Auden in 1939
Wystan Hugh Auden

21 February 1907
York, England
Died29 September 1973 (aged 66)
Vienna, Austria
ResidenceYork, Birmingham, Oxford (UK); Berlin (Germany); Helensburgh, Colwall, London (UK); New York, Ann Arbor, Swarthmore (US); Ischia (Italy); Kirchstetten (Austria); Oxford (UK)
CitizenshipBritish (birth); American (1946)
EducationM.A. English language and literature
Alma materChrist Church, Oxford
Spouse(s)Erika Mann (unconsummated marriage, 1935, to provide her with a British passport)



54 Bootham York 4
Auden's birthplace in York

Auden was born in York, England, to George Augustus Auden (1872–1957), a physician, and Constance Rosalie Auden (née Bicknell; 1869–1941), who had trained (but never served) as a missionary nurse.[6] He was the third of three sons; the eldest, George Bernard Auden (1900–1978), became a farmer, while the second, John Bicknell Auden (1903–1991), became a geologist.[7]

Auden, whose grandfathers were both Church of England clergymen,[8] grew up in an Anglo-Catholic household that followed a "High" form of Anglicanism, with doctrine and ritual resembling those of Roman Catholicism.[9][5] He traced his love of music and language partly to the church services of his childhood.[10] He believed he was of Icelandic descent, and his lifelong fascination with Icelandic legends and Old Norse sagas is evident in his work.[11]

His family moved to Homer Road in Solihull, near Birmingham, in 1908,[10] where his father had been appointed the School Medical Officer and Lecturer (later Professor) of Public Health. Auden's lifelong psychoanalytic interests began in his father's library. From the age of eight he attended boarding schools, returning home for holidays.[12] His visits to the Pennine landscape and its declining lead-mining industry figure in many of his poems; the remote decaying mining village of Rookhope was for him a "sacred landscape", evoked in a late poem, "Amor Loci".[13][14] Until he was fifteen he expected to become a mining engineer, but his passion for words had already begun. He wrote later: "words so excite me that a pornographic story, for example, excites me sexually more than a living person can do."[15][16]


St Eds Back
Auden's School - Hindhead

Auden attended St Edmund's School, Hindhead, Surrey, where he met Christopher Isherwood, later famous in his own right as a novelist.[17] At thirteen he went to Gresham's School in Norfolk; there, in 1922, when his friend Robert Medley asked him if he wrote poetry, Auden first realised his vocation was to be a poet.[9] Soon after, he "discover(ed) that he (had) lost his faith" (through a gradual realisation that he had lost interest in religion, not through any decisive change of views).[18] In school productions of Shakespeare, he played Katherina in The Taming of the Shrew in 1922,[19] and Caliban in The Tempest in 1925, his last year at Gresham's.[20] His first published poems appeared in the school magazine in 1923.[21] Auden later wrote a chapter on Gresham's for Graham Greene's The Old School: Essays by Divers Hands (1934).[22]

In 1925 he went up to Christ Church, Oxford, with a scholarship in biology; he switched to English by his second year. Friends he met at Oxford include Cecil Day-Lewis, Louis MacNeice, and Stephen Spender; these four were commonly though misleadingly identified in the 1930s as the "Auden Group" for their shared (but not identical) left-wing views. Auden left Oxford in 1928 with a third-class degree.[9][10]

Auden was reintroduced to Christopher Isherwood in 1925 by his fellow student A. S. T. Fisher. For the next few years Auden sent poems to Isherwood for comments and criticism; the two maintained a sexual friendship in intervals between their relations with others. In 1935–39 they collaborated on three plays and a travel book.[23]

From his Oxford years onward, Auden's friends uniformly described him as funny, extravagant, sympathetic, generous, and, partly by his own choice, lonely. In groups he was often dogmatic and overbearing in a comic way; in more private settings he was diffident and shy except when certain of his welcome. He was punctual in his habits, and obsessive about meeting deadlines, while choosing to live amidst physical disorder.[5]

Britain and Europe, 1928–38

In late 1928, Auden left Britain for nine months, going to Berlin, partly to rebel against English repressiveness. In Berlin, he first experienced the political and economic unrest that became one of his central subjects.[10]

On returning to Britain in 1929, he worked briefly as a tutor. In 1930 his first published book, Poems (1930), was accepted by T. S. Eliot for Faber and Faber, and the same firm remained the British publisher of all the books he published thereafter. In 1930 he began five years as a schoolmaster in boys' schools: two years at the Larchfield Academy in Helensburgh, Scotland, then three years at the Downs School in the Malvern Hills, where he was a much-loved teacher.[9] At the Downs, in June 1933, he experienced what he later described as a "Vision of Agape", while sitting with three fellow-teachers at the school, when he suddenly found that he loved them for themselves, that their existence had infinite value for him; this experience, he said, later influenced his decision to return to the Anglican Church in 1940.[24]

During these years, Auden's erotic interests focused, as he later said, on an idealised "Alter Ego"[25] rather than on individual persons. His relationships (and his unsuccessful courtships) tended to be unequal either in age or intelligence; his sexual relations were transient, although some evolved into long friendships. He contrasted these relationships with what he later regarded as the "marriage" (his word) of equals that he began with Chester Kallman in 1939, based on the unique individuality of both partners.[26]

From 1935 until he left Britain early in 1939, Auden worked as freelance reviewer, essayist, and lecturer, first with the GPO Film Unit, a documentary film-making branch of the post office, headed by John Grierson. Through his work for the Film Unit in 1935 he met and collaborated with Benjamin Britten, with whom he also worked on plays, song cycles, and a libretto.[27] Auden's plays in the 1930s were performed by the Group Theatre, in productions that he supervised to varying degrees.[10]

His work now reflected his belief that any good artist must be "more than a bit of a reporting journalist".[28] In 1936, Auden spent three months in Iceland where he gathered material for a travel book Letters from Iceland (1937), written in collaboration with Louis MacNeice. In 1937 he went to Spain intending to drive an ambulance for the Republic in the Spanish Civil War, but was put to work broadcasting propaganda, a job he left to visit the front. His seven-week visit to Spain affected him deeply, and his social views grew more complex as he found political realities to be more ambiguous and troubling than he had imagined.[26][9] Again attempting to combine reportage and art, he and Isherwood spent six months in 1938 visiting China amid the Sino-Japanese War, working on their book Journey to a War (1939). On their way back to England they stayed briefly in New York and decided to move to the United States. Auden spent late 1938 partly in England, partly in Brussels.[9]

Many of Auden's poems during the 1930s and after were inspired by unconsummated love, and in the 1950s he summarised his emotional life in a famous couplet: "If equal affection cannot be / Let the more loving one be me" ("The More Loving One"). He had a gift for friendship and, starting in the late 1930s, a strong wish for the stability of marriage; in a letter to his friend James Stern he called marriage "the only subject."[29] Throughout his life, Auden performed charitable acts, sometimes in public (as in his 1935 marriage of convenience to Erika Mann that provided her with a British passport to escape the Nazis),[9] but, especially in later years, more often in private. He was embarrassed if they were publicly revealed, as when his gift to his friend Dorothy Day for the Catholic Worker movement was reported on the front page of The New York Times in 1956.[30]

United States and Europe, 1939–73

Isherwood and Auden by Carl van Vechten, 1939
Christopher Isherwood (left) and W. H. Auden (right) photographed by Carl Van Vechten, 6 February 1939

Auden and Isherwood sailed to New York City in January 1939, entering on temporary visas. Their departure from Britain was later seen by many as a betrayal, and Auden's reputation suffered.[9] In April 1939, Isherwood moved to California, and he and Auden saw each other only intermittently in later years. Around this time, Auden met the poet Chester Kallman, who became his lover for the next two years (Auden described their relation as a "marriage" that began with a cross-country "honeymoon" journey).[31]

In 1941 Kallman ended their sexual relationship because he could not accept Auden's insistence on mutual fidelity,[32] but he and Auden remained companions for the rest of Auden's life, sharing houses and apartments from 1953 until Auden's death.[33] Auden dedicated both editions of his collected poetry (1945/50 and 1966) to Isherwood and Kallman.[34]

In 1940–41, Auden lived in a house at 7 Middagh Street in Brooklyn Heights, that he shared with Carson McCullers, Benjamin Britten, and others, which became a famous centre of artistic life, nicknamed "February House".[35] In 1940, Auden joined the Episcopal Church, returning to the Anglican Communion he had abandoned at fifteen. His reconversion was influenced partly by what he called the "sainthood" of Charles Williams,[36] whom he had met in 1937, and partly by reading Søren Kierkegaard and Reinhold Niebuhr; his existential, this-worldly Christianity became a central element in his life.[37]

Auden's grave
Auden's grave at Kirchstetten (Lower Austria)

After Britain declared war on Germany in September 1939, Auden told the British embassy in Washington that he would return to the UK if needed. He was told that, among those his age (32), only qualified personnel were needed. In 1941–42 he taught English at the University of Michigan. He was called for the draft in the United States Army in August 1942, but was rejected on medical grounds. He had been awarded a Guggenheim Fellowship for 1942–43 but did not use it, choosing instead to teach at Swarthmore College in 1942–45.[9]

In mid-1945, after the end of World War II in Europe, he was in Germany with the U. S. Strategic Bombing Survey, studying the effects of Allied bombing on German morale, an experience that affected his postwar work as his visit to Spain had affected him earlier.[34] On his return, he settled in Manhattan, working as a freelance writer, a lecturer at The New School for Social Research, and a visiting professor at Bennington, Smith, and other American colleges. In 1946 he became a naturalised citizen of the US.[9][10]

In 1948, Auden began spending his summers in Europe, together with Chester Kallman, first in Ischia, Italy, where he rented a house. Then, starting in 1958, he began spending his summers in Kirchstetten, Austria, where he bought a farmhouse from the prize money of the Premio Feltrinelli awarded to him in 1957.[38] He said that he shed tears of joy at owning a home for the first time.[9] In 1956–61, Auden was Professor of Poetry at Oxford University where he was required to give three lectures each year. This fairly light workload allowed him to continue to spend winter in New York, where he lived at 77 St. Mark's Place in Manhattan's East Village, and to spend summer in Europe, spending only three weeks each year lecturing in Oxford. He earned his income mostly from readings and lecture tours, and by writing for The New Yorker, The New York Review of Books, and other magazines.[10]

In 1963 Kallman left the apartment he shared in New York with Auden, and lived during the winter in Athens while continuing to spend his summers with Auden in Austria. In 1972, Auden moved his winter home from New York to Oxford, where his old college, Christ Church, offered him a cottage, while he continued to spend summers in Austria. He died in Vienna in 1973, a few hours after giving a reading of his poems at the Austrian Society for Literature; his death occurred at the Altenburgerhof Hotel where he was staying overnight before his intended return to Oxford the next day.[39] He was buried in Kirchstetten.[9]


Auden published about four hundred poems, including seven long poems (two of them book-length). His poetry was encyclopaedic in scope and method, ranging in style from obscure twentieth-century modernism to the lucid traditional forms such as ballads and limericks, from doggerel through haiku and villanelles to a "Christmas Oratorio" and a baroque eclogue in Anglo-Saxon meters.[40] The tone and content of his poems ranged from pop-song clichés to complex philosophical meditations, from the corns on his toes to atoms and stars, from contemporary crises to the evolution of society.[4][26]

He also wrote more than four hundred essays and reviews about literature, history, politics, music, religion, and many other subjects. He collaborated on plays with Christopher Isherwood and on opera libretti with Chester Kallman, and worked with a group of artists and filmmakers on documentary films in the 1930s and with the New York Pro Musica early music group in the 1950s and 1960s. About collaboration he wrote in 1964: "collaboration has brought me greater erotic joy . . . than any sexual relations I have had."[41]

Auden controversially rewrote or discarded some of his most famous poems when he prepared his later collected editions. He wrote that he rejected poems that he found "boring" or "dishonest" in the sense that they expressed views he had never held but had used only because he felt they would be rhetorically effective.[42] His rejected poems include "Spain" and "September 1, 1939". His literary executor, Edward Mendelson, argues in his introduction to Selected Poems that Auden's practice reflected his sense of the persuasive power of poetry and his reluctance to misuse it.[43] (Selected Poems includes some poems that Auden rejected and early texts of poems that he revised.)

Early work, 1922–39

Up to 1930

Cover of the privately printed Poems (1928)

Auden began writing poems in 1922, at fifteen, mostly in the styles of 19th-century romantic poets, especially Wordsworth, and later poets with rural interests, especially Thomas Hardy. At eighteen he discovered T. S. Eliot and adopted an extreme version of Eliot's style. He found his own voice at twenty when he wrote the first poem later included in his collected work, "From the very first coming down".[26] This and other poems of the late 1920s tended to be in a clipped, elusive style that alluded to, but did not directly state, their themes of loneliness and loss. Twenty of these poems appeared in his first book Poems (1928), a pamphlet hand-printed by Stephen Spender.[44]

In 1928 he wrote his first dramatic work, Paid on Both Sides, subtitled "A Charade", which combined style and content from the Icelandic sagas with jokes from English school life. This mixture of tragedy and farce, with a dream play-within-a-play, introduced the mixed styles and content of much of his later work.[40] This drama and thirty short poems appeared in his first published book Poems (1930, 2nd edition with seven poems replaced, 1933); the poems in the book were mostly lyrical and gnomic mediations on hoped-for or unconsummated love and on themes of personal, social, and seasonal renewal; among these poems were "It was Easter as I walked," "Doom is dark," "Sir, no man's enemy," and "This lunar beauty."[26]

A recurrent theme in these early poems is the effect of "family ghosts", Auden's term for the powerful, unseen psychological effects of preceding generations on any individual life (and the title of a poem). A parallel theme, present throughout his work, is the contrast between biological evolution (unchosen and involuntary) and the psychological evolution of cultures and individuals (voluntary and deliberate even in its subconscious aspects).[40][26]


Programme of a Group Theatre production of The Dance of Death, with unsigned synopsis by Auden

Auden's next large-scale work was The Orators: An English Study (1932; revised editions, 1934, 1966), in verse and prose, largely about hero-worship in personal and political life. In his shorter poems, his style became more open and accessible, and the exuberant "Six Odes" in The Orators reflect his new interest in Robert Burns.[40] During the next few years, many of his poems took their form and style from traditional ballads and popular songs, and also from expansive classical forms like the Odes of Horace, which he seems to have discovered through the German poet Hölderlin.[26] Around this time his main influences were Dante, William Langland, and Alexander Pope.[45]

During these years, much of his work expressed left-wing views, and he became widely known as a political poet although he was privately more ambivalent about revolutionary politics than many reviewers recognised,[46] and Mendelson argues that he expounded political views partly out of a sense of moral duty and partly because it enhanced his reputation, and that he later regretted having done so.[47] He generally wrote about revolutionary change in terms of a "change of heart", a transformation of a society from a closed-off psychology of fear to an open psychology of love.[5]

His verse drama The Dance of Death (1933) was a political extravaganza in the style of a theatrical revue, which Auden later called "a nihilistic leg-pull."[48] His next play The Dog Beneath the Skin (1935), written in collaboration with Isherwood, was similarly a quasi-Marxist updating of Gilbert and Sullivan in which the general idea of social transformation was more prominent than any specific political action or structure.[40][26]

The Ascent of F6 (1937), another play written with Isherwood, was partly an anti-imperialist satire, partly (in the character of the self-destroying climber Michael Ransom) an examination of Auden's own motives in taking on a public role as a political poet.[26] This play included the first version of "Funeral Blues" ("Stop all the clocks"), written as a satiric eulogy for a politician; Auden later rewrote the poem as a "Cabaret Song" about lost love (written to be sung by the soprano Hedli Anderson, for whom he wrote many lyrics in the 1930s).[49] In 1935, he worked briefly on documentary films with the GPO Film Unit, writing his famous verse commentary for Night Mail and lyrics for other films that were among his attempts in the 1930s to create a widely accessible, socially conscious art.[40][26][49]


In 1936 Auden's publisher chose the title Look, Stranger! for a collection of political odes, love poems, comic songs, meditative lyrics, and a variety of intellectually intense but emotionally accessible verse; Auden hated the title and retitled the collection for the 1937 US edition On This Island).[26] Among the poems included in the book are "Hearing of harvests", "Out on the lawn I lie in bed", "O what is that sound", "Look, stranger, on this island now" (later revised versions change "on" to "at"), and "Our hunting fathers".[40][26]

Auden was now arguing that an artist should be a kind of journalist, and he put this view into practice in Letters from Iceland (1937) a travel book in prose and verse written with Louis MacNeice, which included his long social, literary, and autobiographical commentary "Letter to Lord Byron".[50] In 1937, after observing the Spanish Civil War he wrote a politically engaged pamphlet poem Spain (1937); he later discarded it from his collected works. Journey to a War (1939) a travel book in prose and verse, was written with Isherwood after their visit to the Sino-Japanese War.[50] Auden's last collaboration with Isherwood was their third play, On the Frontier, an anti-war satire written in Broadway and West End styles.[26][10]

Auden's shorter poems now engaged with the fragility and transience of personal love ("Danse Macabre", "The Dream", "Lay your sleeping head"), a subject he treated with ironic wit in his "Four Cabaret Songs for Miss Hedli Anderson" (which included "Tell Me the Truth About Love" and the revised version of "Funeral Blues"), and also the corrupting effect of public and official culture on individual lives ("Casino", "School Children", "Dover").[40][26] In 1938 he wrote a series of dark, ironic ballads about individual failure ("Miss Gee", "James Honeyman", "Victor"). All these appeared in Another Time (1940), together with poems including "Dover", "As He Is", and "Musée des Beaux Arts" (all of which were written before he moved to America in 1939), and "In Memory of W. B. Yeats", "The Unknown Citizen", "Law Like Love", "September 1, 1939", and "In Memory of Sigmund Freud" (all written in America).[40]

The elegies for Yeats and Freud are partly anti-heroic statements, in which great deeds are performed, not by unique geniuses whom others cannot hope to imitate, but by otherwise ordinary individuals who were "silly like us" (Yeats) or of whom it could be said "he wasn't clever at all" (Freud), and who became teachers of others, not awe-inspiring heroes.[26]

Middle period, 1940–57


In 1940 Auden wrote a long philosophical poem "New Year Letter", which appeared with miscellaneous notes and other poems in The Double Man (1941). At the time of his return to the Anglican Communion he began writing abstract verse on theological themes, such as "Canzone" and "Kairos and Logos". Around 1942, as he became more comfortable with religious themes, his verse became more open and relaxed, and he increasingly used the syllabic verse he had learned from the poetry of Marianne Moore.[34]

Auden's work in this era addresses the artist's temptation to use other persons as material for his art rather than valuing them for themselves ("Prospero to Ariel") and the corresponding moral obligation to make and keep commitments while recognising the temptation to break them ("In Sickness and Health").[40][34] From 1942 through 1947 he worked mostly on three long poems in dramatic form, each differing from the others in form and content: "For the Time Being: A Christmas Oratorio", "The Sea and the Mirror: A Commentary on Shakespeare's The Tempest" (both published in For the Time Being, 1944), and The Age of Anxiety: A Baroque Eclogue (published separately in 1947).[34] The first two, with Auden's other new poems from 1940 to 1944, were included in his first collected edition, The Collected Poetry of W. H. Auden (1945), with most of his earlier poems, many in revised versions.[40]


After completing The Age of Anxiety in 1946 he focused again on shorter poems, notably "A Walk After Dark", "The Love Feast", and "The Fall of Rome".[34] Many of these evoked the Italian village where he spent his summers between 1948–57, and his next book, Nones (1951), had a Mediterranean atmosphere new to his work.[51] A new theme was the "sacred importance" of the human body[52] in its ordinary aspect (breathing, sleeping, eating) and the continuity with nature that the body made possible (in contrast to the division between humanity and nature that he had emphasised in the 1930s);[51] his poems on these themes included "In Praise of Limestone" (1948) and "Memorial for the City" (1949).[40][34] In 1949 Auden and Kallman wrote the libretto for Igor Stravinsky's opera The Rake's Progress, and later collaborated on two libretti for operas by Hans Werner Henze.[9][53]

Auden's first separate prose book was The Enchafèd Flood: The Romantic Iconography of the Sea (1950), based on a series of lectures on the image of the sea in romantic literature.[54] Between 1949 and 1954 he worked on a sequence of seven Good Friday poems, titled "Horae Canonicae", an encyclopaedic survey of geological, biological, cultural, and personal history, focused on the irreversible act of murder; the poem was also a study in cyclical and linear ideas of time. While writing this, he also wrote "Bucolics," a sequence of seven poems about man's relation to nature. Both sequences appeared in his next book, The Shield of Achilles (1955), with other short poems, including the book's title poem, "Fleet Visit", and "Epitaph for the Unknown Soldier".[40][34]

In 1955–56 Auden wrote a group of poems about "history", the term he used to mean the set of unique events made by human choices, as opposed to "nature", the set of involuntary events created by natural processes, statistics, and anonymous forces such as crowds. These poems included "T the Great", "The Maker", and the title poem of his next collection Homage to Clio (1960).[40][34]

Later work, 1958–73

Auden in 1970

In the late 1950s Auden's style became less rhetorical while its range of styles increased. In 1958, having moved his summer home from Italy to Austria, he wrote "Good-bye to the Mezzogiorno"; other poems from this period include "Dichtung und Wahrheit: An Unwritten Poem", a prose poem about the relation between love and personal and poetic language, and the contrasting "Dame Kind", about the anonymous impersonal reproductive instinct. These and other poems, including his 1955–66 poems about history, appeared in Homage to Clio (1960).[40][34] His prose book The Dyer's Hand (1962) gathered many of the lectures he gave in Oxford as Professor of Poetry in 1956–61, together with revised versions of essays and notes written since the mid-1940s.[34]

Among the new styles and forms in Auden's later work were the haiku and tanka that he began writing after translating the haiku and other verse in Dag Hammarskjöld's Markings.[34] A sequence of fifteen poems about his house in Austria, "Thanksgiving for a Habitat" (written in various styles that included an imitation of William Carlos Williams) appeared in About the House (1965), together with other poems that included his reflection on his lecture tours, "On the Circuit".[40] In the late 1960s he wrote some of his most vigorous poems, including "River Profile" and two poems that looked back over his life, "Prologue at Sixty" and "Forty Years On". All these appeared in City Without Walls (1969). His lifelong passion for Icelandic legend culminated in his verse translation of The Elder Edda (1969).[40][34] Among his later themes was the "religionless Christianity" he learned partly from Dietrich Bonhoeffer, the dedicatee of his poem "Friday's Child."[55]

A Certain World: A Commonplace Book (1970) was a kind of self-portrait made up of favourite quotations with commentary, arranged in alphabetical order by subject.[56] His last prose book was a selection of essays and reviews, Forewords and Afterwords (1973).[9] His last books of verse, Epistle to a Godson (1972) and the unfinished Thank You, Fog (published posthumously, 1974) include reflective poems about language ("Natural Linguistics", "Aubade"), philosophy and science ("No, Plato, No", "Unpredictable but Providential"), and his own aging ("A New Year Greeting", "Talking to Myself", "A Lullaby" ["The din of work is subdued"]). His last completed poem was "Archaeology", about ritual and timelessness, two recurring themes in his later years.[34]

Reputation and influence

Auden's stature in modern literature has been contested. Probably the most common critical view from the 1930s onward ranked him as the last and least of the three major twentieth-century British and Irish poets, Yeats, Eliot, Auden, while a minority view, more prominent in recent years, ranks him as the highest of the three.[57] Opinions have ranged from those of Hugh MacDiarmid, who called him "a complete wash-out," F. R. Leavis who wrote that Auden's ironic style was "self-defensive, self-indulgent or merely irresponsible",[58] and Harold Bloom who wrote "Close thy Auden, open thy [Wallace] Stevens,"[59] to the obituarist in The Times (London), who wrote: "W.H. Auden, for long the enfant terrible of English poetry… emerges as its undisputed master."[60] Joseph Brodsky wrote that Auden had "the greatest mind of the twentieth century".[61]

Critical estimates were divided from the start. Reviewing Auden's first book, Poems (1930), Naomi Mitchison wrote "If this is really only the beginning, we have perhaps a master to look forward to."[62] But John Sparrow, recalling Mitchison's comment in 1934, dismissed Auden's early work as "a monument to the misguided aims that prevail among contemporary poets, and the fact that… he is being hailed as 'a master' shows how criticism is helping poetry on the downward path."[63]

Auden's clipped, satiric, and ironic style in the 1930s was widely imitated by younger poets such as Charles Madge, who wrote in a poem "there waited for me in the summer morning / Auden fiercely. I read, shuddered, and knew."[64] He was widely described as the leader of an "Auden group" that comprised his friends Stephen Spender, Cecil Day-Lewis, and Louis MacNeice.[65] The four were mocked by the poet Roy Campbell as if they were a single undifferentiated poet named "Macspaunday."[66] Auden's propagandistic poetic plays, including The Dog Beneath the Skin and The Ascent of F6, and his political poems such as "Spain" gave him the reputation as a political poet writing in a progressive and accessible voice, in contrast to Eliot; but this political stance provoked opposing opinions, such as that of Austin Clarke who called Auden's work "liberal, democratic, and humane",[67] and John Drummond, who wrote that Auden misused a "characteristic and popularizing trick, the generalized image", to present ostensibly left-wing views that were in fact "confined to bourgeois experience."[68]

Auden's departure for America in 1939 was debated in Britain (once even in Parliament), with some seeing his emigration as a betrayal. Defenders of Auden such as Geoffrey Grigson, in an introduction to a 1949 anthology of modern poetry, wrote that Auden "arches over all". His stature was suggested by book titles such as Auden and After by Francis Scarfe (1942) and The Auden Generation by Samuel Hynes (1977).[4]

Plaque to W.H. Auden, Brooklyn Heights 01 (9420506021)
Commemorative plaque at one of Auden's homes in Brooklyn Heights, New York

In the US, starting in the late 1930s, the detached, ironic tone of Auden's regular stanzas became influential; John Ashbery recalled that in the 1940s Auden "was the modern poet".[60] Auden's formal influences were so pervasive in American poetry that the ecstatic style of the Beat Generation was partly a reaction against his influence. From the 1940s through the 1960s, many critics lamented that Auden's work had declined from its earlier promise; Randall Jarrell wrote a series of essays making a case against Auden's later work,[69] and Philip Larkin's "What's Become of Wystan?" (1960) had a wide impact.[60][70]

After his death, some of his poems, notably "Funeral Blues", "Musée des Beaux Arts", "Refugee Blues", "The Unknown Citizen", and "September 1, 1939", became known to a much wider public than during his lifetime through films, broadcasts, and popular media.[4]

The first full-length study of Auden was Richard Hoggart's Auden: An Introductory Essay (1951), which concluded that "Auden's work, then, is a civilising force."[71] It was followed by Joseph Warren Beach's The Making of the Auden Canon (1957), a disapproving account of Auden's revisions of his earlier work. [72] The first systematic critical account was Monroe K. Spears' The Poetry of W. H. Auden: The Disenchanted Island (1963), "written out of the conviction that Auden's poetry can offer the reader entertainment, instruction, intellectual excitement, and a prodigal variety of aesthetic pleasures, all in a generous abundance that is unique in our time."[73]

Auden was one of three candidates recommended by the Nobel Committee to the Swedish Academy for the Nobel Prize in Literature in 1963[74] and 1965[75] and six recommended for the 1964 prize.[76] By the time of his death in 1973 he had attained the status of a respected elder statesman, and a memorial stone for him was placed in Poets' Corner in Westminster Abbey in 1974.[77] The Encyclopædia Britannica writes that "by the time of Eliot's death in 1965… a convincing case could be made for the assertion that Auden was indeed Eliot's successor, as Eliot had inherited sole claim to supremacy when Yeats died in 1939."[78] With some exceptions, British critics tended to treat his early work as his best, while American critics tended to favour his middle and later work.[79][80]

Another group of critics and poets has maintained that unlike other modern poets, Auden's reputation did not decline after his death, and the influence of his later writing was especially strong on younger American poets including John Ashbery, James Merrill, Anthony Hecht, and Maxine Kumin.[81] Typical later evaluations describe him as "arguably the [20th] century's greatest poet" (Peter Parker and Frank Kermode),[82] who "now clearly seems the greatest poet in English since Tennyson" (Philip Hensher).[83]

Public recognition of Auden's work sharply increased after his "Funeral Blues" ("Stop all the clocks") was read aloud in the film Four Weddings and a Funeral (1994); subsequently, a pamphlet edition of ten of his poems, Tell Me the Truth About Love, sold more than 275,000 copies. After 11 September 2001 his 1939 poem "September 1, 1939" was widely circulated and frequently broadcast.[60] Public readings and broadcast tributes in the UK and US in 2007 marked his centenary year.[84]

Overall, Auden's poetry was noted for its stylistic and technical achievement, its engagement with politics, morals, love, and religion, and its variety in tone, form and content.[85][61][40][26]

Memorial stones and plaques commemorating Auden include those in Westminster Abbey; at his birthplace at 55 Bootham, York;[86] near his home on Lordswood Road, Birmingham;[87] in the chapel of Christ Church, Oxford; on the site of his apartment at 1 Montague Terrace, Brooklyn Heights; at his apartment in 77 St. Marks Place, New York (damaged and now removed)[88] and at the site of his death at Walfischgasse 5 in Vienna;[89] in his house in Kirchstetten, his study is open to the public upon request.[90]

Published works

The following list includes only the books of poems and essays that Auden prepared during his lifetime; for a more complete list, including other works and posthumous editions, see W. H. Auden bibliography.

In the list below, works reprinted in the Complete Works of W. H. Auden are indicated by footnote references.

Film scripts and opera libretti
Musical collaborations


  1. ^ /ˈwɪstən ˈhjuː ˈɔːdən/ The first syllable of "Auden" rhymes with "law", not with "how".
  2. ^ Auden, W. H. (2002). Mendelson, Edward, ed. Prose, Volume II: 1939–1948. Princeton: Princeton University Press. p. 478. ISBN 978-0-691-08935-5. Auden used the phrase "Anglo-American Poets" in 1943, implicitly referring to himself and T. S. Eliot.
  3. ^ The first definition of "Anglo-American" in the OED (2008 revision) is: "Of, belonging to, or involving both England (or Britain) and America.""Oxford English Dictionary (access by subscription)". Retrieved 25 May 2009. See also the definition "English in origin or birth, American by settlement or citizenship" in Chambers 20th Century Dictionary. 1969. p. 45. See also the definition "an American, especially a citizen of the United States, of English origin or descent" in Merriam Webster's New International Dictionary, Second Edition. 1969. p. 103. See also the definition "a native or descendant of a native of England who has settled in or become a citizen of America, esp. of the United States" from The Random House Dictionary, 2009, available online at "Dictionary.com". Retrieved 25 May 2009.
  4. ^ a b c d Smith, Stan, ed. (2004). The Cambridge Companion to W. H. Auden. Cambridge: Cambridge University Press. ISBN 978-0-521-82962-5.CS1 maint: Extra text: authors list (link)
  5. ^ a b c d e Davenport-Hines, Richard (1995). Auden. London: Heinemann. ISBN 978-0-434-17507-9.
  6. ^ Carpenter, W. H. Auden, pp. 1-12.
  7. ^ The name Wystan derives from the 9th-century St Wystan, who was murdered by Beorhtfrith, the son of Beorhtwulf, king of Mercia, after Wystan objected to Beorhtfrith's plan to marry Wystan's mother. His remains were reburied at Repton, Derbyshire, where they became the object of a cult; the parish church of Repton is dedicated to St Wystan. Auden's father, George Augustus Auden, was educated at Repton School.
  8. ^ "Kindred Britain". Retrieved 12 October 2015.
  9. ^ a b c d e f g h i j k l m n Carpenter, Humphrey (1981). W. H. Auden: A Biography. London: George Allen & Unwin. ISBN 978-0-04-928044-1.
  10. ^ a b c d e f g h Mendelson, Edward (January 2011). "Auden, Wystan Hugh (1907–1973)". Oxford Dictionary of National Biography (online ed.). Oxford University Press. Retrieved 26 May 2013. (subscription may be required or content may be available in libraries)
  11. ^ Davidson, Peter (2005). The Idea of North. London: Reaktion. ISBN 978-1861892300.
  12. ^ Carpenter, W. H. Auden, pp. 16-20, 23-28.
  13. ^ Carpenter, W. H. Auden, pp. 13, 23.
  14. ^ Myers, Alan; Forsythe, Robert (1999). W. H. Auden: Pennine Poet. Nenthead: North Pennines Heritage Trust. ISBN 978-0-9513535-7-8.
  15. ^ Auden, W. H. (1993). The Prolific and the Devourer. New York: Ecco. p. 10. ISBN 978-0-88001-345-1.
  16. ^ Partridge, Frank (23 February 2007). "North Pennines: Poetry in Motion". Independent.co.uk. Retrieved 2 December 2016.
  17. ^ Blamires, Harry (1983). A Guide to twentieth century literature in English. p. 130.
  18. ^ Auden, W. H. (1973). Forewords and Afterwords. New York: Random House. p. 517. ISBN 978-0-394-48359-7.
  19. ^ The Times, 5 July 1922 (Issue 43075), p. 12, col. D
  20. ^ Wright, Hugh, "Auden and Gresham's", Conference & Common Room, Vol. 44, No. 2, Summer 2007.
  21. ^ Auden, W. H. (1994). Bucknell, Katherine, ed. Juvenilia: Poems, 1922–1928. Princeton: Princeton University Press. ISBN 978-0-691-03415-7.
  22. ^ The Old School: Essays by Divers Hands (London: Jonathan Cape, 1934) title details at books.google.com
  23. ^ Davenport-Hines, Richard (1995). Auden. London: Heinemann. ch. 3. ISBN 978-0-434-17507-9.
  24. ^ Auden, W. H. (1973). Forewords and Afterwords. New York: Random House. p. 69. ISBN 978-0-394-48359-7.
  25. ^ Mendelson, Edward (1999). Later Auden. New York: Farrar, Straus and Giroux. p. 35. ISBN 978-0-374-18408-7.
  26. ^ a b c d e f g h i j k l m n o p Mendelson, Edward (1981). Early Auden. New York: Viking. ISBN 978-0-670-28712-3.
  27. ^ Mitchell, Donald (1981). Britten and Auden in the Thirties: the year 1936. London: Faber and Faber]. ISBN 978-0-571-11715-4.
  28. ^ Auden, W. H. (1996). Mendelson, Edward, ed. Prose and travel books in prose and verse, Volume I: 1926–1938. Princeton: Princeton University Press. p. 138. ISBN 978-0-691-06803-9.
  29. ^ Auden, W. H. (1995). Bucknell, Katherine; Jenkins, Nicholas, eds. In Solitude, For Company: W. H. Auden after 1940, unpublished prose and recent criticism (Auden Studies 3). Oxford: Clarendon Press. p. 88. ISBN 978-0-19-818294-8.
  30. ^ Lissner, Will (2 March 1956). "Poet and Judge Assist a Samaritan" (PDF). New York Times. pp. 1, 39. Retrieved 26 May 2013.
  31. ^ Mendelson, Edward (1999). Later Auden. New York: Farrar, Straus and Giroux. p. 46. ISBN 978-0-374-18408-7.
  32. ^ Farnan, Dorothy J. (1984). Auden in Love. New York: Simon and Schuster. ISBN 978-0-671-50418-2.
  33. ^ Clark, Thekla (1995). Wystan and Chester. London: Faber & Faber. ISBN 978-0-571-17591-8.
  34. ^ a b c d e f g h i j k l m n Mendelson, Edward (1999). Later Auden. New York: Farrar, Straus and Giroux. ISBN 978-0-374-18408-7.
  35. ^ Tippins, Sherrill (2005). February House: The Story of W. H. Auden, Carson McCullers, Jane and Paul Bowles, Benjamin Britten, and Gypsy Rose Lee, Under One Roof In Wartime America. Boston: Houghton Mifflin. ISBN 978-0-618-41911-1.
  36. ^ Pike, James A., ed. (1956). Modern Canterbury Pilgrims. New York: Morehouse-Gorham. p. 42.
  37. ^ Kirsch, Arthur (2005). Auden and Christianity. New Haven: Yale University Press. ISBN 978-0-300-10814-9.
  38. ^ Nachrichten, Salzburger. "Gedenkstätte für W. H. Auden in Kirchstetten neu gestaltet". www.salzburg.com. Retrieved 30 September 2017.
  39. ^ Shrenker, Israel (30 September 1973). "W. H. Auden Dies in Vienna". The New York Times. Retrieved 20 September 2017.
  40. ^ a b c d e f g h i j k l m n o p q r Fuller, John (1998). W. H. Auden: a commentary. London: Faber and Faber. ISBN 978-0-571-19268-7.
  41. ^ Davenport-Hines, Richard (1995). Auden. London: Heinemann. p. 137. ISBN 978-0-434-17507-9.
  42. ^ Auden, W. H. (1966). Collected Shorter Poems, 1927–1957. London: Faber and Faber. p. 15. ISBN 978-0-571-06878-4.
  43. ^ Auden, W. H. (1979). Mendelson, Edward, ed. Selected Poems, new edition. New York: Vintage Books. xix–xx. ISBN 978-0-394-72506-2.
  44. ^ Auden, W. H. (1994). Bucknell, Katherine, ed. Juvenilia: Poems, 1922–1928. Princeton: Princeton University Press. ISBN 978-0-691-03415-7.
  45. ^ Auden, W. H. (2002). Mendelson, Edward, ed. Prose, Volume II: 1939–1948. Princeton: Princeton University Press. p. 92. ISBN 978-0-691-08935-5.
  46. ^ Carpenter, pp. 256–257.
  47. ^ Mendelson, Early Auden, pp. 257–303.
  48. ^ Auden, W. H.; Isherwood, Christopher (1988). Mendelson, Edward, ed. Plays and other dramatic writings by W. H. Auden, 1928–1938. Princeton: Princeton University Press. xxi. ISBN 978-0-691-06740-7.
  49. ^ a b c d e f g h i Auden, W. H.; Isherwood, Christopher (1988). Mendelson, Edward, ed. Plays and other dramatic writings by W. H. Auden, 1928–1938. Princeton: Princeton University Press. ISBN 978-0-691-06740-7.
  50. ^ a b c d Auden, W. H. (1996). Mendelson, Edward, ed. Prose and travel books in prose and verse, Volume I: 1926–1938. Princeton: Princeton University Press. ISBN 978-0-691-06803-9.
  51. ^ a b Sharpe, Tony (21 January 2013). W. H. Auden in Context. Cambridge University Press. p. 196. ISBN 9781139618922.
  52. ^ Auden, W. H. (1973). Forewords and Afterwords. New York: Random House. p. 68. ISBN 978-0-394-48359-7.
  53. ^ a b c d e f g h Auden, W. H.; Kallman, Chester (1993). Mendelson, Edward, ed. Libretti and other dramatic writings by W. H. Auden, 1939–1973. Princeton: Princeton University Press. ISBN 978-0-691-03301-3.
  54. ^ Auden, W. H. (2002). Mendelson, Edward, ed. Prose, Volume II: 1939–1948. Princeton: Princeton University Press. ISBN 978-0-691-08935-5.
  55. ^ Kirsch, Arthur (2005). Auden and Christianity. New Haven: Yale University Press. ISBN 978-0-300-10814-9.
  56. ^ David Garrett Izzo (28 February 2004). W.H. Auden Encyclopedia. McFarland. p. 50. ISBN 9780786479993.
  57. ^ Smith, Stan (2004). "Introduction". In Stan Smith. The Cambridge Companion to W. H. Auden. Cambridge: Cambridge University Press. pp. 1–14. ISBN 978-0-521-82962-5.
  58. ^ Haffenden, p. 222.
  59. ^ Bloom, Harold (5 April 1969). "Christianity and Art". The New Republic. 160 (14): 25–28.
  60. ^ a b c d Sansom, Ian (2004). "Auden and Influence". In Smith, Stan. The Cambridge Companion to W.H. Auden. Cambridge: Cambridge University Press. pp. 226–39. ISBN 978-0-521-82962-5.
  61. ^ a b Brodksy, Joseph (1986). Less Than One: selected essays. New York: Farrar, Straus & Giroux. p. 357. ISBN 978-0-374-18503-9.
  62. ^ Haffenden, p. 83.
  63. ^ Haffenden, pp. 7–8.
  64. ^ Smith, Companion, p. 123.
  65. ^ Hynes, Samuel (1977). The Auden Generation. New York: Viking. ISBN 978-0-712-65250-6.
  66. ^ Haffenden, p. 34.
  67. ^ Haffenden, p. 29.
  68. ^ Haffenden, p. 31.
  69. ^ Jarrell, Randall (2005). Burt, Stephen, ed. Randall Jarrell on W. H. Auden. New York: Columbia University Press. ISBN 978-0-231-13078-3.
  70. ^ Haffenden, pp. 414–19.
  71. ^ Hoggart, Richard (1951). Auden: An Introductory Essay. London: Chatto & Windus. p. 219.
  72. ^ Beach, Joseph Warren (1957). The Making of the Auden Canon. Minneapolis: University of Minnesota Press.
  73. ^ Spears, Monroe K. (1963). The Poetry of W.H. Auden: The Disenchanted Island. New York: Oxford University Press. p. v.
  74. ^ "Candidates for the 1963 Nobel Prize in Literature". Nobel Prize. 2013. Retrieved 3 January 2014.
  75. ^ "Candidates for the 1965 Nobel Prize in Literature". Nobel Prize. 2014. Retrieved 4 December 2016.
  76. ^ "Candidates for the 1964 Nobel Prize in Literature". Nobel Prize. 2015. Retrieved 25 May 2015.
  77. ^ "Famous People & the Abbey: Wystan Hugh Auden". Retrieved 28 July 2018.
  78. ^ "W.H. Auden". Encyclopædia Britannica. Retrieved 23 February 2008.
  79. ^ Haffenden, p. 54.
  80. ^ Aidan Wasley, "Auden and the American Literary World", in Sharpe, W.H. Auden in Context, pp. 118–37.
  81. ^ Wasley, Aidan (2011). The Age of Auden: Postwar Poetry and the American Scene. Princeton: Princeton University Press. ISBN 978-1-40083635-2.
  82. ^ Kermode, Frank, ed. (1995). The Reader's Companion to Twentieth-Century Writers. London: Fourth Estate. p. 35. ISBN 978-1-85702332-9.
  83. ^ Hensher, Philip (6 November 2009). "Love's a little boy". The Guardian. Retrieved 30 September 2015.
  84. ^ The W. H. Auden Society. "The Auden Centenary 2007". Retrieved 20 January 2007.
  85. ^ "W.H. Auden". Academy of American Poets. Retrieved 21 January 2007.
  86. ^ "Open plaques". Retrieved 22 April 2017.
  87. ^ "Open plaques". Retrieved 22 April 2017.
  88. ^ "Manhattan Sideways". Retrieved 22 April 2017.
  89. ^ "Auden's last night. Vienna museums". 14 June 2008. Retrieved 22 April 2017.
  90. ^ ["Sommer in Kirchstetten - Gedenkstätte für W.H. Auden], NÖN 39/2015.
  91. ^ Auden, W. H. (1945). The Collected Poetry of W. H. Auden (6th ed.). New York: Random House. ISBN 978-0394403168. Retrieved 28 May 2017.
  92. ^ Auden, W. H. (2008). Mendelson, Edward, ed. Prose, Volume III: 1949–1955. Princeton: Princeton University Press. ISBN 978-0-691-13326-3.
  93. ^ "National Book Awards – 1956". National Book Foundation. Retrieved 27 February 2012.
    (With acceptance speech by Auden and essay by Megan Snyder-Camp from the Awards 60-year anniversary blog.)
  94. ^ Auden, W. H. (2010). Mendelson, Edward, ed. Prose, Volume IV: 1956–1962. Princeton: Princeton University Press. ISBN 978-0-691-14755-0.
  95. ^ Auden, W. H. (2015). Mendelson, Edward, ed. Prose, Volume V: 1963–1968. Princeton: Princeton University Press. ISBN 978-0-691-151717.
  96. ^ Auden, W. H. (2015). Mendelson, Edward, ed. Prose, Volume VI: 1969–1973. Princeton: Princeton University Press. ISBN 978-0-691-164588.


  • Auden, W. H.; ed. by Katherine Bucknell and Nicholas Jenkins (1990) "The Map of All My Youth": early works, friends and influences (Auden Studies 1). Oxford: Oxford University Press. ISBN 0-19-812964-5.
  • Auden, W. H.; ed. by Katherine Bucknell and Nicholas Jenkins (1994). "The Language of Learning and the Language of Love": uncollected writings, new interpretations (Auden Studies 2). Oxford: Oxford University Press. ISBN 0-19-812257-8.
  • Auden, W. H.; ed. by Katherine Bucknell and Nicholas Jenkins (1995). "In Solitude, For Company": W. H. Auden after 1940: unpublished prose and recent criticism (Auden Studies 3). Oxford: Oxford University Press. ISBN 0-19-818294-5.
  • Carpenter, Humphrey (1981). W. H. Auden: A Biography. London: George Allen & Unwin. ISBN 0-04-928044-9.
  • Clark, Thekla (1995). Wystan and Chester: A Personal Memoir of W. H. Auden and Chester Kallman. London: Faber and Faber. ISBN 0-571-17591-0.
  • Davenport-Hines, Richard (1996). Auden. London: Heinemann. ISBN 0-434-17507-2.
  • Farnan, Dorothy J. (1984). Auden in Love. New York: Simon & Schuster. ISBN 0-671-50418-5.
  • Fuller, John (1998). W. H. Auden: A Commentary. London: Faber and Faber. ISBN 0-571-19268-8.
  • Haffenden, John, ed. (1983). W. H. Auden: The Critical Heritage. London: Routledge & Kegan Paul. ISBN 0-7100-9350-0.
  • Kirsch, Arthur (2005). Auden and Christianity. New Haven: Yale University Press. ISBN 0-300-10814-1.
  • Mendelson, Edward (1981). Early Auden. New York: Viking. ISBN 0-670-28712-1.
  • Mendelson, Edward (1999). Later Auden. New York: Farrar, Straus and Giroux. ISBN 0-374-18408-9.
  • Mitchell, Donald (1981), Britten and Auden in the Thirties: the year 1936. London: Faber and Faber. ISBN 0-571-11715-5.
  • Myers, Alan and Forsythe, Robert (1999), W. H. Auden: Pennine Poet . Nenthead: North Pennines Heritage Trust. ISBN 0-9513535-7-8. Pamphlet with map and gazetteer.
  • Sharpe, Tony, ed. (2013). W. H. Auden in Context. Cambridge: Cambridge University Press. ISBN 978-0-521-19657-4.
  • Smith, Stan, ed. (2004). The Cambridge Companion to W. H. Auden. Cambridge: Cambridge University Press. ISBN 0-521-53647-2.
  • Spears, Monroe K. (1963). The Poetry of W. H. Auden: The Disenchanted Island. New York: Oxford University Press.

Further reading

External links

Academic Graffiti

Academic Graffiti is a book of clerihews by W. H. Auden and illustrations by Filippo Sanjust. It was published in 1971.

Auden began writing in 1950 the short comic poems on literary and historical figures that he would later collect in Academic Graffiti. A selection of these clerihews appeared in his 1960 book Homage to Clio, and the complete collection appeared in this 1971 volume.

Bucolics (Auden)

Bucolics is a sequence of poems by W. H. Auden written in 1953 and 1953. The seven poems in the sequence are: "Winds", "Woods, "Mountains", "Lakes", "Islands", "Plains", and "Streams".The sequence was first published in book form in Auden's book The Shield of Achilles (1955), together with a parallel sequence "Horae Canonicae."

Elegy for Young Lovers

Elegy for Young Lovers (in German, Elegie für junge Liebende) is an opera in three acts by Hans Werner Henze to an English libretto by W. H. Auden and Chester Kallman.

Epistle to a Godson

Epistle to a Godson and other poems is a book of poems by W. H. Auden, published in 1972.

This book was the last book of poems that Auden completed in his lifetime; its successor, Thank You, Fog was left unfinished at his death.

The poems included in the book were written mostly in 1968–1971. They include, in addition to the title poem, "Natural Linguistics", "Doggerel by a Senior Citizen", "Old People's Home", "Talking to Dogs", "Talking to Mice", and "Talking to Myself".

The book is dedicated to Philip Spender.

For the Time Being

"For the Time Being: A Christmas Oratorio", is a long poem by W. H. Auden, written 1941-42, and first published in 1944. It was one of two long poems included in Auden's book also titled For the Time Being, published in 1944; the other poem included in the book was "The Sea and the Mirror."

The poem is a series of dramatic monologues spoken by the characters in the Christmas story and by choruses and a narrator. The characters all speak in modern diction, and the events of the story are portrayed as if they occurred in the contemporary world.

Auden wrote the poem to be set to music by Benjamin Britten, but it was far too long for this purpose, and Britten set only two fragments, including one ("Shepherd's Carol") that Auden dropped before the work was published.

The poem is dedicated to the memory of Auden's mother, Constance Rosalie Bicknell Auden.

Funeral Blues

"Funeral Blues" or "Stop all the clocks" is a poem by W. H. Auden. An early version was published in 1936, but the poem in its final, familiar form was first published in The Year's Poetry (London, 1938).

Journey to a War

Journey to a War is a travel book in prose and verse by W. H. Auden and Christopher Isherwood, published in 1939.

The book is in three parts: a series of poems by Auden describing his and Isherwood's journey to China in 1938 ; a "Travel-Diary" by Isherwood (including material first drafted by Auden) about their travels in China itself, and their observations of the Sino-Japanese War; and "In Time of War: A Sonnet Sequence with a Verse Commentary" by Auden, with reflections on the contemporary world and their experiences in China. The book also contains a selection of photographs by Auden.

Auden revised many of the poems in this book for his later collections; "In Time of War" was renamed "Sonnets from China" (with many original sonnets discarded) and the verse commentary was dropped entirely.

Letters from Iceland

Letters from Iceland is a travel book in prose and verse by W. H. Auden and Louis MacNeice, published in 1937.

The book is made up of a series of letters and travel notes by Auden and MacNeice written during their trip to Iceland in 1936 compiling light-hearted private jokes and irreverent comments about their surrounding world.

Auden's contributions include the poem "Journey to Iceland"; a prose section "For Tourists"; a five-part verse "Letter to Lord Byron"; a selection of writings on Iceland by other authors, "Sheaves from Sagaland"; a prose letter to "E. M. Auden" (E.M. was Erika Mann), which included his poems "Detective Story" and "O who can ever praise enough"; a prose letter to Kristian Andreirsson, Esq.; a free-verse letter to William Coldstream, and, in collaboration with MacNeice, "W. H. Auden and Louis MacNeice: Their Last Will and Testament" (in verse).

MacNeice's contributions include a verse letter to Graham and Anne Shepard; the satiric prose "Hetty to Nancy" (unsigned); a verse Epilogue; and MacNeice's contributions to "W. H. Auden and Louis MacNeice: Their Last Will and Testament".

Auden revised his sections of the book for a new edition published in 1966.

The book is mentioned multiple times throughout the 2007 Oscar-nominated film, Away from Her, in which several passages are read aloud during the film.

Letters from Iceland is categorised under the "Inter-war pastorals" style of writing, where poets are attached to an imaginary countryside from where they contemplate people, literature and politics.

The book is considered as a thirties classics.

Nones (Auden)

Nones is a book of poems by W. H. Auden published in 1951 by Faber & Faber. The book contains Auden's shorter poems written between 1946 and 1950, including "In Praise of Limestone", "Prime", "Nones," "Memorial for the City", "Precious Five", and "A Walk After Dark".

"Nones" is a contemporary setting of the Good Friday Passion.

The book includes "Barcarolle" (barcarolle), a poem from Auden's libretto for Igor Stravinsky's The Rake's Progress, the only poem in the book that did not appear in Auden's later collections. The book is dedicated to Protestant theologian Reinhold Niebuhr and his wife Ursula.

Composer Luciano Berio named his orchestral piece Nones, originally planned as an oratorio, after Auden's poem.

On the Frontier

On the Frontier: A Melodrama in Two Acts, by W. H. Auden and Christopher Isherwood, was the third and last play in the Auden-Isherwood collaboration, first published in 1938.

The play tells the story of the outbreak of war between the fictional European countries of Ostnia and Westland. Some of the action takes place in the "Ostnia-Westland Room", an imaginary setting in which two rooms, one in an Ostnian household, one in a Westland household, each occupy half the stage, and the family in one house are unaware of the family in the other - although the son and daughter of the two families sense each other's existence. Other scenes take place in the office of the Westland dictator. The play ends in a visionary scene between the two lovers who have never met in real life.

The play was produced in October 1938 at the Cambridge Arts Theatre, in a production by the Group Theatre (London). The incidental music for the play was composed by Benjamin Britten.

September 1, 1939

"September 1, 1939" is a poem by W. H. Auden written on the occasion of the outbreak of World War II. It was first published in The New Republic issue of 18 October 1939, and was first published in book form in Auden's collection Another Time (1940).

Thank You, Fog

Thank You, Fog: Last Poems by W. H. Auden is a posthumous book of poems by W. H. Auden, published in 1974.

The book contains poems written mostly in 1972 and 1973; after Auden's death in September 1973 it was prepared for publication by his literary executor Edward Mendelson, who also included an "antimasque" titled "The Entertainment of the Senses", written in 1973 by Auden and Chester Kallman as an interpolation in a planned production of James Shirley's masque Cupid and Death (1653); the antimasque was commissioned by the composer John Gardner.

The shorter poems in the book, in addition to the title poem, include "Aubade", "Unpredictable but Providential", "Address to the Beasts", "Archaeology", "No, Plato, No", "Nocturne", "A Thanksgiving", and "Lullaby" ("The din of work is subdued"; titled in other editions with a title found in Auden's typescripts, "A Lullaby", which distinguishes it from a different earlier poem titled "Lullaby"). The book also includes two of the lyrics that Auden wrote for the musical comedy Man of La Mancha, which were rejected by the original librettist of that play.

The Age of Anxiety

The Age of Anxiety: A Baroque Eclogue (1947; first UK edition, 1948) is a long poem in six parts by W. H. Auden, written mostly in a modern version of Anglo-Saxon alliterative verse.

The poem deals, in eclogue form, with man's quest to find substance and identity in a shifting and increasingly industrialized world. Set in a wartime bar in New York City, Auden uses four characters – Quant, Malin, Rosetta, and Emble – to explore and develop his themes.

The poem won the Pulitzer Prize for Poetry in 1948. It inspired a symphony by composer Leonard Bernstein, The Age of Anxiety (Symphony No. 2 for Piano and Orchestra), which in turn was used for both a 1950 ballet by Jerome Robbins and a 2014 ballet by Liam Scarlett.

A critical edition of the poem, edited by Alan Jacobs, was published by Princeton University Press in 2011.

"The Age of Anxiety" is also the title of the first chapter of The Wisdom of Insecurity by Alan Watts (1951).

The Ascent of F6

The Ascent of F6: A Tragedy in Two Acts, by W. H. Auden and Christopher Isherwood, was the second and most successful play in the Auden-Isherwood collaboration, first published in 1936. It was a major contribution to English poetic drama in the 1930s. It has been seen as a parable about will, leadership and the nature of power: matters of increasing concern in Europe as that decade progressed.

The Orators

The Orators: An English Study is a long poem in prose and verse written by W. H. Auden, first published in 1932. It is regarded as a major contribution to modernist poetry in English.

The Orators is divided into three main sections, framed by "Prologue" and "Epilogue" (each a short poem). Part I is "The Initiates" and comprises four speeches in dramatic prose. Part II is "Journal of an Airman", in prose with interpolated verses, in the form of a diary of an airman (or of someone who fantasizes himself to be an airman). Part III is "Six Odes", all in verse.

After the first edition in 1932, Auden slightly revised the book for a second edition in 1934. For a third edition in 1966 he added a brief foreword, omitted one of the Odes, and made minor cuts and changes throughout the book.

The Rake's Progress

The Rake's Progress is an English-language opera in three acts and an epilogue by Igor Stravinsky. The libretto, written by W. H. Auden and Chester Kallman, is based loosely on the eight paintings and engravings A Rake's Progress (1733–1735) of William Hogarth, which Stravinsky had seen on 2 May 1947, in a Chicago exhibition.

The story concerns the decline and fall of one Tom Rakewell, who deserts Anne Trulove for the delights of London in the company of Nick Shadow, who turns out to be the Devil. After several misadventures, all initiated by the devious Shadow, Tom ends up in Bedlam, a hospital for the 'insane' at that time situated in the City of London. The moral of the tale is: "For idle hearts and hands and minds the Devil finds work to do."

The Sea and the Mirror

"The Sea and the Mirror: A Commentary on Shakespeare's The Tempest" is a long poem by W.H. Auden, written 1942–44, and first published in 1944. Auden regarded the work as “my Ars Poetica, in the same way I believe The Tempest to have been Shakespeare’s.”

The poem is a series of dramatic monologues spoken by the characters in Shakespeare's play after the end of the play itself. These are rendered in a variety of verse forms from villanelles, sonnets, sestinas, and finally Jamesian prose, the forms corresponding to the nature of the characters e.g. Ferdinand addresses Miranda in a sonnet, a form traditionally amenable to expressions of love.

The poem begins with a "Preface" ("The Stage Manager to the Critics"), followed by Part I, "Prospero to Ariel"; Part II, "The Supporting Cast, Sotto Voce, spoken by individual characters in the play, each followed by a brief comment on the character of Antonio; and Part III, Caliban to the Audience, spoken by Caliban in a prose style modelled on that of the later work of Henry James. A "Postscript" ("Ariel to Caliban, Echo by the Prompter") closes the work.

The poem is dedicated to Auden's friends James and Tania Stern.

It was first published in 1944 together with Auden's long poem, his Christmas Oratorio "For the Time Being" in a book also titled For the Time Being.A critical edition with introduction and copious textual notes by Arthur Kirsch was published in 2003 by Princeton University Press. Auden’s burgeoning relationship with Shakespeare’s corpus can also be seen in his Lectures on Shakespeare, also edited by Kirsch, delivered 1946/7 and diligently reconstructed from student notes.

The Shield of Achilles

The Shield of Achilles is a poem by W. H. Auden first published in 1952, and the title work of a collection of poems by Auden, published in 1955. It is Auden's response to the detailed description, or ekphrasis, of the shield borne by the hero Achilles in Homer's epic poem the Iliad.

W. H. Auden bibliography

This is a bibliography of books, plays, films, and libretti written, edited, or translated by the Anglo-American poet W. H. Auden (1907–1973). See the main entry for a list of biographical and critical studies and external links.

W. H. Auden
Books of poetry
Books containing
prose and verse
Prose works
and other books
Individual poems

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