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W. H. Auden (1907–1973)

Forfatter af Selected Poems

298+ Works 13,063 Members 126 Reviews 88 Favorited

Om forfatteren

W. H. Auden, who was born in York, England, on February 21, 1907, is one of the most successful and well-known poets of the 20th century. Educated at Oxford, Auden served in the Spanish Civil War, which greatly influenced his work. He also taught in public schools in Scotland and England during the vis mere 1930s. It was during this time that he rose to public fame with such works as "Paid on Both Sides" and "The Orators." Auden eventually immigrated to the United States, becoming a citizen in 1946. It was in the U.S. that he met his longtime partner Chester Kallman. Stylistically, Auden was known for his incomparable technique and his linguistic innovations. The term Audenesque became an adjective to describe the contemporary sounding speech reflected in his poems. Auden's numerous awards included a Bollingen Prize in Poetry, A National Book Award for "The Shield of Achilles," a National Medal for Literature from the National Book Committee, and a Gold Medal from the National Institute of Arts and Letters. Numerous volumes of his poetry remain available today, including "About the House" and "City Without Walls." W.H. Auden died on September 28, 1973 in Vienna. (Bowker Author Biography) vis mindre
Image credit: Photo from 1945 (Poetry since 1939, British Council)


Værker af W. H. Auden

Selected Poems (1979) 1,735 eksemplarer
Collected Poems (1976) 1,510 eksemplarer
Tell Me the Truth About Love (1986) 605 eksemplarer
The Dyer's Hand and Other Essays (1962) 536 eksemplarer
The Portable Poets of the English Language IV: Blake to Poe (1950) — Redaktør — 477 eksemplarer
Collected shorter poems, 1927-1957 (1966) 462 eksemplarer
The Portable Greek Reader (1948) — Redaktør — 401 eksemplarer
Viking Book of Aphorisms: A Personal Selection (1962) — Redaktør — 383 eksemplarer
Auden: Poems (1995) 370 eksemplarer
Selected poetry of W. H. Auden (1958) 313 eksemplarer
Letters from Iceland (1937) 245 eksemplarer
A Certain World: A Commonplace Book (1970) 234 eksemplarer
Forewords and Afterwords (1973) 228 eksemplarer
The Collected Poetry of W. H. Auden. (1945) 219 eksemplarer
Collected Longer Poems (1968) 200 eksemplarer
The Oxford Book of Light Verse (1938) — Redaktør — 192 eksemplarer
An Elizabethan song book (1955) — Redaktør — 147 eksemplarer
Another Time (1940) 140 eksemplarer
The Portable Poets of the English Language V: Tennyson to Yeats (1950) — Redaktør — 110 eksemplarer
Journey to a War (1939) — Forfatter — 107 eksemplarer
The Elder Edda: A Selection (1969) — Oversætter — 104 eksemplarer
The Sea and the Mirror (1944) 98 eksemplarer
The Prolific and the Devourer (1981) 96 eksemplarer
The Seven Deadly Sins (1961) — Bidragyder — 90 eksemplarer
Thank You, Fog (1974) 73 eksemplarer
The Faber Book of Aphorisms (1962) — Redaktør — 67 eksemplarer
City Without Walls and Other Poems (1966) 66 eksemplarer
Homage to Clio (1960) 55 eksemplarer
The Shield of Achilles (1955) 51 eksemplarer
The Voice of the Poet: W. H. Auden (1958) 50 eksemplarer
Poems (1934) 49 eksemplarer
Nones (1950) 46 eksemplarer
About the house (1965) 45 eksemplarer
Secondary Worlds (1968) 44 eksemplarer
The Rake's Progress {full score} (1951) — Librettist — 42 eksemplarer
Collected Shorter Poems 1930-1944 (1950) 40 eksemplarer
Norse Poems (1981) 37 eksemplarer
Poet's Tongue (1935) 37 eksemplarer
The Selected Writings of Sydney Smith (1956) — Redaktør; Introduktion; Introduktion — 37 eksemplarer
Look, Stranger! (1936) 37 eksemplarer
The Ascent of F6 (1936) 36 eksemplarer
Academic Graffiti (1971) 36 eksemplarer
The Dog Beneath the Skin (1935) 36 eksemplarer
Selected Poems (2010) 32 eksemplarer
The Orators: An English Study (1932) 32 eksemplarer
19th century British minor poets (1966) — Redaktør — 24 eksemplarer
Some Poems (1940) 22 eksemplarer
Selected Essays (1964) 18 eksemplarer
Shorts (1995) 17 eksemplarer
The Intent of the Critic (1941) — Bidragyder; Bidragyder — 15 eksemplarer
New year letter (1941) 14 eksemplarer
Poemas (Em Portuguese do Brasil) (1978) 13 eksemplarer
Havamal Words Of The High One (2004) 13 eksemplarer
The Dance of Death (1933) 12 eksemplarer
On this island (1937) 12 eksemplarer
The Double Man (1941) 12 eksemplarer
Nee, Plato, nee gedichten (2009) 11 eksemplarer
W. H. Auden: A Selection (1961) 10 eksemplarer
Night Mail [1936 film] (1936) — Screenwriter — 10 eksemplarer
Poésies choisies (2005) 10 eksemplarer
I Believe (1945) 9 eksemplarer
The Indispensable Greek Reader (1950) — Redaktør — 8 eksemplarer
The Faber book of modern American verse — Redaktør — 8 eksemplarer
Horae cannonicae i alres poemes (1985) 7 eksemplarer
39 luuletust ja 5 esseed (2012) 7 eksemplarer
Horae canonicae (1986) 7 eksemplarer
The Rake's Progress {Libretto} (1951) 6 eksemplarer
Mountains (1954) 6 eksemplarer
Vint-i-set poemes (1995) 6 eksemplarer
The platonic blow (1965) 6 eksemplarer
Spain (1937) 5 eksemplarer
Lo scudo di Perseo (2000) 5 eksemplarer
Parad los relojes y otros poemas (2000) 5 eksemplarer
The Old Man's Road 4 eksemplarer
Journal de guerre en chine (2003) 4 eksemplarer
Poemas escogidos (1981) 4 eksemplarer
Poezje (1988) 4 eksemplarer
Memorable Quotations: W.H. Auden (2012) 4 eksemplarer
The Bassarids {vocal score} — Librettist — 4 eksemplarer
Die Dreigroschenoper / The Rake's Progress (1987) — Forfatter — 4 eksemplarer
Musée des Beaux Arts [poem] (1939) 4 eksemplarer
Ręka farbiarza i inne eseje (1988) 3 eksemplarer
September 1, 1939 3 eksemplarer
Poesie 3 eksemplarer
The Bassarids {libretto} (1993) — Librettist — 3 eksemplarer
Cartas de Islandia. (2000) 3 eksemplarer
The Unknown Citizen 3 eksemplarer
The Bassarids {unspecified} (1966) — Librettist — 2 eksemplarer
Early Auden 2 eksemplarer
Wykłady o Shakespearze (2016) 2 eksemplarer
Mar Y El Espejo, El (2001) 2 eksemplarer
The Guilty Vicarage 2 eksemplarer
Anrufung Ariels (1987) 2 eksemplarer
Sir, ingens fiende (2003) 2 eksemplarer
collected short poems 2 eksemplarer
The Griffin 2 eksemplarer
Essais critiques (2000) 2 eksemplarer
W.H. Auden, 1907-1973 2 eksemplarer
The Criterion Book of Modern American Verse (1956) — Redaktør — 2 eksemplarer
Saggi 2 eksemplarer
Critical Review 1 eksemplar
Encounter 1 eksemplar
Anhalten alle Uhren (2002) 1 eksemplar
Gedichte = Poems (1973) 1 eksemplar
The Poet's Tongue 1 eksemplar
Wystan Hugh Auden 1 eksemplar
Some Poems 1 eksemplar
“Funeral Blues” 1 eksemplar
W podziękowaniu za siedlisko (2013) 1 eksemplar
Mundo De Shakespeare, El (2004) 1 eksemplar
The Age of Anxiety 1 eksemplar
Elogio de la piedra caliza (2020) 1 eksemplar
August 1968 1 eksemplar
The Bassarids {full score} — Librettist — 1 eksemplar
Yeats and Auden 1 eksemplar
THE ASCENT OF F 6 1 eksemplar
Clocks 1 eksemplar
Gli irati flutti 1 eksemplar
Opere poetiche 1 eksemplar
Quand j'écris je t'aime (2003) 1 eksemplar
K 1 eksemplar
Romeo and Juliet (1958) 1 eksemplar
La mano del tintore (2021) 1 eksemplar
Postscript 1 eksemplar
The Poems of Auden 1 eksemplar
Vier gedichten 1 eksemplar
Ambiguous Answers 1 eksemplar
Poems [1934] 1 eksemplar
Ballad {poem} 1 eksemplar
A day for a lay 1 eksemplar
Night Mail 1 eksemplar
Lullaby (1940) 1 eksemplar
Natural linguistics 1 eksemplar
Letter to Byron 1 eksemplar
Zastolnije besedi 1 eksemplar
Law Like Love (1939) 1 eksemplar
W.H.Auden Reading His Poetry (1993) 1 eksemplar
River profile 1 eksemplar
Poetry 1 eksemplar
Sonnet 1 eksemplar
Two songs 1 eksemplar
Der Wanderer 1 eksemplar
Worte und Noten 1 eksemplar
George Herbert 1 eksemplar
Petition {poem} 1 eksemplar
Sonettar frå Kina (1997) 1 eksemplar
Three unpublished poems (1986) 1 eksemplar
Mão do artista, A 1 eksemplar
Van Gogh A self protrait (1961) 1 eksemplar
Poesie scelte (2016) 1 eksemplar
Poems 1 eksemplar
Poems 1 eksemplar
Higher Greek Unseens (1898) 1 eksemplar
Szekspirowskie miasto : eseje (2016) 1 eksemplar
The Caucasian Chalk Circle (2015) 1 eksemplar

Associated Works

Sonetter : med original engelsk tekst (1609) — Introduktion, nogle udgaver8,675 eksemplarer
Den unge Werthers lidelser (1774) — Oversætter, nogle udgaver8,089 eksemplarer
The Art of Eating (1954) — Introduktion — 1,860 eksemplarer
Complete Poems (1961) — Introduktion, nogle udgaver; Fortæller, nogle udgaver1,808 eksemplarer
Markings (1963) — Introduction, Translator, nogle udgaver1,743 eksemplarer
The Making of a Poem: A Norton Anthology of Poetic Forms (2000) — Bidragyder — 1,268 eksemplarer
Italian Journey: 1786-1788 (1816) — Oversætter, nogle udgaver1,123 eksemplarer
Literature: An Introduction to Fiction, Poetry, and Drama (1995) — Bidragyder, nogle udgaver927 eksemplarer
The Golden Key (1867) — Efterskrift, nogle udgaver798 eksemplarer
The Nation's Favourite Poems (1996) — Bidragyder — 626 eksemplarer
World Poetry: An Anthology of Verse from Antiquity to Our Time (1998) — Bidragyder — 450 eksemplarer
A Pocket Book of Modern Verse (1954) — Bidragyder, nogle udgaver446 eksemplarer
The Star Thrower (1978) — Introduktion, nogle udgaver446 eksemplarer
The Rag and Bone Shop of the Heart: A Poetry Anthology (1992) — Bidragyder — 393 eksemplarer
Brand : et dramatisk Digt (1866) — Introduktion, nogle udgaver368 eksemplarer
The Spy's Bedside Book (1957) — Bidragyder — 358 eksemplarer
Literature: The Human Experience (2006) — Bidragyder — 341 eksemplarer
Against Forgetting: Twentieth-Century Poetry of Witness (1993) — Bidragyder — 336 eksemplarer
Adrienne Rich's Poetry and Prose [Norton Critical Edition] (1993) — Bidragyder — 319 eksemplarer
The Faber Book of Modern Verse (1936) — Bidragyder, nogle udgaver289 eksemplarer
The 40s: The Story of a Decade (2014) — Bidragyder — 277 eksemplarer
The Lure of the Limerick (1964) — Bidragyder — 273 eksemplarer
Don Giovanni [libretto] (1787) — Oversætter, nogle udgaver266 eksemplarer
The Penguin Book of Contemporary Verse (1950) — Bidragyder, nogle udgaver266 eksemplarer
Dagbøger (1887) — Introduktion, nogle udgaver238 eksemplarer
The Penguin Book of Homosexual Verse (1983) — Bidragyder — 237 eksemplarer
The Sorrows of Young Werther / Novella (1971) — Oversætter, nogle udgaver225 eksemplarer
The Living Thoughts of Kierkegaard (1952) — Redaktør — 225 eksemplarer
The Art of Losing (2010) — Bidragyder — 203 eksemplarer
Mahagony (1929) — Oversætter, nogle udgaver186 eksemplarer
Gay and Lesbian Poetry in Our Time (Stonewall Inn Editions) (1836) — Bidragyder — 180 eksemplarer
The Desire & Pursuit of the Whole (1909) — Forord, nogle udgaver180 eksemplarer
American Religious Poems: An Anthology (2006) — Bidragyder — 163 eksemplarer
The Columbia Anthology of Gay Literature (1998) — Bidragyder — 159 eksemplarer
The American Scene (1907) — Introduktion, nogle udgaver155 eksemplarer
The Mark Twain Anthology: Great Writers on His Life and Work (2010) — Bidragyder — 142 eksemplarer
The Faber Book of Beasts (1997) — Bidragyder — 141 eksemplarer
American Wits: An Anthology of Light Verse (2003) — Bidragyder — 135 eksemplarer
Poets of World War II (2003) — Bidragyder — 135 eksemplarer
Adrienne Rich's Poetry [Norton Critical Edition] (1975) — Bidragyder — 126 eksemplarer
Selected Poems (1940) — Redaktør — 121 eksemplarer
Letters from Italy (1996) — Oversætter — 111 eksemplarer
Emergency Kit (1996) — Bidragyder, nogle udgaver109 eksemplarer
Leading From Within: Poetry That Sustains the Courage to Lead (2007) — Bidragyder — 102 eksemplarer
The Norton Book of Friendship (1991) — Bidragyder — 96 eksemplarer
The Selected Poetry and Prose of Byron (1966) — Redaktør — 94 eksemplarer
Poems to See By: A Comic Artist Interprets Great Poetry (2020) — Bidragyder — 94 eksemplarer
A Reader's Companion to the Hobbit and the Lord of the Rings (1995) — Bidragyder — 78 eksemplarer
The Protestant Mystics (1960) — Introduktion, nogle udgaver74 eksemplarer
Religious Drama 1 (1957) — Bidragyder — 73 eksemplarer
The Everyman Anthology of Poetry for Children (1994) — Bidragyder — 72 eksemplarer
Gods and Mortals: Modern Poems on Classical Myths (1684) — Bidragyder — 69 eksemplarer
Don Giovanni [score : vocal] (1900) — Oversætter, nogle udgaver69 eksemplarer
Times Three (1960) — Forord — 64 eksemplarer
Aftenland (1953) — Oversætter, nogle udgaver62 eksemplarer
The rise and fall of the city of Mahagonny + The seven deadly sins [librettos] (1979) — Oversætter, nogle udgaver55 eksemplarer
Lament for the Makers: A Memorial Anthology (1996) — Bidragyder — 52 eksemplarer
The Name of Love: Classic Gay Love Poems (1995) — Bidragyder — 51 eksemplarer
Best SF: 1973 (1974) — Bidragyder — 46 eksemplarer
A Quarto of Modern Literature (1935) — Bidragyder — 40 eksemplarer
Penguin Modern European Poets : Gunnar Ekelöf : selected poems (1971) — Oversætter — 36 eksemplarer
Antiworlds, and the fifth ace; poetry (1967) — Forord, nogle udgaver35 eksemplarer
Antiworlds (1966) — Oversætter — 34 eksemplarer
The Magic Circle: Stories and People in Poetry (1952) — Bidragyder — 33 eksemplarer
The Old School: Essays by Divers Hands (1934) — Bidragyder — 30 eksemplarer
Tales of Grimm and Andersen (1952) — Introduktion — 29 eksemplarer
Selected Poems (1900) — Oversætter, nogle udgaver29 eksemplarer
60 Years of American Poetry (1996) — Bidragyder — 28 eksemplarer
Pulitzer Prize Reader (1961) — Bidragyder — 27 eksemplarer
Edgar Allen Poe: Selected Prose and Poetry (Rinehart Editions) (1950) — Introduktion — 27 eksemplarer
The Book Lovers (1976) — Bidragyder — 26 eksemplarer
Oscar Wilde: A Collection of Critical Essays (1969) — Bidragyder — 26 eksemplarer
A Change of World: Poems (1951) — Introduktion, nogle udgaver24 eksemplarer
Graham Greene: A Collection of Critical Essays (1973) — Bidragyder — 24 eksemplarer
One World of Literature (1992) — Bidragyder — 24 eksemplarer
Lapham's Quarterly - The Future: Volume IV, Number 4, Fall 2011 (2011) — Bidragyder — 23 eksemplarer
A. E. Housman: A Collection of Critical Essays (1968) — Bidragyder — 22 eksemplarer
The World of Law, Volume II : The Law as Literature (1960) — Bidragyder — 21 eksemplarer
The Best American Poetry 2023 (The Best American Poetry series) (2023) — Bidragyder — 20 eksemplarer
On Moral Medicine: Theological Perspectives in Medical Ethics (2012) — Bidragyder, nogle udgaver20 eksemplarer
Collected Poems (1971) — Oversætter — 20 eksemplarer
A Choice of de la Mare's Verse (1963) — Introduktion; Redaktør — 20 eksemplarer
Edgar Allen Poe: Selected Prose and Poetry (1963) — Introduktion — 20 eksemplarer
The Poetry Cure (2005) — Bidragyder — 19 eksemplarer
Masquerade: Queer Poetry in America to the End of World War II (2004) — Bidragyder — 19 eksemplarer
De dag dat je brief kwam Amnesty International poëziebundel (1988) — Bidragyder — 18 eksemplarer
The Great Operas of Mozart (1962) — Oversætter — 17 eksemplarer
Masters of British Literature, Volume B (2007) — Bidragyder — 17 eksemplarer
Fairy Poems (2023) — Bidragyder — 16 eksemplarer
Choice of Verse (1963) — Redaktør — 16 eksemplarer
Selected Songs of Thomas Campion (1972) — Redaktør — 16 eksemplarer
Selection from His Non-fictional Prose (1970) — Redaktør — 15 eksemplarer
Poetry in Crystal (1963) — Bidragyder — 15 eksemplarer
Poet to Poet : George Herbert, selected by W. H. Auden (1973) — Redaktør — 15 eksemplarer
Selected Poems (1972) — Oversætter, nogle udgaver13 eksemplarer
If Christ Be Not Risen: Essays in Resurrection and Survival (1986) — Bidragyder — 12 eksemplarer
Two Addresses — Oversætter — 12 eksemplarer
Oxford and Oxfordshire in Verse (1982) — Bidragyder — 12 eksemplarer
New World Writing: Second Mentor Selection (1952) — Bidragyder — 12 eksemplarer
All Day Long: An Anthology of Poetry for Children (1954) — Bidragyder — 10 eksemplarer
Alfabet op de rug gezien (1995) — Bidragyder — 10 eksemplarer
Red (1987) — Komponist — 10 eksemplarer
Man in Literature: Comparative World Studies in Translation (1970) — Introduktion — 8 eksemplarer
The Pied Piper and Other Fairy Tales of Joseph Jacobs (1963) — Redaktør — 8 eksemplarer
Perspectives on poetry (1968) — Bidragyder — 7 eksemplarer
Four ways of modern poetry (1965) 7 eksemplarer
The Bitch-Goddess Success: Variations on an American Theme (1968) — Bidragyder — 6 eksemplarer
Poetry anthology (2000) — Bidragyder, nogle udgaver6 eksemplarer
Selected Ballads (2002) — Bidragyder — 5 eksemplarer
Jean Sans Terre (1936) — Forord, nogle udgaver5 eksemplarer
Weill : The seven deadly sins [vocal score] (1972) — Oversætter, nogle udgaver4 eksemplarer
The Habit of Art [theatre programme] 2009 (2009) — Bidragyder — 3 eksemplarer
A beginning; (1948) — Forord, nogle udgaver3 eksemplarer
A Crackling of Thorns. Foreword By W.H. Auden (1958) — Forord, nogle udgaver3 eksemplarer
Antaeus No. 21/22, Spring/Summer 1976 - Special Essay Issue (1976) — Bidragyder — 3 eksemplarer
Voor Mevr. en Mr. Naaktgeboren (1984) — Bidragyder — 2 eksemplarer
Antaeus No. 15, Autumn 1974 - Special Translation Issue (1974) — Oversætter — 2 eksemplarer
Prose: A Literary Magazine, Volume 1 (1970) — Bidragyder — 1 eksemplar
Antaeus No. 23, Autumn 1976 — Bidragyder — 1 eksemplar

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Almen Viden



I read this in high school and loved their poetry.
bit-of-a-list-tiger | 1 anden anmeldelse | May 19, 2024 |
Startled that this has no reviews on Goodreads, and - aside from a battered copy I found in my local library - is barely available anywhere! Auden(!)'s collection of minor poets from the 19th century is a viable bundle of works, some of which may ring faintly in the ears, others that were completely unknown to me.

True, this is by its very nature not the classics, but here are some voices that existed in their own time. Neither the timeless (read: non-culturally specific) ones or the commercials who faded before Queen Victoria was cold in the ground. These are the middle group, the bourgeois poets. Other voices.… (mere)
therebelprince | 1 anden anmeldelse | Apr 21, 2024 |
It would seem churlish to give this 4 stars, even though the essays rather trail off toward the end. A masterpiece of thought from one of the century's greatest writers, but whose cultural context and intellect are slowly - I believe - damning him to that particular obscurity known as the literary giant: much applauded, little read. What will people know of Auden by the time I am an old man? I often wonder.
therebelprince | 8 andre anmeldelser | Apr 21, 2024 |
On the one hand, assumptions about Hugh Auden can be something to dislodge; however, on the whole the introduction is the sort of undecided wreck that is so typical of overeducated under-lived scholarship. Hugh wrote things he regretted. He became a bit judgmental, perhaps, or perhaps merely discerning. I haven’t read it yet, so I don’t know, all I know is that some anonymous (if you like) scholar is very careful to maintain his agnosticism on the subject, you know…. I wonder what these professors of knowledge think that poetry is /about/, like what do they think it /does/, you know? “This is an excellent poem because of its literary qualities. It was written by a poet, as a poem, and published first in a poetry magazine, and then later in a book of poetry, and then finally in various “Collected” and, sometimes, “Selected” books. Yes, by golly and the goose, he finished it! It’s a poem! So it’s Literature! It’s a win! 🍷 Gosh, I’m so glad I’m better than the peasants! I KNOW this stuff!” 😀

I’ll probably continue to read poetry sometimes, but I’ll have to see about maybe getting editions without introductions, if possible. If literature isn’t about life, then what’s it about? —Why, it’s about being “literary”. Not style per se, or having fun—Golly and the goose, no!—just…. BS’n’, you know. That’s what poetry is about. Proles don’t like it, and I’m no prole! (points to self)

But Hugh himself couldn’t have been Quite as bad as that…. Although, How Much better, we should not assume, you know.

…. It’s like in the (relatively good, in some respects) Doctor Who episode about Charles Dickens and such—the Doctor and Charley have this exchange, at the end: —Will The Little People Remember Me And My Words Of Wisdom, —We Would Never Cut Lit Class, No Sir-y Charles, but it’s like—I mean, of course I know that “Charles Dickens” isn’t Charles Dickens; he’s “the great, great man”—but given what Charles wrote about (love, at least half the time), and how much prestige his contemporaries afforded his admittedly popular efforts (probably somewhere in between the reviled Deepak and Stephen “the” King, you know), well, maybe instead of asking about his postmortem career success—a real thing, I’m sure—he could have asked if the Doctor and Rose were an item. You know, just in case he wanted to write about /that/ in some massive meandering newspaper novel, right.

…. I don’t think I like Hugh. I don’t really know what he means usually, or if he means anything in particular. I don’t know what he means, except that I suspect it means nothing, you know. (“I don’t know half of you as well as I should like, and I like less than half of you half as well as you deserve.”) Shakespeare is easier to read, and there the difficulty is mostly dialect and time, and not, you know, this incredibly infelicitous language, clunky line on clunky line, adding up to nothing, basically. Will came still near to the beginning of civilization, Hugh towards its decadent and undecided end. He just never makes up his mind to say anything or feel anything—and at twenty, for God’s sake! Was he born dead? Was this the sort of thing that the critics of Anne Sexton preferred? I guess that’s what you get for trusting the Literary Canon, the Dictionary Names, never to pull a fast one on you!

…. (John Lennon) You have to hide your love away.
(Hugh) (considers this) Unless you don’t have a love.

…. I guess it makes sense to read Hugh—since I have so much poetry, to have one 20th century “straight man” (in the comedic sense) sort of poet. But in the future, maybe I’ll just be a normal person (this one ☝️ time) and just not read so much damn poetry, you know. I’ve read a lot of it, for some reason, but I don’t know how much I really liked it…. Better than visual art books, I guess—those are a real exercise in pulling the lonely isolated man out of the party crowd, you know. “So many people around you! No friends?” (No I won’t destroy the Ring of Power face) “No….” ~ But I can’t look at a poetry book I read and say, Ah! Such good feels! Maybe Anne Sexton, but I didn’t actually have that experience reading her—my education ruined her for me. So screw the poets…. But maybe I will read Oscar Wilde’s plays, you know. I think those might be about the human being instead of the robot….

…. I guess I just don’t like Hugh, or what he represents. It’s all ‘knowledge’, and no-decision, especially for the critic, but also for Hugh, and yet also there’s this encrusted customary-formulaic and slightly credulous (‘I could take him!’) barbaric decision-making, where it’s like, Tomorrow we burn the red man’s village, men. Here’s an extra nommy bar. “And far away it began to snow….” You know, it’s like—it’s just bad, really. There were a lot of writers like that. “In England and/or America, there are many thousands of Hugh’s.” I guess I will have to finish reading Langston Hughes/The Weary Blues, and then I can say I’ve read one Black guy (also one man of color), not that the Black radicals would be terribly impressed. But also maybe tomorrow I’ll start to delete my free-sample poetry books, you know. It’s like…. It’s just not good.

…. It’s extremely jarring to hear the word “sexy” uttered by a leathered corpse, you know. Such is the poetry of the G.I. Generation.

And I assume that he likes Poland better than Hitler, (I make an ass of you and me, of course), but the way he writes it—this incredibly clunky, infelicitous language, where everything is whispering beneath tinkling bells—it sounds as though he’s almost saying that the strange orientals in Poland are menacing the good Germans, you know. You hear a lot about Western Europe and Eastern Europe—it’s funny to think that the whole thing began and exists only because Western Europe, considered as a whole, developed empires—sea empires, and Eastern Europe did not—mostly just nondescript little villages of ugly white people without any sea of brown slaves to make them French, you know. Russia did have an empire, but it was not a sea empire; it could not prey on the world, only the peasants. It was only a class empire, and it was a more brutal class empire than England’s, which also had a class element, but there just wasn’t as much money to wring out of the poor fuckers as there was in India and even (huge) Africa, you know. And the notables spent the money in Paris or in Italy anyway, half the time, (“Anna Karenina”), because trading with the sea empire zone was the way to be a winner. And if you weren’t part of the sea empire zone—Western Europe—to many Englishmen there could be no fellowship at all, since if you aren’t a fellow thief: what then? Polish orientals, what are they? Strange people, strange customs. No brown slaves in their entire state….

…. (shakes head) The little thing the Great Man deigned to love, just couldn’t understand that she was inferior, and that the Great Man was a creature of science and poetry, a sort of hum-drum-grey angel for the common man, yes, a Great Man…. But the woman just couldn’t do the right thing, couldn’t understand, didn’t ~appreciate~ him, you know: the pathetic little wench; she ruined everything. (puts down beer glass) Well, lads, next week we begin our ‘Debating Suicide: A Good Move, or not so much’. We start with the GREEKS, of course….

I have to stop commenting on every poem, because it’s so bad, and there’s so much, you know. But that gives you a sense of it. Kinda had to wrap up poetry, mostly: for now, at least. Not every little handkerchief-in-the-wind poet who writes abstract little half-philosophy lines is really as good as even a bad novel, done well, you know…. And God; they’re insufferable. They think they’re Jesus-Apollo’s little gifts to an inferior species, you know…. It’s like, shut up; fuck you…. Bloody, cant, you know…. It’s like propaganda that needs to be explained, you know…. “That was so beautiful, Big Brother…. But what does it mean?” “Well, it’s beautiful; but if you can’t figure it out, you’ll just have to dig ditches with the rest of the galley slaves.” “But we will send our children to school, and one day ~they~ will understand Big Brother’s propaganda?” “Er…. Sure, maybe. I mean, yeah. Sure.” “Ah! Thank you, Big Brother! You’re the best kind of sibling, that there’s ~evah~ been, and that is the Truth!”….

—And it says in The Book, “You shall be like your neighbor.” The words of the Male. Thanks be to chastity.
—But EYE am Jesus-Apollo-Child! I’m ~better~ than my neighbor!
—Then it is your duty, and your obligation, to ensure that the dirty, stupid peasants obey the commandment of the Male, that you need not obey: “you shall be like your neighbor”.
—I’m so happy, to hear you say that. 😌

…. And he seems to have believed that becoming a business type was like getting cancer. “EYE am Jesus-Apollo-Child! EYE already have money! All the decent sorts have already got the money they need, and if they didn’t, they’d have to be given it, because they’re the decent sort! But what’s the use of having more money than that, for people who are NOT the decent sort, eh? What’s the good in that? It’s a bad thing!”

I really have to stop commenting. This is going to be bad, you know.

…. Wait! Hugh!
I’ve got a poem too!:

“Beneath the judge’s lace gown—
Called ‘Nature’, and ‘Greece’—
Lies the corpse of fundamentally
not giving a shit
The great fruit—aim!—‘success’!
of theology’s philosophy

Broken English Woman say
In feng shui push dying chi outside house
Hugh Auden Poet Man say
Your feng shui no good.”

…. I can remember when I’d read, not history, but the historical forms of the religions, you know, the loyalty-religions, and then I’d be like, but we also need emotions, we need the more common way, open to all: perhaps poetry, for example, the poets, the feelings, right….

Very naive. 😸

…. Let’s see: hmm, he doesn’t like nuns; he probably thinks he’s a monk married to a prostitute; after all, it’s midcentury, and people have got to be unlike, to love—enemies, almost…. And don’t you know I’m a poet?

…. He literally wrote a sentence in French: and there are notes, and it’s not translated in the notes. It’s like…. Sheldon Cooper Rampage IV: Sermons for My Whores; you know. “Bitch, if you don’t know French, then you really ~are~ a whore.” “I know Chinese and English. Not everyone speaks French.” (dismissive wave) “If you chose Chinese over French, then you really are a bitch, you little China-woman. Didn’t you see the Syllabus of Life that the Good People From England put out a few years ago?”

…. (trying to reason with me) But you don’t understand; (slower) You don’t understand. ~I really, do, speak better Greek than my whore, you know. My sermons to her demonstrate a very high level of correctness. (beat) Although, it’s true: that’s not why I selected her. (shrugs)

…. He was a gracious corpse, and all England (Greece) loved him. All the people say amen.

…. He just seems like such a terrible person, you know. He just sounds so immoral, so abandoned to the wrong, (though in all the proper ways), and on earth he seems to have spectacularly gotten away with it, it course. Except that he was unhappy. Unhappy, and probably did not even know it. What strange devil does that?

…. You read something, the typical thing, from the tail end of the 19th century, and it’s like—so snobby; probably the snobbiest thing ever written, or the snobbiest time. Then, you read many of the things written in the early 20th century, and you behold wonders and impossibilities—it got worse. It’s even snobbier. The monster machine had to grow quite weak and brittle before it started to crack, you know.

…. The Enneagram Three, the business-type, has as its principal temptation lying. Not greed, it might surprise you—that one goes to the Fives, the observers, the pure-intellectuals. Obviously all types have some mark against them, in their un-awake forms, but it does actually make sense that the intellectual is tempted to greed; it’s just—aside from the “doctors and lawyers” everyone wants their kids to turn into—very often a sort of “higher”, spiritual greed. The average pure-intellectual observer wants more and more time off from whatever productive activity they engage in, to spend more and more time writing increasingly expensive and difficult to understand little essays connected to less and less of the real world, the lived world, for the sake of fewer and fewer people. It’s a greed for prestige—being ~worth~ more than others, and if you can’t afford new shoes, then that is the fault of the men of the power and the men of the gutter, and all men except for me, the One Man. You need more and more prestige. It’s insatiable. There’s a lot of that in Hugh. It’s obvious he was never happy—he was too ill. Who is ill and happy? The things are opposites.

…. Poetry means ~ugly~ language, I guess. It’s like his big brain vomited.

…. Mind-vomit. Absolute mind-vomit.

If someone with a clinical file wrote this, they’d be explaining to their psychiatrist whether or not they wanted their meds changed, you know.

Or just someone not of gentle birth…. Money meant something so different then, to the extent that it still doesn’t mean that something “different” now, from what money really is, you know. It was like…. Like a color, you know: an inherited racial condition, a different set of laws or standards. It had so little to do with productive work, creativity, or even intellect, considered rightly. It was the birth-right to be taken seriously, as someone who didn’t need to be exploited and wrung out, you know. “Yes, this is mind vomit; but I am of gentle birth. I have a right to be a little soft in the head.”

And the 60s meant so little to most people, “intellectuals”, and especially “the classics”—and it doesn’t hurt to be a straight white man who lived the old sort of way, see white fragility and male insecurity; see what happens when you take the pin of deference off the grenade of unearned, unkind privilege—is indeed, almost to the very same extent, simply different laws, different rules, different standards. Put some of this crap on YouTube and don’t explain that it’s “dah kwassiks”, then probably you don’t get hit with plagiarism etc: you get hit with harassment, you know: you’re just another poor fucker on the interwebs. Put it in a book—and a paper book, God bless us: that makes it wise and true!—written by a dead man born gently in lily-white England….

It’s a horse of a different color. The chess club will support you, sir. And the Navy….

It really is like a sort of mental illness, like a mass hallucination, almost like a psychotic or at least, neurotic religion. Mind-Vomit Poet: His Life, His Faith, His Message For Today: (random gobbley-gook) (people struggle to compliment it to ride the coat-tails of his importance)….

…. I take it back. Auden’s not psychotic. Antonin Artaud is psychotic. Hugh is merely neurotic—merely worse; ~normal.

…. Mind vomit, confidently delivered by a man of gentle birth, triumphs over the whispers in the servants’ hall, you know.

…. It’s almost like it is with the Christian church. Why deliver the psychic goods—love and humility and reasonableness and all that crap—when you can’t be held accountable, when there are going to be no consequences, no matter what you do? No one’s allowed to turn Buddhist or Wiccan if the village clergyman is a small-minded bigot, you know. You probably couldn’t even go down the road to the next village’s small-minded bigot in the old days, Lord Assweight wouldn’t like it! No accountability at all. Jesus is better than all of you, and I am Jesus’ minion; the earth is the Lord’s, and I am the Lord’s deputy, whether I smile condescendingly at you, or scrub you off off me like shit and mud that cakes onto my riding boots, you know.

And it’s the same with the people that Jesus appointed as the rulers of the world, in his place, and in his name, the British middle class. Now, think: in the old days, or with a real old-fashioned person, what would a poet have to do to get on the shit list, once he’s satisfied the chess club? “Poetaster Paul was allegedly found guilty and jailed for raping his mentor’s daughter; the criminal lewdness of his mind was matched only by the celestial cathedral-ness of his poetry. Let’s print another edition of his work this year, with less criticism and more praise for his inability to figure out what he was talking about.” Right? Would the poems even have to express emotion? Would they even have to be beautiful? Would they have to make sense, even, or have a point? Once the critic has found a word vomit brother, what labyrinthine toxic meaningless bullshit would it take before the classic-type person writes one line about him that’s bad? Right? I mean, that actually even causes you to pause for a moment before handing him his bonus check vacation, right? “His celestial vault of the heavens poetry is music, but bad people say that his total dismissal of his wife, friends, little people, and the real world, should put a little * next to his ticket to poetaster paradise. You shall not agree with this view; but let’s consider its validity. Thoughts?” (half the class wonders what they’re supposed to say, the other half scrolls through Instagram surreptitiously) I said: tell me what I want to hear; I won’t tell you what. Allison, you little slut, what do you think about Poetaster Paul? “I’m just glad he didn’t rape me, I guess….” (trying to hide in plain sight) A female point of view. Interesting…. But what about a universal point of view? Fred? “Well, certainly the poetaster prances through paradise, sir; it’s the way it should be. The way it has to be.” (trying to pick apart his own opinion out of boundless negativity) Many people would disagree with you…. But I’ll allow it. 3.14 points for Gryffindor.”….

I’m not trying to take the admittedly difficult case of someone who has a real talent and yet also has a psycho side that commits crimes or whatever. What I’m saying is if you feed the collective brain fart syllabus, you probably ~could~ commit the odd crime or two, and in turn you don’t have to give ~anything~, give ~nothing~. Give ugly, flat, grey poetry with dubious pretensions to fucking politics or something, you know. Like some elective monarchy’s politics, you know: the psychoanalysis of the Holy Roman Imperial election of 1766, with reference to Freud but not sex, you know—just bullshit, fakery. And THEN rape someone in exchange. Just be entitled, right. “I’m Poetaster Paul; I’m entitled to your sex, Dairy Maid Jane….” (laughs)

You’re entitled to everything; you’re entitled to other people’s souls, you know. The only thing you’re NOT entitled to is ~happiness~, because who wants happiness? (flicks cigarette, looks into the distance as the camera tilts) I want the world….

…. I hate talking about hell because I, well I don’t hate, but I distrust the unkindness-turned-into-idiocy Christians who hellfire people, you know; but didn’t C.S. Lewis have somebody say something like, I realized that for my whole life I did NEITHER what I liked, NOR what I ought to have done—and then I found myself in hell?

…. (Hugh on Roman Emperor Platform with you, among thronging, lauding crowds) (to you, conspiratorially) (waving hand dismissively) Oh, I didn’t mean anything by it.
(dismissively) Yes yes: Emperor of the poets.
—Imperator Poetorum! Imperator, Imperator, save me! Make my brother divide the estate with me!
(mischievously) Throw him to the lions.

…. It’s every bit as bad, really, as “The Grapes of Wrath”, and rather similar. Not un-similar at all.
—Eh, what’s this? You have exposed your weakness! (hacking cough) The whole race of Zombie man rebukes you, sir! His whole un-life is testament to your frilly folly! (hacking cough) His— (hacking cough) His— (hacking cough) His, his— (long series of hacking coughs)

…. Hugh Auden was a schmuck.

(British movie professor addressing elite boys’ school class) The answer: the answer, is to ignore women. (walking towards the blackboard) And for that, we need an [writes the word “INSTITUTION” on the blackboard, then circles it]—an institution….

…. He wrote a poem “for” a guy murdered by the Nazis at the end of WWII: imagine if he had actually fucking said something about Hitler or WWII! Fuck, I know he was a theologian, but he made it sound like the guy was writing a discourse on the angels’ place in the creation of consciousness, with quill and ink, and then got up to fill his empty ink-bottle, and then accidentally fell down the stairs and broke his neck, you know. (tearful daughter) “Dietrich always WAS a little challenged at navigating his way through a room, physical space, his body—that sort of thing. (wrings hands).”

You know, it’s like: all about bullshit and nothing about death, although death and bad shit is his one big topic, although he refuses to talk about it. He just waffles. He’s a waffler. “I’m unhappy. There’s a reason I’m unhappy. It’ll come to me…. I know I didn’t want to broach the topic, too directly, too indelicately…. (throws down newspaper in disgust) THERE WAS A REASON I CAME INTO THIS ROOM.” (starts breathing heavily from the physical exertion of talking loudly)

…. Hugh Auden wins schmuck contest, CNN projects.

…. And then join us for a PBS Special: Hugh Auden— A Schmuck for Our Times, A Retrospective. Send us your guilt feelings and seventy-five dollars, and we’ll blow you a kiss and say, I’ll never scam you, honey. Send us one hundred twenty-five dollars, you get a sticker: UN-SCAMMABLE!

(smiles) But people like that, who like governments better than companies, the bureaucrat better than the television or the advertisement, robots better than little girls—bless them, at least they like Something. The little Scotch-Irish frontier fighter “blood” or whatever, (even if his father was an insurance salesman or something, but he’s been watching Fox News for years), thinks that the government has been plotting his demise while his wife takes him out on vacation, or his ex-confederate the hippie, convinced that everyone is a racist not because everyone is a racist, but because they’re not WEIRD. (“Biden MADE Putin attack Ukraine! It’s all the CIA; Putin’s a CIA agent—it has to do with Iraq!”) Be as racist as you like, as long as you’re a freak. (shrugs) So Hugh wasn’t the Last Jackass like in a movie, right. But what a legacy to leave behind you for the subsequent models of illness incarnate: a curious deadness, you know.

Well, I’ll tell you what, this is what I believe: as long as when, in seven and a half or eight hours, I lie down to sleep, I don’t hear Hugh Auden singing me a lullaby—

All will be well.

Honest to fuck, right.
… (mere)
goosecap | 9 andre anmeldelser | Jan 31, 2024 |



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