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The Poet Index · Entry 061

W H Auden
Poems

Nationality
United States
Indexed Works
0

W. H. Auden (1907–1973) was born in York and grew up near Birmingham in a household deeply influenced by medicine, Anglo-Catholic faith, and a father’s library filled with psychology and mythology.

Editorial intro

Storgy editorial

Editorial intro

W. H. Auden made the English language feel like it had been waiting for a poet who could move seamlessly between a pub argument, a Freudian case study, and a medieval morality play — and he achieved this while making every register sound inevitable. Where his contemporaries chose a specific style, Auden did not. He wrote blues lyrics and Christmas oratorios, verse letters and formal odes, and none of it felt like showing off. It felt like thinking out loud by someone who happened to be the smartest person in the room and was trying hard not to appear smug about it.

His influence runs through almost every anglophone poet who came after him and aimed to be both serious and accessible — Philip Larkin absorbed his formal precision, James Fenton his political nerve, and a whole strain of American poetry credits him for the permission to be witty without being shallow. First-time readers are often surprised by two aspects: how funny he is, and how urgent the early work still feels, as if the 1930s dispatches from Spain and Iceland were written last week. The later Auden — the New York years, the return to Christian faith, the philosophical sprawl of "The Age of Anxiety" — rewards patience and tends to resonate more on a second read than the first.

Full poem text lives on Poetry Foundation and poets.org — we link directly.

Biographical record

About W H Auden

W. H. Auden (1907–1973) was born in York and grew up near Birmingham in a household deeply influenced by medicine, Anglo-Catholic faith, and a father’s library filled with psychology and mythology. He partly credited his love of language to church rituals and the Pennine landscape he explored as a boy—a rugged world of mines and moorland that often appeared in his poems throughout his life. He realized he wanted to be a poet at the age of thirteen when a school friend asked if he wrote poetry, and to his surprise, he acknowledged that he did.

He studied English at Christ Church, Oxford, where he discovered Old English poetry through J. R. R. Tolkien's lectures and mingled with a group that included Louis MacNeice, Stephen Spender, and Cecil Day-Lewis. After spending time in Berlin from 1928 to 1929—where he first faced the political unrest that would characterize the following decade—he returned to Britain and taught in boys’ schools for five years. His first collection, Poems (1930), published by Faber and Faber at T. S. Eliot's urging, introduced a significant new voice: technically skilled, politically aware, and formally adventurous.

During the 1930s, Auden collaborated on plays with Christopher Isherwood, worked on documentary films, traveled to Iceland and China, and briefly visited Spain during the Civil War.

He gained recognition as the leading left-wing poet of his generation, although he was beginning to feel uneasy with that label. In January 1939, he and Isherwood sailed to New York. This departure was perceived in Britain as a form of desertion, which tarnished his reputation there for years.

Once in the United States, Auden's work underwent a significant transformation. He rejoined the Anglican Church in 1940, and his long poems of the 1940s—including "For the Time Being" and "The Sea and the Mirror"—began to address religious and existential themes. His 1947 long poem The Age of Anxiety won the Pulitzer Prize and encapsulated the postwar sentiment. He became an American citizen in 1946, settled in Manhattan, and later acquired a farmhouse in Kirchstetten, Austria, where he spent his summers with his long-time partner, Chester Kallman.

About these poems

II [Doom is dark and deeper than any sea-dingle.]

This early poem by Auden explores the urge to leave home and venture into the unknown. It draws from Anglo-Saxon verse traditions, employing alliterative stress patterns and creating a dark, archaic mood that contrasts sharply with the modernist free verse of its time. The speaker is tormented by dreams of exile, and Auden presents this restlessness as something akin to destiny. Featured in his 1930 collection, the poem showcases a poet who could make old English sounds feel strikingly relevant. Check it out to see how Auden quickly established his early reputation.

  • exile
  • dreams
  • home
  • fear
  • the-past-and-memory

First Things First (audio only)

This is a love poem that avoids sentimentality. Auden presents a range of magnificent subjects — landscapes, celestial wonders, the sublime — but gently asserts that a particular human face holds more significance than them all. The argument is straightforward, and the tone is calm, which is what gives it impact. The poem is from his middle period, a time when he wrote with more brevity and less theatrical flair. It invites slow reading, as the logic unfolds thoughtfully from line to line. If you believe Auden is too intellectual to express warmth in love, this poem will change your perspective.

  • love
  • beauty
  • nature
  • happiness

Lullaby

One of Auden's most famous love poems, this piece tenderly addresses a sleeping lover while acknowledging that love isn't always permanent and that the beloved isn't flawless. Auden candidly reflects on human vulnerability and the passage of time, even in a moment filled with genuine affection. The poem takes on the soothing rhythm of a lullaby, cleverly weaving in deeper themes — an adult grappling with mortality and imperfection. It's been included in numerous anthologies and is frequently highlighted as evidence that Auden could express deep emotions without being simplistic. Read it to appreciate how warmth and a clear-eyed view of reality can coexist in the same poem.

  • love
  • mortality
  • time
  • beauty
  • loneliness

As I Walked Out One Evening

This poem contrasts a lover's grand, seemingly eternal vows with the relentless ticking of clocks that remind us time eventually erases everything. It unfolds like a debate between the lofty ideals of romance and the harsh reality of mortality, with Auden balancing both perspectives without letting one dominate. The ballad form—simple stanzas, a speaker who walks, and voices from the street—adds a folk-song simplicity that lightens the philosophical burden. It reached a wider audience when recited in the 1995 film Before Sunrise and continues to be one of the most read poems of the twentieth century. It's the perfect piece for anyone who's ever made a promise knowing that time would put it to the test.

  • love
  • mortality
  • time
  • sorrow
  • the-past-and-memory

On the Circuit

This poem captures Auden's wry take on life as a touring poet—navigating airports, staying in the same bland hotel rooms, addressing polite audiences, and feeling the loneliness that lurks beneath the professional facade. Featured in *About the House* in 1965, it reflects his experiences during the American lecture circuit. While the tone is humorous, the underlying discomfort is palpable: here’s a poet who cherishes home and routine, yet finds himself stuck in a relentless schedule that offers neither. Auden cleverly highlights the absurdity of his situation, shedding light on themes of displacement and the contrast between a writer's public persona and private existence. This poem is funnier than many of his works and shows a level of self-awareness that's hard to find elsewhere in his writing.

  • work
  • loneliness
  • home
  • identity
  • disillusionment

Critical reception

How critics read W H Auden

Auden emerged as a significant voice almost immediately. His first collection, released in 1930, quickly made waves in British literary culture, and by the mid-1930s, he was seen as the leading poet of his generation — the face of a loosely connected left-leaning group that included Stephen Spender and Louis MacNeice. His work with the GPO Film Unit, particularly the narrative for *Night Mail* (1936), helped him reach a wider audience and demonstrated to critics his ability to thrive beyond the printed page.

His relocation to America in 1939 sparked sharp divisions in opinion. Some British critics viewed it as a betrayal; however, others eventually recognized it as the catalyst for the development of his later, more expansive writing style. Edward Mendelson, who became Auden’s literary executor and authored the standard critical biography — released in two volumes as *Early Auden* (1981) and *Later Auden* (1999), which were later combined — was instrumental in arguing that the work produced during his American years was as serious as his poems from the 1930s. Monroe K. Spears's *The Poetry of W. H. Auden: The Disenchanted Island* (1963) was one of the first comprehensive critical analyses and played a key role in establishing Auden's work on university syllabi in both the UK and the US.

His opera libretti, co-written with Chester Kallman for Stravinsky (*The Rake's Progress*, 1951) and Henze (*The Bassarids*, 1966), broadened his influence into the realm of music criticism. Scholars like Arthur Kirsch explored his views on religion, and the three-volume *Auden Studies* series, edited by Katherine Bucknell and Nicholas Jenkins, maintained scholarly interest through the 1990s. Auden continues to be a staple in English literature courses, with younger poets frequently citing his technical skill and intellectual ambition as direct sources of inspiration.

Recurring themes

Poets in the same orbit

Reader questions

Frequently asked