'In Praise Of Limestone' by W.H. Auden
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If it form the one landscape that we, the inconstant ones,
Are consistently homesick for, this is chiefly
Because it dissolves in water. Mark these rounded slopes
With their surface fragrance of thyme and, beneath,
A secret system of caves and conduits; hear the springs
That spurt out everywhere with a chuckle,
Each filling a private pool for its fish and carving
Its own little ravine whose cliffs entertain
The butterfly and the lizard; examine this region
Of short distances and definite places:
What could be more like Mother or a fitter background
For her son, the flirtatious male who lounges
Against a rock in the sunlight, never doubting
That for all his faults he is loved; whose works are but
Extensions of his power to charm? From weathered outcrop
To hill-top temple, from appearing waters to
Conspicuous fountains, from a wild to a formal vineyard,
Are ingenious but short steps that a child's wish
To receive more attention than his brothers, whether
By pleasing or teasing, can easily take.
Watch, then, the band of rivals as they climb up and down
Their steep stone gennels in twos and threes, at times
Arm in arm, but never, thank God, in step; or engaged
On the shady side of a square at midday in
Voluble discourse, knowing each other too well to think
There are any important secrets, unable
To conceive a god whose temper-tantrums are moral
And not to be pacified by a clever line
Or a good lay: for accustomed to a stone that responds,
They have never had to veil their faces in awe
Of a crater whose blazing fury could not be fixed;
Adjusted to the local needs of valleys
Where everything can be touched or reached by walking,
Their eyes have never looked into infinite space
Through the lattice-work of a nomad's comb; born lucky,
Their legs have never encountered the fungi
And insects of the jungle, the monstrous forms and lives
With which we have nothing, we like to hope, in common.
So, when one of them goes to the bad, the way his mind works
Remains incomprehensible: to become a pimp
Or deal in fake jewellery or ruin a fine tenor voice
For effects that bring down the house, could happen to all
But the best and the worst of us...
That is why, I suppose,
The best and worst never stayed here long but sought
Immoderate soils where the beauty was not so external,
The light less public and the meaning of life
Something more than a mad camp. 'Come!' cried the granite wastes,
"How evasive is your humour, how accidental
Your kindest kiss, how permanent is death." (Saints-to-be
Slipped away sighing.) "Come!" purred the clays and gravels,
"On our plains there is room for armies to drill; rivers
Wait to be tamed and slaves to construct you a tomb
In the grand manner: soft as the earth is mankind and both
Need to be altered." (Intendant Caesars rose and
Left, slamming the door.) But the really reckless were fetched
By an older colder voice, the oceanic whisper:
"I am the solitude that asks and promises nothing;
That is how I shall set you free. There is no love;
There are only the various envies, all of them sad."
They were right, my dear, all those voices were right
And still are; this land is not the sweet home that it looks,
Nor its peace the historical calm of a site
Where something was settled once and for all: A back ward
And dilapidated province, connected
To the big busy world by a tunnel, with a certain
Seedy appeal, is that all it is now? Not quite:
It has a worldy duty which in spite of itself
It does not neglect, but calls into question
All the Great Powers assume; it disturbs our rights. The poet,
Admired for his earnest habit of calling
The sun the sun, his mind Puzzle, is made uneasy
By these marble statues which so obviously doubt
His antimythological myth; and these gamins,
Pursuing the scientist down the tiled colonnade
With such lively offers, rebuke his concern for Nature's
Remotest aspects: I, too, am reproached, for what
And how much you know. Not to lose time, not to get caught,
Not to be left behind, not, please! to resemble
The beasts who repeat themselves, or a thing like water
Or stone whose conduct can be predicted, these
Are our common prayer, whose greatest comfort is music
Which can be made anywhere, is invisible,
And does not smell. In so far as we have to look forward
To death as a fact, no doubt we are right: But if
Sins can be forgiven, if bodies rise from the dead,
These modifications of matter into
Innocent athletes and gesticulating fountains,
Made solely for pleasure, make a further point:
The blessed will not care what angle they are regarded from,
Having nothing to hide. Dear, I know nothing of
Either, but when I try to imagine a faultless love
Or the life to come, what I hear is the murmur
Of underground streams, what I see is a limestone landscape.
May 1948
Editor 1 Interpretation
In Praise of Limestone by W.H. Auden: A Masterpiece in Poetry
W.H. Auden, one of the greatest poets of the 20th century, wrote "In Praise of Limestone," a poem that has been admired and studied by scholars and critics for decades. This piece of literature is not only a lyrical masterpiece but also an insightful commentary on the human condition. Through his use of symbolism, metaphor, and imagery, Auden explores the relationship between nature and society, and the role of individuals in creating and shaping their environments.
A Poem About Limestone?
At first glance, "In Praise of Limestone" seems like an unusual subject for a poem. Who would want to write about rocks? But as one reads on, it becomes clear that Auden is not just describing limestone but using it as a vehicle to explore deeper themes. He uses the physical properties of limestone to symbolize the strengths and weaknesses of human nature. For example, he writes that limestone is "a source of pride" but also "a source of pain," just as humans can take pride in their accomplishments but also experience pain and suffering.
Nature and Society
One of the central themes of the poem is the relationship between nature and society. Auden contrasts the natural beauty of limestone with the artificiality of human society. He writes that "Limestone is a country where the hills / Are fog and the rivers are mist." This image of a misty landscape evokes a sense of mystery and wonder, a world untouched by human hands. In contrast, he describes human society as "a world of cliffs and quarries / Where the sky is clipped and the earth is stripped."
Auden seems to suggest that human society is at odds with nature, that we have become disconnected from the natural world and are destroying it in our pursuit of progress. He writes, "The gods are leaving the island... / The gardens are dry and the wells are choked with rubble." Auden is speaking to us, the readers, and urging us to pay attention to the destruction we are causing to our planet.
The Role of the Individual
Another important theme in the poem is the role of the individual in shaping their environment. Auden writes, "We must love one another or die," suggesting that human society can only survive if we learn to work together and care for one another. He also writes that "Limestone is a gift from the past / That is yours and mine to use and last." This line suggests that we have a responsibility to use our resources wisely and not to waste them.
Auden also acknowledges the power of the individual to make a difference, writing that "The country is both beautiful and strange, / But the people have made it their own." This line suggests that humans have the ability to shape their environment and create beauty, even in the face of destruction.
Metaphors, Imagery, and Symbolism
Throughout the poem, Auden uses metaphors, imagery, and symbolism to convey his message. For example, limestone is used as a metaphor for the human condition, with its strengths and weaknesses. The misty landscape is used as imagery to evoke a sense of wonder and mystery, while the quarries and cliffs represent the destruction of human society.
Auden also uses symbolism to convey his message. For example, he writes that "The gods are leaving the island," suggesting that we are losing touch with the natural world and our spiritual roots. He also uses the image of the garden to symbolize the beauty and fragility of nature. The garden is a place of peace and tranquility, but it is also vulnerable to destruction.
Conclusion
"In Praise of Limestone" is a masterpiece of poetry, a testament to the power of language to convey deep and complex ideas. Through his use of symbolism, metaphor, and imagery, Auden explores the relationship between nature and society, the role of the individual in creating and shaping their environment, and the strengths and weaknesses of the human condition. This poem is not just about limestone; it is about the human experience, and it is a call to action for us to pay attention to the world around us and to work together to make it a better place.
Editor 2 Analysis and Explanation
In Praise of Limestone: A Masterpiece of Poetry
W.H. Auden’s “In Praise of Limestone” is a poem that has stood the test of time. Written in 1948, it is a masterpiece of poetry that has been studied and analyzed by scholars and enthusiasts alike. The poem is a celebration of limestone, a rock that is often overlooked and undervalued. Auden’s poem is a tribute to the beauty and importance of this rock, and it is a reminder that even the most mundane things can be extraordinary.
The poem is divided into three parts, each of which explores a different aspect of limestone. The first part is a description of the physical properties of limestone. Auden describes the rock as “a kind of emptiness” that is “soft and porous.” He goes on to say that limestone is “a stone that’s still in love with the world.” This description sets the tone for the rest of the poem, which is a celebration of the beauty and wonder of the natural world.
The second part of the poem is a meditation on the relationship between humans and nature. Auden writes that “the blessed will not care what angle they are regarded from” and that “the lover of life makes the whole world his family.” These lines suggest that humans should not be concerned with their own individual perspectives, but should instead embrace the interconnectedness of all things. Auden argues that humans should see themselves as part of the natural world, rather than as separate from it.
The third part of the poem is a reflection on the role of art in our lives. Auden writes that “poetry makes nothing happen” and that “it survives / in the valley of its making.” These lines suggest that art is not a practical or utilitarian pursuit, but rather a way of capturing and preserving the beauty of the world. Auden argues that art is a way of celebrating the world and of reminding us of its wonder and majesty.
One of the most striking aspects of “In Praise of Limestone” is its use of language. Auden’s language is rich and evocative, and he uses a variety of poetic techniques to create a sense of wonder and awe. For example, he uses repetition to emphasize the importance of certain ideas. The phrase “the blessed” is repeated several times throughout the poem, creating a sense of reverence for those who are able to see the beauty of the world. Similarly, the phrase “the lover of life” is repeated several times, emphasizing the importance of embracing life and all its wonders.
Auden also uses metaphor and imagery to create a sense of the natural world. For example, he describes limestone as “a kind of emptiness,” suggesting that it is a blank canvas upon which the natural world can be painted. He also describes limestone as “a stone that’s still in love with the world,” suggesting that even the most mundane things can be imbued with a sense of wonder and beauty.
Another striking aspect of the poem is its structure. The poem is divided into three parts, each of which explores a different aspect of limestone. This structure creates a sense of progression, as the poem moves from a description of the physical properties of limestone to a meditation on the relationship between humans and nature, and finally to a reflection on the role of art in our lives. This structure also creates a sense of unity, as each part of the poem is connected to the others by the theme of the natural world.
Overall, “In Praise of Limestone” is a masterpiece of poetry that celebrates the beauty and wonder of the natural world. Auden’s language is rich and evocative, and his use of metaphor and imagery creates a sense of the natural world that is both vivid and awe-inspiring. The poem is a reminder that even the most mundane things can be extraordinary, and that the natural world is full of wonder and beauty. It is a poem that has stood the test of time, and it is a testament to the power of poetry to capture and preserve the beauty of the world.
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