'Three Short Poems' by W.H. Auden
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"The underground roads
Are, as the dead prefer them,
Always tortuous.""When he looked the cave in the eye,
Hercules
Had a moment of doubt."Leaning out over
The dreadful precipice,
One contemptuous tree."
Editor 1 Interpretation
Three Short Poems by W.H. Auden: A Masterpiece of Poetic Simplicity
When it comes to poetry, few names stand out quite like that of W.H. Auden. An English-American poet, Auden's works have been renowned for their technical excellence, emotional depth, and philosophical insight. Among his many works, Three Short Poems has been a favorite of many readers and critics alike, and for good reason. With their simplicity, brevity, and yet profound meaning, these poems are a true masterpiece of poetic art. In this literary criticism and interpretation, we will delve deep into the essence of these poems, exploring their themes, literary devices, and the cultural and historical contexts that shaped them.
Poem 1: "Stop All the Clocks"
Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum Bring out the coffin, let the mourners come.
This is perhaps Auden's most famous poem, and for good reason. The stark simplicity of its language and imagery belies the depth of emotion that it evokes. At its core, this poem is a elegy, a lament for someone who has passed away. But it is more than that. It is a cry of despair, a demand that the world stop in its tracks, if only for a moment, to acknowledge the pain of loss.
The poem begins with a series of commands: stop all the clocks, cut off the telephone, silence the pianos. These are not mere suggestions, but rather, imperatives that reinforce the speaker's sense of urgency. The second line is particularly striking, as it juxtaposes the mundane image of a dog with a "juicy bone" with the solemnity of death. This is a powerful reminder that death touches us all, no matter how insignificant or trivial our lives may seem.
The third line introduces the image of a drum, which is later echoed in the final line. This creates a sense of unity and cohesion throughout the poem, as if the speaker is leading a procession that will ultimately lead to the funeral. The use of the word "muffled" is also significant, as it suggests a sense of restraint, of holding back the full force of grief.
Finally, we come to the last line, which is perhaps the most poignant of all: "Let the mourners come." This is not an invitation, but rather, a demand. The speaker is insisting that the world acknowledge the loss that has been suffered, that it take a moment to honor the dead. And yet, even as they do, the finality of death remains: the coffin is brought out, the mourners come, and the world moves on.
Poem 2: "The Unknown Citizen"
(To JS/07 M 378 This Marble Monument Is Erected by the State)
He was found by the Bureau of Statistics to be One against whom there was no official complaint, And all the reports on his conduct agree That, in the modern sense of an old-fashioned word, he was a saint, For in everything he did he served the Greater Community.
This poem is a biting satire of modern society, with its emphasis on conformity, bureaucracy, and mass culture. The speaker begins by describing a "Marble Monument" that has been erected by the state in honor of a man known only by his identification number, "JS/07 M 378." This is a deliberate dehumanization of the individual, reducing him to a mere statistic in the eyes of the government.
The rest of the poem is a litany of the man's achievements and virtues, as recorded by the Bureau of Statistics. He was a "saint" in the modern sense of the word, meaning that he was a model citizen who followed all the rules and regulations of society. He worked hard, paid his taxes, and never caused any trouble. In short, he was the ideal citizen, the kind of person that society values above all others.
But there is a sense of irony and sarcasm underlying the poem. The repetition of the phrase "in the modern sense of an old-fashioned word" suggests that there is something outdated and empty about the idea of being a "saint." The man's life, as recorded by the Bureau of Statistics, is devoid of any personal passion or individuality. He is merely a cog in the machine of society, a faceless drone who serves the "Greater Community."
The final line of the poem is particularly chilling: "Our researchers into Public Opinion are content / That he held the proper opinions for the time of year." This suggests that the man's opinions were not his own, but rather, the result of societal pressure and propaganda. It is a bleak commentary on the power of conformity and the dangers of blindly following the crowd.
Poem 3: "As I Walked Out One Evening"
As I walked out one evening, Walking down Bristol Street, The crowds upon the pavement Were fields of harvest wheat.
And down by the brimming river I heard a lover sing Under an arch of the railway: "Love has no ending.
"I'll love you, dear, I'll love you Till China and Africa meet, And the river jumps over the mountain And the salmon sing in the street,
"I'll love you till the ocean Is folded and hung up to dry And the seven stars go squawking Like geese about the sky.
"The years shall run like rabbits, For in my arms I hold The Flower of the Ages, And the first love of the world."
This poem is a celebration of love, but one that is tempered by a sense of realism and mortality. The speaker begins by describing a scene of urban life, with crowds of people milling about like "fields of harvest wheat." This is a metaphor that suggests the abundance and vitality of life, but also its transient nature. The people are like stalks of wheat, ripe for the picking, but also destined to wither and die.
The second stanza introduces the image of a lover singing under an arch of the railway. This is a romantic and poetic image, but one that is also grounded in the reality of urban life. The railway is a symbol of technology and progress, but also of noise and disruption. The lover's song, "Love has no ending," is a bold statement of eternal love, but one that is also challenged by the harsh realities of the world.
The third stanza expands on this theme, with the lover proclaiming his love in extravagant and impossible terms. He will love his beloved until "China and Africa meet," until the "river jumps over the mountain," until the "ocean is folded and hung up to dry." These are images that are both whimsical and profound, suggesting the depth and intensity of the lover's devotion.
But the final stanza brings us back to reality. The years shall run like rabbits, the speaker tells us, and even the Flower of the Ages (a reference to the mythical flower that grants eternal life) must eventually wither and die. Love may be eternal in the lover's heart, but it is subject to the ravages of time and mortality. And yet, even in the face of this bleak reality, the lover's song continues to ring out, a testament to the power of love to transcend even death.
Conclusion
In these three short poems, Auden demonstrates his mastery of language and imagery, his insight into the human condition, and his ability to combine the personal and the universal in a way that resonates with readers across time and space. "Stop All the Clocks" is a cry of despair in the face of death, "The Unknown Citizen" is a scathing satire of conformity and mass culture, and "As I Walked Out One Evening" is a celebration of love that acknowledges the transience of life. Together, these poems form a triptych of modern life, with all its beauty, complexity, and darkness. They are a testament to Auden's enduring legacy as one of the greatest poets of the 20th century.
Editor 2 Analysis and Explanation
W.H. Auden is one of the most celebrated poets of the 20th century, and his work continues to inspire and captivate readers today. Among his many notable works are the three short poems, "Stop All the Clocks," "Funeral Blues," and "Lullaby," which have become classics in their own right. In this analysis, we will explore the themes, imagery, and language used in these poems, and examine how they work together to create a powerful emotional impact.
"Stop All the Clocks" is perhaps the most famous of the three poems, and for good reason. It is a deeply moving elegy that captures the intense grief and despair of losing a loved one. The poem begins with the speaker's command to "stop all the clocks, cut off the telephone," and goes on to describe a world that has come to a standstill in the wake of a great loss. The imagery used in the poem is stark and powerful, with the clocks and telephones representing the relentless march of time and the constant noise of modern life. By commanding that they be silenced, the speaker is expressing a desire to escape from the world and its demands, and to retreat into a private space of mourning.
The poem's language is equally powerful, with Auden's use of repetition and rhyme creating a sense of urgency and desperation. The repeated phrase "Bring out the coffin, let the mourners come" is particularly effective, as it emphasizes the finality of death and the need for closure. The poem's final lines, which describe the speaker's desire to "pack up the moon and dismantle the sun," are both beautiful and haunting, suggesting that the world has lost its meaning and that the speaker's grief is all-consuming.
"Funeral Blues" is a companion piece to "Stop All the Clocks," and shares many of its themes and imagery. However, it is a more focused and intense poem, with a narrower focus on the speaker's personal grief. The poem begins with the speaker's command to "stop all the clocks, cut off the telephone," echoing the opening lines of "Stop All the Clocks." However, the poem quickly moves on to describe the speaker's own feelings of loss and despair, as they mourn the death of a loved one.
The language used in "Funeral Blues" is even more powerful than in "Stop All the Clocks," with Auden's use of repetition and rhyme creating a sense of overwhelming emotion. The repeated phrase "He was my North, my South, my East and West" is particularly effective, as it emphasizes the depth of the speaker's love and the extent of their loss. The poem's final lines, which describe the speaker's desire to "put out the stars" and "pack up the sea," are both beautiful and devastating, suggesting that the world has lost its beauty and that the speaker's grief is all-consuming.
"Lullaby" is a departure from the themes and imagery of the first two poems, and is a more lighthearted and whimsical piece. However, it is no less powerful in its own way, and is a testament to Auden's versatility as a poet. The poem is a lullaby, addressed to a child, and describes a world of wonder and magic that the child can explore in their dreams. The language used in the poem is gentle and soothing, with Auden's use of rhyme and repetition creating a sense of comfort and security.
The imagery used in "Lullaby" is also striking, with the poem's descriptions of "the silver apples of the moon" and "the golden apples of the sun" creating a sense of wonder and enchantment. The poem's final lines, which describe the child's journey into the world of dreams, are both beautiful and reassuring, suggesting that even in the midst of darkness and uncertainty, there is always a place of safety and comfort to be found.
In conclusion, W.H. Auden's three short poems, "Stop All the Clocks," "Funeral Blues," and "Lullaby," are powerful and moving works of poetry that continue to resonate with readers today. Through his use of imagery, language, and repetition, Auden creates a sense of emotional intensity that is both beautiful and devastating. Whether exploring the depths of grief and despair or the wonder and magic of childhood, Auden's poetry is a testament to the power of language to capture the human experience in all its complexity and beauty.
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