By W H Auden
Presented to: Sir Tariq Abbasi
Presented by: Saba Kamir
Sehrish Jabeen
Mehwish Rafique
Syed Oan Abbas Kazmi
Arif Hussain
Subject: American Literature
W.H.Auden
W.H. Auden was a British poet, author and playwright best known
as a leading literary figure in the 20th century for his poetry.
QUOTES
Among those whom I like or admire, I can find no common
denominator, but among those whom I love, I can: All of
them make me laugh.
W.H. Auden
Synopsis
Early Life
Career Success
More so, Auden was lauded for his chameleon-like ability to write
poems in almost every verse form. His work influenced aspiring
poets, popular culture and vernacular speech. He stated
in Squares and Oblongs: Essays Based on the Modern Poetry
Collection at the Lockwood Memorial Library (1948), "A poet is,
before anything else, a person who is passionately in love with
language."
Personal Life
Auden wed Erika Mann, daughter of German novelist Thomas
Mann, in 1935. The nuptial did not last, as it was a marriage of
convenience for her to gain British citizenship and flee Nazi
Germany.
With his health waning, Auden left America in 1972 and moved
back to Oxford. He spent his last days in Austria, where he owned
a house. Auden died in Vienna, Austria, on September 29, 1973.
Funeral Blues
The stars are not wanted now; put out every one,
Pack up the moon and dismantle the sun,
Pour away the ocean and sweep up the wood;
For nothing now can ever come to any good.
Then things take a turn for the personal. He says that the dead
man was everything to himall points of a compass, every day of
the week, every time of the day. And the worst part is that this
experience has taught him that love won't last forever, as he once
thought.
Themes
Death
"Funeral Blues" pretty much puts it all out there in the title: this is
a poem about death. Terrible, horrible, no good, very bad death.
After the death of his loved one, the speaker has no joy or hope.
He is completely and utterly devastated. There's no silver living in
this poem, no happy endings, no smiles or songs. There's only the
notion that death is the pits, and not just for the deadfor the
living, too.
Language and Communication
The speaker spends a whole lot of time in "Funeral Blues" issuing
commands to an unnamed audience. He may be actually giving a
eulogy at a funeral, or he may be talking to himself and
expressing his desires. Either way, communication plays an
important role in this poem, because we have all kinds of it here
private telephone communication, public skywriting, even traffic
directing. "Funeral Blues" raises all kinds of questions about
private and public speech, and private and public mourning. Does
mourning have to be a public act? This speaker seems to think so.
Man and the Natural World
The speaker of "Funeral Blues" wants us to put out the stars and
dismantle the sun. These hyperbolic statements and the ones that
follow are all about shutting down the natural world in order to
demonstrate this poor guy's grief. It seems like the speaker knows
that his commands are hyperbolic, exaggerated, and impossible,
but thinks that nothing smaller than nature itself can
communicate his despair accurately
Critical Analysis
The title of Funeral Blues, by the English poet W. H. Auden
(1907-1973), might at first suggest genuine lamentationthe
kind of mourning or sorrow often found in popular music
associated with African Americans. But the tone of Audens poem
quickly becomes obviously comic and playful. The references to
mourning here are mostly exaggerated, in ways that make them
difficult to take seriously. The speaker seems, at least until the
third stanza, to be having fun rather than expressing genuine
pain. Only in line 12 does it seem possible to take the phrasing
completely at face value. Otherwise the poem seems mostly an
exercise in wit and cleverness.
By opening with the phrase Stop all the clocks, the speaker
cleverly alludes to the idea that in death, time ceases (at least for
the dead person). Part of the paradox of this opening, however, is
that the tone and pace of the poem seem so rushed, as if time is
running out for the speaker as it has already run out for the
corpse. The speaker frequently uses what would be called,
according to standard grammar, comma splices, as in the very
opening line. By creating such splices, he gives the poem an
effect of breathless hurry, as if many words and ideas must be
crammed into a limited amount of time and space. Most of the
first stanza, however, deals explicitly not with time...