W. H. Auden

Wystan Hugh Auden was an English-American poet. Auden's poetry was noted for its stylistic and technical achievement, its engagement with politics, morals, love, and religion, and its variety in tone, form and content. He is best known for love poems such as "Funeral Blues", poems on political and social themes such as "September 1, 1939" and "The Shield of Achilles", poems on cultural and psychological themes such as The Age of Anxiety, and poems on religious themes such as "For the Time Being" and "Horae Canonicae."

He was born in York, grew up in and near Birmingham in a professional middle-class family. He attended English independent (or public) schools and studied English at Christ Church, Oxford. After a few months in Berlin in 1928–29 he spent five years (1930–35) teaching in English public schools, then travelled to Iceland and China in order to write books about his journeys.

In 1939 he moved to the United States and became an American citizen in 1946. He taught from 1941 to 1945 in American universities, followed by occasional visiting professorships in the 1950s. From 1947 to 1957 he wintered in New York and summered in Ischia; from 1958 until the end of his life he wintered in New York (in Oxford in 1972–73) and summered in Kirchstetten, Lower Austria.

He came to wide public attention at the age of twenty-three, in 1930, with his first book, Poems, followed in 1932 by The Orators. Three plays written in collaboration with Christopher Isherwood in 1935–38 built his reputation as a left-wing political writer. Auden moved to the United States partly to escape this reputation, and his work in the 1940s, including the long poems "For the Time Being" and "The Sea and the Mirror", focused on religious themes. He won the Pulitzer Prize for Poetry for his 1947 long poem The Age of Anxiety, the title of which became a popular phrase describing the modern era. In 1956–61 he was Professor of Poetry at Oxford; his lectures were popular with students and faculty and served as the basis of his 1962 prose collection The Dyer's Hand.

From around 1927 to 1939 Auden and Isherwood maintained a lasting but intermittent sexual friendship while both had briefer but more intense relations with other men.

In 1939 Auden fell in love with Chester Kallman and regarded their relationship as a marriage; this ended in 1941 when Kallman refused to accept the faithful relation that Auden demanded, but the two maintained their friendship, and from 1947 until Auden's death they lived in the same house or apartment in a non-sexual relationship, often collaborating on opera libretti such as The Rake's Progress, for music by Igor Stravinsky.

Auden was a prolific writer of prose essays and reviews on literary, political, psychological and religious subjects, and he worked at various times on documentary films, poetic plays, and other forms of performance. Throughout his career he was both controversial and influential, and critical views on his work ranged from sharply dismissive, treating him as a lesser follower of W. B. Yeats and T. S. Eliot, to strongly affirmative, as in Joseph Brodsky's claim that he had "the greatest mind of the twentieth century". After his death, his poems became known to a much wider public than during his lifetime through films, broadcasts and popular media.

Published works:

The following list includes only the books of poems and essays that Auden prepared during his lifetime; for a more complete list, including other works and posthumous editions.

In the list below, works reprinted in the Complete Works of W. H. Auden are indicated by footnote references.

Books:

Poems (London, 1930; second edn., seven poems substituted, London, 1933; includes poems and Paid on Both Sides: A Charade (dedicated to Christopher Isherwood).
The Orators: An English Study (London, 1932, verse and prose; slightly revised edn., London, 1934; revised edn. with new preface, London, 1966; New York 1967) (dedicated to Stephen Spender).
The Dance of Death (London, 1933, play) (dedicated to Robert Medley and Rupert Doone).
Poems (New York, 1934; contains Poems [1933 edition], The Orators [1932 edition], and The Dance of Death).
The Dog Beneath the Skin (London, New York, 1935; play, with Christopher Isherwood) (dedicated to Robert Moody).
The Ascent of F6 (London, 1936; 2nd edn., 1937; New York, 1937; play, with Christopher Isherwood) (dedicated to John Bicknell Auden).
Look, Stranger! (London, 1936, poems; US edn., On This Island, New York, 1937) (dedicated to Erika Mann)
Letters from Iceland (London, New York, 1937; verse and prose, with Louis MacNeice) (dedicated to George Augustus Auden).
On the Frontier (London, 1938; New York 1939; play, with Christopher Isherwood) (dedicated to Benjamin Britten).
Journey to a War (London, New York, 1939; verse and prose, with Christopher Isherwood) (dedicated to E. M. Forster).
Another Time (London, New York 1940; poetry) (dedicated to Chester Kallman).
The Double Man (New York, 1941, poems; UK edn., New Year Letter, London, 1941) (Dedicated to Elizabeth Mayer).
For the Time Being (New York, 1944; London, 1945; two long poems: "The Sea and the Mirror: A Commentary on Shakespeare's The Tempest", dedicated to James and Tania Stern, and "For the Time Being: A Christmas Oratorio", in memoriam Constance Rosalie Auden [Auden's mother]).
The Collected Poetry of W. H. Auden (New York, 1945; includes new poems) (dedicated to Christopher Isherwood and Chester Kallman).
The Age of Anxiety: A Baroque Eclogue (New York, 1947; London, 1948; verse; won the 1948 Pulitzer Prize for Poetry) (dedicated to John Betjeman).
Collected Shorter Poems, 1930–1944 (London, 1950; similar to 1945 Collected Poetry) (dedicated to Christopher Isherwood and Chester Kallman).
The Enchafèd Flood (New York, 1950; London, 1951; prose) (dedicated to Alan Ansen).
Nones (New York, 1951; London, 1952; poems) (dedicated to Reinhold and Ursula Niebuhr)
The Shield of Achilles (New York, London, 1955; poems) (won the 1956 National Book Award for Poetry) (dedicated to Lincoln and Fidelma Kirstein).
Homage to Clio (New York, London, 1960; poems) (dedicated to E. R. and A. E. Dodds).
The Dyer's Hand (New York, 1962; London, 1963; essays) (dedicated to Nevill Coghill).
About the House (New York, London, 1965; poems) (dedicated to Edmund and Elena Wilson).
Collected Shorter Poems 1927–1957 (London, 1966; New York, 1967) (dedicated to Christopher Isherwood and Chester Kallman).
Collected Longer Poems (London, 1968; New York, 1969).
Secondary Worlds (London, New York, 1969; prose) (dedicated to Valerie Eliot).
City Without Walls and Other Poems (London, New York, 1969) (dedicated to Peter Heyworth).
A Certain World: A Commonplace Book (New York, London, 1970; quotations with commentary) (dedicated to Geoffrey Grigson).
Epistle to a Godson and Other Poems (London, New York, 1972) (dedicated to Orlan Fox).
Forewords and Afterwords (New York, London, 1973; essays) (dedicated to Hannah Arendt).
Thank You, Fog: Last Poems (London, New York, 1974) (dedicated to Michael and Marny Yates).

Film scripts and opera libretti:

Coal Face (1935, closing chorus for GPO Film Unit documentary).
Night Mail (1936, narrative for GPO Film Unit documentary, not published separately except as a programme note).
Paul Bunyan (1941, libretto for operetta by Benjamin Britten; not published until 1976).
The Rake's Progress (1951, with Chester Kallman, libretto for an opera by Igor Stravinsky).
Elegy for Young Lovers (1956, with Chester Kallman, libretto for an opera by Hans Werner Henze).
The Bassarids (1961, with Chester Kallman, libretto for an opera by Hans Werner Henze based on The Bacchae of Euripides).
Runner (1962, documentary film narrative for National Film Board of Canada)
Love's Labour's Lost (1973, with Chester Kallman, libretto for an opera by Nicolas Nabokov, based on Shakespeare's play).

Musical collaborations:

Our Hunting Fathers (1936, song cycle written for Benjamin Britten)
An Evening of Elizabethan Verse and its Music (1954 recording with the New York Pro Musica Antiqua, director Noah Greenberg; Auden spoke the verse texts)
The Play of Daniel (1958, verse narration for a production by the New York Pro Musica Antiqua, director Noah Greenberg)

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