Personal Choice Volume 2 No.17

Musée des Beaux Arts

By W. H. Auden

December 1938

About suffering they were never wrong,

The Old Masters: how well they understood

Its human position; how it takes place

While someone else is eating or opening a window or just walking dully along

How, when the aged are reverently, passionately waiting

For the miraculous birth, there always must be

Children who did not specially want it to happen, skating

On a pond at the edge of the wood:

They never forgot

That even the dreadful martyrdom must run its course

Anyhow in a corner, some untidy spot

Where the dogs go on with their doggy life and the torturer's horse

Scratches its innocent behind on a tree.

In Brueghel's Icarus, for instance: how everything turns away

Quite leisurely from the disaster; the ploughman may

Have heard the splash, the forsaken cry,

But for him it was not an important failure; the sun shone

As it had to on the white legs disappearing into the green

Water; and the expensive delicate ship that must have seen

Something amazing, a boy falling out of the sky,

Had somewhere to get to and sailed calmly on.

Wystan Hugh Auden (1907 – 1973) was a British-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. In 1939, he moved to the United States and became an American citizen in 1946, retaining his British citizenship. He taught from 1941 to 1945 in American universities, followed by occasional visiting professorships in the 1950s. 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 figure than W. B. Yeats and T. S. Eliot - to strongly affirmative, as in Joseph Brodsky's statement 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.