Frases de W. H. Auden
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Wystan Hugh Auden que escrevia como W. H. Auden, foi um poeta anglo-americano, tido como um dos grandes autores do século XX.Auden cresceu em e perto de Birmingham, em uma família de classe média de profissionais que liam literatura inglesa na Christ Church, em Oxford. Seus primeiros poemas, escritos no final de 1920 e início da década de 1930, alternados estilos modernos de telegráficos e fluentes tradicionais, foram escritas em um tom intenso e dramático, e estabeleceu sua reputação como um poeta político de esquerda e profeta. Ele tornou-se desconfortável nesse papel posteriormente em 1930, e abandonou-a depois que ele se mudou para os Estados Unidos em 1939, onde se tornou um cidadão americano em 1946. Seus poemas em 1940 exploraram temas religiosos e éticos de uma forma menos dramática do que seus trabalhos anteriores, mas ainda combinando formas tradicionais e estilos com novas formas concebidas por Auden para si mesmo. Na década de 1950 e 1960, muitos de seus poemas foram voltados para as formas em que palavras reveladas escondiam as emoções, e ele tomou um interesse particular por escritos libretos de ópera, uma forma ideal para a expressão direta de sentimentos fortes.Para os jovens intelectuais de esquerda ele foi a grande voz da década de 1930, "denunciando os males da sociedade capitalista, mas também alertando para a ascensão do totalitarismo": algumas vezes demasiadamente político, sempre implicitamente radical e incômodo, pela frequência com que lançava mão, em seus poemas, de espiões, bordéis e impulsos reprimidos - sua homossexualidade estava por trás de várias referências pessoais, aparecendo insistentemente em sua poesia. Assim que T. S. Eliot publicou a primeira coletânea de Auden, Poemas , ele foi imediatamente reconhecido como porta-voz de sua geração. Filho de médico, Auden foi educado na Escola Gresham e na Christ Church, em Oxford, onde se tornou o líder de uma "gangue" formada por Stephen Spender, Louis MacNeice e Cecil Day-Lewis . Logo começou a colaborar com um amigo da escola preparatória, Christopher Isherwood, em peças esquerdistas que misturavam farsa e poesia. Em 1939, mudou-se com Isherwood para a América, onde conheceu aquele que se tornaria seu companheiro, Chester Kallman, com quem anos mais tarde escreveu libretos de ópera, incluindo The Rake's Progress, para Stravinsky.

Seu poema Stop all the clocks, cut off the telephone foi utilizado no filme Quatro casamentos e um funeral , de Mike Newell . Wikipedia

✵ 21. Fevereiro 1907 – 29. Setembro 1973 • Outros nomes W.H. Auden

W. H. Auden photo

W. H. Auden: 129 citações8 Curtidas

W. H. Auden Frases famosas

“Não consigo encontrar um denominador comum entre as pessoas que eu gosto e admiro, mas entre as pessoas que eu amo é fácil: todas elas me fazem rir.”

“Ser livre é com freqüência estar sozinho.”

to be free is often to be lonely
Selected poetry of W. H. Auden - Página 57, Volume 102 de Vintage international, Wystan Hugh Auden - Vintage Books, 1971

“O que a mídia de massa oferece não é arte popular, mas entretenimento que é destinado a ser consumido como comida, esquecido, e substituído por um novo prato.”

“Gatos podem ser engraçados, mas têm os modos mais estranhos de mostrar sua alegria. O nosso sempre urinou em nossos sapatos.”

Cats can be very funny, and have the oddest ways of showing they're glad to see you. Rudimace always peed on our shoes.
citado em Reflections international: the TV & TS magazine‎ - Página 28, de TransEssex (Organization) - Publicado por TransEssex, 1999

“O Público e eu sabemos o que toda criança aprende, aqueles a quem se faz mal fazem mal em retorno.”

I and the public know What all schoolchildren learn, Those to whom evil is done Do evil in return
W. H. Auden, em 1 de setembro de 1939, conforme citado em "The centre of things: political fiction from Disraeli to the present‎" - Página 189, de Christopher Harvie - Publicado por Unwin Hyman, 1991, ISBN 0044455925, 9780044455929 - 245 páginas

“Alguns livros são injustamente esquecidos; nenhum livro é injustamente lembrado.”

“De modo algum o prazer é um guia crítico infalível, mas é o menos falível.”

W. H. Auden: Frases em inglês

“Cold, impossible, ahead
Lifts the mountain's lovely head
Whose white waterfall could bless
Travellers in their last distress.”

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First published in book form in Look, Stranger! (1936; US title On this Island)
Fonte: Autumn Song (1936), Lines 17–20

“Politics cannot be a science, because in politics theory and practice cannot be separated, and the sciences depend upon their separation.”

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"Tyranny”
A Certain World: A Commonplace Book (1970)

“In a national capital Mirabeau and his set
Attacked mystery; the packed galleries roared
And history marched to the drums of a clear idea,
The aim of the Rational City, quick to admire,
Quick to tire.”

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Memorial for the City (1947)

“A god who is both self-sufficient and content to remain so could not interest us enough to raise the question of his existence.”

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W. H. Auden livro Forewords and Afterwords

"The Greeks and Us", p. 15
Forewords and Afterwords (1973)

“For the error bred in the bone
Of each woman and each man
Craves what it cannot have,
Not universal love
But to be loved alone.”

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W. H. Auden September 1, 1939

Fonte: September 1, 1939 (1939), Lines 62–66

“In the course of many centuries a few laborsaving devices have been introduced into the mental kitchen — alcohol, coffee, tobacco, Benzedrine, etc. — but these are very crude, constantly breaking down, and liable to injure the cook. Literary composition in the twentieth century A. D. is pretty much what it was in the twentieth century B. C.: nearly everything has still to be done by hand.”

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W. H. Auden livro The Dyer's Hand

"Writing", p. 17
The Dyer's Hand, and Other Essays (1962)

“Normally, when one passes someone on the street who is in pain, one either tries to help him, or one simply looks the other way. With a photo there's no human decision; you're not there; you can't turn away; you simply gape. It's a form of voyeurism.”

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Fonte: Paris Review interview (1972), p. 247

“Lay your sleeping head, my love
Human on my faithless arm;
Time and fevers burn away
Individual beauty from
Thoughtful children, and the grave
Proves the child ephemeral;
But in my arms till break of day
Let the living creature lie:
Mortal, guilty, but to me
The entirely beautiful.”

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Lay your sleeping head, my love (1937), lines 1–2, written January 1937; also known as Lullaby.

“When one looks into the window of a store which sells devotional art objects, one can't help wishing the iconoclasts had won.”

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W. H. Auden livro The Dyer's Hand

"Postscript: Christianity & Art", p. 461
The Dyer's Hand, and Other Essays (1962)

“The basic stimulus to the intelligence is doubt, a feeling that the meaning of an experience is not self-evident.”

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W. H. Auden livro Forewords and Afterwords

"The Protestant Mystics", p. 51
Forewords and Afterwords (1973)

“A ragged urchin, aimless and alone,
Loitered about that vacancy: a bird
Flew up to safety from his well-aimed stone:
That girls are raped, that two boys knife a third,
Were axioms to him, who'd never heard
Of any world where promises were kept
Or one could weep because another wept.”

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W. H. Auden livro The Shield of Achilles

The Shield of Achilles (1952)

“They never forgot
That even the most 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.”

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W. H. Auden Musée des Beaux Arts

Musée des Beaux Arts (1938)

“In all technologically "advanced" countries, fashion has replaced tradition, so that involuntary membership in a society can no longer provide a feeling of community.”

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W. H. Auden livro Forewords and Afterwords

"Lame Shadows", p. 410
Forewords and Afterwords (1973)

“The law cannot forgive, for the law has not been wronged, only broken; only persons can be wronged. The law can pardon, but it can only pardon what it has the power to punish.”

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W. H. Auden livro The Dyer's Hand

"The Prince's Dog", p. 201
The Dyer's Hand, and Other Essays (1962)

“When he laughed, respectable senators burst with laughter,
And when he cried the little children died in the streets.”

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Epitaph on a Tyrant (1939), lines 5–6

“Defenceless under the night
Our world in stupor lies;
Yet, dotted everywhere,
Ironic points of light
Flash out wherever the Just
Exchange their messages:
May I, composed like them
Of Eros and of dust,
Beleaguered by the same
Negation and despair,
Show an affirming flame.”

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W. H. Auden September 1, 1939

Fonte: September 1, 1939 (1939), Lines 89–99

“Most people call something profound, not because it is near some important truth but because it is distant from ordinary life. Thus, darkness is profound to the eye, silence to the ear; what-is-not is the profundity of what-is.”

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W. H. Auden livro Forewords and Afterwords

"Un Homme d'Esprit", p. 361
Forewords and Afterwords (1973)

“Before people complain of the obscurity of modern poetry, they should first examine their consciences and ask themselves with how many people and on how many occasions they have genuinely and profoundly shared some experience with another; they might also ask themselves how much poetry of any period they can honestly say that they understand.”

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W. H. Auden livro The Dyer's Hand

The Dyer's Hand (1955), in the BBC weekly The Listener (30 June 1955)

“A crowd of ordinary decent folk
Watched from without and neither moved nor spoke
As three pale figures were led forth and bound
To three posts driven upright in the ground.”

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W. H. Auden livro The Shield of Achilles

The Shield of Achilles (1952)

“Into this neutral air
Where blind skyscrapers use
Their full height to proclaim
The strength of Collective Man,
Each language pours its vain
Competitive excuse.”

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W. H. Auden September 1, 1939

Fonte: September 1, 1939 (1939), Lines 34–39

“Unfortunately for the modern dramatist, during the past century and a half the public realm has been less and less of a realm where human deeds are done, and more and more of a realm of mere human behavior. The contemporary dramatist has lost his natural subject.”

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W. H. Auden livro The Dyer's Hand

"Genius & Apostle", p. 435
The Dyer's Hand, and Other Essays (1962)

“Acts of injustice done
Between the setting and the rising sun
In history lie like bones, each one.”

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W. H. Auden The Ascent of F6

The Ascent of F6, written with Christopher Isherwood, Act II, Scene V; quoted by Richard Adams in his novel Watership Down. (1936)

“The thin-lipped armorer,
Hephaestos, hobbled away,
Thetis of the shining breasts
Cried out in dismay
At what the god had wrought
To please her son, the strong
Iron-hearted man-slaying Achilles
Who would not live long.”

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W. H. Auden livro The Shield of Achilles

The Shield of Achilles (1952)

“Let us honour if we can
The vertical man
Though we value none
But the horizontal one.”

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W. H. Auden livro Poems

Dedication to Christopher Isherwood, Poems (1930)

“No poet or novelist wishes he were the only one who ever lived, but most of them wish they were the only one alive, and quite a number fondly believe their wish has been granted.”

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W. H. Auden livro The Dyer's Hand

"Writing", p. 14
The Dyer's Hand, and Other Essays (1962)

“Music is the best means we have of digesting time.”

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A quotation from Igor Stravinsky, not Auden. Cited as Auden's through a misreading of a paragraph in Stravinsky: Chronicle of a Friendship, by Robert Craft (New York: Alfred A. Knopf, 1972), p. 6. (The antecedent of "he" is unmistakably "Mr. S." in Craft's sentence: "He also makes a marvelous remark to the effect that 'Music is the best means we have of digesting time'"; and in the sentence that follows "he" is again Stravinsky, not Auden.)
Misattributed

“A million eyes, a million boots in line,
Without expression, waiting for a sign.”

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W. H. Auden livro The Shield of Achilles

The Shield of Achilles (1952)

“Sad is Eros, builder of cities,
And weeping anarchic Aphrodite.”

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In Memory of Sigmund Freud (1939), lines 111–112

“Almost all of our relationships begin and most of them continue as forms of mutual exploitation, a mental or physical barter, to be terminated when one or both parties run out of goods.”

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W. H. Auden livro The Dyer's Hand

"Hic et Ille", p. 105
The Dyer's Hand, and Other Essays (1962)

“When I consider others I can easily believe that their bodies express their personalities and that the two are inseparable. But it is impossible for me not to feel that my body is other than I, that I inhabit it like a house, and that my face is a mask which, with or without my consent, conceals my real nature from others.”

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W. H. Auden livro The Dyer's Hand

"Hic et Ille", p. 104
The Dyer's Hand, and Other Essays (1962)