Classic and Contemporary Poetry: Explained

In "Eulogy to W. H. Auden", Derek Walcott delivers a profound tribute to one of the greatest poets of the 20th century, reflecting on the legacy, craft, and influence of W. H. Auden. The poem is rich in personal and literary reverence, combining Walcott’s admiration for Auden’s art with a reflection on the nature of poetry, memory, and the human condition. Delivered at a memorial service in New York City’s Cathedral of St. John the Divine in 1983, the eulogy elevates Auden to the status of a timeless figure while also capturing his human vulnerabilities and complexities.

In the opening stanza, Walcott presents Auden’s "fissured face," a reference to the poet’s well-known visage, marked by deep wrinkles that symbolize both the passage of time and the burdens of wisdom. The speaker imagines Auden wincing at the "solemn rubbish" of his own canonization, recoiling from the "self-enhancing" praise of others. This portrayal of Auden is consistent with the English poet's own wry and self-effacing manner, someone who might loathe the pomposity of memorializing ceremonies.

The image of Auden as a man whose "granite feature, cracked and plain" evokes the medieval austerity of Giotto’s frescoes, further reinforcing the idea of Auden as a figure of solid but weathered substance, one shaped by life’s hardships. The comparison to Giotto’s art places Auden in a long tradition of cultural immortals, suggesting that just as Giotto’s religious scenes endure, so too will Auden’s poetry persist beyond his death.

The metaphor of autumn, the season in which the eulogy takes place, weaves its way through the poem. Walcott links the falling of a leaf—"like a seraph sign the arc"—to the idea of spiritual transcendence and the fragile, transient nature of life. As autumn signals the beginning of decay and the end of growth, it is also a fitting metaphor for the end of Auden’s life, while still allowing room for the renewal of his legacy in the minds of those who survive him.

Walcott contrasts the lofty ideals of poetry and intellect with the baseness of "small wars" and the "drunken offensives" that typify human conflict. Auden, who "left each feast at nine," symbolizes someone who recognized the limits of human indulgence and the dangers of excess. This quiet departure reflects Auden’s retreat from public life, yet his wisdom and discipline continue to resonate.

In the second section, Walcott meditates on the silence that follows death. He imagines the world of nature—where a sandpiper marks the margin of the beach—as continuing its rhythm, untouched by human speech. The "whistling tundras" and the migration of geese connect human existence to the natural world, suggesting that Auden’s poetry is grounded in the rhythms of nature and time.

Walcott reflects on the deep connection between language and nature, noting how "wings" have influenced the "cuneiform alphabet." This connection between the organic and the written word underscores the idea that poetry, like nature, is a fundamental and ancient form of expression. Even as modernity, with its "shredders" and "neon afternoon," seems to distance humanity from its origins, the human conversation with nature and itself continues. Walcott positions Auden’s voice as a part of this timeless dialogue.

Walcott then turns to his personal relationship with the English language, acknowledging the colonial history that shaped his early literary education. In the line, "In treachery and in union, / despite your Empire’s wrong, / I made my first communion / there, with the English tongue," Walcott acknowledges the complicated legacy of the British Empire, recognizing both the oppression it wrought and the cultural and linguistic inheritance that allowed him to discover poetry. It was through this "dispossession" that Walcott found joy in "possession"—the ownership of a literary tradition that transcended colonial boundaries.

In the third and final section, Walcott turns back to the urban landscape of New York, where pigeons batten on "St. Mark’s slate" and the poet’s "slippered shadow" walks through the city. The imagery of "Nunc Dimittis," a Christian hymn that reflects on death and release, invokes a sense of peaceful resignation. Walcott suggests that Auden’s presence still haunts the city, his spirit infused into the urban landscape.

The poem closes with a prayer, invoking "O craft, that strangely chooses / one mouth to speak for all." This line speaks to the power of poetry to transcend the individual, as the poet becomes a vessel through which universal truths are expressed. Walcott honors Auden’s patience and craft, which he likens to the enduring patience of the stars, "fix, among constellations, / the spark we honour here." This celestial imagery aligns Auden with the timeless, a figure whose work will remain a guiding light long after his physical departure.

The final image of a barge moving "caked with rust" on the East River encapsulates the poem’s meditation on the passage of time, decay, and the persistence of beauty. The barge, despite its rust and weathered condition, continues to move forward, just as Auden’s poetry, despite the imperfections and challenges of human existence, continues to offer peace and insight.

In "Eulogy to W. H. Auden", Walcott skillfully weaves together personal reflection, historical context, and lyrical homage to celebrate Auden’s life and work. The poem is a meditation on mortality, legacy, and the enduring power of art, ultimately affirming that Auden’s influence, like the craft of poetry itself, is eternal.

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