W. H. Auden as a Nature Poet

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Auden’s poetry is filled with surprising metaphors and alarming conceits which he uses both to explore the beauty and wonder of the natural world, and to illuminate upon the human condition. The central themes of some Auden’s poetry are the anonymous, impersonal world of nature. This is seen with perhaps its greatest complexity in “In Praise of Limestone”, included in part in Passage Two. On its most literal level, this poem is an imaginative exploration of the limestone landscape that Auden was living in at the time of writing the poem, in provincial Italy. Here, as in a number of his other descriptive poems such as “Look stranger, at this island now”, Auden makes masterful use of imagery and alliteration to create, in combination with each other, a vivid and vibrant sense of the land for his reader. Indeed, the land seems almost alive, seen through Auden’s use of personification when he describes the “chuckle” with which the “springs…spurt out everywhere”, or the “ravine whose cliffs entertain/The butterfly and the lizard” (my emphasis). Yet this description is not solely there for aesthetic purposes. In only the third line of the poem, Auden employs the imperative “mark” to instruct his reader to observe the land along with him, something which he then encourages, through his vivid depiction of the “rounded slopes”, describing their “fragrance” on the “surface”, and then taking his reader deeper into a “secret system of caves and conduits”. The lulling rhythm of these words is achieved through the repetitive “c” and “s” sounds of the latter phrase, along with the gentle instructions Auden delivers to his reader to “mark” and “hear” (an approach also taken in “Look stranger”). These verbs already connote a sense that something is to be learnt through the landscape, that careful observation is required, and such careful observation is what Auden both provides and

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