Editing W. H. Auden (section)

==Work==
{{see also|Bibliography of W. H. Auden}}

Auden published about four hundred poems, including seven long poems (two of them book-length). His poetry was encyclopaedic in scope and method, ranging in style from obscure twentieth-century modernism to the lucid traditional forms such as [[ballads]] and [[Limerick (poetry)|limerick]]s, from [[doggerel]] through [[haiku]] and [[villanelles]] to a "Christmas Oratorio" and a [[baroque]] [[eclogue]] in Anglo-Saxon meters.<ref name="FullerNoPage">{{cite book
 | last = Fuller
 | first = John
 | author-link = John Fuller (poet)
 | title = W. H. Auden: a commentary
 | publisher = Faber and Faber
 | location = London
 | year = 1998
 | isbn = 978-0-571-19268-7}}</ref> The tone and content of his poems ranged from pop-song clichés to complex philosophical meditations, from the corns on his toes to atoms and stars, from contemporary crises to the evolution of society.<ref name="Companion"/><ref name="EarlyNoPage"/>

He also wrote more than four hundred essays and reviews about literature, history, politics, music, religion, and many other subjects. He collaborated on plays with [[Christopher Isherwood]] and on opera libretti with [[Chester Kallman]], and worked with a group of artists and filmmakers on documentary films in the 1930s and with the [[New York Pro Musica]] [[early music]] group in the 1950s and 1960s. About collaboration he wrote in 1964: "collaboration has brought me greater erotic joy .&nbsp;.&nbsp;. than any sexual relations I have had."<ref>{{cite book
 | last = Davenport-Hines
 | first = Richard
 | author-link = Richard Davenport-Hines
 | title = Auden
 | publisher = Heinemann
 | location = London
 | year = 1995
 | page = 137
 | isbn = 978-0-434-17507-9}}</ref>

Auden controversially rewrote or discarded some of his most famous poems when he prepared his later collected editions. He wrote that he rejected poems that he found "boring" or "dishonest" in the sense that they expressed views he had never held but had used only because he felt they would be rhetorically effective.<ref>{{cite book
| last = Auden
| first = W. H.
| title = Collected Shorter Poems, 1927–1957
| publisher = [[Faber and Faber]]
| location = London
| year = 1966
| page = 15
| isbn = 978-0-571-06878-4 }}</ref> His rejected poems include "[[Spain (Auden)|Spain]]" and "September 1, 1939". His [[literary executor]], [[Edward Mendelson]], argues in his introduction to ''Selected Poems'' that Auden's practice reflected his sense of the persuasive power of poetry and his reluctance to misuse it.<ref>{{cite book
| last = Auden
| first = W. H.
| editor-first = Edward
| editor-last = Mendelson
| editor-link = Edward Mendelson
| title = Selected Poems, new edition
| publisher = [[Vintage Books]]
| location = New York
| year = 1979
| pages = xix–xx
| isbn = 978-0-394-72506-2
| no-pp = true
| url = https://archive.org/details/selectedpoems00whau
}}</ref> (''Selected Poems'' includes some poems that Auden rejected and early texts of poems that he revised.)

===Early work, 1922–1939===
====Up to 1930====
[[File:Poems1928.jpg|upright|thumb|Cover of the privately printed ''[[Poems (Auden)|Poems]]'' (1928)]]
Auden began writing poems in 1922, at 15, mostly in the styles of 19th-century romantic poets, especially [[Wordsworth]], and later poets with rural interests, especially [[Thomas Hardy]]. At 18 he discovered [[T. S. Eliot|T.&nbsp;S. Eliot]] and adopted an extreme version of Eliot's style. He found his own voice at 20 when he wrote the first poem later included in his collected work, "From the very first coming down".<ref name="EarlyNoPage"/> This and other poems of the late 1920s tended to be in a clipped, elusive style that alluded to, but did not directly state, their themes of loneliness and loss. Twenty of these poems appeared in his first book ''[[Poems (Auden)|Poems]]'' (1928), a pamphlet hand-printed by [[Stephen Spender]].<ref>{{cite book
| last = Auden
| first = W. H.
| editor-first = Katherine
| editor-last = Bucknell
| title = Juvenilia: Poems, 1922–1928
| publisher = Princeton University Press
| location = Princeton
| year = 1994
| isbn = 978-0-691-03415-7
| url = https://archive.org/details/juveniliapoems1900aude
}}</ref>

In 1928 he wrote his first dramatic work, ''[[Paid on Both Sides]]'', subtitled "A Charade", which combined style and content from the Icelandic [[sagas]] with jokes from English school life. This mixture of tragedy and farce, with a dream play-within-a-play, introduced the mixed styles and content of much of his later work.<ref name="FullerNoPage"/> This drama and thirty short poems appeared in his first published book ''[[Poems (Auden)|Poems]]'' (1930, 2nd edition with seven poems replaced, 1933); the poems in the book were mostly lyrical and gnomic meditations on hoped-for or unconsummated love and on themes of personal, social, and seasonal renewal; among these poems were "It was Easter as I walked", "Doom is dark", "Sir, no man's enemy", and "This lunar beauty".<ref name="EarlyNoPage"/>

A recurrent theme in these early poems is the effect of "family ghosts", Auden's term for the powerful, unseen psychological effects of preceding generations on any individual life (and the title of a poem). A parallel theme, present throughout his work, is the contrast between biological evolution (unchosen and involuntary) and the psychological evolution of cultures and individuals (voluntary and deliberate even in its subconscious aspects).<ref name="FullerNoPage"/><ref name="EarlyNoPage"/>

====1931–1935====
[[File:DanceOfDeathProgramme.jpg|thumb|Programme of a Group Theatre production of ''[[The Dance of Death (Auden)|The Dance of Death]]'', with unsigned synopsis by Auden]]

Auden's next large-scale work was ''[[The Orators]]: An English Study'' (1932; revised editions, 1934, 1966), in verse and prose, largely about hero-worship in personal and political life. In his shorter poems, his style became more open and accessible, and the exuberant "Six Odes" in ''The Orators'' reflect his new interest in [[Robert Burns]].<ref name="FullerNoPage"/> During the next few years, many of his poems took their form and style from traditional ballads and popular songs, and also from expansive classical forms like the ''[[Odes (Horace)|Odes]]'' of [[Horace]], which he seems to have discovered through the German poet [[Hölderlin]].<ref name="EarlyNoPage"/> Around this time his main influences were [[Dante]], [[William Langland]], and [[Alexander Pope]].<ref>{{cite book
| last = Auden
| first = W. H.
| editor-first= Edward
| editor-last = Mendelson
| editor-link=Edward Mendelson
| title = Prose, Volume II: 1939–1948
| publisher = Princeton University Press
| location = Princeton
| year = 2002
| page = 92
| isbn = 978-0-691-08935-5}}</ref>

During these years much of his work expressed left-wing views, and he became widely known as a political poet although he was privately more ambivalent about revolutionary politics than many reviewers recognised,<ref>Carpenter (1981) pp. 256–257.</ref> and Mendelson argues that he expounded political views partly out of a sense of moral duty and partly because it enhanced his reputation, and that he later regretted having done so.<ref>[[Edward Mendelson|Mendelson]], ''Early Auden'', pp. 257–303.</ref> He generally wrote about revolutionary change in terms of a "change of heart", a transformation of a society from a closed-off psychology of fear to an open psychology of love.<ref name="RDH-NoPage"/>

His verse drama ''[[The Dance of Death (Auden)|The Dance of Death]]'' (1933) was a political extravaganza in the style of a theatrical revue, which Auden later called "a nihilistic leg-pull."<ref>{{cite book
| last1 = Auden
| first1 = W. H.
| first2 = Christopher
| last2 = Isherwood
| editor-first = Edward
| editor-last = Mendelson
| editor-link = Edward Mendelson
| title = Plays and other dramatic writings by W. H. Auden, 1928–1938
| publisher = Princeton University Press
| location = Princeton
| year = 1988
| pages = xxi
| isbn = 978-0-691-06740-7
| no-pp = true
| url = https://archive.org/details/playsotherdramat0000aude
}}</ref> His next play ''[[The Dog Beneath the Skin]]'' (1935), written in collaboration with Isherwood, was similarly a quasi-Marxist updating of [[Gilbert and Sullivan]] in which the general idea of social transformation was more prominent than any specific political action or structure.<ref name="FullerNoPage"/><ref name="EarlyNoPage"/>

''[[The Ascent of F6]]'' (1937), another play written with Isherwood, was partly an anti-imperialist satire, partly (in the character of the self-destroying climber Michael Ransom) an examination of Auden's own motives in taking on a public role as a political poet.<ref name="EarlyNoPage"/> This play included the first version of "[[Funeral Blues]]" ("Stop all the clocks"), written as a satiric eulogy for a politician; Auden later rewrote the poem as a "Cabaret Song" about lost love (written to be sung by the soprano [[Hedli Anderson]], for whom he wrote many lyrics in the 1930s).<ref name="Plays"/> In 1935, he worked briefly on documentary films with the [[GPO Film Unit]], writing his famous verse commentary for ''[[Night Mail]]'' and lyrics for other films that were among his attempts in the 1930s to create a widely accessible, socially conscious art.<ref name="FullerNoPage"/><ref name="EarlyNoPage"/><ref name="Plays"/>

====1936–1939====
In 1936 Auden's publisher chose the title ''Look, Stranger!'' for a collection of political odes, love poems, comic songs, meditative lyrics, and a variety of intellectually intense but emotionally accessible verse; Auden hated the title and retitled the collection for the 1937 US edition ''[[On This Island]]''.<ref name="EarlyNoPage"/> Among the poems included in the book are "Hearing of harvests", "Out on the lawn I lie in bed", "O what is that sound", "Look, stranger, on this island now" (later revised versions change "on" to "at"), and "Our hunting fathers".<ref name="FullerNoPage"/><ref name="EarlyNoPage"/>

Auden was now arguing that an artist should be a kind of journalist, and he put this view into practice in ''[[Letters from Iceland]]'' (1937) a travel book in prose and verse written with [[Louis MacNeice]], which included his long social, literary, and autobiographical commentary "Letter to Lord Byron".<ref name="ProseOne"/> In 1937, after observing the [[Spanish Civil War]] he wrote a politically engaged pamphlet poem ''[[Spain (Auden)|Spain]]'' (1937); he later discarded it from his collected works. ''[[Journey to a War]]'' (1939) a travel book in prose and verse, was written with Isherwood after their visit to the [[Second Sino-Japanese War|Sino-Japanese War]].<ref name="ProseOne"/> Auden's last collaboration with Isherwood was their third play, ''[[On the Frontier]]'', an anti-war satire written in Broadway and West End styles.<ref name="EarlyNoPage"/><ref name="DNB"/>

Auden's shorter poems now engaged with the fragility and transience of personal love ("Danse Macabre", "The Dream", "Lay your sleeping head"), a subject he treated with ironic wit in his "Four Cabaret Songs for Miss [[Hedli Anderson]]" (which included "Tell Me the Truth About Love" and the revised version of "[[Funeral Blues]]"), and also the corrupting effect of public and official culture on individual lives ("Casino", "School Children", "Dover").<ref name="FullerNoPage"/><ref name="EarlyNoPage"/> In 1938, he wrote a series of dark, ironic ballads about individual failure ("Miss Gee", "James Honeyman", "Victor"). All these appeared in ''[[Another Time (book)|Another Time]]'' (1940), together with poems including "Dover", "As He Is", and "[[Musée des Beaux Arts (poem)|Musée des Beaux Arts]]" (all of which were written before he moved to America in 1939), and "In Memory of W. B. Yeats", "[[The Unknown Citizen]]", "Law Like Love", "September 1, 1939", and "In Memory of Sigmund Freud" (all written in America).<ref name="FullerNoPage"/>

The elegies for Yeats and Freud are partly anti-heroic statements, in which great deeds are performed, not by unique geniuses whom others cannot hope to imitate, but by otherwise ordinary individuals who were "silly like us" (Yeats) or of whom it could be said "he wasn't clever at all" (Freud), and who became teachers of others, not awe-inspiring heroes.<ref name="EarlyNoPage"/>

===Middle period, 1940–1957===
====1940–1946====
In 1940 Auden wrote a long philosophical poem "New Year Letter", which appeared with miscellaneous notes and other poems in ''[[The Double Man (book)|The Double Man]]'' (1941). At the time of his return to the Anglican Communion he began writing abstract verse on theological themes, such as "Canzone" and "Kairos and Logos". Around 1942, as he became more comfortable with religious themes, his verse became more open and relaxed, and he increasingly used the [[syllabic verse]] he had learned from the poetry of [[Marianne Moore]].<ref name="LaterNoPage"/>

Auden's work in this era addresses the artist's temptation to use other persons as material for his art rather than valuing them for themselves ("Prospero to Ariel") and the corresponding moral obligation to make and keep commitments while recognising the temptation to break them ("In Sickness and Health").<ref name="LaterNoPage"/><ref name="FullerNoPage"/> From 1942 through 1947 he worked mostly on three long poems in dramatic form, each differing from the others in form and content: "[[For the Time Being]]: A Christmas Oratorio", "[[The Sea and the Mirror|The Sea and the Mirror: A Commentary on Shakespeare's ''The Tempest'']]{{-"}} (both published in ''For the Time Being'', 1944), and ''[[The Age of Anxiety]]: A Baroque Eclogue'' (published separately in 1947).<ref name="LaterNoPage"/> The first two, with Auden's other new poems from 1940 to 1944, were included in his first collected edition, ''The Collected Poetry of W.&nbsp;H. Auden'' (1945), with most of his earlier poems, many in revised versions.<ref name="FullerNoPage"/>

====1947–1957====
[[File:W. H. Auden (1956 press photo).jpg|thumb|upright|Auden in 1956]]

After completing ''The Age of Anxiety'' in 1946 he focused again on shorter poems, notably "A Walk After Dark", "The Love Feast", and "The Fall of Rome".<ref name="LaterNoPage"/> Many of these evoked the Italian village where he spent his summers between 1948 and 1957, and his next book, ''[[Nones (Auden)|Nones]]'' (1951), had a Mediterranean atmosphere new to his work.<ref name="Tony Sharpe 196">{{cite book|url=https://books.google.com/books?id=U1QgAwAAQBAJ&pg=PA196|page=196|title=W. H. Auden in Context|first=Tony |last=Sharpe|publisher=Cambridge University Press|date= 21 January 2013 |isbn=9781139618922}}</ref> A new theme was the "sacred importance" of the human body<ref>{{cite book
 | last = Auden
 | first = W. H.
 | title = Forewords and Afterwords
 | publisher = Random House
 | year = 1973
 | location = New York
 | page = 68
 | isbn = 978-0-394-48359-7}}</ref> in its ordinary aspect (breathing, sleeping, eating) and the continuity with nature that the body made possible (in contrast to the division between humanity and nature that he had emphasised in the 1930s);<ref name="Tony Sharpe 196"/> his poems on these themes included "[[In Praise of Limestone]]" (1948) and "Memorial for the City" (1949).<ref name="FullerNoPage"/><ref name="LaterNoPage"/> In 1947-1948, Auden and Kallman wrote the libretto for [[Igor Stravinsky]]'s opera ''[[The Rake's Progress]]'', and later collaborated on two libretti for operas by [[Hans Werner Henze]].<ref name="CarpenterNoPage"/><ref name="Libretti"/>

Auden's first separate prose book was ''[[The Enchafèd Flood]]: The Romantic Iconography of the Sea'' (1950), based on a series of lectures on the image of the sea in romantic literature.<ref name="ProseTwo">{{cite book
| last = Auden
| first = W. H.
| editor-first =Edward
| editor-last = Mendelson
| editor-link=Edward Mendelson
| title = Prose, Volume II: 1939–1948
| publisher = Princeton University Press
| location = Princeton
| year = 2002
| isbn = 978-0-691-08935-5}}</ref> Between 1949 and 1954 he worked on a sequence of seven [[Good Friday]] poems, titled "[[Horae Canonicae]]", an encyclopaedic survey of geological, biological, cultural, and personal history, focused on the irreversible act of murder; the poem was also a study in cyclical and linear ideas of time. While writing this, he also wrote "[[Bucolics (Auden)|Bucolics]]", a sequence of seven poems about man's relation to nature. Both sequences appeared in his next book, ''[[The Shield of Achilles]]'' (1955), with other short poems, including the book's title poem, "Fleet Visit", and "Epitaph for the Unknown Soldier".<ref name="FullerNoPage"/><ref name="LaterNoPage"/>

In 1955–56 Auden wrote a group of poems about "history", the term he used to mean the set of unique events made by human choices, as opposed to "nature", the set of involuntary events created by natural processes, statistics, and anonymous forces such as crowds. These poems included "T the Great", "The Maker", and the title poem of his next collection ''[[Homage to Clio]]'' (1960).<ref name="FullerNoPage"/><ref name="LaterNoPage"/>

===Later work, 1958–1973===
[[File:Auden1970ByPeter.jpg|thumb|upright|Auden in 1970]]
In the late 1950s Auden's style became less rhetorical while its range of styles increased. In 1958, having moved his summer home from Italy to Austria, he wrote "Good-bye to the Mezzogiorno"; other poems from this period include "Dichtung und Wahrheit: An Unwritten Poem", a prose poem about the relation between love and personal and poetic language, and the contrasting "Dame Kind", about the anonymous impersonal reproductive instinct. These and other poems, including his 1955–66 poems about history, appeared in ''[[Homage to Clio]]'' (1960).<ref name="FullerNoPage"/><ref name="LaterNoPage"/> His prose book ''[[The Dyer's Hand]]'' (1962) gathered many of the lectures he gave in Oxford as Professor of Poetry in 1956–61, together with revised versions of essays and notes written since the mid-1940s.<ref name="LaterNoPage"/>

Among the new styles and forms in Auden's later work were the [[haiku]] and [[tanka]] that he began writing after translating the haiku and other verse in [[Dag Hammarskjöld]]'s ''Markings''.<ref name="LaterNoPage"/> A sequence of fifteen poems about his house in Austria, "Thanksgiving for a Habitat" (written in various styles that included an imitation of [[William Carlos Williams]]) appeared in ''[[About the House]]'' (1965), together with other poems that included his reflection on his lecture tours, "On the Circuit".<ref name="FullerNoPage"/> In the late 1960s he wrote some of his most vigorous poems, including "River Profile" and two poems that looked back over his life, "Prologue at Sixty" and "Forty Years On". All these appeared in ''[[City Without Walls]]'' (1969). His lifelong passion for Icelandic legend culminated in his verse translation of ''The [[Elder Edda]]'' (1969).<ref name="FullerNoPage"/><ref name="LaterNoPage"/> Among his later themes was the "religionless Christianity" he learned partly from [[Dietrich Bonhoeffer]], the dedicatee of his poem "Friday's Child".<ref>{{cite book
| last = Kirsch
| first = Arthur
| title = Auden and Christianity
| publisher = Yale University Press
| location = New Haven
| year = 2005
| isbn = 978-0-300-10814-9
}}</ref>

<!-- He was commissioned in 1963 to write lyrics for the Broadway musical ''[[Man of La Mancha]]'', but the producer rejected them as insufficiently romantic.<ref name="Libretti"/> In 1971, Secretary-General of the United Nations [[U Thant]] commissioned Auden to write the words, and [[Pablo Casals]] to compose the music, for a "Hymn to the United Nations", but the work had no official status.<ref>{{ cite web
 | title = United Nations – Fact Sheet # 9: "Does the UN have a hymn or national anthem?
 | url = http://www.un.org/geninfo/faq/factsheets/hymn.pdf
 | archive-url = https://web.archive.org/web/20090325001921/http://www.un.org/geninfo/faq/factsheets/hymn.pdf
 | archive-date = 25 March 2009
| access-date = 26 May 2013 }}</ref>
-->
''[[A Certain World]]: A Commonplace Book'' (1970) was a kind of self-portrait made up of favourite quotations with commentary, arranged in alphabetical order by subject.<ref>{{cite book|url=https://books.google.com/books?id=HCQkCQAAQBAJ&pg=PA50|page=50|title=W.H. Auden Encyclopedia|author=David Garrett Izzo|publisher=McFarland|date= 28 February 2004|isbn=9780786479993}}</ref> His last prose book was a selection of essays and reviews, ''Forewords and Afterwords'' (1973).<ref name="CarpenterNoPage"/> His last books of verse, ''[[Epistle to a Godson]]'' (1972) and the unfinished ''[[Thank You, Fog]]'' (published posthumously, 1974) include reflective poems about language ("Natural Linguistics", "Aubade"), philosophy and science ("No, Plato, No", "Unpredictable but Providential"), and his own aging ("A New Year Greeting", "Talking to Myself"—which he dedicated to his friend [[Oliver Sacks]],<ref>{{cite magazine |url=https://www.newyorker.com/books/page-turner/swimming-with-oliver-sacks |title=Swimming With Oliver Sacks |magazine=The New Yorker |access-date=January 5, 2016}}</ref><ref>{{cite web |url=https://tribrach.wordpress.com/2016/01/09/the-poem-that-w-h-auden-dedicated-to-oliver-sacks/ |title=The poem that W.H. Auden dedicated to Oliver Sacks |website=Tribrach |date=9 January 2016 |access-date=January 9, 2016}}</ref> "A Lullaby" ["The din of work is subdued"]). His last completed poem was "Archaeology", about ritual and timelessness, two recurring themes in his later years.<ref name="LaterNoPage"/>

===Reputation and influence===
Auden's stature in modern literature has been contested. Probably the most common critical view from the 1930s onward ranked him as the last and least of the three major twentieth-century poets of the UK or Ireland—behind Yeats and Eliot—while a minority view, more prominent in recent years, ranks him as the highest of the three.<ref name="SmithIntro">{{cite book | last = Smith | first = Stan | year = 2004 | chapter = Introduction | title = The Cambridge Companion to W. H. Auden | editor = Stan Smith | publisher = Cambridge University Press | location = Cambridge | pages = 1–14 | isbn = 978-0-521-82962-5}}</ref> Opinions have ranged from those of [[Hugh MacDiarmid]], who called him "a complete wash-out"; [[F. R. Leavis]], who wrote that Auden's ironic style was "self-defensive, self-indulgent or merely irresponsible";<ref>Haffenden, p. 222.</ref> and [[Harold Bloom]], who wrote "Close thy Auden, open thy [[Wallace Stevens|[Wallace] Stevens]],"<ref>{{cite magazine
| last = Bloom | first = Harold | date = 5 April 1969 | title = Christianity and Art | magazine = The New Republic | volume = 160 | issue = 14 | pages = 25–28}}</ref> to the obituarist in ''[[The Times]]'', who wrote: "W.H. Auden, for long the ''enfant terrible'' of English poetry... emerges as its undisputed master."<ref name = "SansomChapter">{{cite book | last = Sansom | first = Ian | year = 2004 | chapter = Auden and Influence | title = The Cambridge Companion to W.H. Auden | editor-first = Stan | editor-last = Smith | publisher = Cambridge University Press | location = Cambridge | pages = 226–39 | isbn = 978-0-521-82962-5}}</ref> [[Joseph Brodsky]] wrote that Auden had "the greatest mind of the twentieth century".<ref name="Brodsky" />

Critical estimates were divided from the start. Reviewing Auden's first book, ''Poems'' (1930), [[Naomi Mitchison]] wrote "If this is really only the beginning, we have perhaps a master to look forward to."<ref>Haffenden, p. 83.</ref> But [[John Hanbury Angus Sparrow|John Sparrow]], recalling Mitchison's comment in 1934, dismissed Auden's early work as "a monument to the misguided aims that prevail among contemporary poets, and the fact that... he is being hailed as 'a master' shows how criticism is helping poetry on the downward path."<ref>Haffenden, pp. 7–8.</ref>

Auden's clipped, satiric, and ironic style in the 1930s was widely imitated by younger poets such as [[Charles Madge]], who wrote in a poem "there waited for me in the summer morning / Auden fiercely. I read, shuddered, and knew."<ref>Smith, ''Companion'', p. 123.</ref> He was widely described as the leader of an "Auden group" that comprised his friends [[Stephen Spender]], [[Cecil Day-Lewis]], and [[Louis MacNeice]].<ref name="Hynes">{{cite book | last = Hynes | first = Samuel | year = 1977 | title = The Auden Generation | publisher = Viking | location = New York | isbn = 978-0-712-65250-6 | url = https://archive.org/details/audengenerationl00hyne }}</ref> The four were mocked by the poet [[Roy Campbell (poet)|Roy Campbell]] as if they were a single undifferentiated poet named "Macspaunday."<ref>Haffenden, p. 34.</ref> Auden's propagandistic poetic plays, including ''The Dog Beneath the Skin'' and ''The Ascent of F6'', and his political poems such as "Spain" gave him the reputation as a political poet writing in a progressive and accessible voice, in contrast to Eliot; but this political stance provoked opposing opinions, such as that of [[Austin Clarke (poet)|Austin Clarke]] who called Auden's work "liberal, democratic, and humane",<ref>Haffenden, p. 29.</ref> and John Drummond, who wrote that Auden misused a "characteristic and popularizing trick, the generalized image", to present ostensibly left-wing views that were in fact "confined to bourgeois experience."<ref>Haffenden, p. 31.</ref>

Auden's departure for America in 1939 was debated in Britain (once even in Parliament), with some seeing his emigration as a betrayal. Defenders of Auden such as [[Geoffrey Grigson]], in an introduction to a 1949 anthology of modern poetry, wrote that Auden "arches over all". His stature was suggested by book titles such as ''Auden and After'' by [[Francis Scarfe]] (1942) and ''The Auden Generation'' by [[Samuel Hynes]] (1977).<ref name="Companion"/>

[[File:Plaque to W.H. Auden, Brooklyn Heights 01 (9420506021).jpg|thumb|Commemorative plaque at one of Auden's homes in [[Brooklyn Heights]], New York]]
In the US, starting in the late 1930s, the detached, ironic tone of Auden's regular stanzas became influential; [[John Ashbery]] recalled that in the 1940s Auden "was ''the'' modern poet".<ref name="SansomChapter"/> Auden's formal influences were so pervasive in American poetry that the ecstatic style of the [[Beat Generation]] was partly a reaction against his influence. From the 1940s through the 1960s, many critics lamented that Auden's work had declined from its earlier promise; [[Randall Jarrell]] wrote a series of essays making a case against Auden's later work,<ref>{{cite book | last = Jarrell | first = Randall | editor-last = Burt | editor-first = Stephen | year = 2005 | title = Randall Jarrell on W. H. Auden | publisher = Columbia University Press | location = New York | isbn = 978-0-231-13078-3 | url = https://archive.org/details/randalljarrellon00jarr }}</ref> and [[Philip Larkin]]'s "What's Become of Wystan?" (1960) had a wide impact.<ref name="SansomChapter" /><ref>Haffenden, pp. 414–19.</ref>

The first full-length study of Auden was [[Richard Hoggart]]'s ''Auden: An Introductory Essay'' (1951), which concluded that "Auden's work, then, is a civilising force."<ref>{{cite book | last = Hoggart | first = Richard | year = 1951 | title = Auden: An Introductory Essay | url = https://archive.org/details/audenintroductor0000hogg | url-access = registration | publisher = Chatto & Windus | location = London | page = [https://archive.org/details/audenintroductor0000hogg/page/219 219]}}</ref> It was followed by [[Joseph Warren Beach]]'s ''The Making of the Auden Canon'' (1957), a disapproving account of Auden's revisions of his earlier work.<ref>{{cite book | last = Beach | first = Joseph Warren | year = 1957 | title = The Making of the Auden Canon | url = https://archive.org/details/makingofaudenc00jose | url-access = registration | publisher = University of Minnesota Press | location = Minneapolis}}</ref> The first systematic critical account was Monroe K. Spears' ''The Poetry of W.&nbsp;H. Auden: The Disenchanted Island'' (1963), "written out of the conviction that Auden's poetry can offer the reader entertainment, instruction, intellectual excitement, and a prodigal variety of aesthetic pleasures, all in a generous abundance that is unique in our time."<ref>{{cite book | last = Spears | first = Monroe K. | year = 1963 | title = The Poetry of W.H. Auden: The Disenchanted Island | publisher = Oxford University Press | location = New York | page = v}}</ref>

Auden was one of three candidates recommended by the Nobel Committee to the Swedish Academy for the [[Nobel Prize in Literature]] in 1963<ref>{{cite web | url=https://www.nobelprize.org/nomination/literature/1963.html | title=Candidates for the 1963 Nobel Prize in Literature | publisher=Nobel Prize |year=2013 | access-date=3 January 2014 | archive-date=12 December 2017 | archive-url=https://web.archive.org/web/20171212193319/https://www.nobelprize.org/nomination/literature/1963.html | url-status=live }}</ref> and 1965<ref>{{cite web | url=https://www.nobelprize.org/nomination/literature/1965.html | title=Candidates for the 1965 Nobel Prize in Literature | publisher=Nobel Prize |year=2014 | access-date=4 December 2016 | archive-date=14 August 2018 | archive-url=https://web.archive.org/web/20180814201240/https://www.nobelprize.org/nomination/literature/1965.html | url-status=live }}</ref> and six recommended for the 1964 prize.<ref>{{cite web |url=https://www.nobelprize.org/nomination/literature/1964.html |title=Candidates for the 1964 Nobel Prize in Literature |publisher=Nobel Prize |year=2015 |access-date=25 May 2015 |archive-date=12 May 2015 |archive-url=https://web.archive.org/web/20150512204159/http://www.nobelprize.org/nomination/literature/1964.html |url-status=live }}</ref> By the time of his death in 1973 he had attained the status of a respected elder statesman, and a memorial stone for him was placed in [[Poets' Corner]] in [[Westminster Abbey]] in 1974.<ref>{{cite web |title = Famous People & the Abbey: Wystan Hugh Auden |url = https://www.westminster-abbey.org/abbey-commemorations/commemorations/wystan-hugh-auden/#i13475 |access-date = 28 July 2018 |df = dmy-all |archive-date = 29 July 2018 |archive-url = https://web.archive.org/web/20180729013005/https://www.westminster-abbey.org/abbey-commemorations/commemorations/wystan-hugh-auden/#i13475 |url-status = live }}</ref> The [[Encyclopædia Britannica]] writes that "by the time of Eliot's death in 1965... a convincing case could be made for the assertion that Auden was indeed Eliot's successor, as Eliot had inherited sole claim to supremacy when [[Yeats]] died in 1939."<ref>{{cite web| website=Encyclopædia Britannica| title=W.H. Auden| url=http://www.britannica.com/eb/article-9011216/W-H-Auden| access-date=23 February 2008| archive-date=7 March 2008| archive-url=https://web.archive.org/web/20080307041305/http://www.britannica.com/eb/article-9011216/W-H-Auden| url-status=live}}</ref> With some exceptions, British critics tended to treat his early work as his best, while American critics tended to favour his middle and later work.<ref>Haffenden, p. 54.</ref><ref>Aidan Wasley, "Auden and the American Literary World", in Sharpe, ''W.H. Auden in Context'', pp. 118–37.</ref>

Another group of critics and poets has maintained that unlike other modern poets, Auden's reputation did not decline after his death, and the influence of his later writing was especially strong on younger American poets including [[John Ashbery]], [[James Merrill]], [[Anthony Hecht]], and [[Maxine Kumin]].<ref>{{cite book | last = Wasley | first = Aidan | title = The Age of Auden: Postwar Poetry and the American Scene | year = 2011 | publisher = Princeton University Press | location = Princeton | isbn = 978-1-40083635-2}}</ref> Typical later evaluations describe him as "arguably the [20th] century's greatest poet" (Peter Parker and Frank Kermode),<ref>{{cite book | editor-last = Kermode | editor-first = Frank | title = The Reader's Companion to Twentieth-Century Writers | year = 1995 | publisher = Fourth Estate | location = London | page = 35 | isbn = 978-1-85702332-9}}</ref> who "now clearly seems the greatest poet in English since Tennyson" (Philip Hensher).<ref>{{cite news | url = https://www.theguardian.com/culture/2009/nov/07/britten-auden-philip-hensher | title = Love's a little boy | last = Hensher | first = Philip | date = 6 November 2009 | newspaper = The Guardian | access-date = 30 September 2015 | archive-date = 1 October 2015 | archive-url = https://web.archive.org/web/20151001211437/http://www.theguardian.com/culture/2009/nov/07/britten-auden-philip-hensher | url-status = live }}</ref>

Auden became a close friend of neurologist [[Oliver Sacks]] and after publication of Sacks's first book ''[[Migraine (book)|Migraine]]'', in 1970, his review encouraged Sacks to adapt his writing style to "be metaphorical, be mythical, be whatever you need."<ref>{{cite web |last1=Wallace-Wells |first1=David |title=A Brain With a Heart |url=https://nymag.com/news/features/oliver-sacks-2012-11/ |work=New York |date=3 November 2012 |access-date=6 December 2024 |archive-date=6 September 2015 |archive-url=https://web.archive.org/web/20150906001253/http://nymag.com/news/features/oliver-sacks-2012-11/ |url-status=live}}</ref>

Public recognition of Auden's work sharply increased after his "Funeral Blues" ("Stop all the clocks") was read aloud in the film ''[[Four Weddings and a Funeral]]'' (1994); subsequently, a pamphlet edition of ten of his poems, ''Tell Me the Truth About Love'', sold more than 275,000 copies. An excerpt from his poem "As I walked out one evening" was recited in the film ''[[Before Sunrise]]'' (1995).<ref>{{cite magazine | url = https://ew.com/article/1995/02/03/wh-audens-hollywood-career/ | title = W.H. Auden's Hollywood career | magazine = [[Entertainment Weekly]] | access-date = 1 March 2021 | archive-date = 18 September 2021 | archive-url = https://web.archive.org/web/20210918115626/https://ew.com/article/1995/02/03/wh-audens-hollywood-career/ | url-status = live }}</ref> After the [[September 11 attacks|11 September 2001 attacks]], his 1939 poem "September 1, 1939" was widely circulated and frequently broadcast.<ref name="SansomChapter"/> Public readings and broadcast tributes in the UK and US in 2007 marked his centenary year.<ref>{{cite web | author = The W. H. Auden Society | url = http://audensociety.org/news.html | title = The Auden Centenary 2007 | access-date = 20 January 2007 | archive-date = 2 February 2007 | archive-url = https://web.archive.org/web/20070202071443/http://audensociety.org/news.html | url-status = live }}</ref>

Overall 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.<ref name = "EarlyNoPage"/><ref name="FullerNoPage"/><ref name="Brodsky">{{cite book | last = Brodksy | first = Joseph | year = 1986 | title = Less Than One: selected essays | publisher = Farrar, Straus & Giroux | location = New York | page = 357 | isbn = 978-0-374-18503-9}}</ref><ref name="PoetsOrg">{{cite web | url = http://www.poets.org/poet.php/prmPID/120 | publisher = [[Academy of American Poets]] | title = W.H. Auden | access-date = 21 January 2007 | archive-date = 27 March 2014 | archive-url = https://web.archive.org/web/20140327173545/http://www.poets.org/poet.php/prmPID/120 | url-status = live }}</ref>

Memorial stones and plaques commemorating Auden include those in Westminster Abbey; at his birthplace at 55 Bootham, York;<ref>{{cite web | url = http://openplaques.org/plaques/9970 | title = Open plaques | access-date = 22 April 2017 | archive-date = 13 July 2017 | archive-url = https://web.archive.org/web/20170713040541/http://openplaques.org/plaques/9970 | url-status = live }}</ref> near his home on Lordswood Road, Birmingham;<ref>{{cite web | url = http://openplaques.org/plaques/1538 | title = Open plaques | access-date = 22 April 2017 | archive-date = 13 July 2017 | archive-url = https://web.archive.org/web/20170713043918/http://openplaques.org/plaques/1538 | url-status = live }}</ref> in the chapel of Christ Church, Oxford; on the site of his apartment at 1 Montague Terrace, Brooklyn Heights; at his apartment in 77 St. Marks Place, New York (damaged and now removed);<ref>{{cite web | url = http://sideways.nyc/2012/08/w-h-auden/ | title = Manhattan Sideways | access-date = 22 April 2017 | archive-date = 23 April 2017 | archive-url = https://web.archive.org/web/20170423152308/http://sideways.nyc/2012/08/w-h-auden/ | url-status = live }}</ref> at the site of his death at Walfischgasse 5 in Vienna;<ref>{{cite web | url = http://alfredcornsweblog.blogspot.com/2008/06/audens-last-night-vienna-museums.html | title = Auden's last night. Vienna museums | access-date = 22 April 2017 | date = 14 June 2008 | archive-date = 2 August 2017 | archive-url = https://web.archive.org/web/20170802133749/http://alfredcornsweblog.blogspot.com/2008/06/audens-last-night-vienna-museums.html | url-status = live }}</ref> and in the [[Rainbow Honor Walk]] in San Francisco.<ref name=autogenerated5>{{Cite web|url=https://www.kqed.org/news/11765805/tributes-in-bronze-8-more-lgbt-heroes-join-s-f-s-rainbow-honor-walk|title=Tributes in Bronze: 8 More LGBT Heroes Join S.F.'s Rainbow Honor Walk|last=Yollin|first=Patricia|date=6 August 2019|website=KQED: The California Report|language=en|access-date=16 August 2019|archive-date=14 August 2019|archive-url=https://web.archive.org/web/20190814132643/https://www.kqed.org/news/11765805/tributes-in-bronze-8-more-lgbt-heroes-join-s-f-s-rainbow-honor-walk|url-status=live}}</ref> In his house in Kirchstetten, his study is open to the public upon request.<ref>["Sommer in Kirchstetten – Gedenkstätte für W.H. Auden], ''NÖN'' 39/2015.</ref>

In 2023, newly declassified UK government files revealed that Auden was considered as a candidate to be the new [[Poet Laureate of the United Kingdom]] in 1967 following the death of [[John Masefield]]. He was rejected due to having taken American citizenship.<ref name="BBC2023">{{Cite news|url=https://www.bbc.co.uk/news/entertainment-arts-66224984|work=[[BBC News]]|title=No 10 turned down Larkin, Auden and other poets for laureate job|date=19 July 2023|first=Sanchia|last=Berg}}</ref>