W. H. Auden Quotes

The surest way to discipline passion is to discipline time: decide what you want or ought to do during the day, then always do it at exactly the same moment every day, and passion will give you no trouble.

I write because I love to play with language.

You owe it to all of us to get on with what you're good at.

We must love one another or die

Machines have no political opinions, but they have profound political effects. They demand a strict regimentation of time, and, by abolishing the need for manual skill, have transformed the majority of the population from workers into laborers. There are, that is to say, fewer and fewer jobs which a man can find a pride and satisfaction in doing well, more and more which have no interest in themselves and can be valued only for the money they provide.

"In addition, unlike Othello, whose profession of arms is socially honorable, Shylock is a professional usurer who, like a prostitute, has a social function but is an outcast from the community. But, in the play, he acts unprofessionally; he refuses to charge Antonio interest and insists upon making their legal relation that of debtor and creditor, a relation acknowledged as legal by all societies. Several critics have pointed to analogies between the trial scene and the medieval Processus Belial in which Our Lady defends man against the prosecuting Devil who claims the legal right to man’s soul. […] But the differences between Shylock and Belial are as important as their similarities. The comic Devil of the mystery play can appeal to logic, to the letter of the law, but he cannot appeal to the heart or to the imagination, and Shakespeare allows Shylock to do both. In his "Hath not a Jew eyes…" speech in Act III, Scene I, he is permitted to appeal to the sense of human brotherhood, and in the trial scene, he is allowed to argue, with a sly appeal to the fear a merchant class has of radical social evolution:

You have among you many a purchased slave
Which like your asses and your dogs and mules,
You use in abject and in slavish parts,

which points out that those who preach mercy and brotherhood as universal obligations limit them in practice and are prepared to treat certain classes of human beings as things."

Beloved, we are always in the wrong,
Handling so clumsily our stupid lives,
Suffering too little or too long,
Too careful even in our selfish loves:
The decorative manias we obey
Die in grimaces round us every day,
Yet through their tohu-bohu comes a voice
Which utters an absurd command - Rejoice.

We are lived by powers we pretend to understand.

O look, look in the mirror
O look in your distress
Life remains a blessing
Although you cannot bless

O stand, stand at the window
As the tears scald and start
You shall love your crooked neighbour
With your crooked heart

If a stranger in the train asks me my occupation, I never answer 'writer' for fear that he may go on to ask me what I write, and to answer poetry would embarrass us both.

"As for Iago’s jealousy, one cannot believe that a seriously jealous man could behave towards his wife as Iago behaves towards Emilia, for the wife of a jealous husband is the first person to suffer. Not only is the relation of Iago and Emilia, as we see it on stage, without emotional tension, but also Emilia openly refers to a rumor of her infidelity as something already disposed of.

Some such squire it was
That turned your wit, the seamy side without
And made you to suspect me with the Moor.

At one point Iago states that, in order to revenge himself on Othello, he will not rest till he is even with him, wife for wife, but, in the play, no attempt at Desdemona’s seduction is made. Iago does not encourage Cassio to make one, and he even prevents Roderigo from getting anywhere near her.

Finally, one who seriously desires personal revenge desires to reveal himself. The revenger’s greatest satisfaction is to be able to tell his victim to his face – "You thought you were all-powerful and untouchable and could injure me with impunity. Now you see that you were wrong. Perhaps you have forgotten what you did; let me have the pleasure of reminding you."

When at the end of the play, Othello asks Iago in bewilderment why he has thus ensnared his soul and body, if his real motive were revenge for having been cuckolded or unjustly denied promotion, he could have said so, instead of refusing to explain."

The truly tragic kind of suffering is the kind produced and defiantly insisted upon by the hero himself so that, instead of making him better, it makes him worse and when he dies he is not reconciled to the law but defiant, that is, damned. Lear is not a tragic hero, Othello is.

She survived whatever happened;
she forgave; she became.

You need not see what someone is doing to know if it is his vocation, you have only to watch his eyes: a cook mixing a sauce, as surgeon making a primary incision, a clerk completing a bill of lading, wear that same rapt expression, forgetting themselves in a function.

How beautiful it is, that eye-on-the-object look.

You will be a poet because you will always be humiliated.