Login
Register
Help
Poems
Write
Groups
All groups
Free writing courses
Famous poetry classics
Forums:
Poet's
•
Suggestions
My active groups
see all
Contests
Publish
Store
Edit
Report Content
Ignore User
Add to New List
Login
Trade comments
Print publishing
Store
Rate comments
Recent views
Settings
Membership plan
Contact us + HELP
Logout
Add to list
W H Auden
Follow
The Common Life
A living-room, the catholic area you
(Thou, rather) and I may enter
without knocking, leave without a bow, confronts
each visitor with a style,
a secular faith: he compares its dogmas
with his, and decides whether
he would like to see more of us. (Spotless rooms
where nothing's left lying about
chill me, so do cups used for ash-trays or smeared
with lip-stick: the homes I warm to,
though seldom wealthy, always convey a feeling
of bills being promptly settled
with cheques that don't bounce.) There's no We at an instant,
only Thou and I, two regions
of protestant being which nowhere overlap:
a room is too small, therefore,
if its occupants cannot forget at will
that they are not alone, too big
if it gives them any excuse in a quarrel
for raising their voices. What,
quizzing ours, would Sherlock Holmes infer? Plainly,
ours is a sitting culture
in a generation which prefers comfort
(or is forced to prefer it)
to command, would rather incline its buttocks
on a well-upholstered chair
than the burly back of a slave: a quick glance
at book-titles would tell him
that we belong to the clerisy and spend much
on our food. But could he read
what our prayers and jokes are about, what creatures
frighten us most, or what names
head our roll-call of persons we would least like
to go to bed with? What draws
singular lives together in the first place,
loneliness, lust, ambition,
or mere convenience, is obvious, why they drop
or murder one another
clear enough: how they create, though, a common world
between them, like Bombelli's
impossible yet useful numbers, no one
has yet explained. Still, they do
manage to forgive impossible behavior,
to endure by some miracle
conversational tics and larval habits
without wincing (were you to die,
I should miss yours). It's a wonder that neither
has been butchered by accident,
or, as lots have, silently vanished into
History's criminal noise
unmourned for, but that, after twenty-four years,
we should sit here in Austria
as cater-cousins, under the glassy look
of a Naples Bambino,
the portrayed regards of Strauss and Stravinsky,
doing British cross-word puzzles,
is very odd indeed. I'm glad the builder gave
our common-room small windows
through which no observed outsider can observe us:
every home should be a fortress,
equipped with all the very latest engines
for keeping Nature at bay,
versed in all ancient magic, the arts of quelling
the Dark Lord and his hungry
animivorous chimaeras. (Any brute
can buy a machine in a shop,
but the sacred spells are secret to the kind,
and if power is what we wish
they won't work.) The ogre will come in any case:
so Joyce has warned us. Howbeit,
fasting or feasting, we both know this: without
the Spirit we die, but life
without the Letter is in the worst of taste,
and always, though truth and love
can never really differ, when they seem to,
the subaltern should be truth.
(for Chester Kallman)
© by owner. provided at no charge for educational purposes
Show analysis
Read more →
Analysis (ai):
The poem uses a mix of conversational phrasing and elevated reflection, balancing intimacy with intellectual scrutiny. Archaisms like "Thou" and "ours" evoke a formal, almost ritualistic tone, framing domestic life as a solemn covenant rather than a casual arrangement.
Structure and Form
: Written in loose iambic lines with irregular enjambment, the poem avoids rigid meter, reflecting the tentative equilibrium of shared domesticity. The lack of stanza breaks mirrors continuity and accumulated time in a long-term relationship.
Domestic Symbolism
: The living room functions as a metaphor for negotiated coexistence, where cleanliness, books, and bills become markers of identity and compatibility. Objects like crossword puzzles and framed musicians suggest a cultivated, insular life built on shared reference points.
Historical and Cultural Context
: Composed mid-century, it aligns with postwar Western preoccupations with privacy, stability, and bourgeois routines. While many modernist works foreground alienation or fragmentation, this poem focuses on endurance and the quiet success of ordinary connection.
Relations and Isolation
: The poem challenges romantic fusion, asserting that identity remains distinct—“Thou and I”—even in intimacy. The Protestant metaphor underscores individual moral responsibility within partnership, resisting collectivist or idealized visions of “We.”
Comparison to Other Works
: Unlike Auden’s more theological or politically urgent poems, this piece dwells in the mundane, yet retains his characteristic moral precision. It extends themes from “The More Loving One” and “Lullaby,” but with less lyrical melancholy and more sardonic pragmatism.
Modern Concerns
: It engages mid-century anxieties about conformity and domesticity, subtly questioning whether comfort leads to passivity. The preference for sitting over command echoes critiques of middle-class complacency found in postwar sociology.
Less-Discussed Angle
: The poem’s humor and irony—especially in imagining Sherlock Holmes auditing a relationship—undermine sentimentality. This clinical detachment, treating intimacy like a case study, reveals a skepticism about love’s mystification.
Unconventional Faith
: Domestic order replaces organized religion, with rituals like bill payment and furniture arrangement forming a secular liturgy. The “common world” resembles a constructed reality, fragile yet necessary, akin to mathematical abstractions “impossible yet useful.”
Survival and Defense
: The home as fortress reflects Cold War-era fears of intrusion and annihilation. References to the “Dark Lord” and “chimaeras” invoke mythic battle, but the true defense lies in shared language and routine, not force.
Allusion and Intertextuality
: Invocations of Joyce, Bombelli, and composers suggest a cultivated European mind under siege. These references are not mere ornament; they index a worldview sustained by art and intellectual continuity.
Final Ethical Stance
: The closing lines assert a hierarchy: truth prevails when in tension with love. This is not a sentimental vision of harmony but a disciplined ethics where honesty is duty, even in intimacy.
(hide)
Read more →
Like (
2
)
0
Liked it
Lovely
Liked it
Like (
2
)
W H Auden
Follow
Read more →
Browse all
Famous poems
>
By W H Auden
13.0k views
+list
Share it with your friends:
Make comments, explore modern poetry.
Join today for free!
Or Sign up with Facebook
Top poems
List all »
Bluebird
1383
4977
Do Not Go Gentle Into That Good Night
825
2734
Introduction to Poetry
891
2440
Sonnet 116: 'Let me not to the marriage of true minds...'
374
1118
About Marriage
264
763
Stopping By Woods On A Snowy Evening
646
1848
Have you read these poets?
List all »
More by W H Auden
List all »
Grub First, Then Ethics
0
3
Old People's Home
7
9
Moon Landing
3
10
River Profile
7
2
Thanksgiving for a Habitat
0
2
The Shield Of Achilles
0
7
In Praise Of Limestone
2
6
A Walk After Dark
1
7
Deftly, Admiral, Cast Your Fly
0
2
Under Which Lyre
2
6
Friday's Child
1
3
If I Could Tell You
42
67
Eyes Look Into The Well
1
3
Consider This And In Our Time
0
Loading ...
Send Message
Open Profile in New Window
Loading...