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Wicked at All Times Wicked at all times. Original Sin in W. H. Auden‘s anti-totalitarian political philosophy Hedda Lingaas Fossum A Thesis Presented to The Department of Literature, Area Studies and European Languages University of Oslo in Partial Fulfillment of the Requirements for the MA Degree Spring 2014 II Wicked at all times. Original Sin in W. H. Auden‘s anti-totalitarian political philosophy Hedda Lingaas Fossum III © Hedda Lingaas Fossum 2014 Wicked at all times. Original Sin in W. H. Auden‘s anti-totalitarian political philosophy. Hedda Lingaas Fossum http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo IV Abstract In this thesis, I investigate the function of Original Sin in W. H. Auden‘s political philosophy during and after the Second World War. The analysis is twofold, with a theoretical bridge. In the first chapter I consider the role of Original Sin in Auden‘s understanding of fascism, liberalism and democracy during the early 1940s, based on a reading of selected prose (1939- 48) as well as two long poems Auden wrote in the early 40s: ―New Year Letter‖ (1940) and ―For the Time Being‖ (1941-42). Drawing on a theoretical framework developed by Roger Griffin in his study of modernism and fascism, I show how Auden‘s religiously grounded political philosophy in general, and his notion of the time being in particular, underpins his rejection of totalitarian apocalypticism. In the second chapter I bring in the theoretical perspective of political philosopher Hannah Arendt, whose concept of action sheds light on the time being as well as providing a useful conceptual framework for my analysis in the third chapter. In chapter 3 I investigate Auden‘s poem sequence Horae Canonicae (1949-54) in light of the findings from the previous chapters, with focus on its central theme of the act or crime and its portrayal of beginnings and ends. I demonstrate how a reading of the poems in light of 1) Auden‘s political philosophy from the 1940s onwards and 2) Arendt‘s theory of action reveals new insights into Auden‘s understanding of Redemption or the Last Judgment. V VI Preface and acknowledgments I first fell for Auden in a library in Connecticut. It happened during the Fall semester of 2010, on the near-deserted third floor of the University of Connecticut library, Storrs Campus. I, like many in my generation, had first come to know of Auden through the movie Four Weddings and a Funeral (1994), where the character Matthew (John Hannah) gives a beautiful and understated reading of the poem ―Stop All the Clocks.‖ The next encounter had been just as much of a coincidence, when one of Oslo‘s cheap chain bookstores inexplicitly happened to have one volume of Another Time (1940) on sale for 30 NOK. It was lucky that Another Time should have been the first collection of Auden‘s poetry that I read; unlike the Collected Poems it includes two of Auden‘s most famous, but later to-be-discarded poems; ―Spain, 1937‖ and ―September 1st, 1939.‖ These two rhetorically powerful poems contributed to a firm first impression of Auden as someone who – also – had something to say about politics: ―Find what occurred at Linz / What huge imago made / A psychopathic God‖ along with lines like ―None can live for long / In an euphoric dream; / Out of the mirror they stare, / Imperialism‘s face / And the international wrong.‖ The same collection – a jackpot, really – also contains Auden‘s elegy to W. B. Yeats, in which he not only writes that ―poetry makes nothing happen,‖ but that the role of poetry is, ―In the prison of his days / Teach the free man how to praise.‖ But back to the library in Connecticut: on that near-deserted third floor I found, among other works, a first edition of The Shield of Achilles (1955). I opened it on a random page and read the curious, casual poem ―Vespers.‖ Casual, that is, until its very last lines, where the speaker states that ―…without a cement of blood (it must be human, it must be innocent) no secular wall will safely stand.‖ I didn‘t understand what it meant. This, I believe, was the true beginning of my fascination with Auden‘s poetry – a mystery. I found nothing in the poem to explain why a civilization – even ―our dear old bag of a democracy,‖ as Auden writes, adding insult to injury – by necessity should have to be founded on innocent blood, nor why anyone would end a poem on a statement like that, and then seem to move on as if nothing had happened. The quest for an answer led me to the sequence Horae Canonicae, which again led me to discover and then try to figure out Auden‘s Christianity, which eventually led me to the topic of this thesis, broadly described: Original Sin in Auden‘s political philosophy. Needless to say, it has been a process in several stages, during which I have had a lot of help from a lot of people. VII I have many to thank for what is good in this thesis. Any remaining faults or flaws are, of course, my own. First of all, I owe thanks to Dr. Erik Tonning at the University of Bergen, whose generosity, expertise and assistance has been instrumental to the development of this thesis. Thank you for facilitating my participation at the Modernism, Christianity and Apocalypse conference held in July 2012 and your helpful suggestions and comments on my paper; for your feedback and editorial assistance with the conference volume essay; and for allowing me to participate at the Modernism and Christianity PhD seminar held in May 2013. I am thankful to my supervisor, Professor Juan Christian Pellicer, for his patience, encouragement and many rounds of feedback and helpful suggestions. Thank you to the participants at the Modernism, Christianity and Apocalypse conference and Modernism and Christianity PhD seminar for exemplary analytical performances, instructive discussions, helpful feedback and for expanding my literary and theoretical horizons. I want to thank my colleagues in Lasso and Bøygen literary magazines for their inspiration, feedback, countless enlightening discussions and overall example. Nowhere have I learned more about literature. Thank you to Bokvennen Litterært Magasin for printing my essay on Auden in the 1930s, and for valuable feedback and editorial assistance.1 I am grateful to a number of people for commenting on and proof reading drafts, for listening patiently to explanations of often vague and obscure ideas, and in other ways challenging me to think. Thanks to Guilherme Schmidt Camara, Ingrid Hjertaker, Elin Kittelsen, Eivind Myklebust, Vincent Møystad, Andrea Phillips, Ingrid Rædergård, Marie Rædergård, Kjetil Simonsen and Ida Amalie Svensson. Thank you for your friendship and your help. Particular gratitude is reserved for Ida Johanne Warnes Kjeøy for her careful readings and incisive comments on countless drafts, for interesting discussions, for her consistent good judgment and, not least, her unwavering enthusiasm and optimism about the project. At last, thanks to Guilherme Schmidt Camara for his support, patience, and much else. 1 Hedda Lingaas Fossum, ―Inn i sin tid: W. H. Auden og diktets muligheter,‖ in Bokvennen Litterært Magasin 3 (2013), 71-19. VIII IX X Innholdsfortegnelse Introduction ................................................................................................................................ 1 Original Sin ............................................................................................................................ 2 Materials: Prose ...................................................................................................................... 5 Materials: Poems .................................................................................................................... 7 New Year Letter .................................................................................................................. 7 For the Time Being ............................................................................................................. 9 Horae Canonicae ............................................................................................................. 10 Theoretical Framework ........................................................................................................ 11 Modernism and Christianity ............................................................................................. 12 Modernism and Fascism ................................................................................................... 13 Auden and Hannah Arendt ............................................................................................... 17 On Methods .......................................................................................................................... 17 1 Apocalypse Deferred: Original Sin in W. H. Auden‘s Anti-Totalitarian Vision ............. 21 1.1 The outlaw and the liberals ........................................................................................ 21 1.2 Self-love and Sin ....................................................................................................... 27 1.3 Equally evil: Equality of wretchedness ..................................................................... 31 1.4 Communal counter-vision ......................................................................................... 34 1.5 Personal choice in the earthly city ............................................................................. 37 1.6 The Incarnation and the ―Thou‖: Love as model ...................................................... 39 1.7 Democracy and science: Love
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