A Deeper Look into Auden’s Poetry

In the two main works of Oden, he uses the absence-oriented concept to express how human beings are self-centered and that they tend not to look at others' problems rather than their own problems To do. In "Muséedes Beaux Arts", Oden uses Peter Bruegel's "Fall of landscape and Icarus" as the background of his poetry. Oden also mentioned the same point in his poem "funeral blues." There, he expressed a sense of losing a very important relatives.

Oden began as a critic of his society in the 1930's and outsiders discovered and found that he saw something not worthy of gratitude. His early work was basically a record of social illness; seeking love was rarely discovered. However, as he matured, Oden gradually became more a therapist, not a diagnostician anymore; he finally reached the vision of love caused by human sympathy and subsequent religious beliefs. When this fantasy was confirmed in his poem, Oden got changed again and became more complete than the manga poet. These changes in Oden's work are, of course, not gentle and subtle, but gradual and subtle, but dividing his profession into three stages provides a number of tasks, in particular a way to make that diversity orderly.

In the 1930s, Oden gradually abandoned (and possibly semi-rigorously) the various ideologies he adopted in the decade. Oden's biographer Humphrey Carpenter believes that these ideologies - Marxism, Post Floydism, and liberal humanitarianism - share a common belief in humanity. By the end of the decade, Auden began to question his liberalism humanism because he was unable to provide it. Because of this essence, essence and its necessity, forgiveness and redemption. Thus the pursuit of love in early verses gradually grew to the pursuit of Christian love in the 1940s. Of course, due to the new direction of his thinking direction, Oden's poem suddenly did not change.