22 pages • 44-minute read
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The poem takes place in Auden’s then-home of New York City, which he saw as a land of possibilities. The setting is established in the opening lines: “I sit in one of the dives / On Fifty-second Street” (Lines 1-2). The landscape of the city is referenced throughout the poem, giving the scene a visual framework; however, it also serves as a microcosm of the wider, changing world. The city represents the social authority and power held by certain individuals, and the impact they have on the everyday person. For example, the speaker remarks on the way “blind skyscrapers use / Their full height to proclaim” an image of unity and strength (Line 35-36). However, the city is “blind” to the real struggles taking place on the ground. Later, this idea is reiterated with “the lie of Authority / Whose buildings grope the sky” (Line 82-83). The city is a symbol of power, but a power that has become distant and uncompromising—much like America itself, prior to joining the British and French in the war.
The cityscape is also referenced when the speaker says:
Faces along the bar
Cling to their average day:
The lights must never go out,
The music must always play (Lines 45-48).
This brings the more intimate face of the city to life, suggesting a comfort and solidarity within these smaller settings. However, the patrons “cling” (Line 46) to this fragile reality even as it falls apart around them. Thus, the city becomes a façade of lost promises and ideals.
The poem uses the balance of light and darkness as a recurring motif to symbolize the conflict between oppression and hope. The poem takes place in a bar on a “September night” (Line 11), suggesting a pervasive darkness around the speaker. This image is compounded by the reflection of “[t]he enlightenment driven away” (Line 30); the speaker feels like hope and knowledge are slowly disappearing from the world. In the fifth stanza, this contrast becomes more overt. The people surrounding the speaker believe that “[t]he lights must never go out” (Line 47)—in other words, they need an artificial representation of the hope they still have. However, the speaker quickly disagrees:
Lest we should see where we are,
Lost in a haunted wood,
Children afraid of the night (Lines 52-54).
The speaker sees that the light is only an illusion. However, the final stanza introduces light as a hopeful motif:
Defenceless under the night
…………………………
Yet, dotted everywhere
Ironic points of light (Lines 89-92).
These “points of light” represent the lights within the city (for which New York City is famous), as well as the light that exists within human beings. The speaker, previously lost and jaded, acknowledges this light within themselves when they say:
May I, composed like them
…………………………
…………………………
…………………………
Show an affirming flame (Lines 95-99).
Here, light becomes a promise to try to embody a better, brighter future.
Music is only mentioned once in the poem—“The lights must never go out, / The music must always play” (Lines 47-48)—yet it is by far the poem’s most human moment. While other stanzas deal in faceless groups of power and the expanse of the human spirit, here music represents the everyday connections between one person and another. Like the references to light, music represents hope and life in times of darkness. The specific reference to playing music might represent moments of connection in themselves, such as dancing or meeting someone in a music hall, or it can represent a moment of solace. Even in these personal moments of introspection, however, the listener is connecting to the broader human tradition of art and hope. By including this image in the poem, the speaker reminds the reader of what is to be protected or lost in the struggle against war.



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