Here are the final two sections of ‘Christmas Oratorio,’ For the Time Being by W H Auden, written 1941-42. Seems appropriate for Epiphany when we are turning our back to the events of Christmas and moving into the New Year.
III
Well, so that is that.
Now we must dismantle the tree,
Putting the decorations back into their cardboard boxes -
Some have got broken – and carrying them up to the attic.
The holly and the mistletoe must be taken down and burnt,
And the children got ready for school. There are enough
Left-overs to do, warmed-up, for the rest of the week -
Not that we have much appetite, having drunk such a lot,
Stayed up so late, attempted – quite unsuccessfully -
To love all of our relatives, and in general
Grossly overestimated our powers. Once again
As in previous years we have seen the actual Vision and failed
To do more than entertain it as an agreeable
Possibility, once again we have sent Him away,
Begging though to remain His disobedient servant,
The promising child who cannot keep His word for long.
The Christmas Feast is already a fading memory,
And already the mind begins to be vaguely aware
Of an unpleasant whiff of apprehension at the thought
Of Lent and Good Friday which cannot, after all, now
Be very far off. But, for the time being, here we all are,
Back in the moderate Aristotelian city
Of darning and the Eight-Fifteen, where Euclid’s geometry
And Newton’s mechanics would account for our experience,
And the kitchen table exists because I scrub it.
It seems to have shrunk during the holidays. The streets
Are much narrower than we remembered; we had forgotten
The office was as depressing as this. To those who have seen
The Child, however dimly, however incredulously,
The Time Being is, in a sense, the most trying time of all.
For the innocent children who whispered so excitedly
Outside the locked door where they knew the presents to be
Grew up when it opened. Now, recollecting that moment
We can repress the joy, but the guilt remains conscious;
Remembering the stable where for once in our lives
Everything became a You and nothing was an It.
And craving the sensation but ignoring the cause,
We look round for something, no matter what, to inhibit
Our self-reflection, and the obvious thing for that purpose
Would be some great suffering. So, once we have met the Son,
We are tempted ever after to pray to the Father;
“Lead us into temptation and evil for our sake.”
They will come, all right, don’t worry; probably in a form
That we do not expect, and certainly with a force
More dreadful than we can imagine. In the meantime
There are bills to be paid, machines to keep in repair,
Irregular verbs to learn, the Time Being to redeem
From insignificance. The happy morning is over,
The night of agony still to come; the time is noon:
When the Spirit must practice his scales of rejoicing
Without even a hostile audience, and the Soul endure
A silence that is neither for nor against her faith
That God’s Will will be done,
That, in spite of her prayers,
God will cheat no one, not even the world of its triumph.
IV
CHORUS
He is the Way.
Follow Him through the Land of Unlikeness;
You will see rare beasts, and have unique adventures.
He is the Truth.
Seek Him in the Kingdom of Anxiety;
You will come to a great city that has expected your return for years.
He is the Life.
Love Him in the World of the Flesh;
And at your marriage all its occasions shall dance for joy.




I was reading Forward day by day & came across a reference to Auden’s ‘For the time Being’. The line quoted is ‘seek Him in the kingdom of anxiety;you will come to a great city that has expected your return for years.’
Not being familiar with this work I googled it & came across your website.
I printed the Auden quote only to get another 12 pps. of just about everything!
Many thanks
John Le Cheminant
Columbia
MD. US
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Thank you John. After reading your comment I did some googling myself and discovered I had quoted only part of the poem. I have now added the final section which makes the work feel more finished. Perhaps I should consider posting the whole work!
I have done some more research having not realised that these final words were such a small a piece of a very long work which runs (in the book I found in our local public library) to fifty-three pages of text. The book I found was W H Auden, Collected Poems edited by Edward Mendelson (pub Faber – http://www.faber.co.uk), but I am afraid that the whole work does not appear to be anywhere on the web, at least at the moment.
The whole, entitled ‘For the Time Being’, is in nine parts: Advent, The Annunciation,The Temptation of St Joseph, The Summons, The Vision of the Shepherds, At the Manger, The Meditation of Simeon, The Massacre of the Innocents and The Flight into Egypt, each of which has several subsections. (I have quoted the final two sections of the last part, The Flight into Egypt). Some of the work is poetry and some is prose and it is set out almost as a performance with sections for characters, narrator and chorus. For example, the ‘At the Manger’ section has many short lines spoken by different characters as they respond to finding Jesus, whilst ‘The Massacre of the Innocents’ contains a long prose speech spoken by Herod. In my searching I discovered that Auden originally wrote the work for Benjamin Britten to set to music, but it was too long for the purpose. http://en.wikipedia.org/wiki/For_the_Time_Being
Here is the opening section of the first part (Advent):
FOR THE TIME BEING
A Christmas Oratorio
(In memoriam – Constance Rosalie Auden – 1879-1941)
What shall we say then? Shall we continue
in sin, that grace may abound? God forbid.
Romans VI.
ADVENT
Chorus
Darkness and snow descend;
The clock on the mantlepiece
Has nothing to recommend,
Nor does the face in the glass
Appear nobler than our own
As darkness and snow descend
On all personality.
Huge crowds mumble -”Alas,
Our angers do not increase,
Love is not what she used to be”;
Portly Caesar yawns – “I know”;
He falls asleep on his throne,
They shuffle off through the snow:
Darkness and snow descend.
Many thanks for all your research. It is odd that Auden is not more widely read. I have a book of superb essays he wrote called ‘The Dyer’s Hand’.
My 2 favorite poems of his are September 1939 in whch he writes the words ‘we must love each other or perish.’ (requoted in ‘Tuesdays with Maury’)
& of course the poem used in ’4 weddings & a Funeral’, – “stop all the clocks…………..’
Poetry is the window to the soul.
John
[...] with the last few lines of For the Time Being, with an acknowledgement to the sadly-defunct blog Meanderings Along the Narrow Way, for showing me this poem in the first [...]
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Thanks for your link to my site. I am sorry that you think Meanderings… is defunct. I agree it does look that way, but I can assure you that I will continue it albeit more occasionally in the near future. Life has just been rather busy! I have now launched a separate WordPress blog for all the lovely recipes I don’t want to lose track of at http://www.hopeeternalcookbook.wordpress.com
24.07.09 – It seems that Esse Quam Videri may possibly be defunct as the above link no longer works and the last post was Lent 2009!
Thanks for this. I quoted a small part in my blog and I’m pleased to see that others appreciate Auden as well.
Christmastide Blessings!
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No problem! Thanks for letting me know. You are not the only person to have found it quoted on my site – I had a pingback from http://unitedinterim.blogspot.com/2009/11/nov-29-sermon-from-middletown.html as well.
h/e
I could not find the part of the poem
Though written Thy children
with a smudged and crocked line;
Thy Word is ever legible,
Thy meaning unequivocal
Do you know what it means?
Sarah Herman
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Sarah: I have reproduced just a few short extracts, probably the best known parts of the poem. I do not know the whole and do not recognise the words you have given me. I am certainly not an Auden scholar! It is not completely clear what you are asking me, but I am assuming that the four lines “Though written … unequivocal.” is a quote for which you are seeking a source.
My best guess would be that, as Word has a capital letter, it is probably a biblical reference. John Chapter 1 starts: ‘In the beginning was the Word and the Word was with God and the Word was God …’ which is usually understood to be about Jesus, who was God’s Son but also God. The meaning could well be that we sinless humans are broken/damaged when seen beside the sinlessness of Christ. We are smudged whereas He is, as it were, clear and indellible. Just a thought … hope it is helpful.
Afraid I am unable to point you to the exact location of the lines you seek.
h/e
Following your enquiry some months ago, another commenter has just written about the words by Auden:
Though written Thy children
with a smudged and crocked line;
Thy Word is ever legible,
Thy meaning unequivocal
You may find their thoughts of interest.
hopeeternal
Part of this poem was read at the Service of 9 Lessons and Carols from Kings College Cambridge this year. It spoke of us coming into this world to anxiety and the way of the flesh which leads to sin. Do you know what I am talking about?
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It was good to hear some more of Auden’s words in the King’s Carol Service this year. It is a very long poem and not part I recognised. I have never been able to find the entire poem online, but you should be able to find a copy in the public library. Hope this helps!
h/e
“Though written… unequivocal” is a portion of the middle stanza of a piece titled “Chorale After An Old French Carol.” It is one of the two pieces of text from “For the Time Being” that Benjamin Britten ended up actually setting to music for his christmas oratorio.
The full text of that chorale is this:
“Our Father, whose creative will asked being for us all,
Confirm it that Thy Primal Love may weave in us the freedom of the actually deficient on the justly Actual.
Though written by thy children, with a smudged and crooked line, Thy word is ever legible, Thy meaning unequivocal.
And for thy goodness, even sin is valid as a sign.
Inflict thy promises with each occasion of distress, that from our incoherence we may learn to put our trust in thee.
And brutal fact persuade us to adventure, art, and peace.”
The piece is available for purchase on iTunes, sung by the choir ‘Polyphony’, in their album: “A Christmas Present.”
I’ve spent a lot of time dwelling on this text, and as I spend time with it, and the music it was set to, I realize more and more how much of it I don’t get.
What I think is being discussed is the juxtaposition of God’s efficiency and humanity’s deficiency. Auden wrote this in the height of World War II: his opinion of human nature and capacity for goodness was probably low at best… humanity’s deficiency was, I’m sure, fresh in his mind. Perhaps what he is calling for is an acknowledgment of humanity’s fallen nature and what he hopes for is perhaps that this would be a negative affirmation of God’s existence and trustworthiness. I apologize for waxing pretentious… I’m utterly obsessed with this text, and the Chorale it is applied to. I encourage you all to listen!!
Nolan Carter
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Thank you Nolan for this thoughtful addition to the comments on this piece. I do not pretend to be an Auden scholar – I just like this particular piece of his writing (and other pieces too). It is interesting that the line you quote comes from an Old French Carol, which I had not realised.
Unless I am mistaken and Britten also wrote a piece of the same name, From the Time Being (or A Child in our Time) is an Oratorio by Michael Tippett rather than Britten. Tippett drew on many sources including Negro Spirituals, among others using ‘Steal away’ and ‘Go down Moses’ to parallel the response of those oppressed by the Nazi regime with the cry of the people of God enslaved by Pharaoh in the Book of Exodus. The piece was his response to the atrocities of Kristallnacht and the pogroms of Nazi Germany, although Tippett did not write from the perspective of a person of faith. It seems from your comments about Auden that he was mulling over similar sentiments and trying to look for God’s hand in the horrors of war.
I appreciate you taking time to add your thoughts here. The words do certainly need some thought to understand their meaning – their complex language may, of course, not be helped if they are in translation from the French. Like Biblical translation sometimes another version can shed a little more light. It certainly is an interesting piece and I will try to find some time to listen to the Chorale you mention by Polyphony.
h/e
See Nolan’s reply following…..
Britten was actually commissioned to write the Oratorio, and was so frustrated with the length of the text that he trashed all but “Chorale After An Old French Carol” and the following verse on the Shepherds. It premiered over BBC in christmas of 1944. I’ll have to look up Tippet’s usage of the text. Fascinating stuff.
Also: forgive me for applying my Christian interpretation to the text. Auden didn’t join the church until later in his life.
Nolan
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I am not sure that Tippett used the Auden but I was unaware that Britten had been commissionned and only know the Tippett piece, so I think it is a misunderstanding on my part. I am currently writing an essay on the Exodus, concentrating on the phrase ‘Let my people go’ and the release of the captives, not just in Moses’ time but down the centuries, hence the connection I made. There is an excellent book by Maggi Dawn called ‘The Writing on the Wall’ which delves into corners of art and literary history and may be of interest to you.
As for your Christian interpretation, no forgiveness is necessary as it is the sort of interpretation I would make myself. I am particularly taken with the line:
‘Though written by thy children, with a smudged and crooked line, Thy word is ever legible, Thy meaning unequivocal.’
powerful stuff.
Thanks again for your thoughts and apologies for my misunderstanding.
h/e
[...] W. H. Auden’s Christmas Oratorio, Part [...]
Thank you. Enjoyed reading the sections of Auden’s “Christmas Oratorio” here and also the comments. May Auden’s words continue to strike deep chords within us.
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Welcome Laura and thanks for commenting.
This has been a popular post. Auden has written some very thought provoking lines.
h/e
For the record, I think the full text is here at archive.org. Its was obviously the product of early OCR, which makes for a frustrating read. It is the first of a few religious dramas in this 1950s compilation.
http://www.archive.org/stream/religiousdrama1007899mbp/religiousdrama1007899mbp_djvu.txt
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Thank you to the pointer to this helpful link, although I do agree it is frustrating to read. It does not seem to bear much relation to the poem as I have seen it previously.
h/e