5 Let aeroplanes circle moaning overhead. Reprinted by permission of Curtis Brown, Ltd. Put crepe bows round the white necks of the public doves, Reprinted by permission of Curtis Brown, Ltd. Anonymous photographer: This material is in the.This extract shows the music Benjamin Britten composed for W H Auden’s song ‘Stop All the Clocks’.Usage terms Benjamin Britten: © Britten-Pears Foundation, Aldeburgh. These lines draw less on the real traditions of blues than on the witty poems of the American songwriter Cole Porter, whose ingenious lyrics, often in the form of fantastical lists (‘You’re the tops, you’re the Colisseum, / You’re the tops, you’re the Louvre Museum’), Auden emulated in ‘Tell Me the Truth about Love’ and other poems. Auden, renewed. "Funeral Blues" or "Stop all the clocks" is a poem by W. H. Auden. Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum Bring out the coffin, let the mourners come. ‘Musée des Beaux Arts’: Copyright © 1939 by W.H. An early version was published in 1936, but the poem in its final, familiar form was first published in The Year's Poetry (London, 1938). Published under a.Pamphlet advertising the Group Theatre, the company who performed the plays by Auden and Isherwood.Usage terms © The Group Theatre. Stop all the clocks, cut off the telephone, Prevent the dog from barking with a juicy bone, Silence the pianos and with muffled drum Bring out the coffin, let the mourners come. Except as otherwise permitted by your national copyright laws this material may not be copied or distributed further.But the poem’s first appearance was in a very different setting: it appeared in a play co-authored by Auden and Christopher Isherwood called.But no sooner has this private, violent act of psychological self-assertion been accomplished than all the forces of the establishment swing into operation, claiming Sir James back for the realm of politics and matters of state, memorialising him in the public voices of formulaic obituary:The whole of England is plunged into mourning for one of her greatest sons … At this hour, the thoughts of the whole nation go out to a very brave and very lonely woman in a little South country village … He was a brave man and courage is the greatest quality a man can have.And it is at this point that two of the play’s proponents of what Auden would later call ‘international wrong’ (‘September 1, 1939’) sing an elegy for the dead Sir James: ‘Stop all the clocks, cut off the telephone, / Prevent the dog from barking with a juicy bone’.The words are the same, but the feeling could not be further from the personal pathos of the poem in,Hold up your umbrellas to keep off the rain,Shawcross will say a few words sad and kind.And Gunn, of course, will drive the motor-hearse:Extract from Auden and Isherwood’s 1936 play.Usage terms W H Auden: Copyright © 1936 by W.H. 'Funeral Blues', also known as 'Stop all the Clocks', is perhaps now most famous for its recitation in the film Four Weddings and a Funeral, but its first audience encountered it as part of a play. Stop All The Clocks, Cut Off The Telephone poem by Wystan Hugh Auden. Let aeroplanes circle moaning overhead Scribbling on the sky the message He Is Dead, Put crepe bows round the white necks of the public doves, Let the traffic policemen wear black cotton gloves. Except as otherwise permitted by your national copyright laws this material may not be copied or distributed further.The music Britten wrote for the show evidently made a great impression on its original audience, not least because of its principal performer, a hugely talented singer called Hedli Anderson, whom Auden had known since the production of,Auden evidently decided to rework the poem for Anderson to use independently. Christopher Isherwood: Copyright © Katherine Bucknell and Don Bachardy 2012, used by permission of The Wylie Agency (UK) Limited. Stop all the clocks cut off the telephonePrevent the dog from barking with a juicy boneSilence the pianos and with muffled drum. But the feelings in ‘Funeral Blues’ are evidently very much other than merely larky; and in the new context of the volume.The impossibilities poignantly urged upon the universe in ‘Funeral Blues’ – ‘Pack up the moon and dismantle the sun’ – call to mind the similar catalogue of surreal not-happenings of which the romantically deluded lover sings in ‘As I walked out one evening’, 35 pages earlier in the book:This lovely exuberance is checked by the voice of experience: ‘O let not Time deceive you, / You cannot conquer Time’.

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