Epitaph on a tyrant
‘Epitaph on a tyrant’ is one of Auden’s shortest poems, written in January 1939. It is a light
poem, Anthony Hecht points out, “only by a perverse extension of the word.” The poem tells
a lot in few words; its narrative is cast in the form of the long poems of Dryden and Tennyson
even if it is not written in pentametric couplet. In other words, the six lines look like the
introduction or prologue to a long poem. It might be true to argue that Auden sought to
prepare his readers for the actual atrocities European tyrants had not yet committed when this
poem was composed. Auden in “Epitaph on a Tyrant” moves from human negative inaction
(the right to refrain from action) into negative or evil action (freedom of will and action),
which is a violation of human rights from a social and moral perspectives. From a human
rights point of view, he moves from the socio-moral definition of rights as a matter of a
community’s commitment to duties towards individuals in need into civil rights where he
presents the dilemma of a community’s fate in the hands of an individual. At this stage
negative rights such as the right to freedom from torture and fear, for example, are rights
sought by the community and achieved in the form of the tyrant’s refrain from action.
The poem deals with the thoughts and actions of a tyrant. Typically, a tyrant abuses his power
and position of authority. Tyrants like to be in complete control and tend to quash, in a harsh
way, any opposition to their policies and programs. In essence, W. H. Auden, in a subtle,
understated way is discussing what happens in a society when a tyrant rules a nation. Auden
states that this particular tyrant sought "perfection." In other words, the tyrant was fanatical
about instituting what he or she believed to be the right way to run the nation. It would be a
selfish way, though, as the tyrant would desire to remain in complete control and be looked
upon as the be-it-all and know-it-all for the people. Therefore, dissent would not be tolerated.
The tyrant's idea of perfection would be total obedience to his or her will. Perfection would
also mean the freedom to change laws and such anytime as the tyrant saw fit to further his or
her selfish purposes. Basically, a tyrant is spurred on by greed and a lust for power. This
poem is saying that the tyrant's way is easy for citizens of the nation to understand - it is his
way or the highway. The tyrant understands human behavior and motives and knows that
striking fear into the heart of the citizenry is an easy way to control them. People often
acquiesce when their lives and livelihoods are threatened. Therefore, the tyrant manipulates
and controls people by having strict punishment always hanging over them like the sword of
Damocles. In line four, Auden says that the tyrant is "greatly interested in armies and fleets".
The tyrant is interested in power and displays of force. This is the tyrant's way of showing
that he or she will not be messed with, either by people of the nation, or even foreign powers.
The fifth line of the poem indicates that the senators are "yes" men to the tyrant. They will
appease the tyrant to maintain their political positions and save their lives. The last line of the
poem indicates that when the tyrant makes forceful, and probably illogical and even insane
decisions, the populace, including children, suffers horribly. The tyrant's cry is his or her
tortured mind, which leads to the tyrant taking action that hurts others.
Now we should consider why Auden chose the word ‘tyrant’ instead of
‘dictator’. This might provide an answer to the question to whom exactly the
epitaph was alluding. Auden’s protagonist is not a monarch but an individual
who had seized power by force. He was originally an ordinary man; the easy
poetry he had invented indicates that he was not a well-educated person and his
keen knowledge of human folly means that he was born and raised an ordinary
man rather than away from the public in a palace. In this respect, both Mussolini
and Hitler were tyrants rather than dictators.
Though laconic and concise, written with an almost careless care and a
seemingly erratic rhyming scheme, Epitaph on a Tyrant is one of Auden’s best
and represents the time and age in which it was written, brilliantly. Furthermore,
in typical Auden-esque fashion it establishes several other angles and opens the
reader’s eyes to new perceptions and interpretations. Though quite short and
hence eclipsed by some of Auden’s greater works, Epitaph on a Tyrant is a
technical and literary masterpiece as well as a personal favourite of mine.
