page_title: In Praise of Limestone
section_title: Themes
hierarchical_section_title: In Praise of Limestone / Themes
context_page_description: "In Praise of Limestone" is a poem written by W. H. Auden in Italy in May 1948. Central to his canon and one of Auden's finest poems, it has been the subject of diverse scholarly interpretations. Auden's limestone landscape has been interpreted as an allegory of Mediterranean civilization and of the human body. The poem, sui generis, is not easily classified. As a topographical poem, it describes a landscape and infuses it with meaning. It has been called the "first … postmodern pastoral". In a letter, Auden wrote of limestone and the poem's theme that "that rock creates the only human landscape."
  First published in Horizon in July 1948, the poem then appeared in his important 1951 collection Nones. A revised version was published beginning in 1958, and is prominently placed in the last chronological section of Auden's Collected Shorter Poems, 1922–1957.
context_section_description: Auden visited Ischia, an island in the Gulf of Naples, with Chester Kallman, in spring and summer 1948, and spent about six weeks on Ischia; "In Praise of Limestone" was the first poem he wrote in Italy. The titular limestone is characteristic of the Mediterranean landscape and is considered an allegory of history in the poem; the properties of this sedimentary rock invoke the sedentary and domestic picture of Mediterranean culture. The calcium in limestone makes it water-soluble and easily eroded, yet limestone builds up over eons, a stratum at a time, out of organic matter, recalling the stratified history of Mediterranean civilisation. Interpreting the metaphor of ground in poetry, the critic Rainer Emig writes, "The ground [is] a perfect symbol of cultural, ethnic, and national identity, a significatory confluence of the historical and the mythical, individual and collective."
  According to critic Alan W. France, the Mediterranean's religious tradition and culture are contrasted in "Limestone" with the Protestant and rationalistic "Gothic North". He views the poem as an attempt to "rediscover the sacramental quality of nature, a quality still animate in the 'under-developed' regions of the Mediterranean South—in particular Italy below Rome, the Mezzogiorno—but thoroughly extirpated in the Germanic North by Protestant asceticism and modern science." Auden, then, is looking on this landscape from the outside, as a member of the Northern community, yet includes himself as one of the "inconstant ones":
  If it form the one landscape that we, the inconstant ones,
  
      Are consistently homesick for, this is chiefly
  
  Because it dissolves in water. […]
  — Lines 1-3
  Other outsiders, however—the constant and more single-minded (the "best and worst")—do not share his appreciation for the landscape. Rather, they "never stayed here long but sought/ Immoderate soils where the beauty was not so external". The "granite wastes" attracted the ascetic "saints-to-be", the "clays and gravels" tempted the would-be tyrants (who "left, slamming the door", an allusion to Goebbels' taunt that if the Nazis failed, they would "slam the door" with a bang that would shake the universe), and an "older colder voice, the oceanic whisper" beckoned the "really reckless" romantic solitaries who renounce or deny life:
  'I am the solitude that asks and promises nothing;
  
      That is how I shall set you free. There is no love;
  
  There are only the various envies, all of them sad.'
  — Lines 57-59
  The immoderate soils together represent the danger of humans "trying to be little gods on earth", while the limestone landscape promises that life's pleasures need not be incompatible with public responsibility and salvation. After seeming to dismiss the landscape as historically insignificant in these middle sections of the poem, Auden justifies it in theological terms at the end. In a world where "sins can be forgiven" and "bodies rise from the dead", the limestone landscape makes "a further point:/ The blessed will not care what angle they are regarded from/ Having nothing to hide." The poem concludes by envisioning a realm like that of the Kingdom of God in physical, not idealistic terms:
              […] Dear, I know nothing of
  
  Either, but when I try to imagine a faultless love
  
      Or the life to come, what I hear is the murmur
  
  Of underground streams, what I see is a limestone landscape.
  — Lines 90-93
  Auden's literary executor and biographer Edward Mendelson and others interpret the poem as an allegory of the human body, whose characteristics correspond to those of the limestone landscape. The poet recognises that this landscape, like the body, is not witness to great historical events, but exists at a scale most suitable to humans. "Limestone" questions the valuation of that which exists on a scale different from the body—politics, the fascination with consciousness, and other abstractions. In this interpretation the poem's ending lines justify the landscape in theological terms, and are also a theological statement of the body's sacred significance. The poem is 
caption: Rembrandt's Scholar in Meditation (1633) seeks an internal landscape.
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