Introduction
W.H. Auden’s poem *Law Like Love*, published in 1940, offers a profound exploration of the concept of law through a series of contrasting perspectives. The poem navigates the multifaceted nature of law, presenting it as both a societal construct and a deeply personal force, akin to love in its complexity and subjectivity. This essay examines the distinct conceptions of law as depicted in lines 1-34 and lines 35-60 of Auden’s work, focusing exclusively on the text of the poem as the primary source. In lines 1-34, law is portrayed through varied external, often institutional lenses, reflecting societal roles and authority. Conversely, in lines 35-60, the conception of law shifts to a more intimate, individualistic understanding, likened to personal emotions and experiences. By analyzing these differences in tone, imagery, and thematic focus, this essay aims to elucidate how Auden juxtaposes the external impositions of law with its internal, human resonance, ultimately crafting a nuanced commentary on its elusive nature.
Conceptions of Law in Lines 1-34: External and Institutional Perspectives
In the opening section of *Law Like Love* (lines 1-34), Auden presents law as an external construct, defined by societal roles and institutional authority. The poem begins by offering diverse viewpoints on law, each tied to specific figures or groups within society—gardeners, scholars, priests, and others—whose interpretations reflect their functional positions. For instance, early in the poem, law is described by gardeners as “the sun,” an immutable and guiding force, suggesting a natural order that must be respected (Auden, 1940). Similarly, for scholars, law becomes “the words in books,” emphasizing its codification and intellectual grounding within established texts. These perspectives collectively paint law as an external edifice, something imposed or inherited rather than felt or personal. The tone here is observational, almost detached, as Auden lists these definitions without endorsing any singular view. Indeed, this multiplicity highlights the fragmented and often utilitarian nature of law when viewed through societal lenses, where it serves as a tool for structure, discipline, or tradition rather than an emotional or ethical truth. The repeated structure of attributing specific meanings to different groups further reinforces a sense of law as a communal rather than individual concept, firmly rooted in the external world. This institutional framing arguably limits the scope of law to predefined roles, lacking the depth of personal engagement that emerges later in the poem. Through such imagery and structure, Auden underscores the impersonal, sometimes rigid nature of law when seen as a product of societal expectation rather than inner conviction.
Conceptions of Law in Lines 35-60: Internal and Personal Dimensions
In contrast, lines 35-60 of *Law Like Love* shift towards a deeply personal and subjective conception of law, aligning it closely with the emotional and intangible qualities of love. Here, law ceases to be a distant or prescribed entity and becomes an internal force, unique to the individual’s experience. Auden explicitly draws a parallel between law and love, suggesting that, like love, law is “yes in the heart,” an affirmation felt rather than reasoned (Auden, 1940). This imagery evokes a visceral, almost instinctive understanding, starkly different from the cerebral or functional definitions provided earlier. Furthermore, law in this section is described as something that cannot be fully articulated or constrained by words, much like the ineffable nature of love; it is a presence that “like love we don’t know where or why” (Auden, 1940). The tone becomes more introspective and tender, reflecting a personal struggle to define or grasp law’s essence. This shift from the external to the internal suggests that law, when experienced personally, transcends societal imposition and becomes a matter of individual truth or connection. Unlike the earlier lines, where law is fragmented across societal roles, here it unifies within the self, albeit ambiguously. Auden’s use of direct address and personal pronouns in this section further implicates the reader, inviting a shared recognition of law as an intimate, often contradictory force. Therefore, this latter part of the poem reimagines law not as a fixed construct but as a fluid, emotional experience, deeply tied to human vulnerability and desire.
Comparative Analysis: Divergence in Tone and Implication
Comparing the two sections of *Law Like Love*, the most striking difference lies in the transition from external authority to internal experience, which fundamentally alters the tone and implications of law as a concept. In lines 1-34, the multiplicity of perspectives—each tied to a specific societal role—creates a sense of law as a contested, often impersonal framework, where its meaning is dictated by utility or tradition (Auden, 1940). The tone is cataloguing and somewhat ironic, as no single definition emerges as definitive, suggesting a critique of law’s supposed universality. By contrast, lines 35-60 adopt a reflective, almost confessional tone, as law becomes synonymous with personal truth, akin to the unpredictable and unquantifiable nature of love. This section implies that true law, or at least its most profound manifestation, resides within the individual’s heart and consciousness, rather than in external decrees or texts (Auden, 1940). The imagery also diverges significantly: the earlier lines use concrete metaphors like “the sun” or “words in books,” grounding law in tangible, societal constructs, while the latter lines employ abstract, emotive comparisons, emphasizing its elusive and personal essence. This juxtaposition suggests that Auden views law as inherently dualistic—both a public edifice and a private sentiment—challenging readers to reconcile these opposing dimensions. While the first section highlights law’s divisiveness and rigidity, the second reveals its potential for unity and fluidity within personal experience, though this too remains fraught with ambiguity. Ultimately, this contrast reflects Auden’s broader commentary on the complexity of law, which mirrors the contradictory nature of human relationships and emotions. The shift in focus from societal to personal also raises questions about whether law can ever be universally defined or if it must always remain a subjective, evolving concept, shaped by individual perception.
Conclusion
In conclusion, W.H. Auden’s *Law Like Love* presents two contrasting conceptions of law, each illuminating different facets of its nature and impact. Lines 1-34 frame law through external, institutional perspectives, portraying it as a fragmented, societal construct shaped by roles and authority, often distant from personal experience. In contrast, lines 35-60 reimagine law as an internal, emotional force, deeply personal and akin to love in its ambiguity and intimacy. This shift from public to private, from detached observation to heartfelt introspection, underscores Auden’s nuanced exploration of law as both a communal imposition and an individual truth. The implications of this duality are significant for literary studies, as they invite readers to consider how abstract concepts like law are shaped by both external systems and internal feelings, reflecting broader human tensions between conformity and individuality. Ultimately, Auden’s poem challenges simplistic definitions of law, suggesting instead that its true meaning may lie in the intersection of these opposing views—a notion that remains relevant in understanding the complexities of human governance and emotion.
References
- Auden, W.H. (1940) ‘Law Like Love’, in *Another Time*. London: Faber and Faber.
