"Suicide is possible, but not probable; hanging, I trust, is even more unlikely; for I hope that, by the time I die, my countrymen will have become civilised enough to abolish capital punishment"
About this Quote
The line lands like a polite letter-opener sliding under the ribs: calm, almost genteel phrasing delivering an indictment of a supposedly civilized nation. Housman stages his own death as a three-beat joke - suicide, hanging, then the real punchline: the scandal isn’t that he might die, but that the state might do it. The wit is strategic. By treating execution as a matter of social embarrassment rather than raw horror, he implies capital punishment is less “justice” than a provincial habit the English keep despite their self-flattering myths of progress.
“Possible, but not probable” performs an ironic self-scrutiny, the voice of a rational man weighing odds. Then he pivots: “hanging, I trust, is even more unlikely.” Trust is doing heavy lifting, as if abolition were simply a matter of good manners catching up with morality. That’s the subtextual burn: a country that prides itself on civility still reserves the right to kill its own citizens, and does so by a method designed to look orderly.
Context matters. Housman was a playwright and activist-adjacent figure in an era when reform movements (from penal reform to suffrage to sexual politics) were forcing Victorian certainties into daylight. The line borrows the stage’s most effective weapon: tonal control. He doesn’t shout. He smiles, and in that smile you can hear the charge that a modern state can’t call itself enlightened while keeping a noose in the cupboard. The joke isn’t about death; it’s about national self-deception.
“Possible, but not probable” performs an ironic self-scrutiny, the voice of a rational man weighing odds. Then he pivots: “hanging, I trust, is even more unlikely.” Trust is doing heavy lifting, as if abolition were simply a matter of good manners catching up with morality. That’s the subtextual burn: a country that prides itself on civility still reserves the right to kill its own citizens, and does so by a method designed to look orderly.
Context matters. Housman was a playwright and activist-adjacent figure in an era when reform movements (from penal reform to suffrage to sexual politics) were forcing Victorian certainties into daylight. The line borrows the stage’s most effective weapon: tonal control. He doesn’t shout. He smiles, and in that smile you can hear the charge that a modern state can’t call itself enlightened while keeping a noose in the cupboard. The joke isn’t about death; it’s about national self-deception.
Quote Details
| Topic | Human Rights |
|---|---|
| Source | Help us find the source |
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