War Poetry
War Poetry
This blog task is assigned by Prakruti Bhatt Ma'am (Department of English, MKBU).
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Video lecture on War Poets: Wilfred Owen, Siegfried Sassoon, Rupert Brooke on YouTube/Vidya-mitra: Click here.
Q.-1.|Choose one poem from the English literary cannon which deals with the theme of war and compare it with any one of the five war poems you have studied in this unit. [Discuss aspects like the style of the poems, language employed, treatment of the theme of war, etc.] How are they different? Are there any similarities?
Ans.
1. Introduction: The Dichotomy of War Poetry
War poetry is a distinct and profound genre of English literature, encapsulating the horrors, heroism, and disillusionment of war through evocative language. Two notable examples, William Butler Yeats’ 'On Being Asked for a War Poem' and Siegfried Sassoon’s 'The Hero,' illustrate divergent approaches to the theme of war. While Yeats’ poem is a philosophical rejection of war poetry’s political utility, Sassoon’s work exposes the grim realities of war through poignant imagery. This answer explores their differences in style, language, and treatment of war, while also highlighting their shared reflections on humanity's response to conflict.
2. Yeats’ 'On Being Asked for a War Poem': Silence as Protest
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Video Lecture on 'On Being Asked for a War Poem' by W. B. Yeats on YouTube/DoE-MKBU: Click here.
W. B. Yeats documentary: Click here.
Yeats’ poem, composed during World War I, is a direct response to societal expectations for poets to comment on the war. In just six lines, Yeats asserts his refusal to glorify or critique war through poetry, offering a broader commentary on art’s limitations in times of crisis.
2.1. Style and Structure
Yeats employs a concise, reflective structure with a conversational tone. The brevity mirrors his belief that—
“A poet’s mouth [should] be silent”(Yeats)
—in times of war. The poem avoids ornate language or elaborate metaphors, embodying his disdain for the exploitation of poetry as propaganda.
2.2. Language and Diction
The language in Yeats’ poem is deceptively simple, yet profound. Phrases like—
“We have no gift to set a statesman right”(Yeats)
—emphasize the futility of poetic intervention in political decisions. Yeats’ diction, such as “indolence of her youth” and “an old man upon a winter’s night,” juxtaposes the innocence of life’s quieter moments with the chaos of war.
2.3. Treatment of War
Yeats’ approach to war is one of detachment and intellectual resistance. By asserting that poets—
“have no gift to set a statesman right,”(Yeats)
—he critiques the expectation that artists serve as moral guides during war. For Yeats, the role of the poet lies in capturing timeless truths, not fleeting political concerns.
3. Sassoon’s 'The Hero': A Study in Brutal Honesty
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Documentary on Siegfried Sassoon: Click here.
In stark contrast, Sassoon’s 'The Hero' confronts the harsh realities of war through vivid imagery and biting irony. Written during World War I, Sassoon’s poem reflects his disillusionment with the glorification of war and the lies told to sustain morale.
3.1. Style and Structure
Sassoon’s poem adopts a narrative structure, recounting the story of a mother’s grief and the deception surrounding her son’s death. The use of enjambment creates a sense of continuity, mirroring the unrelenting nature of war. The rhyme scheme (AABB) lends a deceptively lyrical quality to the grim subject matter, enhancing the poem’s ironic tone.
3.2. Language and Diction
Sassoon employs vivid and evocative language to underscore the brutality of war. Words like “cold-footed” and “useless swine” reveal the officer’s disdain for Jack, while phrases such as “blown to small bits” graphically convey the violence of his death. The mother’s “weak eyes” and “tired voice” contrast starkly with the triumphant lies she clings to, highlighting the emotional toll of war.
3.3. Treatment of War
Sassoon’s treatment of war is deeply critical, exposing its senselessness and the societal complicity in perpetuating false narratives. The mother’s misplaced pride and the officer’s gallant lies reflect the disconnect between the reality of war and its glorified perception. Sassoon’s poem mourns not only the loss of life but also the loss of truth.
4. Comparing Style and Language
The stylistic and linguistic choices in both poems underscore their thematic differences.
4.1. Brevity vs. Narrative Detail
Yeats’ succinct style reflects his philosophical stance, while Sassoon’s detailed narrative immerses readers in the emotional and physical realities of war.
4.2. Detachment vs. Intimacy
Yeats’ language is abstract and contemplative, creating a sense of detachment. Sassoon’s vivid imagery and personal focus evoke a visceral response.
4.3. Tone
5. Contrasting Themes and Perspectives
Both poems address war, but their thematic focus diverges significantly.
5.1. War’s Utility and Futility
Yeats critiques the expectation for poetry to influence politics, while Sassoon condemns the lies and false pride surrounding war.
5.2. Human Response to War
Yeats emphasizes silence and introspection, suggesting that art cannot meaningfully address war’s complexities. In contrast, Sassoon highlights the emotional and psychological consequences of war, urging readers to confront its grim realities.
6. Similarities: A Shared Critique of War’s Glorification
Despite their differences, both poems share a critical view of war’s glorification.
6.1. Rejection of Heroism
6.2. Focus on Human Experience
Both poets prioritize human emotions over grandiose rhetoric, whether it’s Yeats’ focus on life’s quiet moments or Sassoon’s portrayal of grief and disillusionment.
7. Conclusion: Two Voices, One Truth
Yeats’ 'On Being Asked for a War Poem' and Sassoon’s 'The Hero' represent contrasting yet complementary approaches to war poetry. Yeats’ philosophical detachment and Sassoon’s vivid realism both challenge the traditional role of poetry in addressing war. Together, they remind us that the true power of war poetry lies not in glorifying conflict, but in revealing its profound human cost. While Yeats advocates for silence as a form of protest, Sassoon ensures that the horrors of war are neither ignored nor forgotten. Through their unique perspectives, both poets contribute to the rich tapestry of English war poetry, offering timeless reflections on humanity’s response to conflict.
Q.-2.|"War poetry is not necessarily ‘anti-war’. It is, however, about the very large questions of life: identity, innocence, guilt, loyalty, courage, compassion, humanity, duty, desire, death." Discuss this statement in the context of any two of the war poems you have studied.
Ans.
1. Introduction: War Poetry Beyond Anti-War Sentiments
War poetry is often associated with anti-war sentiments, but it extends beyond a mere opposition to conflict. It probes into profound questions about life: identity, innocence, guilt, courage, loyalty, compassion, duty, and mortality. This answer examines Rupert Brooke’s 'The Soldier' and Wilfrid Wilson Gibson’s 'The Fear' as representations of war poetry’s engagement with these existential themes. Brooke’s poem romanticizes death in service of one’s country, presenting it as a noble sacrifice tied to national identity and eternal peace. In contrast, Gibson’s work reveals the vulnerability and existential dread of a soldier confronting his mortality in the dehumanizing context of war. Together, these poems explore the emotional and philosophical dimensions of war, revealing its complexity and humanity.
2. 'The Soldier': Idealized Sacrifice and Eternal Identity
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Video on The Soldier by Rupert Brooke on YouTube/Illustrated & Explained: Click here.
2.1. Patriotism and Identity
In 'The Soldier,' Rupert Brooke idealizes the soldier’s death as a patriotic act. The poem begins with a conditional statement:
“If I should die, think only this of me:That there’s some corner of a foreign fieldThat is forever England.”(Chawner)
Brooke imbues the soldier’s identity with his nation’s essence. The imagery of “a corner of a foreign field” eternalizes England’s presence through the soldier’s sacrifice, creating an intimate link between individual identity and collective heritage.
The speaker’s assertion that—
“A body of England’s, breathing English air,Washed by the rivers, blest by suns of home”(Chawner)
—reinforces this connection, presenting England as a nurturing mother who shapes and blesses her children. The soldier’s body, described as “richer dust concealed,” becomes a sanctified symbol of England’s endurance and purity.
2.2. Innocence and Redemption
Brooke frames the soldier’s death as a shedding of earthly flaws:
“And think, this heart, all evil shed away,A pulse in the eternal mind.”(Chawner)
This line suggests that death in war purifies the individual, allowing him to ascend into an idealized, eternal existence. The notion of “a pulse in the eternal mind” implies that the soldier contributes to a collective, almost spiritual continuity. Innocence and redemption are key themes, as the soldier’s death is portrayed as a means of achieving peace, both for himself and his homeland.
2.3. Romanticized Death
Brooke’s tone is serene and reverent, emphasizing the beauty of sacrifice. The pastoral imagery of “flowers to love,” “rivers,” and “suns of home” paints a tranquil picture, romanticizing death as harmonious and meaningful. This vision of war is deeply idealistic, presenting it as an opportunity for eternal peace under “an English heaven.”
3. 'The Fear': Vulnerability and Existential Dread
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3.1. The Psychological Reality of War
In contrast to Brooke’s idealism, Wilfrid Wilson Gibson’s 'The Fear' delves into the psychological torment of a soldier. The poem opens with a stark declaration:
“I do not fear to die‘Neath the open sky.”(Gibson)
This line initially portrays the speaker as courageous, unafraid to face death in the chaos of battle. However, the tone shifts as the poem continues, exposing his vulnerability:
“But when at last we creepInto a hole to sleep,I tremble, cold with dread,Lest I wake up dead.”(Gibson)
The contrast between the speaker’s bravery in combat and his fear of dying in isolation reveals the emotional complexity of war. Gibson captures the soldier’s dread of an undignified, anonymous death, emphasizing the psychological strain of living under constant threat.
3.2. Dehumanization and Isolation
The phrase “creep into a hole to sleep” evokes the image of soldiers reduced to animalistic behavior, burrowing into the earth for safety. This dehumanization reflects the brutal conditions of trench warfare, where survival often meant abandoning dignity. The speaker’s fear of waking “dead” highlights his existential crisis, blurring the boundary between life and death.
3.3. The Unromanticized Truth of War
Unlike Brooke’s glorification of death, Gibson’s poem confronts its grim reality. The simple, direct language mirrors the starkness of the soldier’s experience. The rhyme and rhythm convey a sense of inevitability, mirroring the relentless march of death in war.
4. Comparing the Treatment of Life’s Large Questions
4.1. Identity and Patriotism
In 'The Soldier,' identity is deeply tied to national pride. The speaker’s selfhood becomes indistinguishable from England’s essence, suggesting that death in war ensures eternal significance. In contrast, 'The Fear' focuses on the individual’s vulnerability and existential struggle, prioritizing personal experience over collective identity.
4.2. Innocence and Guilt
Brooke portrays innocence as an inherent quality redeemed through sacrifice, while Gibson’s soldier grapples with the guilt and dread of survival. The idealism of 'The Soldier' stands in stark opposition to the raw humanity of 'The Fear,' highlighting the varied emotional responses to war.
4.3. Death and Legacy
Both poems address death, but their perspectives differ greatly. Brooke’s romanticized vision sees death as a noble contribution to a greater cause, eternalizing the soldier’s legacy. Conversely, Gibson presents death as a source of fear and isolation, emphasizing its dehumanizing impact.
4.4. Tone and Style
The lyrical and pastoral tone of 'The Soldier' contrasts with the stark realism of 'The Fear.' Brooke’s elaborate imagery and elevated diction celebrate sacrifice, while Gibson’s plain language and straightforward structure underscore the brutal reality of war.
5. Similarities: Universal Themes of Humanity
Despite their differences, both poems explore universal themes such as courage, duty, and mortality.
5.1. Courage
Both speakers demonstrate bravery, whether in embracing sacrifice (The Soldier) or confronting fear (The Fear).
5.2. Mortality
Each poem grapples with the inevitability of death, albeit from different perspectives—one idealistic, the other realistic.
5.3. War’s Emotional Impact
Both works reflect on the profound emotional toll of war, from patriotic pride to existential dread.
6. Conclusion: A Spectrum of War Poetry
Rupert Brooke’s 'The Soldier' and Wilfrid Wilson Gibson’s 'The Fear' exemplify the multifaceted nature of war poetry. While Brooke idealizes sacrifice as a patriotic and eternal act, Gibson exposes the psychological torment of soldiers facing the harsh realities of war. Together, these poems reveal the complexity of war, addressing profound questions about identity, innocence, courage, and death. War poetry, far from being solely anti-war, serves as a lens through which to explore humanity’s most pressing existential concerns. Through their contrasting perspectives, Brooke and Gibson enrich our understanding of war’s impact on the individual and society.
Q.-3.|Compare Ivor Gurney's 'The Target' with Wilfred Owen's 'Dulce et Decorum Est.' What are some notable similarities and differences between these two war poets and their poetry?
Ans.
1. Introduction: Voices of the Trenches
War poetry has historically served as a medium for expressing the harrowing realities of conflict, the emotional toll on soldiers, and the moral complexities they face. Ivor Gurney’s 'The Target' and Wilfred Owen’s 'Dulce et Decorum Est' are poignant examples of this literary tradition. While both poets draw upon their first-hand experiences in World War I, their thematic focus and stylistic approaches differ significantly. Gurney's 'The Target' captures the inner turmoil of a soldier grappling with the morality of killing, while Owen’s 'Dulce et Decorum Est' exposes the physical horrors of war and the falsity of its glorification. This answer examines the similarities and differences between the two poems in terms of themes, tone, imagery, and their broader commentary on war.
2. Themes: Moral Conflict vs. Condemnation of Propaganda
2.1. Moral Conflict in 'The Target'
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Gurney’s poem delves deeply into the psychological and ethical conflict of a soldier who has killed another man. The opening lines highlight the grim necessity of his actions:
“I shot him, and it had to beOne of us. 'Twas him or me.”(Ivor Gurney)
Here, the speaker justifies his act as a matter of survival, but the conversational tone betrays his unease. This moral ambiguity intensifies as he reflects on the consequences of his actions, particularly the impact on the victim’s family:
“Perhaps he was the only son. . .”(Ivor Gurney)
The ellipsis conveys the speaker’s inability to fully articulate his guilt and sorrow. Gurney also introduces the idea of divine silence:
“Yet God keeps still, and does not sayA word of guidance anyway.”(Ivor Gurney)
This suggests the absence of moral clarity in the chaos of war, leaving the soldier to navigate his guilt alone.
2.2. Condemnation of Propaganda in 'Dulce et Decorum Est'
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Video on Dulce Et Decorum Est - Animation on YouTube/Animative Media: Click here.
In contrast, Owen’s poem vehemently denounces the glorification of war. The title and concluding lines reference the Latin phrase—
“Dulce et decorum est pro patria mori”(It is sweet and fitting to die for one’s country)(Owen)
—which Owen labels as “The old Lie.” The poem vividly describes the horrors of a gas attack:
“Gas! GAS! Quick, boys!—An ecstasy of fumblingFitting the clumsy helmets just in time.”(Owen)
This frantic scene underscores the physical and emotional toll on soldiers, countering the romanticized image of war as heroic. The graphic imagery of a soldier’s death—
“white eyes writhing in his face,His hanging face, like a devil’s sick of sin”(Owen)
—challenges the notion of dying in war as noble or dignified.
3. Tone: Reflective vs. Outraged
3.1. Gurney’s Reflective Tone
The tone of 'The Target' is introspective and somber. The speaker wrestles with his conscience, voicing a mix of guilt, resignation, and confusion:
“All’s a tangle. Here’s my job.A man might rave, or shout, or sob.”(Ivor Gurney)
This line encapsulates the emotional chaos of a soldier attempting to reconcile his actions with his humanity. The use of colloquial language and a conversational tone makes the poem feel intimate, drawing the reader into the soldier’s internal struggle.
3.2. Owen’s Outraged Tone
In contrast, 'Dulce et Decorum Est' adopts a tone of anger and bitterness. Owen’s use of direct address—
“My friend, you would not tell with such high zestTo children ardent for some desperate glory”(Owen)
—reveals his contempt for those who perpetuate the myth of war as honorable. The relentless intensity of the imagery and diction, such as “froth-corrupted lungs” and “bitter as the cud of vile, incurable sores,” reflects Owen’s outrage at the suffering caused by war and its glorification.
4. Imagery: Psychological vs. Physical Horrors
4.1. Psychological Horrors in 'The Target'
Gurney’s imagery focuses on the psychological impact of war. The speaker’s reflection on the victim—
“Perhaps he was the only son”(Ivor Gurney)
—humanizes the enemy, emphasizing the shared humanity of both soldiers. The portrayal of God’s silence—
“God He takes no sort of heed”(Ivor Gurney)
—underscores the existential crisis faced by the speaker, who is left to grapple with his actions in a morally ambiguous universe.
4.2. Physical Horrors in 'Dulce et Decorum Est'
Owen’s imagery is visceral and unrelenting, vividly depicting the physical toll of war. The description of soldiers as—
“bent double, like old beggars under sacks”(Owen)
—conveys their exhaustion and dehumanization. The gas attack sequence—
“Dim through the misty panes and thick green light,As under a green sea, I saw him drowning”(Owen)
—is both vivid and haunting, capturing the immediacy of death in war. Unlike Gurney, Owen emphasizes the corporeal suffering of soldiers to challenge the romanticized narrative of war.
5. Commentary on War: Individual Struggle vs. Societal Critique
5.1. Individual Struggle in 'The Target'
Gurney’s poem offers a deeply personal perspective on war, focusing on the internal conflict of a single soldier. The speaker’s moral wrestling—
“And see who felt the bullet worst,And ask his pardon, if I durst”(Ivor Gurney)
—highlights the emotional scars that remain long after the physical act of killing. Gurney’s exploration of divine silence and human guilt underscores the psychological burden borne by individuals in war.
5.2. Societal Critique in 'Dulce et Decorum Est'
Owen’s poem, on the other hand, extends its critique to society as a whole. By exposing the grotesque realities of war and labeling the glorification of war as “The old Lie,” Owen condemns not only the violence of war but also the cultural narratives that perpetuate it. His use of direct address—
“If you could hear, at every jolt, the bloodCome gargling from the froth-corrupted lungs”(Owen)
—forces the reader to confront the brutal reality of war and question their own complicity in its romanticization.
6. Similarities: A Shared Rejection of War’s Heroism
Despite their differences, both poems reject the notion of war as heroic or glamorous. Gurney’s speaker expresses deep remorse and questions the morality of his actions, while Owen’s poem challenges the cultural myth that dying for one’s country is noble. Both poets use vivid imagery and emotional language to convey the devastating impact of war on individuals, highlighting its psychological and physical toll.
7. Conclusion: Two Perspectives on the Tragedy of War
Ivor Gurney’s 'The Target' and Wilfred Owen’s 'Dulce et Decorum Est' offer complementary perspectives on the tragedy of war. Gurney’s introspective focus on the individual soldier’s moral conflict contrasts with Owen’s scathing critique of societal narratives that glorify war. Yet both poems reveal the profound human cost of war, whether through the lens of personal guilt or the graphic depiction of suffering. Together, they underscore the enduring power of war poetry to confront the realities of conflict and challenge the myths that sustain it. Through their shared rejection of war’s heroism and their vivid portrayals of its consequences, Gurney and Owen contribute to a broader understanding of the complexities of war and its impact on humanity.
Additional Resources:
Video on WW1 - Oversimplified (Part 1) on YouTube/OverSimplified: Click here.
Video on WW1 - Oversimplified (Part 2) on YouTube/OverSimplified: Click here.
Video on Why World War 1 happened? | The Real Reason on YouTube/Dhruv Rathee: Click here.
References
1. Chawner, Rupert Brooke. “The Soldier.” Poetry Foundation, 1915, www.poetryfoundation.org/poetrymagazine/poems/13076/the-soldier.
2. Gibson, Wilfred Wilson. “The Fear.” All Poetry, 1915, allpoetry.com/poem/8514919-The-Fear-by-Wilfrid-Wilson-Gibson.
3. Ivor Gurney. “The Target.” All Poetry, 1919, allpoetry.com/The-Target.
4. Owen, W. “Dulce et Decorum Est.” Poetry Foundation, 1920, www.poetryfoundation.org/poems/46560/dulce-et-decorum-est.
5. Sassoon, Siegfried. “The Hero.” Poets.org, 1917, poets.org/poem/hero.
6. Yeats, William Butler. “On Being Asked for a War Poem.” Poetry Foundation, 1916, www.poetryfoundation.org/poems/57313/on-being-asked-for-a-war-poem.
