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Realism in the 20th century
To what extent did WW1 poetry effect contemporary attitudes towards war
War poems pre 1900
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In the early 20th century, many poets began to undertake a broad literary movement which was a reaction against the Romanticism of the 19th century, the purpose of which was to depict more realistic situations, rather than the more sentimental aspects of the poems that preceded them. The effects of World War I, which lasted from 1914 to 1918, had a great effect on this “modernist” movement. In Siegfried Sassoon’s “A Working Party,” we can begin to see this modern realism through the use of hard, dry, precise description, traditionally unpoetic language, and the juxtaposition of the personal and universal war experience, as an expression of the poet’s views of the harshness and horror of a world war.
In contrast to Romanticism, which was often characterized by the use of vague language, Sassoon makes use of exact, descriptive verbs in the first stanza, which describes the unnamed soldier walking through the trench. However, Sassoon never uses a word as vague as “walking”; he employs verbs such as “blundered,” “sliding,” “poising,” “groping,” “tripped,” and “lurched.” By using these exact words, Sassoon is able to make a statement on the individual level about the difficulty of life in the trenches of the war. By using “blundered,” the poet is suggesting a difficult journey, one where perhaps he was having trouble getting footing or keeping his balance. This is further suggested with the use of “groping with his boots.” The word “groping” connotes the soldier having no sense of direction in his actions. He does not know where he is going, as if he is completely unaware of what is in front of him; symbolically, this represents the ignorance that the individual soldier has about the future of war, and consequently, his own future. By showing us a soldier who is tripping and lurching along the walls of a damp trench, Sassoon is showing us one aspect of the harshness of the war experience on the personal level.
In addition to his use of exact verbs, Sassoon also employs deliberately unpoetic language as a means of de-romanticizing the war experience. This is seen in the phrase, “Often splashing/Wretchedly where the sludge was ankle-deep.” This is clearly not a poetic-sounding line by the standards of nineteenth century poetry; a Romantic poet would not have seen the word “sludge” as worthy of being used in a poem. It simply is not a pleasant image, and the image of a soldier, another idea that was often Romanticized prior to the twentieth century, trodding through disgusting sludge is not a pleasant image either.
He drew inspiration from his brother-in-law, whose experiences during the Vietnam War are the basis for the song’s narrative. The song is thus a narrative style confession, and the title is significant in that it summarises the central theme of regret found throughout the writing. The subtitle (A Walk In The Light Green) describes the dangerous treks through lightly forested areas, where landmines were found most prominently during the Vietnam campaign. Perhaps the most powerful poetic device used in this writing is that of point-of-view, this being the retelling of the story from a first person perspective, allowing profound understanding of the inner thoughts of the character. Working in conjunction with this powerful medium is the shift between present and past tense in the verses and chorus of the song. Transitioning from a recollection of the “long march from cadets” to a plea as to “why [he] still can’t get to sleep?” (Schumann) juxtaposes the horrors of war with the mundane reality of civilian life. The meter of the poem stresses many consecutive short words, such as “…young and strong and clean…with my SLR and greens” and “…mud and blood and tears” and the rhyming scheme changes throughout the song between ABCB, ABAB and ABBB. This change contributes to the
For instance, “smell of gunpowder” (Magnus, 6), which is repeated multiple times, is a demonstration of how much the soldier values his war memories, for the solder describes the smell as “stimulating” (Magnus, 8) and “life-giving” (Magnus, 7). At the same time, as the soldier describes war in an enumeration towards the end of the poem, the audience learns his sadness and regret in face to the fact that “No one comprehends a soldier’s work anymore” (Magnus, 28). This enumeration, however, is used to recreate the images that the soldier experienced during his service so that the audience would feel the intensity of war. In addition, the assonance in “knobby bones” (Magnus, 4), on top of emphasizing the bold character of the soldier despite his age, evokes an image of an old, forceless man, which fits well with the beginning of the poem, in which the soldier is portrayed as weak and unenthusiastic.
For many soldiers and volunteers, life on the fronts during the war means danger, and there are few if any distractions from its horrors. Each comradeship serves as a divergence from the daily atrocities and makes life tolerable. Yet, the same bonds that most World War literature romantically portrays can be equally negative. James Hanley’s “The German Prisoner”, shows the horrifying results of such alliances, while “Farewell to Arms” by Ernest Hemmingway reveal that occasionally, some individuals like Lieutenant Henri seek solidarity outside the combat zone. Smithy of “Not So Quiet” and Paul Baumer in “All Quiet on the Western Front” demonstrate the importance and advantages of comradeship while giving credence to the romance of these connections. Pat Barker’s “Regeneration” depicts Siegfried Sassoon, as an officer who places comradeship and honor above his own personal anti war convictions. Regardless of the consequences, each demonstrates not only the different results of comradeship but also its power and level of importance to each character in the abovementioned writings.
In the history of modern western civilization, there have been few incidents of war, famine, and other calamities that severely affected the modern European society. The First World War was one such incident which served as a reflection of modern European society in its industrial age, altering mankind’s perception of war into catastrophic levels of carnage and violence. As a transition to modern warfare, the experiences of the Great War were entirely new and unfamiliar. In this anomalous environment, a range of first hand accounts have emerged, detailing the events and experiences of the authors. For instance, both the works of Ernst Junger and Erich Maria Remarque emphasize the frightening and inhumane nature of war to some degree – more explicit in Jünger’s than in Remarque’s – but the sense of glorification, heroism, and nationalism in Jünger’s The Storm of Steel is absent in Remarque’s All Quiet on the Western Front. Instead, they are replaced by psychological damage caused by the war – the internalization of loss and pain, coupled with a sense of helplessness and disconnectedness with the past and the future. As such, the accounts of Jünger and Remarque reveal the similar experiences of extreme violence and danger of World War I shared by soldiers but draw from their experiences differing ideologies and perception of war.
Tim O’Brien states in his novel The Things They Carried, “The truths are contradictory. It can be argued, for instance, that war is grotesque. But in truth war is also beauty. For all its horror, you can’t help but gape at the awful majesty of combat” (77). This profound statement captures not only his perspective of war from his experience in Vietnam but a collective truth about war across the ages. It is not called the art of combat without reason: this truth transcends time and can be found in the art produced and poetry written during the years of World War I. George Trakl creates beautiful images of the war in his poem “Grodek” but juxtaposes them with the harsh realities of war. Paul Nash, a World War I artist, invokes similar images in his paintings We are Making a New World and The Ypres Salient at Night. Guilaume Apollinaire’s writes about the beautiful atrocity that is war in his poem “Gala.”
Many of Remarque’s ideas expressed in All Quiet on the Western Front were not completely new. Remarque emphasized things that portrayed the magnitude of issues soldiers face, and how the physical body and senses affects their emotional well-being. The ideas in All Quiet in the Western Front of not knowing the difference between sleep and death, seeing gruesome sights of people, and frustration towards people who cannot sympathize with soldiers, are also shown in Siegfried Sassoon’s “The Dug-Out”, Giuseppe Ungaretti’s “Vigil”, and Sassoon's’ “Suicide in the Trenches”.
In the poem “At The Somme: A Song of the Mud” by a woman named Mary Borden, the author describes what really happens during battle to help reader realize the terrible conditions soldiers must endure. At the beginning of the poem, the author explains how the mud in the war zone is very difficult to deal with. The mud gets in the way of everything and makes fighting hard. The explains that it gets in the way by saying, “His coat that once was blue and now is grey and stiff with the mud that cakes it.”
World War One was a massive event. It affected millions of people from all walks of life, and inspired countless written pieces. Nevertheless, without being there, it is impossible to truly be able to tell what the war is like. Therefore the use of setting is very important in giving the reader an idea of the circumstance. This is not to say that everyone is in agreement over how the war should be displayed. Quite one the contrary, the two Poems “In Flanders Fields” and “Dulce et Decorum Est” use their settings to create two very contrasting images of human conflict.
Owen opens his poem with a strong simile that compares the soldiers to old people that may be hunch-backed. ‘Bent double, like old beggars like sacks.’ ‘like sacks’ suggests the image that the soldiers are like homeless people at the side of a street that is all dirty. This highlights that the clothes they were wearing were al...
portrays them to be. The speaker chooses words such as “bent double, like old baggers” and “knock-kneed” (Owens 1-2) to expose the discomfort and effects that war has on young soldiers. The soldiers are discreetly compared to crippled old men which emphasizes just how badly war has affected their bodies, stripping them of their health, making them weak and helpless like “old beggars” (Owen 1). Furthermore, the speaker expresses his experience as a sold...
The horrible conditions and quality of life in the trenches of World War One are emphasized with Owen’s use of figurative language, such as similes, metaphors and personification. An excellent example of a simile would be what he wrote in the first line of the poem, “Bent double, like old beggars under sacks, knock kneed, coughing like hags, we cursed through the sludge” (stanza 1, line 1 and 2). This description portrays the soldiers to be ‘crippled or ‘broken’, and shows them to be left both psychologically and physically scarred. It really helps us to visualize a group of young men who are in fact exhausted and so “drunk with fatigue”(stanza 1, line 7) that they are unable to even stand upright, and have lost most control over their physical actions. By bringing in these similes, Owen adds mo...
‘Poetry can challenge the reader to think about the world in new ways.’ It provokes the readers to consider events, issues and people with revised understanding and perspectives. The poems Dulce Et Decorum Est (Wilfred Owen, 1917) and Suicide in the Trenches (Siegfried Sassoon, 1917), were composed during World War One and represented the poets’ point of views in regards to the glorification of war and encouraged readers to challenge their perspectives and reflect upon the real consequences behind the fabrications of the glory and pride of fighting for one’s nation.
Chaos and drudgery are common themes throughout the poem, displayed in its form; it is nearly iambic pentameter, but not every line fits the required pattern. This is significant because the poem’s imperfect formulation is Owen making a statement about formality, the poem breaks the typical form to show that everything is not functioning satisfactorily. The poem’s stanza’s also begin short, but become longer, like the speaker’s torment and his comrades movement away from the open fire. The rhyming scheme of ABABCDCD is one constant throughout the poem, but it serves to reinforce the nature of the cadence as the soldiers tread on. The war seems to drag on longer and longer for the speaker, and represents the prolonged suffering and agony of the soldier’s death that is described as the speaker dwells on this and is torn apart emotionally and distorts his impressions of what he experiences.
The tone is bitter and intense in a realistic way. It is achieved by the vivid and gruesome images in the poem. Wilfred Owen 's use of imagery in this poem is by depicting emotional, nightmarish, and vivid words to capture the haunting encounters of WWI that soldiers went through. In the first stanza, Owen depicts his fellow soldiers struggling through the battlefield, but their terrible health conditions prevent them from their strong actions in the war. When Owen says, “Bent double, like old beggars under sacks, knock-kneed, coughing like hags” (lines 1-2). This provides the readers with an unexpected view and appearance of soldiers, as they usually picture as strong, noble, and brawny-looking men. Soldiers sacrifice themselves to fight for their country and are exhausted from their unhealthy lifestyle. In lines 7-8, “Drunk with fatigue; deaf even to the hoots of gas-shells dropping softly behind,” they have lost the facade of humanity and their bodies are all wearied and weak on their march. This reveals a glimpse at the soldiers’ actions, as well as inferring to a psychological effect of the war. Then in line 5, “Men marched asleep,” the author is making abnormality to be one of the major purposes of the war, that it
The man's sudden death shocks the reader and shows them how suddenly life can be taken away."And as he dropped his head the instant splitHis startled life with lead, and all went out."Throughout the poem, Sassoon uses excellent descriptions to involve the reader in the 'action' of the poem, and with the man. He clearly describes the men making their way down the trench towards the front line - "Sliding and poising, groping with his boots", "...splashing wretchedly where the sludge was ankle deep". Language like this almost takes the reader there, and again makes the reader identify with the character. Sassoon also uses the same strong descriptions of the area to make the reader feel like they are in the trenches along with the man - "Sandbags bleached with rain", "... pawed sodden sandbags of chalk", "White faces peered, puffing a point of red", "...