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Chronology 6
Poems
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1
Wilfred Edward Salter Owen 18931918
Considered one of the leading English poets of the First World War, Owen is remembered for realistic
poems depicting the horrors of war, inspired by his experiences at the Western Front in 1916 and 1918.
Owen considered the true subject of his poems to be "the pity of war," and sought to present the grim
realities of battle and its effects on the human spirit. His unique voiceless passionate and idealistic than
those of other war poetsis complemented by his unusual and experimental technical style. He is
recognized as the first English poet to fully achieve pararhyme, in which the rhyme is made through altered
vowel sounds. This distinctive technique and the prominent note of social protest in his works influenced
many poets of the 1920s and 1930s, most notably W. H. Auden, C. Day Lewis, and Stephen Spender.
Owen was born in Oswestry, Shropshire, the eldest son of a minor railroad official. A thoughtful,
imaginative youth, he was greatly influenced by his Calvinist mother and developed an early interest in
Romantic poets and poetry, especially in John Keats. Owen was a serious student, attending schools in
Birkenhead and Shrewsbury. After failing to win a university scholarship in 1911, he became a lay assistant
to the Vicar of Dunsden in Oxfordshire. Failing again to win a scholarship in 1913, Owen accepted a
position teaching English at the Berlitz School in Bordeaux, France. There he was befriended by the
Symbolist poet and pacifist Laurent Tailhade, whose encouragement affirmed Owen's determination to
become a poet.
Although he had previously thought of himself as a pacifist, in October 1915 he enlisted in the Artists' Rifles,
a year after the onset of the Great War, While training in London, he frequented Harold Monro's Poetry
Bookshop, where he became acquainted with Monro and regularly attended public poetry readings. He was
commissioned as a lieutenant in the Manchester Regiment and, in late 1916, posted to the Western Front.
While in France, Owen began writing poems about his war experiences. In the summer of 1917 he was
badly concussed in the Battle of the Somme after a shell landed just two yards away. After several days in a
bomb crater with the mangled corpse of a fellow officer, Owen was diagnosed as suffering from shell-shock
and hospitalized.
Sent to Edinburgh's Craiglockhart Hospital for treatment, he met fellow patient and poet, Siegfried Sassoon,
an outspoken critic of the war, who encouraged Owen to use his battle experiences as subjects for poetry.
Sassoon suggested that Owen should write in a more direct, colloquial style. Over the next few months
Owen wrote a series of poems, including Anthem for Doomed Youth, Disabled, Dulce et Decorum Est and
Strange Meeting. Sassoon introduced Owen to H. G. Wells and Arnold Bennett and helped him get some of
his poems published in The Nation. Owen also had talks with William Heinemann about the publication of a
collection of his poems.
After being discharged from the hospital, Owen rejoined his regiment in Scarborough. He returned to the
front in early September 1918 and shortly afterwards fought at Beaurevoir- Fonsomme, for which he was
posthumously awarded the Military Cross for gallantry. Killed by machine-gun fire while leading his men
across the Sambre Canal on 4th November 1918, he is buried in Ors, France. A week after his death, the
Armistice was signed. After Owen's death his friend, Siegfried Sassoon, arranged for the publication of his
Collected Poems (1920).
2
Extracts from Siegfried Sassoons Introduction to Owens poems:
The poems printed in this book need no preliminary commendations from me or anyone else. The author has left us
his own fragmentary but impressive Foreword; this, and his Poems, can speak for him, backed by the authority of his
experience as an infantry soldier, and sustained by nobility and originality of style. All that was strongest in Wilfred
Owen survives in his poems; any superficial impressions of his personality, any records of his conversation, behaviour,
or appearance, would be irrelevant and unseemly. The curiosity which demands such morsels would be incapable of
appreciating the richness of his work.
The discussion of his experiments in assonance and dissonance (of which Strange Meeting is the finest example) may
be left to the professional critics of verse, the majority of whom will be more preoccupied with such technical details
than with the profound humanity of the self-revelation manifested in such magnificent lines as those at the end of his
Apologia pro Poemate Meo, and in that other poem which he named Greater Love.
Siegfried Sassoon.
Note. -- This Preface was found, in an unfinished condition, among Wilfred Owen's papers.
This book is not about heroes. English Poetry is not yet fit to speak
of them. Nor is it about deeds or lands,
nor anything about glory, honour, dominion or power,
except War.
Above all, this book is not concerned with Poetry.
The subject of it is War, and the pity of War.
The Poetry is in the pity.
Yet these elegies are not to this generation,
This is in no sense consolatory.
They may be to the next.
All the poet can do to-day is to warn.
That is why the true Poets must be truthful.
If I thought the letter of this book would last,
I might have used proper names; but if the spirit of it
survives Prussia, my ambition and those names will
be content; for they will have achieved themselves fresher
fields than Flanders.
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Wilfred Owen would not have written the war poems for which he is
now famous if he had not met Siegfried Sassoon in August 1917.
Until then, like the vast majority of British people, Owen believed
the war was being fought for a just cause. Sassoon who had
talked to pacifists, Bertrand Russell among them saw things
differently: he thought politicians had secretly changed their aims
and were now more interested in grabbing colonies and trade than
in the original, honourable struggle to liberate Belgium. So Sassoon
was writing furious poems of protest aimed at the civilian
conscience, hoping to persuade the public of the need for
immediate peace negotiations. He may have been mistaken, not
only about war aims, but also about the likelihood of the German
High Command agreeing to negotiations in 1917, but he convinced
his new friend.
Owen had been writing verse for at least six years and had learned
to use sound effects with some skill, but until he met Sassoon he
lacked a subject that he could feel strongly about. Believing like
Wordsworth that poetry arises from emotion recollected in tranquillity, he sent his mind back to the
experiences he had undergone at and near the front earlier in 1917. His earliest poem to show
Sassoons influence was the first version of The Dead-Beat (August), followed by Anthem for Doomed
Youth (September) and Dulce et decorum Est and Disabled (early October). Highly effective though
it is, Dulce et Decorum Est is an early, relatively crude work compared to the best of his 1918 poems:
his talent matured with extraordinary speed.
From November 1917 Owen began to find other models. Robert Graves urged him to have a spirit
above wars, advice that helped to produce Apologia pro Poemate Meo, a remarkable piece that admits
to the exultation of battle yet condemns pitiless civilians. Protest was not enough: the supreme value
now was the pity of war as Shelley had said, pity enabled people to enter imaginatively into the
suffering of others. The huge German offensive of 21 March 1918 showed that Germany was still intent
on military victory; Owens response was to write some of his greatest poems, including Futility, The
Send-Off and Mental cases. Strange Meeting is perhaps the only wartime poem in which a soldier
meets the man he has killed and hears the truth from his enemy who is now, too late, his friend.
Spring Offensive, thought by many to be Owens finest poem, was begun in the summer and perhaps
completed at the front in early October; the final lines, the last he ever wrote, may have been added
after he had seen and tried to help dozens of men killed and wounded on the Hindenburg Line.
Owen has a unique fascination for many people, including me: I have written three books about him,
Wilfred Owen: A New Biography (2002), Wilfred Owen; The Last Year (1992) and the critical
study Owen the Poet (1986). He is undoubtedly the greatest poet of the First World War, but he is far
from being typical of the war poets. He and Sassoon were almost alone in their 1917 opposition to the
war, and in 1918 Owen went further, working out a unique position and writing poems that have no
parallel.
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Major Works
Owen's early poetry is considered to be derivative and undistinguished, influenced by his interest in
romantic themes, particularly beauty, much as Keats had been. The emergence of war shattered his
idealistic vision of life and caused Owen to rethink his philosophy. He came to believe that war could not
be described in an heroic, idealized manner, but should be treated with a realism that could describe the
impact warfare has on human lives. The maturation of his poetic style can be traced to his encounter with
Sassoon, from whom he learned to adapt his technique to nontraditional war subjects, allowing him to
express more fully his emotions and his experiences. Owen strove to give voice to the feelings of the
common foot soldier, whose experiences were not represented in the conventional war poems that spoke
of heroism and patriotism instead of fears and death. As he stated in the introduction to the collection of
poems he began to assemble for publication before his death, Owen's goal was not to glorify conflict or
soldiers dying for their country, but to express the "pity of war," and to offer a more complex emotional
response to fighting, one that allows for a greater understanding of war itself.
At the time of Owen's death, only a handful of his poems had been published. Among his best-known
poems are "Dulce et Decorum Est," "Anthem for Doomed Youth," and "Strange Meeting," an uncompleted
elegy that is considered by many critics to be the finest poem written about the First World War. "Strange
Meeting" presents historical, humanistic, and mystical themes, while considering the conflict between ego
and conscience in war. In a dreamlike vision, the narrator of the poem encounters a soldier whom he has
killed, and the ensuing dialogue presents Owen's protests on the futility of war. By not specifying the
nationalities of the two soldiers in the poem, Owen achieved an ambiguity that allows the verses to be
viewed as both a commentary on World War I and on the universal nature of war and suggests analogies
between the soldier and Christ and between the enemy and oneself. In this and other poems, the Christian
ethical principle of "greater love," based on the New Testament teaching "Greater love hath no man than
this, that a man lay down his life for his friends" (John 15:13), is considered highly significant. Many critics
have noted that while Owen rebelled against the strict institutional religion of his mother, he retained a
deep love of Christ, who often appeared in his poems as a symbol for the young men sacrificed on the
battlefields.
Critical Reception
Owen's reputation was established posthumously with the 1920 publication of a collection of his poems
edited by Sassoon. His poetry subsequently gained a wide audience as a result of collections compiled by
Edmund Blunden and C. Day Lewis; however, critical attention developed more slowly, due to a lack of
biographical information, which led to confusion over the dates of various poems and the progress of
Owen's development as a poet. Generally, critics have come to agree that Owen's verses represent a
unique emotional response to war and a masterful technical achievement. This consensus was challenged by
W. B. Yeats, who omitted Owen's poetry from his anthology The Oxford Book of Modern Verse (1937),
commenting that "passive suffering is not a theme for poetry." However, the exclusion of Owen's verses
was itself challenged by numerous commentators, who questioned Yeats's selection criteria. Perhaps the
greatest indicator of Owen's importance lies in the influence he had on poets of the next generation,
including Day Lewis, who noted that Owen created "poems that will remain momentous long after the
circumstances that prompted them have become just another war in the history books."
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Chronology
Events in Owens Life
th
Born at Plas Wilmot on 18 March, Oswestry, son
1893 of Tom and Susan Owen
1897 Family moves to Birkenhead Historical Events
1900 Starts school at Birkenhead Institute
Family moves to Shrewsbury. Owen starts at 1914 Francis Ferdinand assassinated at Sarajevo
1906 Shrewsbury Technical School
Kaiser William II promised German support for Austria
Works as a pupil-teacher at the Wyle Cop School,
against Serbia
1911 Shrewsbury.
Austria declared war on Serbia
Takes matriculation exam at the University of
London Germany declared war on Russia
Goes to Bordeaux to teach English at Berlitz school. Germany declared war on France and invaded
Belgium
1915 Returns to England and Shrewsbury.
st Britain declared war on Germany
Enlists in Artists' Rifles on 21 October
Oct First Battle of Ypres, Trench warfare started to
1916 Commissioned into Manchester Regiment
18th dominate the Western Front
Embarks for France
Joins 2nd Manchesters on the Somme, near
1916 Conscription introduced in Britain
1917 Beaumont Hamel
th July 1st Start of the Battle of the Somme
Moves to front on the 6 Jan
Dec 1st Lloyd George becomes British Prime Minister
Holds dug-out in no-man's land
In front-line again, platoon exposed to severe frost-
bite 1917 USA declare war on Germany
Suffers concussion from a fall at Le Quesnoy-en- Britain launched a major offensive on the Western
Santerre, evacuated to military hospital Front
Rejoins battalion at Selency 1918
nd
Evacuated suffering from shell-shock, 2 may Oct
4th Germany asked the Allies for an armistice
Arrives at Craiglockhart War Hospital, Edinburgh
Nov Germany signed an armistice with the Allies the
Introduces himself to Siegfried Sassoon (fellow
11th official date of the end of World War One.
patient)
Sassoon introduces him to Robert Graves, meets
H.G. Wells 1919 Peace conference met at Paris
1918 'Miners' published in The Nation The Treaty of Versailles was signed by the Germans.
Graded fit for service
'Hospital Barge' and 'Futility' published
st
Returns to France, 31 August
th
Killed during attack across the canal, 4 November
6
The Sentry
7
Anthem for Doomed Youth
8
Dulce et Decorum est
9
Disabled
11
The Show
12
S. I. W.
"I will to the King,
And offer him consolation in his trouble,
For that man there has set his teeth to die,
And being one that hates obedience,
Discipline, and orderliness of life,
I cannot mourn him."
W. B. Yeats.
Patting goodbye, doubtless they told the lad
He'd always show the Hun a brave man's face;
Father would sooner him dead than in disgrace, --
Was proud to see him going, aye, and glad.
Perhaps his Mother whimpered how she'd fret
Until he got a nice, safe wound to nurse.
Sisters would wish girls too could shoot, charge, curse, . . .
Brothers -- would send his favourite cigarette,
Each week, month after month, they wrote the same,
Thinking him sheltered in some Y.M. Hut,
Where once an hour a bullet missed its aim
And misses teased the hunger of his brain.
His eyes grew old with wincing, and his hand
Reckless with ague. Courage leaked, as sand
From the best sandbags after years of rain.
But never leave, wound, fever, trench-foot, shock,
Untrapped the wretch. And death seemed still withheld
For torture of lying machinally shelled,
At the pleasure of this world's Powers who'd run amok.
He'd seen men shoot their hands, on night patrol,
Their people never knew. Yet they were vile.
"Death sooner than dishonour, that's the style!"
So Father said.
One dawn, our wire patrol
Carried him. This time, Death had not missed.
We could do nothing, but wipe his bleeding cough.
Could it be accident? -- Rifles go off . . .
Not sniped? No. (Later they found the English ball.)
It was the reasoned crisis of his soul.
Against the fires that would not burn him whole
But kept him for death's perjury and scoff
And life's half-promising, and both their riling.
With him they buried the muzzle his teeth had kissed,
And truthfully wrote the Mother "Tim died smiling."
*S.I.W.:- Self-Inflicted Wound. Serious and punishable offence in the British Army. Usually inflicted by firing a rifle
at ones foot or hand to create a wound of a type which would disallow future service at the front. Guilt was
sometimes established by identifying the nationality of the "ball" ammunition found in the wound.). A soldier with a
similar type of wound which he had received in action, dreaded the battalion M.O. at the Regimental Aid Post
erroneously assuming his wound to be self-inflicted with the inevitable military consequences when he arrived at
the CCS for treatment.
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Exposure
I
Our brains ache, in the merciless iced east winds that knife us . . .
Wearied we keep awake because the night is silent . . .
Low drooping flares confuse our memory of the salient . . .
Worried by silence, sentries whisper, curious, nervous,
But nothing happens.
Watching, we hear the mad gusts tugging on the wire.
Like twitching agonies of men among its brambles.
Northward incessantly, the flickering gunnery rumbles,
Far off, like a dull rumour of some other war.
What are we doing here?
The poignant misery of dawn begins to grow . . .
We only know war lasts, rain soaks, and clouds sag stormy.
Dawn massing in the east her melancholy army
Attacks once more in ranks on shivering ranks of gray,
But nothing happens.
Sudden successive flights of bullets streak the silence.
Less deadly than the air that shudders black with snow,
With sidelong flowing flakes that flock, pause and renew,
We watch them wandering up and down the wind's nonchalance,
But nothing happens.
II
Pale flakes with lingering stealth come feeling for our faces --
We cringe in holes, back on forgotten dreams, and stare, snow-dazed,
Deep into grassier ditches. So we drowse, sun-dozed,
Littered with blossoms trickling where the blackbird fusses.
Is it that we are dying?
Slowly our ghosts drag home: glimpsing the sunk fires glozed
With crusted dark-red jewels; crickets jingle there;
For hours the innocent mice rejoice: the house is theirs;
Shutters and doors all closed: on us the doors are closed --
We turn back to our dying.
Since we believe not otherwise can kind fires burn;
Now ever suns smile true on child, or field, or fruit.
For God's invincible spring our love is made afraid;
Therefore, not loath, we lie out here; therefore were born,
For love of God seems dying.
To-night, His frost will fasten on this mud and us,
Shrivelling many hands and puckering foreheads crisp.
The burying-party, picks and shovels in their shaking grasp,
Pause over half-known faces. All their eyes are ice,
But nothing happens.
14
Miners
15
The Last Laugh
16
THE SEND-OFF
Their breasts were stuck all white with wreath and spray
As men's are, dead.
17
Arms and the Boy
18
Insensibility
I
Happy are men who yet before they are killed V
Can let their veins run cold. We wise, who with a thought besmirch
Whom no compassion fleers Blood over all our soul,
Or makes their feet How should we see our task
Sore on the alleys cobbled with their brothers. But through his blunt and lashless eyes?
The front line withers, Alive, he is not vital overmuch;
But they are troops who fade, not flowers Dying, not mortal overmuch;
For poets' tearful fooling: Nor sad, nor proud,
Men, gaps for filling Nor curious at all.
Losses who might have fought He cannot tell
Longer; but no one bothers. Old men's placidity from his.
II VI
And some cease feeling But cursed are dullards whom no cannon stuns,
Even themselves or for themselves. That they should be as stones.
Dullness best solves Wretched are they, and mean
The tease and doubt of shelling, With paucity that never was simplicity.
And Chance's strange arithmetic By choice they made themselves immune
Comes simpler than the reckoning of their shilling. To pity and whatever mourns in man
They keep no check on Armies' decimation. Before the last sea and the hapless stars;
Whatever mourns when many leave these shores;
III Whatever shares
Happy are these who lose imagination: The eternal reciprocity of tears.
They have enough to carry with ammunition.
Their spirit drags no pack.
Their old wounds save with cold can not more ache.
Having seen all things red,
Their eyes are rid
Of the hurt of the colour of blood for ever.
And terror's first constriction over,
Their hearts remain small drawn.
Their senses in some scorching cautery of battle
Now long since ironed,
Can laugh among the dying, unconcerned.
IV
Happy the soldier home, with not a notion
How somewhere, every dawn, some men attack,
And many sighs are drained.
Happy the lad whose mind was never trained:
His days are worth forgetting more than not.
He sings along the march
Which we march taciturn, because of dusk,
The long, forlorn, relentless trend
From larger day to huger night.
19
Mental Cases
20
Futility
21
Strange Meeting
22
A Terre
23
Spring Offensive
24
Approaches
This depends very much on the readers personal response to the surface meaning of the poem and the way in
which that meaning is enhanced by those qualities that have an immediate impact, such as rhythm and
imagery.
You may feel that a response to a poem on this level is an adequate one, or indeed the only satisfactory one
possible, but nevertheless, it does leave a number of questions unanswered that many readers would like
answered.
http://www.wilfredowen.org.uk/home
http://www.english.emory.edu/LostPoets/OwenPoetry.html
http://www.spartacus.schoolnet.co.uk/Jowen.htm
http://www.voiceseducation.org/node/147
http://www.warpoetry.co.uk/Owena.html
http://www.oucs.ox.ac.uk/ww1lit/collections/owen
http://www.poetryfoundation.org/search/?q=wilfred+owen
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