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Wilfred Owen

Wilfred Owen

1893–1918 · lived 25 years -- --

Wilfred Owen was a prominent English poet, best known for his powerful and unflinching poems about the realities of trench warfare during World War I. He is considered one of the leading poets of the war, whose work vividly depicted the suffering, horror, and futility of combat. His poems were largely published posthumously but have since become seminal texts in understanding the experience of soldiers in the Great War.

n. 1893-03-18, Oswestry · m. 1918-11-04, Ors

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Strange Meeting

It seemed that out of the battle I escaped
Down some profound dull tunnel, long since scooped
Through granites which Titanic wars had groined.
Yet also there encumbered sleepers groaned,
Too fast in thought or death to be bestirred.
Then, as I probed them, one sprang up, and stared
With piteous recognition in fixed eyes,
Lifting distressful hands as if to bless.
And by his smile, I knew that sullen hall;
With a thousand fears that vision's face was grained;
Yet no blood reached there from the upper ground,
And no guns thumped, or down the fluies made moan.
"Strange, friend," I said, "Here is no cause to mourn."
"None," said the other, "Save the undone years,
The hopelessness. Whatever hope is yours,
Was my life also; I went hunting wild
After the wildest beauty in the world,
Which lies not calm in eyes, or braided hair,
But mocks the steady running of the hour,
And if it grieves, grieves richlier than here.
For by my glee might many men have laughed,
And of my weeping something has been left,
Which must die now. I mean the truth untold,
The pity of war, the pity war distilled.
Now men will go content with what we spoiled.
Or, discontent, boil bloody, and be spilled.
They will be swift with swiftness of the tigress,
None will break ranks, though nations trek from progress.
Courage was mine, and I had mystery;
Wisdom was mine, and I had mastery;
To miss the march of this retreating world
Into vain citadels that are not walled.
Then, when much blood had clogged their chariot-wheels
I would go up and wash them from sweet wells,
Even with truths that lie too deep for taint.
I would have poured my spirit without stint
But not through wounds; not on the cess of war.
Foreheads of men have bled where no wounds were.
I am the enemy you killed, my friend.
I knew you in this dark; for so you frowned
Yesterday through me as you jabbed and killed.
I parried; but my hands were loath and cold.
Let us sleep now ...
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Bio

Identification and basic context

Wilfred Owen is widely recognized as one of the most important poets of World War I. He wrote in English and is celebrated for his poignant and realistic portrayal of the soldier's experience in the trenches.

Childhood and education

Owen was born into a moderately prosperous family. He received a good education, which included attendance at schools like the Birkenhead Institute and the Technical School in Shrewsbury. His early life and schooling exposed him to literature and fostered his developing poetic sensibilities.

Literary trajectory

Owen began writing poetry at a young age. His experiences as a soldier during World War I profoundly influenced his mature work. He became associated with other war poets, notably Siegfried Sassoon, who encouraged and mentored him. His most significant poems were written during his service in the war, often amidst the harsh conditions of the front lines. His work gained widespread recognition primarily after his death.

Works, style, and literary characteristics

Owen's most famous works include "Dulce et Decorum Est," "Anthem for Doomed Youth," and "Strange Meeting." His poetry is characterized by its direct and often brutal depiction of the physical and psychological trauma of war. He used vivid imagery, powerful metaphors, and a somber tone to convey the horror and waste of conflict. Owen experimented with form, often employing traditional structures like sonnets but infusing them with modern, raw subject matter. His language is evocative, capturing the sounds and sights of the battlefield with stark realism. His poetic voice is deeply empathetic, speaking for the suffering soldiers.

Cultural and historical context

Owen lived and wrote during the tumultuous period of World War I, a conflict that reshaped the world. His poetry stands in stark contrast to the jingoistic propaganda that often characterized the early years of the war. He belonged to a generation of poets whose experiences were irrevocably shaped by the unprecedented scale of industrial warfare. His work challenged the prevailing patriotic narratives and offered a critical perspective on the war.

Personal life

Owen's personal life was deeply intertwined with his wartime experiences. His profound empathy for his fellow soldiers fueled his poetic output. He formed significant friendships with fellow poets and officers who shared his disillusionment with the war. His experiences on the front lines, including being wounded and suffering from shell shock, profoundly impacted his mental and emotional state.

Recognition and reception

While Owen's poems were not widely published during his lifetime, their posthumous publication, notably in the collection *Poems* (1920) edited by Siegfried Sassoon, brought him significant acclaim. He is now considered a canonical figure in English poetry and a crucial voice for the generation that experienced the horrors of World War I. His work continues to be studied and revered for its honesty and power.

Influences and legacy

Owen was influenced by earlier poets, but his unique experiences forged a new path in war poetry. He, in turn, profoundly influenced subsequent generations of poets who grappled with themes of conflict, trauma, and social injustice. His unflinching portrayal of war set a benchmark for literary responses to conflict. His poems remain essential reading for understanding the human cost of war.

Interpretation and critical analysis

Owen's poetry is often analyzed for its anti-war message, its psychological depth, and its formal innovations. Critics examine how he balanced traditional poetic forms with the brutal realities of modern warfare, creating a powerful and enduring artistic testament to the suffering of soldiers.

Curiosities and lesser-known aspects

Despite his profound empathy, Owen was a commissioned officer, a complex position for someone so critical of the war's leadership and aims. He reportedly wrote some of his most famous poems while recovering from injuries sustained in battle.

Death and memory

Wilfred Owen was killed in action on November 4, 1918, just one week before the Armistice. His death in the final days of the war became a poignant symbol of the immense loss of life. He is commemorated in literature and memory as a poet who gave voice to the voiceless suffering of soldiers.

Poems

35

A Terre

(Being the philosophy of many Soldiers.)
Sit on the bed; I'm blind, and three parts shell,
Be careful; can't shake hands now; never shall.
Both arms have mutinied against me -- brutes.
My fingers fidget like ten idle brats.
I tried to peg out soldierly -- no use!
One dies of war like any old disease.
This bandage feels like pennies on my eyes.
I have my medals? -- Discs to make eyes close.
My glorious ribbons? -- Ripped from my own back
In scarlet shreds. (That's for your poetry book.)
A short life and a merry one, my brick!
We used to say we'd hate to live dead old, --
Yet now . . . I'd willingly be puffy, bald,
And patriotic. Buffers catch from boys
At least the jokes hurled at them. I suppose
Little I'd ever teach a son, but hitting,
Shooting, war, hunting, all the arts of hurting.
Well, that's what I learnt, -- that, and making money.
Your fifty years ahead seem none too many?
Tell me how long I've got? God! For one year
To help myself to nothing more than air!
One Spring! Is one too good to spare, too long?
Spring wind would work its own way to my lung,
And grow me legs as quick as lilac-shoots.
My servant's lamed, but listen how he shouts!
When I'm lugged out, he'll still be good for that.
Here in this mummy-case, you know, I've thought
How well I might have swept his floors for ever,
I'd ask no night off when the bustle's over,
Enjoying so the dirt. Who's prejudiced
Against a grimed hand when his own's quite dust,
Less live than specks that in the sun-shafts turn,
Less warm than dust that mixes with arms' tan?
I'd love to be a sweep, now, black as Town,
Yes, or a muckman. Must I be his load?
O Life, Life, let me breathe, -- a dug-out rat!
Not worse than ours the existences rats lead --
Nosing along at night down some safe vat,
They find a shell-proof home before they rot.
Dead men may envy living mites in cheese,
Or good germs even. Microbes have their joys,
And subdivide, and never come to death,
Certainly flowers have the easiest time on earth.
"I shall be one with nature, herb, and stone."
Shelley would tell me. Shelley would be stunned;
The dullest Tommy hugs that fancy now.


"Pushing up daisies," is their creed, you know.
To grain, then, go my fat, to buds my sap,
For all the usefulness there is in soap.
D'you think the Boche will ever stew man-soup?
Some day, no doubt, if . . .
Friend, be very sure
I shall be better off with plants that share
More peaceably the meadow and the shower.
Soft rains will touch me, -- as they could touch once,
And nothing but the sun shall make me ware.
Your guns may crash around me. I'll not hear;
Or, if I wince, I shall not know I wince.
Don't take my soul's poor comfort for your jest.
Soldiers may grow a soul when turned to fronds,
But here the thing's best left at home with friends.
My soul's a little grief, grappling your chest,
To climb your throat on sobs; easily chased
On other sighs and wiped by fresher winds.
Carry my crying spirit till it's weaned
To do without what blood remained these wounds.
187

Winter Song

The browns, the olives, and the yellows died,
And were swept up to heaven; where they glowed
Each dawn and set of sun till Christmastide,
And when the land lay pale for them, pale-snowed,
Fell back, and down the snow-drifts flamed and flowed.
From off your face, into the winds of winter,
The sun-brown and the summer-gold are blowing;
But they shall gleam with spiritual glinter,
When paler beauty on your brows falls snowing,
And through those snows my looks shall be soft-going.
190

Apologia Pro Poemate Meo

I, too, saw God through mud--
The mud that cracked on cheeks when wretches smiled.
War brought more glory to their eyes than blood,
And gave their laughs more glee than shakes a child.
Merry it was to laugh there--
Where death becomes absurd and life absurder.
For power was on us as we slashed bones bare
Not to feel sickness or remorse of murder.
I, too, have dropped off fear--
Behind the barrage, dead as my platoon,
And sailed my spirit surging, light and clear,
Past the entanglement where hopes lie strewn;
And witnessed exhultation--
Faces that used to curse me, scowl for scowl,
Shine and lift up with passion of oblation,
Seraphic for an hour, though they were foul.
I have made fellowships--
Untold of happy lovers in old song.
For love is not the binding of fair lips
With the soft silk of eyes that look and long.
By joy, whose ribbon slips,--
But wound with war's hard wire whose stakes are strong;
Bound with the bandage of the arm that drips;
Knit in the welding of the rifle-thong.
I have perceived much beauty
In the hoarse oaths that kept our courage straight;
Heard music in the silentness of duty;
Found peace where shell-storms spouted reddest spate.
Nevertheless, except you share
With them in hell the sorrowful dark of hell,
Whose world is but a trembling of a flare
And heaven but a highway for a shell,
You shall not hear their mirth:
You shall not come to think them well content
By any jest of mine. These men are worth
Your tears: You are not worth their merriment.
183

[I Saw His Round Mouth's Crimson]

[I saw his round mouth's crimson deepen as it fell],
Like a Sun, in his last deep hour;
Watched the magnificent recession of farewell,
Clouding, half gleam, half glower,
And a last splendour burn the heavens of his cheek.
And in his eyes
The cold stars lighting, very old and bleak,
In different skies.
183

Preface

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.
186

Conscious

His fingers wake, and flutter up the bed.
His eyes come open with a pull of will,
Helped by the yellow may-flowers by his head.
A blind-cord drawls across the window-sill . . .
How smooth the floor of the ward is! what a rug!
And who's that talking, somewhere out of sight?
Why are they laughing? What's inside that jug?
"Nurse! Doctor!" "Yes; all right, all right."
But sudden dusk bewilders all the air --
There seems no time to want a drink of water.
Nurse looks so far away. And everywhere
Music and roses burnt through crimson slaughter.
Cold; cold; he's cold; and yet so hot:
And there's no light to see the voices by --
No time to dream, and ask -- he knows not what.
175

The Show

My soul looked down from a vague height with Death,
As unremembering how I rose or why,
And saw a sad land, weak with sweats of dearth,
Gray, cratered like the moon with hollow woe,
And fitted with great pocks and scabs of plaques.
Across its beard, that horror of harsh wire,
There moved thin caterpillars, slowly uncoiled.
It seemed they pushed themselves to be as plugs
Of ditches, where they writhed and shrivelled, killed.
By them had slimy paths been trailed and scraped
Round myriad warts that might be little hills.
From gloom's last dregs these long-strung creatures crept,
And vanished out of dawn down hidden holes.
(And smell came up from those foul openings
As out of mouths, or deep wounds deepening.)
On dithering feet upgathered, more and more,
Brown strings towards strings of gray, with bristling spines,
All migrants from green fields, intent on mire.
Those that were gray, of more abundant spawns,
Ramped on the rest and ate them and were eaten.
I saw their bitten backs curve, loop, and straighten,
I watched those agonies curl, lift, and flatten.
Whereat, in terror what that sight might mean,
I reeled and shivered earthward like a feather.
And Death fell with me, like a deepening moan.
And He, picking a manner of worm, which half had hid
Its bruises in the earth, but crawled no further,
Showed me its feet, the feet of many men,
And the fresh-severed head of it, my head.
176

An Imperial Elegy

Not one corner of a foreign field
But a span as wide as Europe;
An appearance of a titan's grave,
And the length thereof a thousand miles,
It crossed all Europe like a mystic road,
Or as the Spirits' Pathway lieth on the night.
And I heard a voice crying
This is the Path of Glory.
174

Le Christianisme

So the church Christ was hit and buried
Under its rubbish and its rubble.
In cellars, packed-up saints long serried,
Well out of hearing of our trouble.
One Virgin still immaculate
Smiles on for war to flatter her.
She's halo'd with an old tin hat,
But a piece of hell will batter her.
174

The Calls [unfinished]

A dismal fog-hoarse siren howls at dawn.
I watch the man it calls for, pushed and drawn
Backwards and forwards, helpless as a pawn.
But I'm lazy, and his work's crazy.
Quick treble bells begin at nine o'clock,
Scuttling the schoolboy pulling up his sock,
Scaring the late girl in the inky frock.
I must be crazy; I learn from the daisy.
Stern bells annoy the rooks and doves at ten.
I watch the verger close the doors, and when
I hear the organ moan the first amen,
Sing my religion's-same as pigeons'.
A blatant bugle tears my afternoons.
Out clump the clumsy Tommies by platoons,
Trying to keep in step with rag-time tunes,
But I sit still; I've done my drill.
Gongs hum and buzz like saucepan-lids at dusk,
I see a food-hog whet his gold-filled tusk
To eat less bread, and more luxurious rusk.
Then sometimes late at night my window bumps
From gunnery-practice, till my small heart thumps
And listens for the shell-shrieks and the crumps,
But that's not all.
For leaning out last midnight on my sill
I heard the sighs of men, that have no skill
To speak of their distress, no, nor the will!
A voice I know. And this time I must go.
178

Quotes

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