Poems List

Winter Song

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.
154

Uriconium: an Ode

Uriconium: an Ode
It lieth low near merry England's heart
Like a long-buried sin; and Englishmen
Forget that in its death their sires had part.
And, like a sin, Time lays it bare again
To tell of races wronged,
And ancient glories suddenly overcast,
And treasures flung to fire and rabble wrath.
If thou hast ever longed
To lift the gloomy curtain of Time Past,
And spy the secret things that Hades hath,
Here through this riven ground take such a view.
The dust, that fell unnoted as a dew,
Wrapped the dead city's face like mummy-cloth:
All is as was: except for worm and moth.
Since Jove was worshipped under Wrekin's shade
Or Latin phrase was writ in Shropshire stone,
Since Druid chaunts desponded in this glade
Or Tuscan general called that field his own,
How long ago? How long?
How long since wanderers in the Stretton Hills
Met men of shaggy hair and savage jaw,
With flint and copper prong,
Aiming behind their dikes and thorny grilles?
Ah! those were days before the axe and saw,
Then were the nights when this mid-forest town
Held breath to hear the wolves come yelping down,
And ponderous bears 'long Severn lifted paw,
And nuzzling boars ran grunting through the shaw.
Ah me! full fifteen hundred times the wheat
Hath risen, and bowed, and fallen to human hunger
Since those imperial days were made complete.
The weary moon hath waxen old and younger
These eighteen thousand times
Without a shrine to greet her gentle ray.
And other temples rose; to Power and Pelf,
And chimed centurial chimes
Until their very bells are worn away.
While King by King lay cold on vaulted shelf
And wars closed wars, and many a Marmion fell,
And dearths and plagues holp sire and son to hell;
And old age stiffened many a lively elf
And many a poet's heart outdrained itself.
I had forgot that so remote an age
Beyond the horizon of our little sight,
Is far from us by no more spanless gauge
Than day and night, succeeding day and night,
Until I looked on Thee,
Thou ghost of a dead city, or its husk!
But even as we could walk by field and hedge


Hence to the distant sea
So, by the rote of common dawn and dusk,
We travel back to history's utmost edge.
Yea, when through thy old streets I took my way,
And recked a thousand years as yesterday,
Methought sage fancy wrought a sacrilege
To steal for me such godly privilege!
For here lie remnants from a banquet table -
Oysters and marrow-bones, and seeds of grape -
The statement of whose age must sound a fable;
And Samian jars, whose sheen and flawless shape
Look fresh from potter's mould.
Plasters with Roman finger-marks impressed;
Bracelets that from the warm Italian arm
Might seem to be scarce cold;
And spears - the same that pushed the Cymry west-
Unblunted yet; with tools of forge and farm
Abandoned, as a man in sudden fear
Drops what he holds to help his swift career:
For sudden was Rome's flight, and wild the alarm.
The Saxon shock was like Vesuvius' qualm.
O ye who prate of modern art and craft .
Mark well that Gaulish brooch, and test that screw!
Art's fairest buds on antique stem are graft.
Under the sun is nothing wholly new!
At Viricon today
The village anvil rests on Roman base
And in a garden, may be seen a bower
With pillars for its stay
That anciently in basilic had place.
The church's font is but a pagan dower:
A Temple's column, hollowed into this.
So is the glory of our artifice,
Our pleasure and our worship, but the flower
Of Roman custom and of Roman power.
O ye who laugh and, living as if Time
Meant but the twelve hours ticking round your dial,
Find it too short for thee, watch the sublime,
Slow, epochal time-registers awhile,
Which are Antiquities.
O ye who weep and call all your life too long
And moan: Was ever sorrow like to mine?
Muse on the memories
That sad sepulchral stones and ruins prolong.
Here might men drink of wonder like strong wine
And feel ephemeral troubles soothed and curbed.
Yet farmers, wroth to have their laws disturbed,
Are sooner roused for little loss to pine
Than we are moved by mighty woes long syne.


Above this reverend ground, what traveller checks?
Yet cities such as these one time would breed
Apocalyptic visions of world-wrecks.
Let Saxon men return to them, and heed!
They slew and burnt,
But after, prized what Rome had given away
Out of her strength and her prosperity.
Have they yet learnt
The precious truth distilled from Rome's decay?
Ruins! On England's heart press heavily!
For Rome hath left us more than walls and words
And better yet shall leave; and more than herds
Or land or gold gave the Celts to us in fee;
E'en Blood, which makes poets sing and prophets see.
125

The Young Soldier

The Young Soldier
It is not death
Without hereafter
To one in dearth
Of life and its laughter,
Nor the sweet murder
Dealt slow and even
Unto the martyr
Smiling at heaven:
It is the smile
Faint as a (waning) myth,
Faint, and exceeding small
On a boy's murdered mouth.
124

The Send-off

The Send-off
Down the close, darkening lanes they sang their way
To the siding-shed,
And lined the train with faces grimly gay.
Their breasts were stuck all white with wreath and spray
As men's are, dead.
Dull porters watched them, and a casual tramp
Stood staring hard,
Sorry to miss them from the upland camp.
Then, unmoved, signals nodded, and a lamp
Winked to the guard.
So secretly, like wrongs hushed-up, they went.
They were not ours:
We never heard to which front these were sent.
Nor there if they yet mock what women meant
Who gave them flowers.
Shall they return to beatings of great bells
In wild trainloads?
A few, a few, too few for drums and yells,
May creep back, silent, to still village wells
Up half-known roads.
417

The Show

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.
142

The Parable of the Young Man and the Old

The Parable of the Young Man and the Old
So Abram rose, and clave the wood, and went,
And took the fire with him, and a knife.
And as they sojourned, both of them together,
Isaac the first-born spake, and said, My Father,
Behold the preparations, fire and iron,
But where the lamb for this burnt-offering?
Then Abram bound the youth with belts and straps,
And builded parapets the trenches there,
And stretched forth the knife to slay his son.
When lo! an angel called him out of heaven,
Saying, Lay not thy hand upon the lad,
Neither do anything to him. Behold,
A ram, caught in a thicket by its horns;
Offer the Ram of Pride instead of him.
But the old man would not so, but slew his son,
And half the seed of Europe, one by one.
272

The Parable of the Old Man and the Young

The Parable of the Old Man and the Young
So Abram rose, and clave the wood, and went,
And took the fire with him, and a knife.
And as they sojourned both of them together,
Isaac the first-born spake and said, My Father,
Behold the preparations, fire and iron,
But where the lamb for this burnt-offering?
Then Abram bound the youth with belts and strops,
And builded parapets and trenches there,
And stretched forth the knife to slay his son.
When lo! an angel called him out of heaven,
Saying, Lay not thy hand upon the lad,
Neither do anything to him. Behold,
A ram, caught in a thicket by its horns;
Offer the Ram of Pride instead of him.
But the old man would not so, but slew his son,
And half the seed of Europe, one by one.
342

The Letter

The Letter
With B.E.F. Jun . Dear Wife,
(Oh blast this pencil. 'Ere, Bill, lend's a knife.)
I'm in the pink at present, dear.
I think the war will end this year.
We don't see much of them square-'eaded 'Uns.
We're out of harm's way, not bad fed.
I'm longing for a taste of your old buns.
(Say, Jimmie, spare's a bite of bread.)
There don't seem much to say just now.
(Yer what? Then don't, yer ruddy cow!
And give us back me cigarette!)
I'll soon be 'ome. You mustn't fret.
My feet's improvin', as I told you of.
We're out in the rest now. Never fear.
(VRACH! By crumbs, but that was near.)
Mother might spare you half a sov.
Kiss Nell and Bert. When me and you-
(Eh? What the 'ell! Stand to? Stand to!
Jim, give's a hand with pack on, lad.
Guh! Christ! I'm hit. Take 'old. Aye, bad.
No, damn your iodine. Jim? 'Ere!
Write my old girl, Jim, there's a dear.)
233

The Kind Ghosts

The Kind Ghosts
She sleeps on soft, last breaths; but no ghost looms
Out of the stillness of her palace wall,
Her wall of boys on boys and dooms on dooms.
She dreams of golden gardens and sweet glooms,
Not marvelling why her roses never fall
Nor what red mouths were torn to make their blooms.
The shades keep down which well might roam her hall.
Quiet their blood lies in her crimson rooms
And she is not afraid of their footfall.
They move not from her tapestries, their pall,
Nor pace her terraces, their hecatombs,
Lest aught she be disturbed, or grieved at all.
184

The Dead-beat

The Dead-beat
He dropped, - more sullenly than wearily,
Lay stupid like a cod, heavy like meat,
And none of us could kick him to his feet;
-just blinked at my revolver, blearily;
- Didn't appear to know a war was on,
Or see the blasted trench at which he stared.
'I'll do 'em in,' he whined. 'If this hand's spared,
I'll murder them, I will.'
A low voice said,
'It's Blighty, p'raps, he sees; his pluck's all gone,
Dreaming of all the valiant, that aren't dead:
Bold uncles, smiling ministerially;
Maybe his brave young wife, getting her fun
In some new home, improved materially.
It's not these stiffs have crazed him; nor the Hun.'
We sent him down at last, out of the way.
Unwounded; - stout lad, too, before that strafe.
Malingering? Stretcher-bearers winked, 'Not half!'
Next day I heard the Doc's well-whiskied laugh:
'That scum you sent last night soon died. Hooray!'
212

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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.