An Analysis of Wilfred Owen's War Poetry in the Light of Sigmund Freud's Psychoanalytic Theory
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Owen's Poetry Reveals Great Compassion for the People Whose
Owen’s poetry reveals great compassion for the people whose lives were destroyed by the war, but great bitterness at those he held responsible. Discuss with reference to at least TWO of the poems you have studied. Wilfred Owen’s poems use the suffering of the soldiers at war, as well as the tribulation of the people left at home, to demonstrate the intense consequences of war, as a result of the callousness of the Government. ‘Dulce et Decorum est’ focuses on the reality of war as the horrific consequence of the arrogant pride of those who were willing to sacrifice youth for economic or geographical power. ‘Anthem for Doomed Youth’ exposes the suffering of youth and waste of life in war, as well as the irreconcilable mourning and grief with the responsibility of sending men to war. ‘Futility’ reveals the pointlessness of war, while representing the suffering of soldiers at war and the consequences for those who are left to survive. Therefore, Wilfred Owen intensely highlights the compassion for the suffering of soldiers at war and the bitterness for those who he held responsible, including the Government and humanity overall. Owen’s poem ‘Dulce et Decorum est’ reveals the horrific nature of war and gruesome suffering of the soldiers. The ironic title represents the ‘Old Lie’ that it is noble and right to die for your country, as falsely depicted in the Government propaganda at the time. However, the poem opposes this image by introducing a sense of age, weariness and suffering at war. This poem provokes the idea that the Government are to be held responsible for the misguidance of young men to war, and therefore their deaths. -
Mycroft Notes – 6 Wilfred Owen – Dulce Et Decorum
Mycroft Lectures. Adapted Transcript for: Wilfred Owen’s Dulce et Decorum Est. (Mycroft lectures always provide sentence-by-sentence parsing, paraphrasing and explanation of each poem. However, each lecture also presents extra information to enhance appreciation and understanding of the poem under discussion. As the Mycroft lectures are not read from a script, a transcript of a lecture contains the imperfections of a spoken presentation. To avoid the embarrassment of having the spoken performance thought to be an essay and being quoted as such, I have made occasional changes to the spoken lectures for the purposes of clarification. What follows is the transcript of a lecture, not an essay.) Chronology of the Lecture. 1. The lecture starts by giving the background for the poem as an anti-First World War propaganda piece. 2. Initial comparisons with Rupert Brooke’s The Soldier. (Links between the two poems are made throughout the lecture.) 3. The poem is read through. 4. During the reading of the poem, a diagram of how the First World War trench warfare was fought will be shown, illustrating the movement of Owen and his troop. 5. The poem is parsed, paraphrased, explained line by line in simpler English. Various complications noted, or areas of interest raised and questioned, are: ñ The initial similes setting the tone (how Owen compares the soldiers to beggars, old women and animals). ñ The use of the adjectives 'tired' and 'clumsy'. ñ The gas attack. 1 ñ How the addressee in the poem becomes important in the third stanza. ñ How Munch’s painting The Scream may help us to see some of these lines. -
The Parable of the Old Man and the Young (Wilfred Owen) So Abram
The Parable Of The Old Man And The Young (Wilfred Owen) 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 belt and straps, 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, thy son. Behold! Caught in a thicket by its horns, A Ram. Offer the Ram of Pride instead. But the old man would not so, but slew his son, And half the seed of Europe, one by one. Futility (Wilfred Owen) Move him into the sun – Gently its touch awoke him once, At home, whispering of fields half-sown. Always it woke him, even in France, Until this morning and this snow. If anything might rouse him now The kind old sun will know. Think how it wakes the seeds – Woke once the clays of a cold star. Are limbs, so dear achieved, are sides Full-nerved, still warm, too hard to stir? Was it for this the clay grew tall? - O what made fatuous sunbeams toil To break earth’s sleep at all? Dulce Et Decorum Est (Wilfred Owen) Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs And towards our distant rest began to trudge. -
Wilfred Owen
THE GREAT THE WAR POETRY OF POETS Wilfred Owen Read by Anton Lesser POETRY 1 Preface 1:09 2 From My Diary, July 1914 1:20 3 1914 1:13 4 The Send-off 1:17 5 The Letter 1:27 6 Arms and the Boy 0:49 7 Parable of the Old Men and the Young 1:13 8 Spring Offensive 3:02 9 The Chances 0:55 10 Futility 0:54 11 S. I. W. Self Inflicted Wound 3:23 12 Has Your Soul Sipped? 1:33 13 As Bronze May Be Much Beautified 0:49 14 It Was a Navy Boy 2:37 15 Inspection 0:55 16 Anthem for Doomed Youth 1:03 17 The Unreturning 1:06 18 Le Christianisme 0:31 19 Soldier’s Dream 0:45 20 At a Calvary Near the Ancre 0:54 21 Greater Love 1:37 22 The Last Laugh 1:09 23 Hospital Barge 1:13 24 Training 0:38 25 Schoolmistress 0:42 2 26 An Imperial Elegy 0:33 27 The Calls 1:57 28 On Seeing a Piece of Our Artillery Brought into Action 1:08 29 Exposure 3:18 30 Asleep 1:45 31 The Dead-Beat 1:30 32 Mental Cases 2:14 33 Conscious 1:24 34 The Show 2:15 35 Smile, Smile, Smile 1:42 36 Disabled 3:16 37 A Terre (Being the philosophy of many soldiers) 4:13 38 Beauty (Notes for an Unfinished poem) 1:56 39 Miners 1:38 40 Cramped in That Funnelled Hole 0:41 41 The Sentry 2:16 42 Dulce et Decorum est 1:52 43 Apologia pro Poemate Meo 2:19 44 Insensibility 2:45 45 The End 1:15 46 The Next War 1:10 47 Sonnet to My Friend – With an Identity Disc 1:05 48 Strange Meeting 3:28 49 On My Songs 0:58 Total time: 79:17 3 The Great Poets The WAR Poetry OF Wilfred Owen It would surely be impossible to name a witness and report faithfully on the horror poet more closely or completely identified of omnipresent death, and commitment with any historical event than Wilfred to protest against it with all the anger he Owen is with the First World War. -
Referring to Dulce Et Decorum Est Pro Patria Mori and Any Other Two Poems, Discuss Owen’S Use of Irony
Referring to Dulce et Decorum est pro Patria mori and any other two poems, discuss Owen’s use of irony. In his anthology, The War Poems, Wilfred Owen seeks to use war as a context, setting or medium to shape understanding of the human condition during the World War One period. The extent to which truth was dispelled or shirked is implied in his poetry, and it is this very implication that renders Owen’s outlook ironic, since he does not explicitly pinpoint the pain and suffering of reality in this era; instead, he leaves readers with the task of deriving the greater and holistic meaning of his poetry. Sensory imagery and figurative language then become vehicles, complementary devices or clues to provide readers with the idea that Owen’s subject is not war, but rather, “the pity of war”. By using an interchange between past and present, Owen attempts to compare and contrast the previously blissful lives of these men with the morbidity and wrath of war, where such nostalgia is essentially regression or “a trek from progress”: something he forbids of society at that time, particularly in the poem, “Strange Meeting”. Adopting a more psychological viewpoint, “S.I.W” also underscores the potency of the mind in yearning for a past period, from the perspective of a soldier. Whilst Owen’s intention is to arouse pity in readers by demonstrating the bitterness of war, as is observed through the realism evoked in “Dulce Et Decorum Est”, he does not realise that the obvious confusion evident in the verses of his poems renders him mentally incapable or lacking control, as opposed to the soldiers. -
The Poet's Corpus WILFRED OWEN WAS AN
CHARLES HUNTER JOPLIN The Poet’s Corpus Meter, Memory, and Monumentality in Wilfred Owen’s “The Show” The treatment worked: to use one of his favorite metaphors, [Owen] looked into the eyes of the Gorgon and was not turned to stone. In due course the nightmares that might have destroyed him were objectified into poetry. —Dominic Hibberd, Wilfred Owen: A New Biography WILFRED OWEN WAS AN ENGLISH POET who wrote his best work during the autumn of 1917 while recovering from shell shock in Craiglockhart War Hospital for Neurasthenic Officers. Although a few of his poems were published during his short lifetime, Owen died on November 8, 1918 in the Sambre-Oise Canal, before he could publish his book of war poetry. Owen’s body of work was collected by his mother and seven of those poems were edited by Edith Sitwell and published in a special edition of the avant-garde art magazine Wheels: 1919, which was dedicated to the memory of “Wilfred Owen, M.C.” (Stallworthy 81; v.). Following the Wheels edition, Owen’s war poetry spread slowly throughout the Western world. His work appeared in two separate collections in 1920 and 1931, saw widespread circulation during World War II, formed the basis for Benjamin Britten’s War Requiem in 1962, circulated in two more collections in 1963 and 1983, and rose to become a staple of twentieth century poetry anthologies (Stallworthy 81). Although there are other “trench poets” who achieved notoriety after the war’s end, the gradual canonization of Owen’s corpus has entrenched his life and works as a literary monument to our prevailing myths, feelings, and narratives of the First World War.1 Owen’s monumental status in English literature is appropriate because, during his time as a war poet, he carried a monumental mission. -
Ergotherapy and the Doctor Who Cured Wilfred Owen
‘Re-education’, ergotherapy and the doctor who cured Wilfred Owen The end of 2020 marks the 100th anniversary of Wilfred Owen’s war poems being published posthumously.1 A quarter of Owen’s poems and fragments were written or updated in late 1917 when he was a ‘shell-shock’ patient in Edinburgh’s Craiglockhart War Hospital. Here he penned his most remembered verse. Without Craiglockhart and the care of Edinburgh doctor, Dr Arthur John Brock, we may never have read Owen’s words on ‘the pity of war’.2 A century on, Brock’s ‘ergotherapy’ treatments may have resonance and applicability as we care for mental health issues emanating from current global crises. In 1917 Owen saw action in the Somme area of the Western Front. He became a casualty having fallen into a shell hole. Recovering from concussion he was later blown up by a trench mortar and reportedly spent days unconscious. On regaining consciousness, Owen found himself surrounded by the remains of a fellow officer. Owen was transferred to one of the two reception centres for ‘shell-shock’, the Royal Victoria Hospital (the Welsh Hospital, Netley), where he was diagnosed as suffering from ‘war neuroses’ by doctors there. He was then moved to one of Britain’s six ‘shell-shock’ hospitals for officers - Craiglockhart War Hospital in Edinburgh. There he was placed under the care of Dr Brock. Brock believed in purging what caused the shock before a programme of ‘re-education’3 whereby patients were returned to normal living and working. This involved ‘ergotherapy’ activities. ‘Ergotherapy’ is the use of physical exertion as a treatment4 or as Brock described it more widely, “cure by functioning.”5 His prescribed activities were both physical and active artistic engagement, stimulating the body and mind. -
War Poetry: Impacts on British Understanding of World War One
Central Washington University ScholarWorks@CWU All Undergraduate Projects Undergraduate Student Projects Spring 2019 War Poetry: Impacts on British Understanding of World War One Holly Fleshman Central Washington University, [email protected] Follow this and additional works at: https://digitalcommons.cwu.edu/undergradproj Part of the European History Commons, Military History Commons, and the Social History Commons Recommended Citation Fleshman, Holly, "War Poetry: Impacts on British Understanding of World War One" (2019). All Undergraduate Projects. 104. https://digitalcommons.cwu.edu/undergradproj/104 This Undergraduate Project is brought to you for free and open access by the Undergraduate Student Projects at ScholarWorks@CWU. It has been accepted for inclusion in All Undergraduate Projects by an authorized administrator of ScholarWorks@CWU. For more information, please contact [email protected]. Table of Contents Abstract……………………………………………………………………….. 2 Body………..………………………………………………………………….. 3 Conclusion ……………………………………………………………………. 20 Bibliography ………………………………………………………………….. 24 End Notes ……………………………………………………………………... 28 1 Abstract The military and technological innovations deployed during World War I ushered in a new phase of modern warfare. Newly developed technologies and weapons created an environment which no one had seen before, and as a result, an entire generation of soldiers and their families had to learn to cope with new conditions of shell shock. For many of those affected, poetry offered an outlet to express their thoughts, feelings and experiences. For Great Britain, the work of Rupert Brooke, Siegfried Sassoon, Wilfred Owen and Robert Graves have been highly recognized, both at the time and in the present. Newspaper articles and reviews published by prominent companies of the time make it clear that each of these poets, who expressed strong opinions and feelings toward the war, deeply influenced public opinion. -
Edward Thomas - Poems
Classic Poetry Series Edward Thomas - poems - Publication Date: 2012 Publisher: Poemhunter.com - The World's Poetry Archive Edward Thomas(3 March 1878 - 9 April 1917) Phillip Edward Thomas was an Anglo-Welsh writer of prose and poetry. He is commonly considered a war poet, although few of his poems deal directly with his war experiences. Already an accomplished writer, Thomas turned to poetry only in 1914. He enlisted in the army in 1915, and was killed in action during the Battle of Arras in 1917, soon after he arrived in France. <b>Early Life</b> Thomas was born in Lambeth, London. He was educated at Battersea Grammar School, St Paul's School and Lincoln College, Oxford. His family were mostly Welsh. Unusually, he married while still an undergraduate and determined to live his life by the pen. He then worked as a book reviewer, reviewing up to 15 books every week. He was already a seasoned writer by the outbreak of war, having published widely as a literary critic and biographer, as well as a writer on the countryside. He also wrote a novel, The Happy-Go-Lucky Morgans (1913). Thomas worked as literary critic for the Daily Chronicle in London and became a close friend of Welsh tramp poet W. H. Davies, whose career he almost single- handedly developed. From 1905, Thomas lived with his wife Helen and their family at Elses Farm near Sevenoaks, Kent. He rented a tiny cottage nearby for Davies and nurtured his writing as best he could. On one occasion, Thomas even had to arrange for the manufacture, by a local wheelwright, of a makeshift wooden leg for Davies. -
The Poet As Hero
Degree Project The Poet as Hero A Study of the Clash Between the Hero and the First World War in British Trench Poetry, and Its Use in the Swedish School System Within the Subject of English. Author: Carl Olsson Supervisor: Anna Greek Examiner: Anne Holm Term: Spring 2018 Subject: English Level: G3 Course code: 4ENÄ2E Abstract This thesis studies the clash between the hero and the First World War in the works of Rupert Brooke, Siegfried Sassoon and Wilfred Owen. It explores the impact on their poetry and attitude towards the concept of the hero as it applied to them as people and poets. The study shows that over prolonged contact with the horrors of the First World War, it is evident in both literary sources and their poetry that both Sassoon and Owen changed their attitudes negatively towards both the idea of heroes and heroism, as well as the War as a just and glorious cause. However, the myth of the hero was still a core belief of their society, and in order to not be branded cowards and discarded along with their warnings, they had to become heroes in the eyes of their society, to openly attack the concept and the war it fueled. This thesis then studies how and why First World War poetry and literature should be utilized within the subject of English in the Swedish School System, as a means to provide a multicultural and critical education. Key words The Great War, The First World War, First World War Poetry, The hero in the First World War, Siegfried Sassoon, Wilfred Owen, Rupert Brooke, Trench Poetry, Poetry, First World War poetry in the Swedish education system, Heroes, Heroism, The hero in poetry, The hero as weapon, New Historicism, Critical Literature Pedagogy. -
Dvlce Et Decorvm: Horace Odes 3.2.13'~)
DVLCE ET DECORVM: HORACE ODES 3.2.13'~) duice et decorum est pro patria mori; mors et fugacem perseqt;itur virum nec parcit imbellis iuventae poplitibus timidoque tergo. (Hor. c. 3.2.13-16) Dulce et decorum est pro patria mori is one of Horace's best known lines, and one of his least weil understood. Its frequent appearance on war memorials has led l to sardonic and bitter reactions from such as Wilfred Owen and Bertolt Brecht ), and modern scholars as weil as poets find it difficult to accept that Horace could have claimed that it is in any sense enjoyable for a man to die fighting for his country. The most extensive scholarly account of this line has argued that such a death can only be gleasant in the sense of gaining the gratitude and admiration of fellow-countrymen ); more recently, one writer regards duice et decorum as encap sulating the naive view of the young and eager Roman puer of the poem's opening 3 stanza rather than the attitude of the poem's speaker ), while another ingeniously 4 conjectures that Horace originally wrote dulci decorum est pro patria mori ), with the quality of sweetness comfortably transferred from death to the fatherland, a much more familiar notions). The purrose of this note is to argue that both the traditional text and the natural sense 0 the line are correct, and that Horace may plausibly be credited with the thought that patriotic self-sacrifice gives pleasure to the sacrificing individual. The two crucial and interconnected factors here are the deployment of paral lel passages for the poet's statement and close consideration of the context of the line. -
Strange Meeting" Again'
Connotations Vo!. 3.2 (1993/94) "Strange Meeting" Again' DOUGLAS KERR Kenneth Muir's essay "Connotations of 'Strange Meeting''' is a thoughtful and interesting contribution to a discussion that has been going on, in various forms and fora, for the three-quarters of a century since the poem was first published in 1919, the year after Wilfred Owen's death. In the past, "Strange Meeting" has attracted more discussion than any other of Owen's poems (and it remains the only one to have had an entire book written about it).l It is still, arguably, Owen's best-known poem, and from the first it has played a central part in the making and development of Owen's reputation. Prompted by Professor Muir's essay, and to mark the seventy-fifth anniversary of this haunting poem's first appearance, I want to sketch here the history of "Strange Meeting" since its publication, and the way the poem has functioned as a focus of debate about Owen and the interpretation of his work. This will bring me back, in a roundabout way, to Professor Muir and some of the points in his essay. A notable absentee from the discussion, unfortunately, is Owen himself. He wrote "Strange Meeting" in the first half of 1918, in that ex- traordinarily creative last year of his life, but there is no mention of the poem in any of his surviving letters. A mere handful of his poems appeared in print in his lifetime, but he had plans for a collection to be called Disabled and Other Poems, and "Strange Meeting" is listed towards the end of two drafts for a table of contents which he drew up in the summer of 1918.2 One of these lists the "motive" of each of the poems he planned to include: the "motive" given for "Strange *Reference: Kenneth Muir, "Connotations of 'Strange Meeting,'" Connotations 3.1 (1993): 26-36.