The Poetry of Siegfried Sassoon
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SIBL. . V^'- ' / Proquest Number: 10096794
-TÂ/igSEOBSIAW p o e t s : A. CBIIXCÆJEaaMIBA!ElûIif--CÆJ^ POETRY '' ARD POETIC THEORY. “ KATHARIKE COOKE. M. P h i l . , SIBL. v^'- ' / ProQuest Number: 10096794 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10096794 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 SYNOPSIS. As the Introduction explains this thesis sets out to look at the Georgians* achievement in poetry in the light of their intentions as avowed in prose and their methods as exemplified hy their poems. This is chiefly a critical exercise hut history has heen used to clear away the inevitable distortion which results from looking at Georgian poetry after fifty years of Eliot- influenced hostility. The history of the movement is dealt with in Chapter 2. The next three chapters examine aspects of poetry which the Georgians themselves con sidered most interesting. Chapter 3 deals with form, Chapter 4 with diction and Chapter 5 with inspiration or attitude to subject matter. Chapter 6 looks at the aspect of Georgianism most commonly thought by later readers to define the movement, th a t is i t s subjects. -
Little Magazines and Canadian War Poetry 1939-1945 with Some Reference to Poetry of the First World War
LITTLE MAGAZINES AND CANADIAN WAR POETRY 1939-1945 WITH SOME REFERENCE TO POETRY OF THE FIRST WORLD WAR by JOANNE MEIS B.A., University of Calgary, 1966 A Thesis Submitted in Partial Fulfilment of the Requirements for the Degree of Master of Arts in the Department of English We accept this thesis as conforming to the required standard. THE UNIVERSITY OF BRITISH COLUMBIA September, 1971 o In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for .reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of The University of British Columbia Vancouver 8, Canada Date > '77/ While English First World War poetry moved from extolling the Vic• torian versions of chivalric values to the "debunking" realism of some of the soldier poets, Canadian First World War poetry failed to exhibit any such development. Canadian First World War poets write a colonial inter• pretation of what the English inspirational war poets produced, and they did not express any disillusionment with the military-religious dogma of the war. During the Second World War, some Canadian poets produced poetry of a similar type to that which they wrote celebrating the first. But the war years saw the development of a group of young "modernist" poets who followed up the first modernist movement of the Montreal group and New Provinces, and when these poets wrote about war, the idealization of the conflict was not among their aims. -
POETRY and PROPAGANDA of the GREAT WAR Diplomarbeit
POETRY AND PROPAGANDA OF THE GREAT WAR Diplomarbeit zur Erlangung des akademischen Grades eines Magisters der Philosophie an der Karl-Franzens-Universität Graz vorgelegt von Gernot Alfred Wolfmayr Am Institut für Anglistik Begutachter Ao. Univ. -Prof. Mag. Dr. phil Martin Löschnigg Graz, 2018 Statutory Declaration I hereby declare that the following diploma thesis is, to my best knowledge and belief, original and the result of my own investigation. All the ideas taken from other, external sources are clearly acknowledged in the text. _______________________________ Graz, 11.05.2018 (Gernot Wolfmayr) 1 | P a g e Acknowledgement First of all, I’d like to thank Ao. Univ. -Prof. Mag. Dr. phil. Martin Löschnigg, who introduced me to the poetry of the First World War and instilled in me a passion for the tragic beauty of its poems. I’d also like to thank him for his patience in guiding me through the process of writing my diploma thesis and helping me find a clear and sensible structure. Thank you for your support and I do hope that the end result is to your liking. Secondly, I’d like to thank my brother, Albert Wolfmayr, and my sister, Waltraud Wolfmayr, who supported me in the process of writing my diploma thesis and aided me with their advice, answering any and all of the issues I was uncertain about. I’d also like to thank Ao. Univ. -Prof. Mag. Dr. phil. Klaus Rieser, who inspired me to focus my diploma thesis on the deceptive nature of propaganda and how humans tend to fall for what they wish to be true. -
The Heroic Spirit in the Literature of the Great War
THE HEROIC SPIRIT IN THE LITERATURE OF THE GREAT WAR by KATHLEEN M McARTHUR Town A DISSERTATIONCape SUBMITTED TO THEof FACULTY OF ARTS IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY IN THE DEPARTMENT OF ENGLISH University UNIVERSITY OF CAPE TOWN 1989 :< . - ... - ~ - .. "~ ._ . -· .•.-:--."I The copyright of this thesis vests in the author. No quotation from it or information derived from it is to be published without full acknowledgementTown of the source. The thesis is to be used for private study or non- commercial research purposes only. Cape Published by the University ofof Cape Town (UCT) in terms of the non-exclusive license granted to UCT by the author. University TABLE OF CONTENTS Page Acknowledgements i 1. Introduction A Survey of the Heroic tradition in English Literature. 1 2. Isaac Rosenberg: Part One The Development of an Heroic Vision 56 3. Isaac Rosenberg: Part Two Husbanding the Ancient Glory in an Unheroic Var 85 4. David Jones: Part One Early Works 135 5. David Jones: Part Two 'In Parenthesis' 151 6. David Jones: Part Three The Passchendaele Fragment 199 7. Frederic Manning: Part One Early Works 220 8. Frederic Manning: Part Two 'The Middle Parts of Fortune' 260 Appendix 294 Bibliography 295 i ACKNOWLEDGEMENTS Inevitably, after a study which has its origins as far back as a childhood interest in my grandfather, who was killed in the First World War, one accumulates a debt of gratitude, inspirational, academic, and material. I should like now to thank all the patient people who have borne with me and my obsession for many years1 as well as the Library Staff of the Universities of Cape Town, Stanford, Oxford, the National Library of Wales, and the Imperial War Museum, Landon, who gave me help which was usually much beyond the bounds of their duty. -
A Recuperative Study
Georgianism Then and Now A Recuperative Study James Richard Bridges A thesis submitted to the University of Gloucestershire in accordance with the requirements of the degree of Doctor of Philosophy in the Faculty of Arts and Humanities September 2001 Abstract The thesis attempts to revise our view of Georgian poetry, and thus to rescue it from the critical disregard and disdain it has suffered since the 1930s. Georgian poetry will be redefined as a strong traditional poetry contemporaneous with, and yet different from, literary Modernism. An historical overview of the critical literature from the 1920s onwards will reveal the original co-existence of those now known as 'Georgians' and 'Modernists', stress their mutual break with Edwardian conventions, and will sketch the process by which Georgianism and Modernism became oppositional. Georgianism will be re-evaluated as a brave and creditable attempt to continue the Romantic and humanistic impulse in poetry at a time when younger and ostensibly more radical writers were forsaking it for the values of Modernism. The thesis will further suggest that the Georgian poets had a rather more socially aware and progressive agenda than many of the fledgling Modernists. Georgian poetry is reread, therefore, in order to bring out, as major themes, its concern with the poor and with work, with the changing environment of the nation, with the position of women in Georgian society, and with its response to the First World War. This reappraisal will lead to the contention that Georgianism should not be viewed as a low point in British poetry, but instead as supplying the formal foundations and political sensibility which mark the achievement of Great War poetry. -
The Nineteenth Century (1800- 1900)
THE NINETEENTH CENTURY (1800- 1900) HlSTORIES AND STUDIES BATHO,EDITH CLARA,and DOBREE,BONAMY The Victorians and after, 1830-1914. Cresset Press, 1938 (T ntroductions to English literature, v.4) BOWRA,SIR CECILMAURICE Tireromantic imagination. Oxford U.P., 1950 CECIL,LORDDAVID Early Victorian novelists: essays ill revaluation. Constable, 1934 CUNNINGTON,CECILWILLETT Feminine attitudes ill the nineteenth century. Heinemann, 1935 DRINKWATER,JOliN Victorian poetry. Hodder and Stoughton, [1923] (Hodder and Stoughton's people's library) EVANS,SIR BENJAMIN[FOR Ellglish poetry in the later nineteenth century. Methuen, 1933 HERFORD,CHARLESHAROLD The age 0/ Wordsworth. 3rd ed. G. Bell, 1899 (1930 reprint) (Handbooks of English literature) LUCAS,FRANKLAURENce Tell Victorian poets. Cambridge U.P., 1940 MACLIse,DANIEL The Maclise portrait-gallery of 'illustrious literary characters'. With memoirs by William Bates. Chauo and Wind us, 1883 OMOND,THOMASSTEWART The romantic triumph, Edinburgh, William Blackwood, 1923 (Periods of European literature, II) QUILLEn-CouCH, Sm ARTHURTHOMAS Charles Dickens & other Victorians. Cambridge U.P., 1927 ROYALSOCIETYOF LITERATURe The etghteen-sixties: essays. By Fellows of the Royal Society of Literature. Ed. John Drinkwater. Cambridge U.P., 1932 The eighteen-seventies: essays. By Fellows of the Royal Society of Literature. Ed. Harley Granville-Barker. Cambridge U.P., 1929 The eighteen-eighties: essays. By Fellows of the Royal Society of Literature. Ed. Walter de la Marc. Cambridge U.P., 1930 SAINTSBURY,GEORGEEDWARD BATEMAN A history of nineteenth century literature (1780- 1900). Macmillan, 1929 The later nineteenth century, Edinburgh, William Blackwood, 1923 (Periods of European literature, 12) WALKEJ.l,HUGI-I The age of Tennyson, G. Bell, 1897 (1932 reprint) (Handbooks of English literature) ANTHOLOGIES (1800-1900) AII allthology of .Nineties' verse. -
1 Introduction
Notes 1 Introduction 1. See, for example, the Italian army at Caporetto in November 1917; the open mutiny of the Imperial Russian army in February 1917; the French army in May and June 1917; and the German navy refusing to continue fighting in the autumn of 1918. For a thorough treatment of the breaking apart of the armies see Keegan, 1999, ch. 9. 2. See, for instance, Sir Edward Grey’s famous sentence: ‘The lamps are going out all over Europe. We shall not see them lit again in our time’ and Roger Fry’s observation in a letter to a friend in August 1914: ‘It is over with all our ideas.’ 3. Winter, 1995, p. 2. See also Quinn, 1994, p. 23: ‘writing poetry became a form of mental therapy to expiate the haunting memories of the front and the nagging guilt at having survived’. 4. See Eksteins, 1989, p. 219 and Stephen, 1996, p. 200: ‘It is sometimes assumed that irony broke upon British poetry in 1916 like the plague on London in 1665. In fact the image is a valid one: irony, like the plague, had been around long before, but after the war achieved a strength and prevalence it had not reached for many centuries.’ However, Stephen also points out the indebted- ness of many poets to the English Romantic movement that did not automat- ically cease with the war. 5. Some of the main features of modernist poetry and painting – concentration, focus on processes of perception, fragmentariness – are already used exten- sively as means of intensification of expression. -
Went to War with Rupert Brooke and Came Home with Siegfried Sassoon”: the Poetic Fad of the First World War
“Went to War with Rupert Brooke and Came Home with Siegfried Sassoon”: The Poetic Fad of the First World War Argha Banerjee University of Sussex Exploring literary fads and fashions provides a more comprehensive understanding of culture than isolated studies concentrating on a select representation of writers of a particular time period. As this essay argues, a close analysis of the fad for poetry during the First World War provides a better understanding of the socio-cultural reality of the war generation than a study based on isolated critical deliberation on a few select male poets such as Wilfred Owen, Siegfried Sassoon and Rupert Brooke. A study of such a poetic fad is more significant, as the time-period from 1914 to 1918 facilitated major shifts in the lifestyle of nearly each and every section of British society.1 It is imperative to read the representative male canonical poetic voice as one of the many divergent poetic voices and ideologies prevalent during the war, rather than the absolute representative ideology of the time period. The first section of this essay intends to explore the poetic fad of the Great War and probe into the reasons that gave birth to such a widespread cultural phenomenon. The second section establishes that a critical exploration of the fad integrates the neglected poetic voices of the time period, thereby ensuring a more comprehensive, gender-balanced and authentic understanding of the socio-political reality of the time period. The First World War served as a significant catalyst to the nation’s writers, especially poets — both men and women — who rushed into print with their works. -
“Nobody Asked What the Women Thought”
“Nobody asked what the women thought”: An Analysis of the Relationship between Women and War in British Women’s Poetry of the First World War (1914-1918) Iris Cuijpers Academic year: 2018-2019 MA Thesis European Literature Supervisor: Dr. Marguérite Corporaal 20 June 2019 Cuijpers 1 Summary This thesis investigates an aspect of British First World War poetry which has not yet received much scholarly attention, namely the poems written by women about this conflict. Male soldiers like Wilfred Owen, Siegfried Sassoon, Rupert Brooke and Isaac Rosenberg have all become important names in anthologies of World War I poetry, but female poets are still missing in these poetry collections and the research that has been written about them. Since the 1980s, some studies have focused on women’s poetry of the First World War but there are still many topics left unexplored. One of these subjects is the way in which the relationship between women and war is represented in women’s Great War poetry. This thesis takes a closer look at this connection by analysing three topics which are related to gender and war, and which represent a traditional idea on women’s relationship to war. These topics are: the spatial opposition between the male battlefield and the female home front, women’s work and role during wartime, the role of the mother figure in war. Each one of these topics is analysed in women’s war poetry and the goal of these analyses is to improve our understanding of the relationship in women’s Great War poetry between gender, on the one hand, and nature, nationalism, war, and literature, on the other hand. -
British Poetry of Two World Wars
V BRITISH POETRY OF TWO WORLD WARS Y predecessors in this series of lectures had a much M more difficult task than I. In composing their lec- tures, they did valuable research; in composing mine, I have done nothing but remember. They had to explore the vast continents of history; I have only to wander in what Steven- son calls “the green enchanted forest of boyhood.” They had to have the vision to look back through twenty-five cen- turies; I have to look back through only twenty-five years. But though their task was more difficult, it was, I am sure, less disturbing. To read in history of 60,000 Romans slain at Cannae 2100 years ago brings no such anguish to the heart as to remember one boy who sat in one’s class a year ago, and is now a skeleton beneath some far-off sea. To read of English victories, those centuries ago, at Agincourt, Blenheim, and Waterloo exalts the spirit; but to remember the fruitless victory achieved twenty-odd years ago in the war to end war only depresses the spirit.- Perhaps, after all, Samuel Butler was right when he said: “Only a fool would remember anything that happened more than a week ago unless it were pleasant I” I. THE POET AND TOTAL WAR In the four or five years before the First World War something like a boom in poetry was taking place in Eng- land. “NOone can question,” says the great critic Edmund Gosse, “that the generation which just preceded the War 360 British Poetry of Two World Wars 361 was remarkable for the universality of its interest in verse. -
'When There Are So Many We Shall Have to Mourn”
‘When there are so many we shall have to mourn’: Poetry and Memory in the Second World War Sebastian Owen PhD University of York English and Related Literature July 2015 Abstract In this thesis, I consider the representation of memory and mourning in the work of a number of poets, written during, or in the years immediately before and after, the Second World War. I consider the notion of memory in relation to the First World War and the early part of the twentieth century, observing the ways poets use existing literary models of mourning, remembrance and commemoration to write about the Second World War. My introduction presents the theoretical and conceptual foundations of the thesis. In Chapter 2, I examine the influence and impact of the work of Freud on Auden and H.D., arguing that mourning Freud’s death in their work is a way to write about the war. Likewise, Chapter 3 looks at the impact of an influential individual, examining the ‘Rilke craze’ of the late thirties and early forties in relation to the war poetry of Auden, Keith Douglas, Hamish Henderson, Sidney Keyes and Alun Lewis, showing how Rilke’s work opened up new possibilities for writing about death. Chapter 4 is dedicated to a study of Hamish Henderson’s long poem Elegies for the Dead in Cyrenaica and the multitude of voices and fragments which it draws upon. The final chapter considers ekphrastic poetry about war memorials, looking at works by Auden, Henderson, Douglas, Jarmain, Sassoon, and Lewis. I argue throughout that poets seek a precedent for the trauma and upheaval of the Second World War by turning or returning to the literature of other conflicts and ruptures in a multidirectional and palimpsestic attempt to make sense of the present and to represent it in poetry. -
Propaganda and Poetry During the Great War. Norma Compton Leadingham East Tennessee State University
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 8-2008 Propaganda and Poetry during the Great War. Norma Compton Leadingham East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the Literature in English, British Isles Commons, and the Military History Commons Recommended Citation Leadingham, Norma Compton, "Propaganda and Poetry during the Great War." (2008). Electronic Theses and Dissertations. Paper 1966. https://dc.etsu.edu/etd/1966 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. Propaganda and Poetry during the Great War __________________________ A thesis presented to the faculty of the Department of History East Tennessee State University In partial fulfillment of the requirements for the degree Masters of Art in History _________________________ by Norma Ruth Compton Leadingham August 2008 __________________________ Dr. William Douglas Burgess; Chair Dr. Stephen G. Fritz Dr. Dale Schmitt Keywords: Propaganda and Poetry, British Great War Poets, Rupert Brookes, Wilfred Owen, Robert Graves, Rudyard Kipling, Osbert Sitwell, Siegfried Sassoon, Wellington House ABSTRACT Propaganda and Poetry during the Great War by Norma Ruth Compton Leadingham During the Great War, poetry played a more significant role in the war effort than articles and pamphlets. A campaign of extraordinary language filled with abstract and spiritualized words and phrases concealed the realities of the War.