World War 1 Poetry Essay Example

enlist anyone ready for combat, irrespective of their age. A significant portion of the British youth held a disinterest towards warfare, prompting the country to employ various tactics to pique their interest. Propaganda emerged as one such tactic, disseminated through different mediums like films, advertisements and posters. In this context though, my focus will be its application in poetry. Propaganda serves as an instrument employed by individuals or groups to sway others' opinions and propagate their viewpoints. It often manifests itself as skewed messages targeted against adversaries.

The poems that utilized propaganda were acknowledged as patriotic poems because they encouraged and depicted war as an indelible adventure. Consequently, these poems gained high esteem from the government. When the war commenced, the government implemented censorship, prohibiting any writing or publication about war without governmental consent. This censorship greatly aided their cause by concealing the explicit horrors faced by soldiers from those on the home front. Consequently, many young men were enticed into enlisting as they had an inadequate understanding of the actual events occurring.

The only way the true horrors of the war could evade censorship was through soldiers' letters to friends and family. However, the government prevented any real emotions or war experiences from being revealed by mandating that all letters be reviewed by high-ranking officials, typically officers. While not every letter could be censored, some officers managed to send letters home that reflected their genuine sentiments and opinions. Many of these soldiers expressed their thoughts realistically, often in the form of poetry. Unfortunately, their work went largely unnoticed until after the war, when it was already too late.

In this coursework, I will analyze and compare the

styles, contrasting descriptions, and different attitudes of poets who wrote patriotically and realistically. I will assess the effectiveness of two patriotic poems - 'Who's for the game?' by Jessie Pope and 'Into battle' by Julian Grenfell. Despite both poems focusing on war and aiming to depict its glory, they adopt contrasting approaches. Famous for her patriotic war poems featured in The Daily Mail, Jessie Pope brings a different perspective to the subject.

Jessie Pope had an overwhelmingly positive view of war, believing it to be a righteous duty to fight for one's country. Her poetry consistently exuded a strong sense of national pride. This perspective was largely shaped by her lack of firsthand experience on the western front, which prevented her from witnessing the hardships faced by soldiers. One of Jessie Pope's most renowned works, 'Who's for the game?', employed vivid metaphors comparing war to a game. The title itself alludes to this metaphorical comparison. Additionally, Pope elaborated on this metaphor by enumerating the shared traits between war and a game.

Describing war as "the biggest that's ever played," the author instantly captivates the reader's attention with an unexpected comparison between war and a game. The choice of words used in this comparison, both interesting and intriguing, challenges conventional perceptions. Specifically, the poet links war to rugby, a popular game among young upper-class men at the time. By exploiting this connection, phrases like "Who'll grip and tackle the job unafraid?" and "The red crashing game of a fight?" serve to further establish the association between the two.

The quote implies that only the most elite men will be able to fight for their country, creating a sense of

self-determination in the reader as they feel the need to prove themselves to others. Pope further emphasizes this idea with the phrase "And who thinks he'd rather sit tight?" suggesting that not participating in war would render one insignificant. Additionally, Pope highlights the contrasting emotions and statuses of a soldier at war and a man staying at home.

The text poses the question of who desires to participate in the spectacle and who chooses to remain a spectator, detached from the proceedings. This scenario evokes emotions of remorse and embarrassment since the reader isn't proactively battling for their nation but rather remaining domestically. Jessie Pope uses a method of rhetorical inquiry, questioning whether the reader wishes to be involved in "the largest... red crashing game of a fight?" This approach productively captivates the reader's attention, prompting them not only to read through the poem but also reflect upon it and form mental images.

Rhetorical questions have a lasting impact on people's minds compared to simple sentences, as they compel readers to contemplate the poem's intended message. In the third stanza, there is a specific phrase that encapsulates Jessie Pope's perspective on war: "Who would much rather come back with a crutch Than lie low and be out of the fun?" This phrase demonstrates her lack of concern for the soldiers who risk their lives fighting for what she believes in, while also revealing her preoccupation with her own well-being. Throughout the poem, Jessie Pope consistently employs colloquial language, which is primarily influenced by the targeted audience of this piece.

The poem employs familiar phrases like 'sit tight' and 'up to her neck' that resonate with the

youth, making it more engaging and appealing. Towards the end of the poem, Jessie Pope personifies Britain as 'she', effectively highlighting how men, who are expected to protect women, are allowing their homeland to be destroyed without resistance. By attributing living qualities to Britain, the poem urges young men to feel a sense of duty to fight and defend their country. 'Who's for the game?' follows a steady, alternating rhyme scheme (ABAB, etc.), enhancing the enjoyable and cheerful tempo created by Jessie Pope to entice and convince young men to join the fight.

The poem 'Who's for the game?' by Jessie Pope follows a structure of four quatrain stanzas. Pope effectively incorporates sound in the poem to bring a lively quality. Each line within a quatrain contains a consistent number of syllables, such as the nine-syllable line in the first stanza, "who's for the game, the biggest that's ever played." This aligns with line three of the stanza, which asks, "who'll grip and tackle the job unafraid?" Now let us examine another patriotic poem and analyze the poets' perspective on war.

Julian Grenfell, who wrote 'Into Battle', had firsthand experience of the western front as a soldier. Tragically, he died before The Times could publish this poem, his death being a result of the severe wounds he sustained during war. Through this poem, Grenfell passionately expresses his eagerness for war and his love for his country. His frequent comparisons between war and the wilderness indicate his belief that war is an inherent part of human nature.

Jessie Pope and Grenfell have contrasting techniques. Pope plays with the readers' consciousness, for instance when she asks, 'Who wants a seat

in the stand?' In contrast, the first quatrain of Grenfell's poem states, 'The naked earth is warm with spring.' This starkly juxtaposes the reality of war, a time of death and destruction, with the hopeful and rejuvenating qualities of spring. Grenfell views war as a fresh start, mirroring the essence of spring where barren trees give way to new life and the end of dreariness.

The significance of spring to Grenfell and his portrayal of nature's struggle for survival demonstrate its importance. Both poems compare war to positive things, reinforcing their message. Pope describes war as the greatest game ever played, while Grenfell compares it to natural elements like the woodland trees (also personification). In the second stanza, Grenfell asserts that not fighting leads to death, while dying in battle brings increase. This viewpoint reflects the importance of war to Grenfell and society, persuading readers that their purpose is to fight and that resisting it leads to death. The phrase 'has increase,' previously mentioned, suggests that those who die fighting enhance their stature and significance. From this poem, it is clear that Grenfell believes that without fighting, one has no reason to exist.

In the second stanza, Grenfell reiterates his viewpoint by stating, 'And when fighting shall be done, Great rest, and fullness after dearth.' Essentially, this implies that even though one may perish in battle, they will find satisfaction. This perspective is also echoed by Pope who questions, 'who wants a seat in the stand?' Furthermore, Grenfell posits what he believes a soldier acquires through fighting: 'All the bright company of Heaven Hold them in their high comradeship.' It seems he is suggesting that war

brings about spirituality and a connection with the divine. This underscores the idea that war is justified.

In the fourth quatrain of the poem, Grenfell employs metaphors to draw connections between nature and soldiers, highlighting their similarities. The line 'The woodland trees that stand together' exemplifies this comparison, as it illustrates how trees mimic the united stance of soldiers. Grenfell further asserts this parallel by stating, 'They stand to him each one a friend,' implying that war is a natural occurrence and nature itself facilitates it, with the trees acting as camouflage for the soldiers.

Grenfell uses personification to give the woodland trees human qualities and depicts them as speaking in the windy weather. This helps to establish a strong connection between nature and soldiers. Additionally, Grenfell compares the skills of a soldier to those of a bird of prey. He describes how the kestrel hovers during the day and the little owls call at night, urging the soldier to be as swift and keen as they are. This analogy highlights the contrasting conditions in which a soldier operates, resembling both the day-hunting kestrel and the night-hunting owl.

The soldier's survival depends on good hearing, sight, speed, and agility. Grenfell effectively uses nature to persuade soldiers by portraying their connection. In the poem, the blackbird addresses the soldier as "Brother, brother," emphasizing the bond soldiers share with nature. The following lines state, "If this be the last song you shall sing, sing well for you may not sing another; Brother, sing." These words highlight the familial relationship between soldiers and nature, as well as the advice from family to do one's best in a situation that might be

your last.

The text demonstrates how Grenfell understands the consequences of war, while Jessie Pope remains ignorant towards death. In the seventh stanza, Grenfell begins with an intense tone, alliterating "dreary doubtful." This repetition of the 'd' sound slows down the reader's pace and emphasizes the negative atmosphere. Grenfell acknowledges the horse as his inspiration, stating that the noble powers are revealed in their patient eyes and courageous heart. The battle is portrayed as a sudden burst of heat when "the burning moment breaks." Grenfell further elaborates on the soldier's experience, explaining that all other thoughts vanish and only the joy of battle overwhelms him, even to the point of blindness. This description evokes excitement and serves as a persuasive encouragement for the reader to view fighting as a joyful and captivating experience.

Grenfell presents battle as personified by referring to it as 'Battle,' which effectively creates a vivid image in the reader's imagination. By attributing human qualities to battle, Grenfell aims to depict the harsh realities of fighting for one's life, a perspective that Pope never explores. Furthermore, Grenfell reinforces his portrayal of a soldier's feelings before entering battle by repeating the idea in the following stanza - 'Through joy blindness he shall know.' This repetition serves as a persuasive technique, reinforcing Grenfell's message in the minds of the readers.

Grenfell employs personification throughout the poem, evident in his portrayal of 'the woodland trees' as they 'gently speak' and engage in battle, referred to as 'Battle.' This literary technique is effectively utilized in the concluding section as well. Initially, the phrase 'That it be not the Destined Will' signifies that the soldier will perish according to predetermined

fate, and there is no cause for concern since God has already orchestrated it. Furthermore, Grenfell employs personification once more with 'And in the air death moans and sings;' thus epitomizing death.

The poet's use of personification in this poem serves to convey his belief that war is justified, as it represents the predetermined destiny of soldiers as ordained by God. Grenfell further expresses his conviction that a soldier is safeguarded by the forces of 'Day' and 'Night', with 'Day' holding him tightly with strong hands and 'Night' enveloping him gently in soft wings. According to Grenfell, 'Day' acts as a custodian for the soldier and 'Night' assumes the role of a protective angel. It is important to note that "Into Battle" caters to a more intellectual audience compared to "Who's for the game?", which adopts a more straightforward approach.

Pope employs rhetorical questioning throughout her poem, a technique that prompts the reader to ponder. Additionally, Pope's use of phrases like 'And who thinks he'd rather sit tight?' compels the reader to feel a sense of duty to engage in combat. In contrast, Grenfell relies on similes and metaphors in his writing. Both writers, however, maintain an optimistic perspective towards war. Grenfell achieves this by painting a comforting tableau with words like 'glowing earth.' Furthermore, 'Into Battle' features an alternating rhyme scheme, providing the poem with a steady rhythm.

The poem is structured in a regular manner with mainly quatrains. The poet, Grenfell, effectively incorporates sound in the poem. The initial quatrain begins with the line "The naked earth is warm with spring," which consists of eight separate syllables. This is followed by the next line also

containing the same number of syllables: "And with green grass and bursting trees." This creates a consistent and steady rhythm, allowing the poem to flow at a continuous pace, contributing to the positive tone. Having examined the perspectives of patriotic poets, I will now compare them to that of a realistic poet.

The poems 'Disabled' and 'Dulce Et Decorum Est' were both written by Wilfred Owen and belong to the genre of realistic poetry. These poems were composed to depict the grim realities of war. Despite being highly critical of war and its nature, Owen himself joined the war effort in 1915 while serving as a tutor to an English family in Bordeaux. Upon returning to England from the continent, he visited a hospital for wounded soldiers. Owen quickly became a significant figure in the army and even commanded his own platoon. However, in May 1917, he was sent back home due to the discovery of his shell shock condition.

Admitted into CraigLockhart war Hospital in Edinburgh, Owen coincidentally crossed paths with Siegfried Sassoon, a man who played a crucial role in fostering Owen's burgeoning poetic abilities. Like Owen, Sassoon despised war and had an extensive background. Under Sassoon's mentorship, Owen composed a collection of impactful and triumphant poems such as 'Anthem For Doomed Youth' and 'Dulce Et Decorum Est,' both poignant anti-war compositions that vividly depicted the harsh realities of war.

Although Owen's poetry was starting to gain popularity, he was deemed fit for service in June 1918 and returned to the front line in August. On November 4, just seven days before the armistice, he was hit by a German gun attack while crossing the Sambre

canal. As he reflected on his mission, Owen stated, "I came out to assist these boys directly by leading them as best as an officer can and indirectly by observing their sufferings so that I may speak of them as a leader should. I have fulfilled the first part." This quote was retrieved from www.emory.edu.

Owen had a strong aversion to war, especially those that romanticized it as a heroic adventure without understanding its true nature. His poetry aimed to reveal the reality and his personal experiences with war. One of his poems, 'Disabled,' depicts the life of a former soldier who suffered severe injuries on the western front, losing all his limbs. The poem showcases the stark contrast between his life before and after the war.

Owen strongly criticizes patriotic poets, such as Pope in 'Who's for the game?', who portrayed war as a harmless game. In 'Disabled', Owen similarly illustrates how war was depicted as a game. However, unlike Pope, Owen reveals how this perception of war led millions to willingly join the war without understanding its true horrors. The poem begins with Owen using chilling and negative words, such as 'dark', 'shivered', and 'grey', to convey the sense of isolation and condemnation experienced by the wounded soldier. These words may also serve as Owen's metaphorical depiction of death.

The text portrays how the soldier's only anticipation was for darkness, indicating the impact of the war on both his physical and mental well-being. The mention of boys' voices ringing through the park, until sleep came and separated him from them, highlights the soldier's sadness as he realizes he will never have those moments of joy again.

This helplessness signifies the loss of his once happy days.

The stanza in 'Disabled' exposes the losses experienced not just by this particular soldier, but by numerous others who have gone to war. In 'Who's for the Game?,' Pope illustrates how the soldier's life will improve by participating in war, contrasting it with the dullness of 'lying low and being out of the fun.' She also argues that going to war will not impact one's life at all, asking, 'Who would rather come back with a crutch?' 'Disabled' vehemently criticizes and exposes the true perspectives of individuals like Pope, especially those belonging to women.

In the second stanza, Owen contrasts the soldiers' life before and after going to war, highlighting the impact war had on him. He describes how things used to be in town, with glowing lamps on light blue trees and girls who appeared more beautiful as the air grew dim. This suggests that women were once attracted to him. Additionally, in the third stanza, he mentions an artist who admired his face. However, as he became an invalid, he noticed that women's attention shifted from him to strong men. He laments that he will never again experience the sensation of slender girls' waists...

Every one of them deals with the warrior as though he's an unusual disease. Owen further portrays the soldier as extremely young previously, stating "For it was younger than his youth last year." Yet now, "half his life has lapsed in hot race," indicating that because of the conflict, the soldier has lost not just half his blood but also half his existence. This abrupt change in contrast between the soldier's life

pre and post-war enhances the poem's dramatic impact, enabling readers to distinctly visualize the severe transformations he has undergone.

Having been rendered disabled, the soldier no longer captivates the attention of women. Owen further depicts the anguish endured by this soldier in subsequent verses of his poem. He portrays him as an aged man with a permanently bent back. The loss of his limbs, without any justifiable cause, is described akin to discarding them carelessly. Through such vivid imageries, Owen emphasizes the terrifying and senseless nature of war, reflecting his own disdain towards it.

The soldier's loss of limbs is described in a pitiful manner, with phrases like 'threw away his knees' and 'poured it down shell-holes till the veins ran dry.' This suggests that his injuries occurred in a particularly heartbreaking way. In the fourth stanza, Owen further contrasts the soldier's past life to highlight the profound impact that has been inflicted on him. 'One time he liked a blood-smear down his leg' depicts his athleticism and also serves as irony, as now he lacks limbs and cannot bleed to evoke feelings of bravery.

In this stanza, Owen criticizes Pope's message in 'Who's for the game?' about war being a harmless game, and how many people were deceived into believing it. Owen also draws a parallel, 'After the matches, carried shoulder-high, it was after football when he'd drunk a peg,' which suggests that he believed war to be similar to a football match. He was led to believe that he would return as a celebrated hero, 'And soon, he was drafted out with drums and cheers.' However, in the fifth stanza, we discover that his dream turned

out to be entirely futile.

Some people celebrated his return, but not with the same enthusiasm as when he first left. Even though the soldier had not accomplished anything before, he was cheered. However, now that he has achieved something, it came at a high cost and he is seen as insignificant. Owen also discusses the soldier's motivations for going to war. "He thought he should join - he wonders why," which suggests that Owen believed soldiers did not go to war for their own reasons but to please others. "To please his Meg; Aye that was it, to please the giddy jilts."

This text also directly criticizes patriotic poets, specifically Pope, who in 'Who's for the game?' attempts to instill a sense of obligation and the need to prove oneself and others through going to war. Owen also depicts the desperate circumstances faced by the government, acknowledging that millions of soldiers had perished without being replaced by new recruits. 'Smiling they wrote his lie; aged nineteen years.' This indicates their awareness of the underage soldier but conscious decision to ignore this fact.