Famous poet /1893-1918  •  Ranked #56 in the top 500 poets

Wilfred Owen

Wilfred Owen is considered one of the leading poets of World War I. His works are characterized by their unflinching portrayal of the horrors of war, stark realism, and profound empathy for the soldiers who endured the trenches. Owen's poetry moved beyond patriotic fervor to expose the physical and psychological devastation inflicted on individuals by modern warfare.

Owen's style is distinguished by its use of assonance and alliteration, creating a haunting musicality that underscores the grim realities he depicts. He employed graphic imagery and unflinching descriptions to convey the brutality of war, while also exploring themes of disillusionment, loss of innocence, and the futility of conflict. His poems often employ irony and satire to critique the romanticized view of war that was prevalent in the early 20th century.

His work emerged from the context of Modernism, a literary movement that rejected traditional forms and sought to capture the fragmentation and disillusionment of the modern world. Other notable war poets who shared Owen's commitment to realism and anti-war sentiment include Siegfried Sassoon, Rupert Brooke, and Isaac Rosenberg. Owen's poetry was heavily influenced by his personal experiences in the trenches, as well as by the works of Romantic poets like John Keats and Percy Bysshe Shelley, whose emphasis on beauty and the fragility of life resonated with his own artistic sensibilities.

Though his life was tragically cut short, Owen left behind a legacy that continues to challenge and move readers today. His poetry serves as a powerful testament to the enduring human cost of war, reminding us of the need for peace and understanding in a world still grappling with conflict.

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Dulce et decorum est Pro Patria mori is from Horace. Owen wrote in a letter to his mother: "The famous Latin tag means of course It is sweet and fitting to die for one's country. Sweet! and decorous!" Written in 1917 and first published in 1920. Early drafts of the poem contain the dedications 'To Jessie Pope etc' and 'To a certain Poetess'. Before World War I, Pope was the author of children's books and light verse, her war related verse was collected in 1915 in Jessie Pope's War Poems and More War Poems.

Dulce Et Decorum Est Pro Patria Mori

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.
Men marched asleep. Many had lost their boots,
But limped on, blood-shod. All went lame, all blind;
Drunk with fatigue; deaf even to the hoots
Of gas-shells dropping softly behind.

Gas! GAS! Quick, boys! — An ecstasy of fumbling
Fitting the clumsy helmets just in time,
But someone still was yelling out and stumbling
And flound'ring like a man in fire or lime.—
Dim through the misty panes and thick green light,
As under a green sea, I saw him drowning.
In all my dreams before my helpless sight
He plunges at me, guttering, choking, drowning.

If in some smothering dreams, you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin,
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs
Bitter as the cud
Of vile, incurable sores on innocent tongues, —
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.
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Analysis (ai): "Dulce Et Decorum Est Pro Patria Mori" portrays the horrors of World War I through vivid imagery and raw emotion. The poem depicts soldiers marching through sludge, exhausted and injured, haunted by the flares illuminating their path. As they stumble upon a gas attack, the horror intensifies, with the speaker witnessing a comrade drowning in lethal fumes.

Compared to Owen's other works, this poem stands out for its unflinching portrayal of the brutality of war. It echoes themes of disillusionment and the futility of patriotism found in his other poems, such as "Anthem for Doomed Youth."

In the context of its time, the poem challenged the romanticized notions of war prevalent during the early years of WWI. Its stark depiction of the soldiers' suffering aimed to expose the propaganda that glorified the conflict and the staggering human cost it entailed. (hide)
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Anthem For Doomed Youth

What passing-bells for these who die as cattle?
    Only the monstrous anger of the guns.
    Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries for them; no prayers nor bells,
Nor any voice of mourning save the choirs, —
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.
What candles may be held to speed them all?
      Not in the hands of boys, but in their eyes
  Shall shine the holy glimmers of goodbyes.
      The pallor of girls' brows shall be their pall;
  Their flowers the tenderness of patient minds,
  And each slow dusk a drawing-down of blinds.

 

 

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Earlier version:


passing
What minute bells for those who die so fast?
solemn the
Only the monstrous anger of our guns
blind insolence iron
Let the majestic insults of their iron mouths
requiem
Be as the priest words of their burials
Learn organs for the old requiem

Of choristers and holy music, none;
And the hiss lonely
the long drawn wail of high, far sailing shells
to light
What candles may we hold for those lost? souls?

Not in the hands of boys, but in their eyes
shine the tapers the holy tapers candles
Shall / many candles shine; and love will light them
holy flames: to
And woman's wide-spread ed arms shall be their wreaths
And pallor girls' cheeks shall be their palls.
mortal
Their flowers the tenderness of all men's minds
comrades
rough men's
each slow
And every Dusk a drawing-down of blinds

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Analysis (ai): This poem laments the deaths of young soldiers during war. The "monstrous Orgel" of artillery fire serves as their funeral bells, and the "stuttering, rapid rattle" of machine guns replaces traditional prayers. Amidst the chaos, only the voices of desperate choirs and mournful bugle calls offer solace. The poem suggests that the fallen are not mourned with traditional rituals but rather with the silent grief of loved ones who glimpse goodbyes in the eyes of young soldiers and witness their fading youth in the pallor of girls who become their symbolic mourners. (hide)
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174  
The Nation” on 15th June 1918.

Futility

Move him into the sun—
Gently its touch awoke him once,
At home, whispering of fields unsown.
Always it awoke 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?
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Analysis (ai): This World War I poem portrays the futility of war through the lens of a fallen soldier, contrasting the life-giving warmth of the sun with the cold death of the battlefield. The juxtaposition of the sun's awakening power in nature with its inability to revive the dead soldier highlights the futility of the war's destruction. The poem's stark language and simple imagery effectively convey the soldier's lifelessness and the futility of his sacrifice, making it a poignant reflection on the horrors of war. Compared to Owen's other works, it exhibits his characteristic themes of disillusionment and anti-war sentiment. (hide)
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