Re: Comparing The Soldier and Dulce et Decorum Est
Posted by:
IanB (192.168.128.---)
Date: September 04, 2021 05:41PM
The World War 1 experiences of these two officer poets were utterly different.
Rupert Brooke joined the navy. He saw action only on one day, when his ship helped evacuate Antwerp in October 1914. He died on 23 April 1915, not from battle, but from blood poisoning from a mosquito bite, aboard his ship which was then on its way to support the allied landings at Gallipoli.
His poem 'The Soldier' doesn't describe soldiering. It scarcely even imagines war. Rather it celebrates love of England. It contemplates death, but says nothing that advocates dying for one's country (‘pro patria mori’) as something that is sweet and proper ('dulce et decorum est'). This is however interpreting the poem on its own. It was in fact the fifth in a sequence of five sonnets (easy to find on the Internet) inspired by the outbreak of war and written only a few months afterwards, around Christmas time 1914, and meant to be read together. The ‘dulce et decorum’ philosophy is more evident in the first sonnet, ‘Peace’, in which Brooke likens young men turning with new-found purpose to war to ‘swimmers into cleanness leaping’, and in the third sonnet, ‘The Dead’, containing the line ‘dying has made us rarer gifts than gold’. He has been aptly called a 'pre-war' poet. All five sonnets are steeped in pre-WW1, easy upper-middle-class romantic idealism. Though famous and beautifully written, they seem old-fashioned and lightweight beside Wilfred Owen’s work.
Owen joined the infantry and spent months in the trenches and the thick of action on the Western Front. He was at one stage invalided back to England with shell shock. He returned to the Front, and to battles in which he earned a Military Cross for valour, before being killed by machine gun fire only a week before the 1918 Armistice.
Not surprisingly, he was deeply affected by the horrors he experienced in the fighting. Influenced by the poet Siegfried Sassoon he aimed to express these with unflinching realism, still using the traditional poetic devices of rhyme and rhythm but focusing on modern objects and images. In that, he succeeds with devastating intensity, economy and technical skill in the ironically titled ‘Dulce Et Decorum Est’. There’s not a false or superfluous note in the whole poem. The word choice, onomatopoeia, images, similes and metaphors remain as powerful and shocking today as when first published. The contrast with Brooke’s image of war as ‘cleanness’ could not be starker.
Maybe a few details need explaining for 21st Century students. The ‘flares’ were brightly burning rockets fired upwards at night to illuminate parts of the battlefield. ‘Five-Nines’ were the standard 5.9 inch diameter shells used by the German artillery. ‘hoots’ refers to their characteristic wailing sound as they hurtled through the air. The ‘gas’ was lethal or lung-damaging chlorine, phosgene or mustard gas used as a weapon of attempted mass destruction by both sides. It was delivered by shellfire or loosed on the wind from huge cylinders. ‘clumsy helmets’ refers to the awkward gas masks issued to the troops as a defence. ‘misty panes’ refers to the masks’ glass visors. The glass was green-tinted; hence the reference to ‘green light’. ‘guttering’ is a candle-related metaphor: a candle gutters when the wax runs excessively down one side, as may happen in a strong draft, usually causing the flame to flicker wildly and go out.
The seven word ‘old Lie’ which Owen’s poem shafts is a Latin language quote from the 1st Century BC Roman poet Horace, whom Owen no doubt studied at school.
There’s no regular metre in his poem, but except for the short last line (suggestive of life cut short), the lines are all five-beat. In the second-last line, that’s accomplished technically, because in the scansion of Latin poetry the ‘et’ is unstressed, and the ‘e’ at the end of ‘dulce’ becomes silent before the opening vowel in ‘et’, as does the ‘um’ in ‘decorum’ before the ‘e’ in ‘est’. It’s more natural however for an English speaker to read the line sounding those syllables, and putting a stress on ‘et’, thus making it six-beats:
The OLD LIE: DULCe ET deCORum EST
I don’t think that variation is a blemish. On the contrary, the extra beat serves to emphasize the line that expresses the central theme of the poem.
Edited 2 time(s). Last edit at 09/04/2022 07:15PM by IanB.