my sweet old etcetera
aunt lucy during the recent
war could and what
is more did tell you just
what everybody was fighting
for,
my sister
isabel created hundreds
(and
hundreds)of socks not to
mention shirts fleaproof earwarmers
etcetera wristers etcetera, my
mother hoped that
i would die etcetera
bravely of course my father used
to become hoarse talking about how it was
a privilege and if only he
could meanwhile my
self etcetera lay quietly
in the deep mud et
cetera
(dreaming,
et
cetera, of
Your smile
eyes knees and of your Etcetera)
Desire and All the sweet pulsing aches And gentle hurtings That were you, Are gone into the sullen dark. Now in the night you come unsmiling To lie with me A dull, cold, rigid bayonet On my hot-swollen, throbbing soul.
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 tired, outstripped Five-Nines that dropped 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,
Obscene as cancer, 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.
He sat in a wheeled chair, waiting for dark, And shivered in his ghastly suit of grey, Legless, sewn short at elbow. Through the park Voices of boys rang saddening like a hymn, Voices of play and pleasure after day, Till gathering sleep had mothered them from him.
About this time Town used to swing so gay When glow-lamps budded in the light-blue trees And girls glanced lovelier as the air grew dim, — In the old times, before he threw away his knees. Now he will never feel again how slim Girls' waists are, or how warm their subtle hands, All of them touch him like some queer disease. There was an artist silly for his face, For it was younger than his youth, last year. Now he is old; his back will never brace; He's lost his colour very far from here, Poured it down shell-holes till the veins ran dry, And half his lifetime lapsed in the hot race, And leap of purple spurted from his thigh. One time he liked a bloodsmear down his leg, After the matches carried shoulder-high. It was after football, when he'd drunk a peg, He thought he'd better join. He wonders why . . . Someone had said he'd look a god in kilts. That's why; and maybe, too, to please his Meg, Aye, that was it, to please the giddy jilts, He asked to join. He didn't have to beg; Smiling they wrote his lie; aged nineteen years. Germans he scarcely thought of; and no fears Of Fear came yet. He thought of jewelled hilts For daggers in plaid socks; of smart salutes; And care of arms; and leave; and pay arrears; Esprit de corps; and hints for young recruits. And soon, he was drafted out with drums and cheers.
Some cheered him home, but not as crowds cheer Goal. Only a solemn man who brought him fruits Thanked him; and then inquired about his soul. Now, he will spend a few sick years in Institutes, And do what things the rules consider wise, And take whatever pity they may dole. To-night he noticed how the women's eyes Passed from him to the strong men that were whole. How cold and late it is! Why don't they come And put him into bed? Why don't they come?
Who are these? Why sit they here in twilight? Wherefore rock they, purgatorial shadows, Drooping tongues from jaws that slob their relish, Baring teeth that leer like skulls' tongues wicked? Stroke on stroke of pain, -- but what slow panic, Gouged these chasms round their fretted sockets? Ever from their hair and through their hand palms Misery swelters. Surely we have perished Sleeping, and walk hell; but who these hellish?
-- These are men whose minds the Dead have ravished. Memory fingers in their hair of murders, Multitudinous murders they once witnessed. Wading sloughs of flesh these help less wander, Treading blood from lungs that had loved laughter. Always they must see these things and hear them, Batter of guns and shatter of flying muscles, Carnage incomparable and human squander Rucked too thick for these men's extrication.
Therefore still their eyeballs shrink tormented Back into their brains, because on their sense Sunlight seems a bloodsmear; night comes blood-black; Dawn breaks open like a wound that bleeds afresh -- Thus their heads wear this hilarious, hideous, Awful falseness of set-smiling corpses. -- Thus their hands are plucking at each other; Picking at the rope-knouts of their scourging; Snatching after us who smote them, brother, Pawing us who dealt them war and madness.
"On March 18, 1893, Wilfred Edward Salter Owen was born in Shropshire,
England.
...
After failing to gain entrance into the University of London, Owen spent a
year as a lay assistant to Reverend Herbert Wigan in 1911 and went on to teach
in France at the Berlitz School of English. By 1915, he became increasingly
interested in World War I and enlisted in the Artists' Rifles group. After
training in England, Owen was commissioned as a second lieutenant.
He was wounded in combat in 1917 and evacuated to Craiglockhart War Hospital
near Edinburgh after being diagnosed with shell shock. There he met another
patient, poet Siegfried Sassoon, who served as a mentor and introduced him to
well-known literary figures such as Robert Graves and H. G.
Wells.
It was at this time Owen wrote many of his most important poems, including
"Anthem for Doomed Youth" and "Dulce et Decorum Est". His poetry often
graphically illustrated both the horrors of warfare, the physical landscapes
which surrounded him, and the human body in relation to those landscapes. His
verses stand in stark contrast to the patriotic poems of war written by earlier
poets of Great Britain, such as Rupert Brooke.
Owen rejoined his regiment in Scarborough, June 1918, and in August returned
to France. He was awarded the Military Cross for bravery at Amiens. He was
killed on November 4 of that year while attempting to lead his men across the
Sambre canal at Ors. He was 25 years old."
Some analysis of the poem from the Wilfred Owen Society is here.
I knew a simple soldier boy
Who grinned at life in empty joy,
Slept soundly through the lonesome dark,
And whistled early with the lark.
In winter trenches, cowed and glum,
With crumps and lice and lack of rum,
He put a bullet through his brain.
No one spoke of him again.
You smug-faced crowds with kindling eye
Who cheer when soldier lads march by,
Sneak home and pray you'll never know
The hell where youth and laughter go.
- Siegfried Sassoon (1918)
Siegfried Sassoon (1915)
Military Cross citation (1916): "2nd Lt. Siegfried Sassoon, 3rd (attd. 1st) Bn., R. W. Fus. For conspicuous gallantry during a raid on the enemy's trenches. He remained for 1½ hours under rifle and bomb fire collecting and bringing in our wounded. Owing to his courage and determination all the killed and wounded were brought in."
Youtube is pretty remarkable for quality readings of great poems:
Finally, I was expecting to hate this, but it is rather good. Love the way he fools the crowd into clapping along to the jaunty music.
.jpg)