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That turbulent decade, the 1960s, with its "Peace Movement" - CND, Aldermaston Marches, anti- Vietnam protests and all that - witnessed also the rediscovery of the works of World War I poet Wilfred Owen and his popular elevation to something of a "moral exemplar" and "voice for his generation"; a process further enhanced by composer Benjamin Britten's inclusion of several of his poems in the opera War Requiem. A whole eclectic range of groupings have, often on the flimsiest of pretexts, claimed him as their own; from pacifists, feminists, Christians to so-called socialists, and whilst politically he did "tend to take the liberal side of the question", he was no pacifist and certainly no socialist, "socalled" or otherwise. Owen was one of a cluster of poets -Sassoon, Graves, Brooke and others - who endeavoured to view war from theperspective of the common soldier, portraying it in all its stark inglorious horror; a genre miles (well, easily half a league) away from the triumphal propagandist outpourings of late- Victorians Arnold, Newbolt and Tennyson. Whilst they, from distant drawing-room safety, could narrate glowing sagas of heroic charges, famous victories and sabres clashing, Owen's poetic tapestry was an altogether more realistic one, interwoven and spattered with images of carnage and suffering. Infantrymen "shiver and cringe in holes", "curse through sludge", "bleed and spew", lose limbs, eyesight, sanity. The air resounds to "the monstrous anger of guns", the wailings of "shell on frantic shell", "stuttering rifle fire" and "stinks sour" of mud, of men - of corpses. It is perhaps not widely known that Owen spent little actual time on the Front Line - a mere 30 days between January and April 1917, from which period most of his poems emanate, followed by a further month through October into November 1918. Moreover, although he did suffer all the tribulations of combat and did indeed pay the ultimate price, he was spared the month on month, year on year wet, freezing, verminous conditions and the prolonged tedium, intimidation and gnawing uncertainty endured by so many. Whilst he could with every justification write, "Those 50 hours were the agony of my happy life" and, "Those last 4 days I've suffered Seventh Hell", his overall war experience was by no means typical. The son of a minor railway official, Owen was born in Oswestry, Shropshire in 1893 and if money was sufficiently tight to preclude university education, his upbringing was not a deprived one. Displaying some small academic talent, Owen pursued careers initially as pupilteacher then parish assistant. Already, inspired by Keats, he was dabbling in verse. The outbreak of World War 1 found him eking out an existence as an English tutor in Bordeaux, France whence he displayed not the slightest inclination to "answer his Country's call". Eventually however, feeling "traitorously idle" and galvanised by the views of his French literary mentor, Laurent Tailhade, he crossed the Channel in October 1915 and enlisted as a private in the Artists' Rifles, "to defend his language and culture". Thereafter, through sheer graft, "Little Owen", a frail diminutive figure and "perceptively provincial", secured a commission as Second Lieutenant in the Manchester Regiment and in January 1917 arrived in the trenches "to fight Fritz whom," he insisted, "he did not hate". Then ensued intermittent periods of ferocious action until in April, already traumatised by a recent gassing incident later featured in verse, Owen was blown up, rendered temporarily unconscious and subsequently diagnosed as suffering from "shellshock". By 1917, a more scientific attitude had been adopted towards this phenomenon. Page 13 >>> |
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