This poem tells the story of a female soldier named Vaudevue after a battle at Austerlitz. Left alone on the battlefield, she wanders to a lake where she strips and plunges in, hoping to soothe her "ominous mind." However, a treacherous undercurrent drags her under, drowning her. The next morning, an enemy sentinel finds her clothes and plays a familiar song on his pipe, not knowing of her fate. The poem references past wars and battles to portray how war inflicts trauma and death that transcend time and enemies.

1. ‘Come On, Come Back’
Stevie Smith
Stevie Smith (19O2-1971), real name
'Florence', was born in Kingston upon
Hull, but spent most of her life living in
North London with her aunt, working for
Newnes Publishing Company. She was
awarded the Queen's Gold Medal for
Poetry in 1969.
Although this dramatic poem is
set in a ‘future war’, some of
the references in the poem
seem to point to previous
wars, including the Napoleonic
Wars and World Wars One and
Two.
Austerlitz, now a part of the Czech
Republic, was officially under Austrian
control in 1805 when Napoleon’s troops, in
what became one of his greatest victories,
defeated the Russian and Austrian armies
at the Battle of Austerlitz.
The town of Memel (now Klaipėda) came under German rule after the Napoleonic
war, although it is a coastal town in Lithuania. After World War One, control of the
area was disputed, but eventually settled in 1923 after the Memel Convention was
signed there by Britain among others, and an autonomous region called
Memelland was created. In 1939, the territory was seized back by Hitler’s German
forces and became increasingly anti-semitic, leading to its 1300 Jewish inhabitants
being expelled.
Stevie Smith's war is both
ancient and modern: she
evokes images from the
Napoleonic age, but also
the modern world in which
chemicals are used to
harm or kill people. Her
poem was written in the
1950s, and she will have
known all about such
things as Zyklon-B, the gas
used on the Jews in Nazi
death camps.
You should compare this poem
with other poems about the
same themes: sadness and
loss: 'Futility', 'The Falling
Leaves', 'Poppies'; death: 'Out
of the Blue', 'Mametz Wood',
'Hawk Roosting'.

3. Left by the ebbing tide of battle
On the field of Austerlitz
The girl soldier Vaudevue sits
Her fingers tap the ground, she is alone
At midnight in the moonlight she is sitting alone on a round flat stone.
This is a strong metaphor — when the ‘tide’
goes out it leaves random objects stranded.
The image of the waves crashing against each
other and coast symbolises the violence of
the battle.
'Austerlitz': the poet imagines a
future battle on an old battleground.
Austerlitz is now in the Czech
Republic, but in 1805 it was in
Austria. It was here that Napoleon
and his French troops defeated the
armies of Russia and Austria.
The unusual
combination
of her being a girl and
a soldier is unsettling
— it sounds like a
contradiction. This
poem invites thought
about at least two
issues. One is the
traumatic effects of
war. Another issue is
whether or not
women should fight
as soldiers. The
number of women in
professional armies is
very small and many
soldiers don't
welcome women in
what they see as an
essentially male
environment. Few
armies allow women
to fight on the front
line on the ground,
though there are
women who think
they should.
Alliteration emphasises
the moonlight and creates
an eerie setting.
The word ‘alone’ is repeated for
emphasis. The poet wants the reader to
sympathise with Vaudevue, a young
female soldier who has just returned
from a battle at Austerlitz.

4. Graded by the Memel Conference first
Of all human exterminators
M.L.5.
Has left her just alive
Only her memory is dead for evermore.
She fears and cries, Ah me why am I here?
Sitting alone on a round flat stone on a hummock there.
The imaginary conference on
killing suggests how seriously war
is still taken in the future, In the
poem, Stevie Smith imagines that
the ‘Memel Conference’ has
graded ‘M.L.5’ as the ‘first/Of all
human exterminators’. Smith
leaves the language deliberately
ambiguous, but there are
arguably reminders of the
extermination camps used by the
Nazis in World War Two.
'Memel': the German name for a coastal town in Lithuania. Stevie
Smith imagines it as the location of a Conference assessing
methods of exterminating human beings. Memel came under
German rule after the Napoleonic Wars and Nazism became
popular in Memel. When the Nazis were elected to govern it in
1938 the Jewish population began a mass exodus. Lithuania
handed Memel back to Germany without resistance.
This is a chilling, clinical,
impersonal word.
Although she has
survived, she has
been badly injured
and has lost her
memory. so she's
feeling very
confused and
disturbed. The
fourth, fifth and
sixth line of this
stanza creates a
disturbing
description of how
shocked and
traumatised she is.
A 'hummock‘ is a little
hill.
The line lengths are a mixture of short and
long, which creates a rambling,
conversational feeling, and makes the story
seem even more unpredictable. There is
some random rhyme, half rhyme and
internal rhyme which is sometimes
unsettling because it is unexpected. It makes
the reader confused, just like Vaudevue.
A made-up name for a
chemical.

5. Rising, staggering, over the ground she goes
Over the seeming miles of rutted meadow
To the margin of a lake
The sand beneath her feet
Is cold and damp and firm to the waves’ beat.
The words
‘staggering’ and the
‘seeming miles’
emphasise
Vaudevue's struggle
and confusion. The
use of alliteration of
the letter ‘s’ suggests
a sinister
atmosphere.
The ground is difficult to
walk over — this
contrasts with the sand
at the end of the stanza.
The physical qualities of the sand
contrast with Vaudevue's vagueness.
The sand is unsteady beneath her feet
is ’firm’ unlike her uncertainty and
perplexity of her situation.

6. Quickly – as a child, an idiot, as one without memory –
She strips her uniform off, strips, stands and plunges
Into the icy waters of the adorable lake.
On the surface of the water lies
A ribbon of white moonlight
The waters on either side of the moony track
Are black as her mind,
Her mind is as secret from her
As the water on which she swims,
As secret as profound as ominous.
‘plunges‘ means to suddenly
throws herself forward but
suggests a sudden decision and
movement. One of the
characteristics of Stevie Smith's
poetry is an unexpected choice of
words - such as 'adorable' in the
next line. This adjective makes the
lake sound innocent and appealing
A smooth,
peaceful image
which sounds
tempting to an
injured soldier.
Ice baths are
often used for
healing.
This may be a reflection of the moon on the
water but sounds unreal and dreamlike.
Emphasises the
damage that has been
done to Vaudevue.
She doesn't know
what's happening or
what she's doing.
The word ’profound’ refers
to something deep and
thoughtful. The word
‘ominous’: suggests that
something bad is going to
happen.
Vaudevue is so distressed that she
suddenly strips off and jumps into the
lake.

7. Weeping bitterly for her ominous mind, her plight,
Up the river of white moonlight she swims
Until a treacherous undercurrent
Seizing her in an icy-amorous embrace
Dives with her, swiftly severing
The waters which close above her head.
Repeating the word
‘ominous’ makes
the sense of doom
stronger.
The oxymoron of ‘icy-
amorous’ adds to the eerie
atmosphere. The word ‘icy’
suggests cold, isolated and
possibly painful. The word
‘amorous’ is usually linked
with love. The word ‘embrace’
is usually used in a positive
way. The image suggests that
she is being held in death’s
arms therefore personifying
the undercurrent.
The words ‘seizing
her’ again personify
the undercurrent
that kills her.
Alliteration emphasises the
speed of what is happening.
There's a double meaning to
"severing" — the
undercurrent cuts through
the water, and also cuts off
Vaudevue's life.
The narrative voice is very
impersonal, even though
what happens in the poem is
very dramatic. The reader
might feel sad about
Vaudevue's death even
though the narrator is
detached

8. An enemy sentinel
Finding the abandoned clothes
Waits for the swimmer’s return
(‘Come on, come back’)
Waiting, whiling away the hour
Whittling a shepherd’s pipe from the hollow reeds.
An enemy soldier finds Vaudevue's clothes
next to the lake and waits for her to come
back. Vaudevue doesn't come back though
because she is already dead.
‘Come on, come back’ is
the title of a war song.
Repeating the title song
reminds the reader of all
who have been lost, not
just Vaudevue. Key words
are also repeated to give
the poem a cold, deathly
feel.
Alliteration of
the letter ‘w’
emphasises the
time passing
slowly.

9. In the chill light of dawn
Ring out the pipe’s wild notes
‘Come on, come back.’
Vaudevue
In the swift and subtle current’s close embrace
Sleeps on, stirs not, hears not the familiar tune
Favourite of all the troops of all the armies
Favourite of Vaudevue
For she had sung it too
Marching to Austerlitz,
‘Come on, come back.’
The mention of ‘Austerlitz’
reminds the reader of the
beginning of the poem when
Vaudevue had survived the
battle. There are several
references throughout the
poem to places associated
with past wars. The refer to
war are both historic and
futuristic, suggesting that
war and its casualties are
universal and time.
There's a sense of
irony that Vaudevue
and her enemy have
the same favourite
song
There are no brackets around
the song title this time, it's as
if the music's getting louder.
. The fourth line suggests
enemies have some things in
common and therefore she
again highlights the futility of
war.
The short, sad drama creates a
powerful poem of terror, despair and
loss. The imagined song, 'Come on,
come back' (words which have links
with each stage of the drama),
suggests one of those sad and
haunting tunes ('Lili Marlene'? 'The
Londonderry Air'? 'September Song'?)
which everyone knows and everyone
shares - including 'all the troops of all
the armies', many of whom will never
'come back'.
The events in the poem
are told in chronological
order, starting just after
Vaudevue fights in the
battle at Austerlitz. The
last three lines of the
poem link back to this
battle, creating a
circular effect.
The poem ends sadly as the reader knows
Vaudevue won't come back because she's
dead.

10. In the chill light of dawn
Ring out the pipe’s wild notes
‘Come on, come back.’
Vaudevue
In the swift and subtle current’s close embrace
Sleeps on, stirs not, hears not the familiar tune
Favourite of all the troops of all the armies
Favourite of Vaudevue
For she had sung it too
Marching to Austerlitz,
‘Come on, come back.’
The mention of ‘Austerlitz’
reminds the reader of the
beginning of the poem when
Vaudevue had survived the
battle. There are several
references throughout the
poem to places associated
with past wars. The refer to
war are both historic and
futuristic, suggesting that
war and its casualties are
universal and time.
There's a sense of
irony that Vaudevue
and her enemy have
the same favourite
song
There are no brackets around
the song title this time, it's as
if the music's getting louder.
. The fourth line suggests
enemies have some things in
common and therefore she
again highlights the futility of
war.
The short, sad drama creates a
powerful poem of terror, despair and
loss. The imagined song, 'Come on,
come back' (words which have links
with each stage of the drama),
suggests one of those sad and
haunting tunes ('Lili Marlene'? 'The
Londonderry Air'? 'September Song'?)
which everyone knows and everyone
shares - including 'all the troops of all
the armies', many of whom will never
'come back'.
The events in the poem
are told in chronological
order, starting just after
Vaudevue fights in the
battle at Austerlitz. The
last three lines of the
poem link back to this
battle, creating a
circular effect.
The poem ends sadly as the reader knows
Vaudevue won't come back because she's
dead.