Wilfred Owen and Siegfried Sassoon were two of the most prominent poets of World War I. [1] Both served as soldiers in the trenches of Europe during the war and drew from their horrific experiences to write realistic, shocking poetry that depicted the horrors of trench and gas warfare. [2] Their poetry stood in stark contrast to the prevailing public perception of war and helped change attitudes about the true nature of combat. [3] Both poets were greatly influenced by and influenced each other, with Sassoon helping Owen develop his style and voice before Owen's untimely death in 1918, shortly before the end of the war.

1. World War I Poetry

2. Wilfred
Owen
1893-1918

3. Biography of Wilfred Owen
Wilfred Edward Salter Owen MC (18 March 1893 – 4 November 1918)
was an English poet and soldier, one of the leading poets of the First
World War. His shocking, realistic war poetry on the horrors of trenches
and gas warfare was heavily influenced by his friend Siegfried Sassoon
and stood in stark contrast to both the public perception of war at the
time.
He felt pressured by the propaganda to become a soldier and
volunteered on 21st October 1915. He spent the last day of 1916 in a
tent in France joining the Second Manchesters. He was full of boyish
high spirits at being a soldier.
Within a week he had been transported to the front line in a cattle
wagon and was "sleeping" 70 or 80 yards from a heavy gun which fired
every minute or so. He was soon wading miles along trenches two feet
deep in water. Within a few days he was experiencing gas attacks and
was horrified by the stench of the rotting dead; his sentry was
blinded, his company then slept out in deep snow and intense frost till
the end of January. That month was a profound shock for him: he now
understood the meaning of war. "The people of England needn't hope.
They must agitate," he wrote home.
He escaped bullets until the last week of the war, but he saw a good
deal of front-line action: he was blown up, concussed and suffered
shell-shock. At Craiglockhart, the psychiatric hospital in Edinburgh, he
met Siegfried Sassoon who inspired him to develop his war poetry.
He was sent back to the trenches in September, 1918 and in October
won the Military Cross by seizing a German machine-gun and using it to
kill a number of Germans.
On 4th November he was shot and killed near the village of Ors. The
news of his death reached his parents home as the Armistice bells were
ringing on 11 November.

4. DULCE ET DECORUM EST
Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flareswe 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.

5. 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.

6. Anthem for a Doomed Youth
What passing-bells for these who die as cattle?
- Only the monstruous anger of the guns.
Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries now 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 good-byes.
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.

7. Mental Cases
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' teeth wicked?
Stroke on stroke of pain, - but what slow panic,
Gouged these chasms round their fretted sockets?
Ever from their hair and through their hands' 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 helpless wander,
Treading blood from lings 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 blood-smear; 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.

8. Disabled
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.

9. One time he liked a blood-smear 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 may be, 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; all their guilt,
And Austria's, did not move him. 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?

10. Siegfried
Sassoon
1886-1967

11. Biography of Siegfried Sassoon
Siegfried Sassoon was born on 8 September 1886 in Kent. His father was part of
a Jewish merchant family, originally from Iran and India, and his mother part of
the artistic Thorneycroft family. Sassoon studied at Cambridge University but
left without a degree. He then lived the life of a country gentleman, hunting
and playing cricket while also publishing small volumes of poetry.
In May 1915, Sassoon was commissioned into the Royal Welsh Fusiliers and
went to France. He impressed many with his bravery in the front line and was
given the nickname 'Mad Jack' for his near-suicidal exploits. He was decorated
twice. His brother Hamo was killed in November 1915 at Gallipoli.
In the summer of 1916, Sassoon was sent to England to recover from fever. He
went back to the front, but was wounded in April 1917 and returned home.
Meetings with several prominent pacifists, including Bertrand Russell, had
reinforced his growing disillusionment with the war and in June 1917 he wrote
a letter that was published in the Times in which he said that the war was being
deliberately and unnecessarily prolonged by the government. As a decorated
war hero and published poet, this caused public outrage. It was only his friend
and fellow poet, Robert Graves, who prevented him from being court-
martialled by convincing the authorities that Sassoon had shell-shock. He was
sent to Craiglockhart War Hospital in Edinburgh for treatment. Here he
met, and greatly influenced, Wilfred Owen. Both men returned to the front
where Owen was killed in 1918. Sassoon was posted to Palestine and then
returned to France, where he was again wounded, spending the remainder of
the war in England. Many of his war poems were published in 'The Old
Huntsman' (1917) and 'Counter-Attack' (1918).
After the war Sassoon spent a brief period as literary editor of the Daily Herald
before going to the United States, travelling the length and breadth of the
country on a speaking tour. He then started writing the near-autobiographical
novel 'Memoirs of a Fox-hunting Man' (1928). It was an immediate success, and
was followed by others including 'Memoirs of an Infantry Officer' (1930) and
'Sherston's Progress' (1936). Sassoon had a number of homosexual affairs but
in 1933 surprised many of his friends by marrying Hester Gatty. They had a
son, George, but the marriage broke down after World War Two.
He continued to write both prose and poetry. In 1957, he was received into the
Catholic church. He died on 1 September 1967.

12. The General
"Good-morning; good-morning!" the General said
When we met him last week on our way to the line.
Now the soldiers he smiled at are most of ’em dead,
And we’re cursing his staff for incompetent swine.
"He’s a cheery old card," grunted Harry to Jack
As they slogged up to Arras with rifle and pack.
But he did for them both by his plan of attack

13. The Hero
'Jack fell as he'd have wished,' the Mother said,
And folded up the letter that she'd read.
'The Colonel writes so nicely.' Something broke
In the tired voice that quavered to a choke.
She half looked up. 'We mothers are so proud
Of our dead soldiers.' Then her face was bowed.
Quietly the Brother Officer went out.
He'd told the poor old dear some gallant lies
That she would nourish all her days, no doubt.
For while he coughed and mumbled, her weak eyes
Had shone with gentle triumph, brimmed with joy,
Because he'd been so brave, her glorious boy.
He thought how 'Jack', cold-footed, useless swine,
Had panicked down the trench that night the mine
Went up at Wicked Corner; how he'd tried
To get sent home, and how, at last, he died,
Blown to small bits. And no one seemed to care
Except that lonely woman with white hair

14. Trench Duty
Shaken from sleep, and numbed and scarce awake,
Out in the trench with three hours' watch to take,
I blunder through the splashing mirk; and then
Hear the gruff muttering voices of the men
Crouching in cabins candle-chinked with light.
Hark! There's the big bombardment on our right
Rumbling and bumping; and the dark's a glare
Of flickering horror in the sectors where
We raid the Boche; men waiting, stiff and chilled,
Or crawling on their bellies through the wire.
"What? Stretcher-bearers wanted? Some one killed?"
Five minutes ago I heard a sniper fire:
Why did he do it? ... Starlight overhead--
Blank stars. I'm wide-awake; and some chap's dead.

15. Death-Bed
He drowsed and was aware of silence heaped
Round him, unshaken as the steadfast walls;
Aqueous like floating rays of amber light,
Soaring and quivering in the wings of sleep.
Silence and safety; and his mortal shore
Lipped by the inward, moonless waves of death.
Someone was holding water to his mouth.
He swallowed, unresisting; moaned and dropped
Through crimson gloom to darkness; and forgot
The opiate throb and ache that was his wound.
Water—calm, sliding green above the weir.
Water—a sky-lit alley for his boat,
Bird- voiced, and bordered with reflected flowers
And shaken hues of summer; drifting down,
He dipped contented oars, and sighed, and slept.
Night, with a gust of wind, was in the ward,
Blowing the curtain to a glimmering curve.
Night. He was blind; he could not see the stars
Glinting among the wraiths of wandering cloud;
Queer blots of colour, purple, scarlet, green,
Flickered and faded in his drowning eyes.

16. Rain—he could hear it rustling through the dark;
Fragrance and passionless music woven as one;
Warm rain on drooping roses; pattering showers
That soak the woods; not the harsh rain that sweeps
Behind the thunder, but a trickling peace,
Gently and slowly washing life away.
He stirred, shifting his body; then the pain
Leapt like a prowling beast, and gripped and tore
His groping dreams with grinding claws and fangs.
But someone was beside him; soon he lay
Shuddering because that evil thing had passed.
And death, who'd stepped toward him, paused and stared.
Light many lamps and gather round his bed.
Lend him your eyes, warm blood, and will to live.
Speak to him; rouse him; you may save him yet.
He's young; he hated War; how should he die
When cruel old campaigners win safe through?
But death replied: 'I choose him.' So he went,
And there was silence in the summer night;
Silence and safety; and the veils of sleep.
Then, far away, the thudding of the guns.