EnglishEnglish PoetryPoetry duringduring World War IWorld War I

•• What do you think the response to war was in What do you think the response to war was in England, as much in other European countries?England, as much in other European countries?

•• It was enthusiastic because a lot of volunteers It was enthusiastic because a lot of volunteers enrolled in the armed forces.enrolled in the armed forces.

•• Some driven by a wish for glory and adventure, Some driven by a wish for glory and adventure, but most by genuine patriotism.but most by genuine patriotism. World War One World War One MoviesMovies

•• But after a few months the original enthusiasm But after a few months the original enthusiasm disappeared and was replaced by discomfort and disappeared and was replaced by discomfort and disillusionment. disillusionment.

EnglishEnglish PoetryPoetry duringduring World War IWorld War I

•• The heavy number of casualties made The heavy number of casualties made conscription necessary. conscription necessary.

•• World War I also brought to an end the World War I also brought to an end the illusion that problems could be solved illusion that problems could be solved peacefully. peacefully.

•• No war before or since then has had such a No war before or since then has had such a shattering impact on the British population. shattering impact on the British population.

The War The War PoetsPoets

•• In England it was first of all the voice of the In England it was first of all the voice of the young poets, called young poets, called War PoetsWar Poets, that first , that first denounced what trench life or death by gas were denounced what trench life or death by gas were like.like.

•• What was the early response to the war?What was the early response to the war?•• It was a sort of deep It was a sort of deep romanticromantic sense of patriotic sense of patriotic

dutyduty, as the war went on the , as the war went on the attitudeattitude changed and changed and the poets the poets turned to a more realistic sort of poetryturned to a more realistic sort of poetry, , inspired by inspired by personal experiencespersonal experiences of small and of small and great tragedies of thousands of unknown people. great tragedies of thousands of unknown people.

The War The War PoetsPoets

•• How to translate experience of war into How to translate experience of war into poetry?poetry?

•• Obviously, since the experience of war was Obviously, since the experience of war was so tragic and devastating, war poets had to so tragic and devastating, war poets had to find a way to translate into poetry what they find a way to translate into poetry what they had experienced, or in some case were had experienced, or in some case were experiencing. experiencing.

The War The War PoetsPoets

•• As they realized what the war was really about, As they realized what the war was really about, poets abandoned the romantic vocabulary they had poets abandoned the romantic vocabulary they had previously used and felt the need for new means previously used and felt the need for new means of expressionof expression

•• new rhythms and new styles that could better new rhythms and new styles that could better mirror the harsh reality of war. mirror the harsh reality of war.

•• They couldnThey couldn’’t have possibly relied on Georgian t have possibly relied on Georgian poetry, which was written in smooth rhythms and poetry, which was written in smooth rhythms and favoured English subjects, idealized rural England favoured English subjects, idealized rural England and avoided contemporary subjects. and avoided contemporary subjects.

The War The War PoetsPoets

•• The War Poets (Rupert Brooke, Owen The War Poets (Rupert Brooke, Owen Seaman, Seaman, SigfridSigfrid SassonSasson, Wilfred Owen) , Wilfred Owen) shared the same experiences.shared the same experiences.

•• but focused on different aspects of the war but focused on different aspects of the war and used different means of expression. and used different means of expression.

The War The War PoetsPoets –– RupertRupert BrookeBrooke

•• HisHis war war sonnetssonnets werewere writtenwritten in in the first the first flushflush of of patriotismpatriotism and and enthusiasmenthusiasm asas a generation a generation unusedunused toto war war rushedrushed toto defenddefendkingking and country. and country.

•If I should die, think only this of me:That there's some corner of a foreign fieldThat is for ever England. There shall be

In that rich earth a richer dust concealed;A dust whom England bore, shaped, made aware….

(from war sonnets- sonnet V. the soldier)

The War The War PoetsPoets –– OwenOwen SeamanSeaman

•• AnotherAnother exampleexample of of patriotismpatriotism isis shownshown bybythe the followingfollowing lineslines writtenwritten byby O. O. SeamanSeaman

•• EnglandEngland, in , in thisthis greatgreat fightfight toto whichwhich youyou gogoBecauseBecause, , wherewhere HonourHonour callscalls youyou, go , go youyou mustmust,,

BeBe gladglad, , whateverwhatever comescomes, at , at leastleast toto knowknowYouYou havehave youryour quarrelquarrel just.just.

The War The War PoetsPoets -- SigfridSigfrid SassonSasson

•• SassoonSassoon’’s poems are a s poems are a combination of pity and ironycombination of pity and irony

•• Look at Look at hishis poempoem –– Base Base DetailsDetails

IF I were fierce, and bald, and short of breath,I’d live with scarlet Majors at the Base,

And speed glum heroes up the line to death.You’d see me with my puffy petulant face,Guzzling and gulping in the best hotel,

Reading the Roll of Honour. ‘Poor young chap,’I’d say—‘I used to know his father well;Yes, we’ve lost heavily in this last scrap.’

And when the war is done and youth stone dead,I’d toddle safely home and die in bed.

The War The War PoetsPoets -- SigfridSigfrid SassonSasson

•• The The ironyirony herehere isis in the in the comfortablecomfortable life of the life of the commanderscommanders –– the the MajorsMajors –– whowho monitor the war monitor the war fromfrom the the luxuryluxury of hotel of hotel roomsrooms, , readingreading withwithindifferenceindifference the list of dead the list of dead soldierssoldiers whowho havehavedieddied in the in the battlefieldbattlefield..

•• TheyThey willwill notnot diedie in the in the battlefieldsbattlefields of of FlandersFlanders, , butbut securelysecurely in in theirtheir bedsbeds, long after the war , long after the war hashasendedended..

The War The War PoetsPoets –– Wilfred OwenWilfred Owen

•• Owen portrayed the idea of Owen portrayed the idea of war as a cause of physical war as a cause of physical and spiritual mutilation and and spiritual mutilation and used understatements to used understatements to bring a certain deal of bring a certain deal of harshness into his poetry. harshness into his poetry.

DulceDulce etet decorumdecorum est pro patria moriest pro patria mori

ByByW.W. OwenOwen

'My subject is War, and the pity of War. The Poetry is in the pity. Yet these elegies are to this generation in no sense consolatory. Theymay be to the next. All a poet can do today is warn. That is why the true Poets must be truthful.'

Biography

BiographyBiography•• WilfredWilfred EdwardEdward SalterSalter OwenOwen waswas bornborn 18 18 MarchMarch 1893 in 1893 in OswestryOswestry, , ShropshireShropshire. After . After

hishis schoolschool daysdays hehe tooktook a a fourfour--yearyear coursecourse asas a a pupilpupil--teacherteacher. . ThenThen in 1913, in 1913, hehe spentspent twotwoyearsyears in in FranceFrance, , asas a a languagelanguage tutortutor..

•• War War waswas declareddeclared in in AugustAugust 1914 and in 1915 1914 and in 1915 WilfredWilfred wrotewrote toto hishis mothermother, 'I , 'I don'don't t wantwanttoto wear wear khakikhaki ... ... ButBut I I nownow dodo mostmost intenselyintensely wantwant toto fightfight.' In .' In OctoberOctober hehe volunteeredvolunteeredand and waswas swornsworn intointo the the Artists'Artists' RiflesRifles. . EightEight monthsmonths laterlater hehe waswas commissionedcommissioned asassecondsecond lieutenantlieutenant in the Manchester in the Manchester RegimentRegiment, and in , and in DecemberDecember 1916 1916 hehe leftleft forfor the the Western Front.Western Front.

•• After a After a lastlast luxuriousluxurious night in a night in a FolkestoneFolkestone hotel, hotel, OwenOwen waswas quicklyquickly plungedplunged intointo the the realitiesrealities of of activeactive serviceservice, and , and sufferedsuffered the the horrorshorrors describeddescribed -- onlyonly threethree weeksweeks laterlater -- in in a a vividvivid letterletter toto hishis mothermother..

•• In In MayMay 1917, 1917, OwenOwen waswas diagnoseddiagnosed withwith shellshell--shockshock, and , and hehe waswas sentsent toto CraiglockhartCraiglockhartWar Hospital, War Hospital, nearnear EdinburghEdinburgh, in , in JuneJune. . HereHere hehe metmet Siegfried Siegfried SassoonSassoon. On 22 . On 22 SeptemberSeptember of of thatthat yearyear OwenOwen sentsent a final a final versionversion of of hishis poempoem 'The 'The Sentry'Sentry' -- asas heardheardherehere in audio in audio extractsextracts -- toto SassoonSassoon, , whowho mademade suresure thatthat itit waswas eventuallyeventually publishedpublished. .

•• WilfredWilfred OwenOwen waswas awardedawarded the the MilitaryMilitary Cross Cross followingfollowing hishis actionsactions on 1on 1--2 2 OctoberOctober1918 at 1918 at JoncourtJoncourt on the on the BeaurevoirBeaurevoir--FonsommeFonsomme Line. Line. ConfirmationConfirmation of the of the awardaward camecameafter after hishis deathdeath..

BackgroundBackground

•• Since ancient times it has been considered heroic Since ancient times it has been considered heroic to die in war. to die in war.

•• HomerHomer’’s epic poem The s epic poem The IlliadIlliad celebrates, among celebrates, among other things, other things, the nobility of dying on the the nobility of dying on the battlefield. battlefield.

•• This view continued well into the 19th Century This view continued well into the 19th Century (and even the 20th Century), and Tennyson(and even the 20th Century), and Tennyson’’s s popular poem popular poem ‘‘The Charge of the Light BrigadeThe Charge of the Light Brigade’’gives us an idea of how poets and people in gives us an idea of how poets and people in general thought about general thought about the the ““valourvalour”” of fighting and of fighting and dying for onedying for one’’s country:s country:

BackgroundBackground

•• Cannon to right of them, Cannon to right of them, Cannon to left of them, Cannon to left of them, Cannon behind themCannon behind them

VolleyVolley’’dd and and thunderthunder’’dd; ; When can their glory fade? When can their glory fade?

O the wild charge they made! O the wild charge they made! All the world All the world wonderwonder’’dd. .

HonourHonour the charge they made! the charge they made! HonourHonour the Light Brigade, the Light Brigade,

Noble six hundredNoble six hundred

BackgroundBackground

•• These lines by Tennyson may be well These lines by Tennyson may be well written and rousing, but they are not very written and rousing, but they are not very realistic. realistic.

•• The poets of the First World War changed The poets of the First World War changed all that with their efforts to give us an all that with their efforts to give us an accurate representation of accurate representation of trench warfaretrench warfare. .

DulceDulce EtEt DecorumDecorum EstEst

•• Bent double, like old beggars under sacks,Bent double, like old beggars under sacks,•• KnockKnock--kneed, coughing like hags, we kneed, coughing like hags, we

cursed through sludge,cursed through sludge,•• Till on the Till on the haunting flareshaunting flares we turned our we turned our

backsbacks•• And towards our distant rest began to And towards our distant rest began to

trudge.trudge.

•• Men marched asleep. Many had lost their Men marched asleep. Many had lost their bootsboots

•• But limped on, bloodBut limped on, blood--shod. All went lame; shod. All went lame; all blind;all blind;

•• Drunk with fatigue; deaf even to the hootsDrunk with fatigue; deaf even to the hoots•• Of tired, outstripped Of tired, outstripped Five_NinesFive_Nines that that

dropped behind.dropped behind.

•• GAS! Gas! Quick, boys! An ecstasy of fumbling,GAS! Gas! Quick, boys! An ecstasy of fumbling,•• Fitting the clumsy helmets just in time;Fitting the clumsy helmets just in time;•• But someone still was yelling out and stumblingBut someone still was yelling out and stumbling•• And floundering like a man in fire or lime.And floundering like a man in fire or lime.•• Dim, through the misty panes and thick green lightDim, through the misty panes and thick green light•• As under a green sea, I saw him drowning.As under a green sea, I saw him drowning.

•• In all my dreams, before my helpless sight,In all my dreams, before my helpless sight,•• He plunges at me, guttering, choking, He plunges at me, guttering, choking,

drowning.drowning.

•• If in some smothering dreams you too could If in some smothering dreams you too could pacepace

•• Behind the wagon that we flung him in,Behind the wagon that we flung him in,•• And watch the white eyes And watch the white eyes writhingwrithing in his in his

face,face,•• His hanging face, like a devil's sick of sin;His hanging face, like a devil's sick of sin;

•• If you could hear, at every jolt, the bloodIf you could hear, at every jolt, the blood•• Come gargling from the frothCome gargling from the froth--corrupted corrupted

lungs,lungs,•• Obscene as cancer, bitter as the cudObscene as cancer, bitter as the cud•• Of vile, incurable sores on innocent Of vile, incurable sores on innocent

tongues,tongues,

•• My friend, you would not tell with such My friend, you would not tell with such high zesthigh zest

•• To children ardent for some desperate glory,To children ardent for some desperate glory,•• The old Lie:The old Lie:

•• DulceDulce et decorum et decorum estest Pro patria Pro patria morimori..

ThemeTheme

•• The theme of The theme of ‘‘DulceDulce et Decorum et Decorum estest’’ is thatis that•• there is neither nobility in war, nor there is neither nobility in war, nor

honourhonour in fighting for your countryin fighting for your country. . •• Instead there is tragedy, futility and waste Instead there is tragedy, futility and waste

of human life. of human life.

ThemeTheme

•• Wilfred Owen fought in some of the major Wilfred Owen fought in some of the major battles of World War I and the reality and battles of World War I and the reality and horror of war shocked him.horror of war shocked him.

•• In the face of the desperate suffering he In the face of the desperate suffering he saw around him, it was no longer possible saw around him, it was no longer possible to pretend warfare was adventurous and to pretend warfare was adventurous and heroic. heroic.

ThemeTheme

•• Instead Owen recorded in his poetry Instead Owen recorded in his poetry how shocking modern warfare was and how shocking modern warfare was and he sought to describe accurately what he sought to describe accurately what the conditions were like for soldiers at the conditions were like for soldiers at the Front:the Front:ListenListen

•• BentBent--double, like double, like old old beggersbeggers under sacks, under sacks, KnockKnock--kneed, coughing like hags, we cursed through kneed, coughing like hags, we cursed through sludgesludge, ,

ThemeTheme

•• Owen wanted people who were not in the trenches Owen wanted people who were not in the trenches –– the people at home in England the people at home in England –– to see the to see the reality and misery of war.reality and misery of war.

•• He also wanted them to stop telling future He also wanted them to stop telling future generations the generations the ““old lieold lie”” DulceDulce et decorum et decorum estest pro pro patria patria morimori ((““It is sweet and fitting to die for oneIt is sweet and fitting to die for one’’s s country.country.””). ).

•• It is worth noting that these lines were written by It is worth noting that these lines were written by the poet Horace, two thousand years earlier.the poet Horace, two thousand years earlier.

ImageryImagery

•• ‘‘DulceDulce et Decorum et Decorum estest’’ is built around three is built around three powerful and disturbing images. powerful and disturbing images.

ImageryImagery

•• The first in the opening stanza:The first in the opening stanza:•• a group of soldiers moves through noa group of soldiers moves through no--

manman’’s land in an attempt to get back to the s land in an attempt to get back to the relative safety of the trenches.relative safety of the trenches.

•• Why do you think he does so?Why do you think he does so?

ImageryImagery

•• Owen wants us to imagine what it was like Owen wants us to imagine what it was like in these trenches; to see the detail in these trenches; to see the detail

•• ((““many had lost their bootsmany had lost their boots””))•• and reality of dying in such a place.and reality of dying in such a place.•• Q. What words does Owen use to describe Q. What words does Owen use to describe

the conditions of the men?the conditions of the men?

ImageryImagery

•• Look carefully at the words Owen uses to Look carefully at the words Owen uses to describe the condition of the men:describe the condition of the men:

•• ““asleepasleep””, , ““lostlost””, , ““limpedlimped””, , ““bloodblood--shodshod””, , ““lamelame””, , ““blindblind””. .

•• Men marched asleep. Many had lost their Men marched asleep. Many had lost their boots But limped on, bloodboots But limped on, blood--shod. All went shod. All went lame; all blindlame; all blind; ;

ImageryImagery

•• The second image (found in the second The second image (found in the second stanza) is more dramatic.stanza) is more dramatic.

•• Notice how the first words of the stanza Notice how the first words of the stanza change the pace of the poem, making it change the pace of the poem, making it more urgent as the soldiers come under more urgent as the soldiers come under attack and try to put on their gas masks attack and try to put on their gas masks before they choke: before they choke:

ImageryImagery

•• Gas! GAS! Quick, boys! Gas! GAS! Quick, boys! –– An ecstasy of An ecstasy of fumblingfumbling, , Fitting the clumsy helmets just in timeFitting the clumsy helmets just in time; ;

•• The poet manages to get his mask on. After The poet manages to get his mask on. After the sudden activity of the men.the sudden activity of the men.

•• the last two lines of this stanza change pace the last two lines of this stanza change pace againagain

ImageryImagery

•• They have an almost dreamlike quality as They have an almost dreamlike quality as the poet watches from behind his gas mask.the poet watches from behind his gas mask.

•• As the thick green smoke washes over the As the thick green smoke washes over the men, the poet uses a striking simile of the men, the poet uses a striking simile of the sea to describe the gas.sea to describe the gas.

•• But one man But one man fumblesfumbles with his mask and is with his mask and is overcome by the fumes and overcome by the fumes and ““drownsdrowns”” in the in the sea of thick smoke:sea of thick smoke:

GraphicGraphic imageryimagery

•• The troops were torn out of their nightmarish The troops were torn out of their nightmarish walk and surrounded by gas bombs. walk and surrounded by gas bombs.

•• How everyone, in "How everyone, in "an ecstasy of fumblingan ecstasy of fumbling" " was forced to run out into the mist, unaware was forced to run out into the mist, unaware of their fate.of their fate.

•• The graphic images displayed here are The graphic images displayed here are profoundly affecting and can never be profoundly affecting and can never be forgottenforgotten. .

ImageryImagery

•• Dim, through the misty panes and thick Dim, through the misty panes and thick green light, green light, As under a green sea, I saw him drowningAs under a green sea, I saw him drowning. .

ImageryImagery

•• The dream quality of this stanza gives way, The dream quality of this stanza gives way, in the third and final imagein the third and final image

•• A picture of the dead man as his body is put A picture of the dead man as his body is put on a wagon filled with the bodies of other on a wagon filled with the bodies of other dead soldiers:dead soldiers:

ImageryImagery

•• His hanging face like a devilHis hanging face like a devil’’s sick of sin; s sick of sin; •• ……Obscene as cancer, bitter as the cudObscene as cancer, bitter as the cud•• Of vile, incurable sores on innocent Of vile, incurable sores on innocent

tonguestongues..

ImageryImagery

•• Although young men went to war with the Although young men went to war with the promise of glory and comradeship, in these promise of glory and comradeship, in these lines the poet presents us with the awful lines the poet presents us with the awful truth about war and conflict:truth about war and conflict:

•• Q. What is the truth?Q. What is the truth?

•• that it is a brutal waste of life that causes that it is a brutal waste of life that causes unspeakable human misery and corruption. unspeakable human misery and corruption.

ASPECTS OF LANGUAGEASPECTS OF LANGUAGE

•• ‘‘DulceDulce et Decorum et Decorum estest’’ is a poem filled with is a poem filled with powerful and harsh music.powerful and harsh music.

•• In the opening lines the poet uses In the opening lines the poet uses alliterationalliteration((words starting with the same consonant soundwords starting with the same consonant sound) )

•• What do you think is the effect of such a device?What do you think is the effect of such a device?•• to emphasize the tiredness of the soldiers as they to emphasize the tiredness of the soldiers as they

walk through the sludge. (walk through the sludge. (thick soft mudthick soft mud))

ASPECTS OF LANGUAGEASPECTS OF LANGUAGE

•• Listen carefully to the lines to see how the Listen carefully to the lines to see how the alliteration gives the poem a slow and heavy alliteration gives the poem a slow and heavy rhythm:rhythm:

•• Bent double, like old Bent double, like old beggersbeggers under sacks, under sacks, KnockKnock--kneed, coughing like hags, we cursed kneed, coughing like hags, we cursed through sludgethrough sludge

RhymeRhyme

•• In the second stanza the soldiers are In the second stanza the soldiers are attacked and the pace of the poem speeds up attacked and the pace of the poem speeds up as the soldiers try to put on their gas masks:as the soldiers try to put on their gas masks:

RhymeRhyme

•• Gas! GAS! Quick boys! Gas! GAS! Quick boys! –– An ecstasy of An ecstasy of fumbling,fumbling,Fitting the clumsy helmets just in time; Fitting the clumsy helmets just in time;

•• But someone still was yelling out and But someone still was yelling out and stumbling, stumbling, And And floundflound’’ringring like a man in fire or lime . .like a man in fire or lime . .

RhymeRhyme

•• WhatWhat kindkind of of rhymesrhymes doesdoes the the poetpoet useuse??•• internal rhyme internal rhyme •• (fumbling / clumsy; stumbling / (fumbling / clumsy; stumbling /

floundflound’’ringring))•• end end rhymerhyme (time, lime)(time, lime)•• WhyWhy do do youyou thinkthink hehe doesdoes so?so?

RhymeRhyme

•• This use of rhyme gives the poem a change of This use of rhyme gives the poem a change of tempo; tempo;

•• it also conveys the confusion and panic of the it also conveys the confusion and panic of the soldiers as they scramble to put on their masks. soldiers as they scramble to put on their masks.

•• Look for other examples in the poem where the Look for other examples in the poem where the poet uses rhyme, half rhyme and alliteration. See poet uses rhyme, half rhyme and alliteration. See how these devices are used to change the pace and how these devices are used to change the pace and rhythm of the poem. rhythm of the poem.

ToneTone

•• WhatWhat isis the tone of the the tone of the poempoem??•• ‘‘DulceDulce et Decorum et Decorum estest’’ is a very is a very dramaticdramatic

poem. It shows us, like no poem before it, poem. It shows us, like no poem before it, the terrible waste of life during World War the terrible waste of life during World War I. I.

•• The tone of the poem is The tone of the poem is desperate,desperate, shocked shocked and angryand angry. .

MetaphorsMetaphors and and similessimiles

•• people use metaphors because they say people use metaphors because they say "...what we want to say more "...what we want to say more vividly and forcefully..." vividly and forcefully..."

•• Owen capitalizes greatly on this by using Owen capitalizes greatly on this by using strong metaphors and similesstrong metaphors and similes ..

MetaphorsMetaphors and and similessimiles

•• Right off in the first line, he Right off in the first line, he describes the troops as being "describes the troops as being "like old like old beggars under sacksbeggars under sacks." ."

•• This not only says that they are tired, This not only says that they are tired, but that they are so tired they but that they are so tired they have been brought down to the level of have been brought down to the level of beggars who have not slept in a beggars who have not slept in a bed for weeks on end.bed for weeks on end.

MetaphorsMetaphors and and similessimiles

•• Owen also compares the victim's face to the Owen also compares the victim's face to the devil, seeming corrupted and baneful.devil, seeming corrupted and baneful.

•• His hanging face, like a devil's sick of sin.His hanging face, like a devil's sick of sin.•• A metaphor even more effective is one that A metaphor even more effective is one that

compares compares "...vile, incurable sores...""...vile, incurable sores..." with with the memories of the troops.the memories of the troops.

MetaphorsMetaphors and and similessimiles

•• It not only tells the reader how the troops It not only tells the reader how the troops will never forget the experience, but also will never forget the experience, but also how they are frightening tales.how they are frightening tales.

•• The troops will never be able to tell without The troops will never be able to tell without remembering the extremely painful remembering the extremely painful experience.experience.

GlossaryGlossary

•• knockknock--kneedkneed havinghaving kneesknees thatthat pointpoint inwardsinwards slightlyslightly

•• sludgesludge --soft soft thickthick mudmud•• HagHag: : anan uglyugly or or unpleasantunpleasant old woman old woman -- likelike a a witchwitch

•• CurseCurse: : toto saysay or or thinkthink bad bad thingsthings aboutabout someonesomeone or or somethingsomething becausebecause theythey havehave mademade

youyou angryangry

•• HauntingHaunting flaresflares: : ““segnale luminososegnale luminoso””•• Trudge:Trudge:toto walkwalk withwith slow, slow, heavyheavy stepssteps, , especiallyespecially becausebecause youyou are are tiredtired

•• bloodblood--shod: shod: ““calzandocalzando sanguesangue”” –– wearing shoes of bloodwearing shoes of blood

•• Lame:Lame:unableunable toto walkwalk normallynormally becausebecause of of anan enjuryenjury or or tirednesstiredness

GlossaryGlossary

•• HootsHoots: : soundssounds e.g. e.g. mademade byby the the droppingdropping bombsbombs ––•• FumblingFumbling: : toto holdhold or or trytry and and movemove somethingsomething withwith youryour handshands carelesslycarelessly..

•• ClumsyClumsy::a a clumsyclumsy objectobject isis notnot easy easy toto useuse and and isis oftenoften largelarge and and heavyheavy

•• StumblingStumbling::toto walkwalk unsteadilyunsteadily and and oftenoften almostalmost fallfall..•• Floundering: Floundering: unableunable toto decide decide whatwhat toto saysay or do so or do so thatthat youyou findfind itit difficultdifficult toto continuecontinue•• Lime: Lime: ““calcecalce””•• DimDim: : fairlyfairly dark or dark or notnot givinggiving muchmuch lightlight•• PlungePlunge: : toto movemove, , fallfall forwardsforwards or or backwardsbackwards•• Guttering: Guttering: ““struggendosistruggendosi””•• Choking: Choking: beaingbeaing unable to breathunable to breath

•• FlungFlung: (: (v.flingv.fling)) toto trowtrow somethingsomething violentlyviolently or or angrilyangrily

GlossaryGlossary

•• WrithingWrithing: : movingmoving continuallycontinually becausebecause of of greatgreat painpain•• like a devil's sick of sinlike a devil's sick of sin: : ““come un come un diavolodiavolo stancostanco del del

peccatopeccato””•• Jolt: Jolt: a sudden or violent movementa sudden or violent movement•• gargling from the frothgargling from the froth--corrupted lungscorrupted lungs: : ““Che sale Che sale

gorgogliando dai polmoni distruttigorgogliando dai polmoni distrutti””•• bitter as the bitter as the cudcud of vile, incurable sores on innocent of vile, incurable sores on innocent

tongues:tongues:““amaro come fiele di disgustose, incurabili piaghe su amaro come fiele di disgustose, incurabili piaghe su lingue innocentilingue innocenti””

•• ZestZest::enthusiasmenthusiasm

Cud = bolo alimentare dei ruminanti

ItalianItalian TranslationTranslation•• Piegati in due, come vecchi mendicanti sotto i sacchi,Piegati in due, come vecchi mendicanti sotto i sacchi,

Ginocchia piegate allGinocchia piegate all’’interno, tossendo come streghe, bestemmiavamo nel fango,interno, tossendo come streghe, bestemmiavamo nel fango,FinchFinchèè vedemmòvedemmò il segnale luminoso e cominciammo a ritornare, il segnale luminoso e cominciammo a ritornare, Incominciavamo a trascinarci verso il nostro distante riparo.Incominciavamo a trascinarci verso il nostro distante riparo.Uomini camminavano addormentati. Molti avevano perso le loro scaUomini camminavano addormentati. Molti avevano perso le loro scarperpeMa zoppicavano, vestiti di solo sangue. Tutti erano zoppi; tuttiMa zoppicavano, vestiti di solo sangue. Tutti erano zoppi; tutti ciechi;ciechi;Ubriachi di fatica; spesso troppo sordi per sentire il rumoreUbriachi di fatica; spesso troppo sordi per sentire il rumoreDelle bombe a gas che cadevano sofficemente dietro di noi.Delle bombe a gas che cadevano sofficemente dietro di noi.

•• Gas! Gas! Veloci, ragazzi! Gas! Gas! Veloci, ragazzi! -- UnUn’’estasi di estasi di gesticoliogesticolio,,Mettendosi i buffi elmetti appena in tempo;Mettendosi i buffi elmetti appena in tempo;Ma qualcuno stava ancora gridando e inciampando,Ma qualcuno stava ancora gridando e inciampando,E lottando come uomini nel fuoco o nella calce...E lottando come uomini nel fuoco o nella calce...Senza chiarezza, attraverso i vetri appannati e le fitte luci veSenza chiarezza, attraverso i vetri appannati e le fitte luci verdi,rdi,Come sotto un mare verde, Come sotto un mare verde, lo vidi annegare.lo vidi annegare.

In tutti i miei sogni, oltre la mia impotente vista,In tutti i miei sogni, oltre la mia impotente vista,Si buttava verso di me, struggendosi, soffocando, affogando.Si buttava verso di me, struggendosi, soffocando, affogando.

Se in qualche soffocante sogno anche tu potessi camminareSe in qualche soffocante sogno anche tu potessi camminareDietro il carro su cui lo gettammo,Dietro il carro su cui lo gettammo,E guardassi i bianchi occhi roteanti sulla sua faccia,E guardassi i bianchi occhi roteanti sulla sua faccia,La sua cascante faccia, come un diavolo stanco dal peccato;La sua cascante faccia, come un diavolo stanco dal peccato;Se tu potessi ascoltare, ad ogni scossone, il sangueSe tu potessi ascoltare, ad ogni scossone, il sangueChe sale gorgogliando dai polmoni distrutti dalla schiuma,Che sale gorgogliando dai polmoni distrutti dalla schiuma,Osceno come il cancro, piOsceno come il cancro, piùù amaro del fieleamaro del fieleDi disgustose, incurabili piaghe di lingue innocenti,Di disgustose, incurabili piaghe di lingue innocenti,--Mio amico, non diresti con un cosMio amico, non diresti con un cosìì grande entusiasmogrande entusiasmoAi ragazzi desiderosi di una qualche gloria,Ai ragazzi desiderosi di una qualche gloria,La vecchia bugia: La vecchia bugia: DulceDulce etet decorumdecorum estestPro patria mori.Pro patria mori.