war poetry comparison essay

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There is more to war poetry than mud, wire and slaughter

Poems about the first world war have defined the genre for decades. It is time to hear from new voices that reflect a wider view of conflicts

W hen we say “war poetry” today, the sort of writing that comes to mind is a conglomeration of Wilfred Owen , Siegfried Sassoon and the other great writers of the first world war. It means descriptions of mud, wire and slaughter on a horrific scale. It includes accusations that the top brass prolonged hostilities for no good reason and that people at home supported the cause in ignorance. It involves fierce protest as well as intense sympathy. It issues a warning.

Because poetry of this sort has been drip-fed into British schools for several generations (interestingly, the process did not start as soon as the war ended, but only began in earnest during the 1960s), it has settled in the public mind at an extraordinary depth. There are large benefits, of course. The best poetry of the first world war is exceptionally powerful – not just the lyrics of Owen and others, but the more complex and modernistic narrative of In Parenthesis by David Jones (which still has some claim to be considered a neglected masterpiece). Furthermore, by rubbing its readers’ noses in the brutal facts of conflict and suffering, it possibly creates a social value as well – by helping to educate people in the human cost of war, and in the process discouraging them from starting or supporting another one.

At the same time, maybe there are disadvantages. Perhaps by placing such an emphasis on war poetry in the school curriculum, we don’t actually put people off the idea of fighting, but inculcate the idea that it is somehow normal for the British to take up arms? Perhaps it solidifies the idea of us as a war-like nation? There is a literary consequence to the classroom focus too. By concentrating on the poetry of one conflict, which to an important extent is shaped by its particular circumstances, it directs attention away from the poetry of other wars.

Not just the poetry of other wars, in fact, but other kinds of war poetry. “I am the enemy you killed, my friend,” says the dead soldier encountered in Owen’s “Strange Meeting”: “I parried; but my hands were loath and cold”. This summarises the whole circumstance of first world war poetry: it often involved hand-to-hand fighting; it was intimate. The second world war, by contrast, was for many soldiers a more distanced affair. Keith Douglas when taking aim in his poem “How to Kill”, says: “Now in my dial of glass appears / the soldier who is going to die”. He still thinks of him as a fellow creature (the soldier “moves about in ways / his mother knows, habits of his”) but also feels a crucial separation – a gap that exists as a physical space, and proves the conflict has frozen or exterminated a part of the speaker’s own humanity.

The difference between these two poems is shorthand for the differences between two periods and two kinds of war poetry. It is also an opportunity to point out that while the Owen poem has been read by millions of schoolchildren in the last 50-odd years, the Douglas poem (which is just as good, if not better) has been read by a handful. By not conforming to the pattern of war poetry laid down between 1914 and 1918 (actually between about 1916 and 1918), it has been sidelined.

The point here is not to discredit poetry of the first world war. As a collective act of witness, made at an extraordinary level of technical skill and with equally extraordinary emotional power, it is in its terrible way magnificent. The point, rather, is to say that our definition of “war poetry” has become too narrow to be accurate or fair. By extending it we are not only able to make a large literary gain – by admiring a much wider range of expertise, thoughtfulness and compassion – but also to appreciate in even more varied and detailed ways the effects of war.

This applies to the first world war itself, if we look away from the frontline and move to the home-front poetry of men in uniform such as Edward Thomas , or women waiting for them such as Eleanor Farjeon . Or to the extraordinary reports by nurses and other volunteers such as Helen Mackay, May Wedderburn Cannan and Margaret Postgate Cole . Or to the visceral and proto-existentialist poems and songs and chants of “Anonymous” (“I don’t want a bayonet up my arsehole, / I don’t want my bollocks shot away”).

A glance across the landscape of war poetry written after 1918 gives an even more dramatic sense of variety. The frontline (in north Africa, then France) brilliantly evoked by Douglas – in his poetry as well as his memoir Alamein to Zem Zem – is just a part of the large picture in which also appears Alun Lewis writing about soldierly boredom and nervous waiting during the second world war, and Dylan Thomas writing about the blitz – and, around them, international voices speaking with and through and over them: Nelly Sachs , Paul Celan , Anna Akhmatova and Tadeusz Różewicz .

As we come towards the present day, our sense of dilation becomes even greater. Not just in the sense that poets have made far-flung wars visible at home ( Yusef Komunyakaa writing about Vietnam, for instance, or Brian Turner about Iraq), but also because the reporting of wars in the media has encouraged non-combatants to address the subject in greater numbers than ever before. This is a difficult business, since it is all too easy to get caught grandstanding, or parading sensitivities, or seeming to aggrandise oneself by associating with a grand subject. But when it is done well it produces poems that earn the right to sit besides those written by people in uniform: Tony Harrison ’s “A Cold Coming” , for example, or James Fenton ’s “Dead Soldiers”.

Before the first world war, war poetry since time immemorial ( The Iliad ) had been largely concerned to celebrate, commend, remember and, yes, grieve. Think of Lord Byron ’s Assyrian, coming down like a wolf on the fold, or Sir John Moore in Charles Wolfe’s poem about the battle of Corunna . Since 1918, like war itself, the poetry of conflict has become a thing of infinite variety, describing apparently infinite tragedy. Yet for all this – which deserves more acknowledgment than it gets – something has stayed the same. The something Owen meant when he spoke about “the pity”.

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• First world war
• Second world war

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Home — Essay Samples — Literature — Poetry — Comparison Between War Photography (Carol Duffy) and Poppies (Jane Weir)

"Poppies" and "War Photographer": a Comparison of War Poems

• Categories: Carol Ann Duffy Poetry

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Published: May 19, 2020

Words: 514 | Page: 1 | 3 min read

• Dowson, J., & Dowson, J. (2016). Voices from the 1980s and After. Carol Ann Duffy: Poet for Our Times, 87-121. (https://link.springer.com/chapter/10.1057/978-1-137-41563-9_3)
• Hughes-Edwards, M. (2006). ‘The House […] has Cancer’: Representations of Domestic Space in the Poetry of Carol Ann Duffy. In Our House (pp. 121-139). Brill. ( https://brill.com/display/book/9789401202817/B9789401202817_s010.xml)
• Dimarco, D. (1998). Exposing Nude Art: Carol Ann Duffy's Response to Robert Browning. Mosaic: A journal for the interdisciplinary study of literature, 25-39. ( https://www.jstor.org/stable/44029809)
• Schweik, S. (1987). Writing war poetry like a woman. Critical Inquiry, 13(3), 532-556 . ( https://www.journals.uchicago.edu/doi/abs/10.1086/448407?journalCode=ci)

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Why I love…Comparing in the AQA Anthology: Poppies and War Photographer

In this series I have tried to put together some high level examples of comparisons for the AQA Power and Conflict Anthology. The next poems that I’ll be teaching are Poppies and War Photographer so I’ve tried to complete a high level example on these two poems. Hopefully, the comparisons make sense. Any feedback is much appreciated. I’ve linked here to the other comparison blogs and at some point there will be a full set across the Anthology. A copy of the essay can be downloaded here: Poppies vs War Photographer

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Explore the presentation of powerful emotions related to conflict in Poppies and War Photographer.

Powerful emotions are shown in both poems: Poppies and War Photographer through the perspective of people outside of the conflict, but who experience a form of conflict themselves. In Poppies the persona appears to be a mother, who is experiencing feelings of loss as a result of her son growing up and going to war. War Photographer depicts the outsider’s perspective in a different way to Poppies: it is seen more vividly and visually through the eyes of someone experiencing the conflict, photographing the conflict but not being able to do anything to help those injured by the conflict. In this way the conflict and powerful emotions, while different are equally powerful. Memory, visual representation and the power of touch is presented in both poems to reinforce the way powerful emotions are created by the experiences of conflict.

Both poets use memory to reinforce the powerful emotions evident in the poems. Memory, in Poppies appears to be from a mother, who seems to remember her son leaving for school or leaving for the war. The mother “pinned one onto your lapel” with the past tense implying that this was something that happened and a memory that is sharply remembered, as a result of the imminence of “Armistice Sunday”. The significance of the proper nouns and use of “Armistice” is important as it has symbolic meaning as a time when we all get together to remember those who fell in war, a time for reminiscing and a time to reflect on the human sacrifices that were made. The ambiguity over whether the jacket was a school blazer, or an army jacket increases the poignancy. Irrespective of when the poppy was “pinned” onto the “lapel” the tactile action is maternal and loving and shows the bond between mother and child, that grows from when they are little and remains even when they are grown up. Memory is differently explored in War Photographer and the memory is from the perspective of a persona, who was in the conflict, but as a bystander and observer, rather than as an active participant. Their memory is sharply painful “the cries of this man’s wife” with the enjambment reinforcing the powerful jolt of remembrance, when the “half formed ghost” appears as it is revealed in his darkroom. The photographer appears to have compartmentalised what he saw and refers to the memories using emotive language “a hundred agonies in black and white” which almost dehumanises the powerful emotions linked to the conflict that was seen by the war photographer, as the vast array of “agonies” reflects the habitual suffering that humanity experiences during conflict. However, Duffy may have been influenced to write about the powerful emotions in the poem in a detached way to show the outside world the horror that her friends had to catalogue and photograph, while not being able to help or do anything, as that was not what they were there to do. This dehumanisation of the people depicted in the poem is further reinforced by the next step of removal from the horror when the fact is used that “the editor will pick out five or six”, which is completely different from the first-person perspective in Poppies. The mother in Poppies seems to live and breathe the pain and suffering, whereas the photographer is once removed from the suffering.

Furthermore, both poets use visual representations to emphasise the powerful emotions that are evident in the poems. In poppies the imagery of “poppies…placed on individual war graves.” Is an incredibly strong visual, as most people have experienced the sight of poppies on graves as a form of memorial, so this is familiar and significant. Unlike this public visual display, in War Photographer, he is “finally alone” creating imagery of a relief that the photographer is able to hide away in his darkroom surrounded by the ironic “spools of suffering” as the old-fashioned camera’s had “spools” of film that captured the images. The sibilance here perhaps reinforces the visual representation of the sheer amount of powerful emotions contained in the film that has yet to be developed. As well as the actual poppies creating vivid visual imagery and the as yet undeveloped film from War Photographer, in Poppies the setting is visually represented. Duffy has the persona “skirting the church yard walls,” with the verb “skirting” implying that she does not want to be there or does not want to be seen, as if she wants to fade into the background, but the visual imagery of a churchyard is very commonplace and familiar to British people. Whereas, in War Photographer the setting and visual representation of areas is listed with the proper nouns naming places that are far away and unfamiliar to the reader “Belfast. Beruit. Phnom Penh.”. All these places are known to be places that have suffered from conflict and the removal of the familiar by Duffy to the less familiar name only settings could show another removal from the powerful emotions that ordinary people feel when they see images in the newspapers. As Duffy reflects the “reader’s eyeballs prick with tears” which is a recognition of the powerful emotions reflected in the photographs taken of the conflict but the juxtaposition of the familiar comfort of everyday life shows that this is a fleeting moment of empathy for most people “between the bath and pre-lunch beers”. Both poems use visual representations as a way of familiarising and defamiliarising the conflict and the powerful emotions felt as a result of the conflict.

Finally, both poems use the power of touch through the tactile acts inherent in the poems. As a seamstress, Weir uses imagery of keeping the hands busy and using touch to make the persona seem closer to their lost loved one. The verbs “traced”, “leaned” and “pulled” in the final stanza show the powerful emotions of the persona missing her son and using touch as a way to keep her with her son. Although, it isn’t only touch, the senses are important too and she “hoping to hear your playground voice” implying she misses a time when her son was young, free and innocent and wants to remember this. Powerful emotions of loss are shown in the way she continually references caring touches “smoothed down your shirt’s” which are clearly memories of what she did when her son was with her. Duffy, meanwhile, uses the actions of the people suffering in the conflict to create the feeling of how futile the conflict was “running children in a nightmare heat.” These images are only possible due to the developing of these with hands that “tremble” even though they “did not tremble then” which implies that while undertaking the job of taking photographs of the conflict the photographer is fine, but not after the event, when he has time to reflect and think about it. Both Poppies and War Photographer show the power of touch in bringing powerful memories to the surface. In Poppies this is done through the memory of tactile acts of care between the mother and the son and in War Photographer through the developing of the film and the release of the memories as a result of the pictures that were taken.

Both poets reflect powerful emotions in different ways. The powerful emotions in Poppies appear to be reflected through the relationship of a mother and a son and this leads to a very personal reflection, which one could be forgiven for thinking is Weir’s own experience but is not. Whereas, in War Photographer the experience is that of a third-party bystander, who was employed to take pictures of the conflicts and sell these, but Duffy shows that the powerful emotions evoked by the pictures mean that the persona is not able to see this as a purely business and unemotional transaction. Both poets show the powerful emotions through the persona’s and although they are very different in many ways, the suffering of humanity is evident in both poems.

Hope that this comparison is useful.

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6 thoughts on “ why i love…comparing in the aqa anthology: poppies and war photographer ”.

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omg thats amazing well done. It helped me a lot.

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War Poetry Comparing Poems

Subject: English

Age range: 14-16

Resource type: Lesson (complete)

Last updated

22 March 2022

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War poetry comparing poems lesson that explores ways of making comparisons between two similar or two different war poems. Students analyse Who’s For The Game by Jessie Pope before making comparisons with another poem of their choice. Includes differentiated activities and is useful for students preparing for GCSE English Literature Paper 2 or for KS3 students developing their essay skills.

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