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So what was the magic held by those predominantly British soldiers that enabled them to capture horror and dread in such introspective confines as verse?In reading this Penguin collection, I found that neither Wilfred Owen nor Siegfried Sassoon were the best poets..distinction must go to Edmund Blunden, whose poetry is both probing and compell What is it about World War I that garnered such a deluge of superb war poetry?
And who in the gateway of the monstrous r‘He is risen now that was long asleep, Risen out of vaulted places dark and deep.
In 1912 Heym also wrote ‘Why do you you visit me, white moths, so often’ which concluded with the lines:‘Who opens the countries to us after death? What do the dying see, that makes them turn Their eyes’ blind whiteness round so terribly?
I discovered a few new poets I’ll approach again and my estimations of Sassoon, Owen and Blunden were undoubtedly confirmed.
Harrowing and heartbreaking poems from WW1, mostly written by soldiers in the trenches 100 years ago.
Instead he emphasises the continuities of English World War One poets with Shelley, Keats, Wordsworth, etc.
However something not continuous between the War poets and the Romantics is that the latter were more sceptical of patriotic calls to conflict.Given my pleasant experience with this volume, that is likely to change.Over the last few years while browsing poetry sections I have discovered that this anthology is near ubiquitous. I would be curious about corresponding verse from Turkey and the Balkans.’The First World War had many prophets: geopolitical thinkers who believed a reckoning between Empires was inevitable; ‘race theorists’ who thought that soft Europeans could only reinvigorate themselves through war; war novelists with fantasies about their countries being invaded.This collection of First World War Poetry also shows that poets were aware of the horrific possibilities of future war prior to 1914.There are only two women in this edition: the Russians Anna Akhmatova and Marina Tsvetaeva.Editor Jon Silkin doesn’t reference Paul Fussell’s ‘The Great War and Modern Memory’ - and doesn’t seem to hold with Fussell’s arguments about the War bringing a fundamental cultural shift away from Romanticism to harsher, more ‘modern’ aesthetics.There isn't much in the way of effective commentary or organization, but the raw material is all here, at a moderate price and a convenient size. " Picked this up after singing the Britten War Requiem and experiencing the power and depth of emotion in Wilfred Owen's poetry.Took me forever to read, but it's an incredible collection.‘He is risen now that was long asleep, Risen out of vaulted places dark and deep.Short days ago We lived, felt dawn saw sunset glow Loved and were loved, and now we lie In Flanders fields Take up our quarrel with the foe; To you, from falling hands we throw The torch; be yours to hold it high If ye break faith with us who die We shall not sleep, though poppies grow In Flanders fields.” ― John Mc Crae What is it about World War I that garnered such a deluge of superb war poetry?There has been wars since man stood erect and poetry almost as long?