English Poetry during World War IEnglish Poetry during World 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.

English Poetry during World War IEnglish Poetry during World 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 PoetsThe War Poets

• 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 PoetsThe War Poets

• 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 PoetsThe War Poets

• 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 couldn’t have possibly relied on Georgian They couldn’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 PoetsThe War Poets

• The War Poets (Rupert Brooke, Owen The War Poets (Rupert Brooke, Owen Seaman, Sigfrid Sasson, Wilfred Owen) Seaman, Sigfrid Sasson, 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 Poets – Rupert BrookeThe War Poets – Rupert Brooke

• His war sonnets were written His war sonnets were written in the first flush of patriotism in the first flush of patriotism and enthusiasm as a generation and enthusiasm as a generation unused to war rushed to defend unused to war rushed to defend king and country. king 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 Poets – Owen SeamanThe War Poets – Owen Seaman

• Another example of patriotism is shown by Another example of patriotism is shown by the following lines written by O. Seamanthe following lines written by O. Seaman

• England, in this great fight to which you goEngland, in this great fight to which you goBecause, where Honour calls you, go you must,Because, where Honour calls you, go you must,

Be glad, whatever comes, at least to knowBe glad, whatever comes, at least to knowYou have your quarrel just.You have your quarrel just.

The War Poets - The War Poets - Sigfrid SassonSigfrid Sasson

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

• Look at his poem – Look at his poem – Base DetailsBase Details

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 Poets - The War Poets - Sigfrid SassonSigfrid Sasson

• The irony here is in the comfortable life of the The irony here is in the comfortable life of the commanders – the Majors – who monitor the war commanders – the Majors – who monitor the war from the luxury of hotel rooms, reading with from the luxury of hotel rooms, reading with indifference the list of dead soldiers who have indifference the list of dead soldiers who have died in the battlefield.died in the battlefield.

• They will not die in the battlefields of Flanders, They will not die in the battlefields of Flanders, but securely in their beds, long after the war has but securely in their beds, long after the war has ended.ended.

The War Poets – The War Poets – 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.

Dulce et decorum est pro patria moriDulce et decorum est pro patria mori

ByByW. OwenW. Owen

'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. They may be to the next. All a poet can do today is warn. That is why the true Poets must be truthful.'

Biography

BiographyBiography• Wilfred Edward Salter Owen was born 18 March 1893 in Oswestry, Shropshire. After Wilfred Edward Salter Owen was born 18 March 1893 in Oswestry, Shropshire. After

his school days he took a four-year course as a pupil-teacher. Then in 1913, he spent two his school days he took a four-year course as a pupil-teacher. Then in 1913, he spent two years in France, as a language tutor.years in France, as a language tutor.

• War was declared in August 1914 and in 1915 Wilfred wrote to his mother, 'I don't want War was declared in August 1914 and in 1915 Wilfred wrote to his mother, 'I don't want to wear khaki ... But I to wear khaki ... But I now donow do most most intensely want to fightintensely want to fight.' In October he volunteered .' In October he volunteered and was sworn into the Artists' Rifles. Eight months later he was commissioned as and was sworn into the Artists' Rifles. Eight months later he was commissioned as second lieutenant in the Manchester Regiment, and in December 1916 he left for the second lieutenant in the Manchester Regiment, and in December 1916 he left for the Western Front.Western Front.

• After a last luxurious night in a Folkestone hotel, Owen was quickly plunged into the After a last luxurious night in a Folkestone hotel, Owen was quickly plunged into the realities of active service, and suffered the horrors described - only three weeks later - in realities of active service, and suffered the horrors described - only three weeks later - in a vivid letter to his mother.a vivid letter to his mother.

• In May 1917, Owen was diagnosed with shell-shock, and he was sent to Craiglockhart In May 1917, Owen was diagnosed with shell-shock, and he was sent to Craiglockhart War Hospital, near Edinburgh, in June. Here he met Siegfried Sassoon. On 22 War Hospital, near Edinburgh, in June. Here he met Siegfried Sassoon. On 22 September of that year Owen sent a final version of his poem 'The Sentry' - as heard here September of that year Owen sent a final version of his poem 'The Sentry' - as heard here in audio extracts - to Sassoon, who made sure that it was eventually published. in audio extracts - to Sassoon, who made sure that it was eventually published.

• Wilfred Owen was awarded the Military Cross following his actions on 1-2 October Wilfred Owen was awarded the Military Cross following his actions on 1-2 October 1918 at Joncourt on the Beaurevoir-Fonsomme Line. Confirmation of the award came 1918 at Joncourt on the Beaurevoir-Fonsomme Line. Confirmation of the award came after his death.after his death.

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.

• Homer’s epic poem The Illiad celebrates, among Homer’s epic poem The Illiad 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’s (and even the 20th Century), and Tennyson’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 “valour” of fighting and the “valour” of fighting and dying for one’s country:dying for one’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 themVolley’d and thunder’d; Volley’d and thunder’d;

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 wonder’d. All the world wonder’d. Honour the charge they made! Honour the charge they made!

Honour the Light Brigade, Honour 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. .

Dulce Et Decorum EstDulce Et Decorum Est

• Bent double, like old beggars under sacks,Bent double, like old beggars under sacks,• Knock-kneed, coughing like hags, we Knock-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, blood-shod. All went lame; But limped on, blood-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 Five_Nines that Of tired, outstripped Five_Nines 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 froth-corrupted Come gargling from the froth-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 To children ardent for some desperate glory,glory,

• The old Lie:The old Lie:

• Dulce et decorum est Pro patria mori.Dulce et decorum est Pro patria mori.

ThemeTheme

• The theme of ‘Dulce et Decorum est’ is thatThe theme of ‘Dulce et Decorum est’ is that• there is neither nobility in war, nor there is neither nobility in war, nor

honour in fighting for your countryhonour in 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

• Bent-double, like old beggers under sacks, Bent-double, like old beggers under sacks, Knock-kneed, coughing like hags, we cursed through Knock-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 – to see the – the people at home in England – 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 “old lie” Dulce et decorum est pro generations the “old lie” Dulce et decorum est pro patria mori (“It is sweet and fitting to die for one’s patria mori (“It is sweet and fitting to die for one’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

• ‘‘Dulce et Decorum est’ is built around three Dulce et Decorum est’ 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 no-a group of soldiers moves through no-

man’s land in an attempt to get back to the man’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 boots”)(“many 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:

• ““asleep”, “lost”, “limped”, “blood-shod”, asleep”, “lost”, “limped”, “blood-shod”, “lame”, “blind”. “lame”, “blind”.

• Men marched asleep. Many had lost their Men marched asleep. Many had lost their boots But limped on, blood-shod. All went boots But limped on, blood-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! – An ecstasy of Gas! GAS! Quick, boys! – 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:

Graphic imageryGraphic imagery

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

• ‘‘Dulce et Decorum est’ is a poem filled with Dulce et Decorum est’ 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 alliteration gives the poem a slow and heavy rhythm:heavy rhythm:

• Bent double, like old beggers under sacks, Bent double, like old beggers under sacks, Knock-kneed, coughing like hags, we Knock-kneed, coughing like hags, we cursed through sludgecursed through sludge

RhymeRhyme

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

RhymeRhyme

• Gas! GAS! Quick boys! – An ecstasy of Gas! GAS! Quick boys! – 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 flound’ring like a man in fire or lime . .And flound’ring like a man in fire or lime . .

RhymeRhyme

• What kind of rhymes does the poet use?What kind of rhymes does the poet use?• internal rhyme internal rhyme • (fumbling / clumsy; stumbling / (fumbling / clumsy; stumbling /

flound’ring)flound’ring)• end rhyme (time, lime)end rhyme (time, lime)• Why do you think he does so?Why do you think he does 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

• What is the tone of the poem?What is the tone of the poem?• ‘‘Dulce et Decorum est’ is a very Dulce et Decorum est’ 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. .

Metaphors and similesMetaphors and similes

• 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 . .

Metaphors and similesMetaphors and similes

• 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.

Metaphors and similesMetaphors and similes

• 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.

Metaphors and similesMetaphors and similes

• 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 knock-kneedknock-kneed having knees that point inwards slightlyhaving knees that point inwards slightly

sludgesludge - -soft thick mudsoft thick mud Hag: Hag: an ugly or unpleasant old woman - like a witchan ugly or unpleasant old woman - like a witch

CurseCurse: : to say or think bad things about someone or something because theyto say or think bad things about someone or something because they

have made you angryhave made you angry Haunting flares: Haunting flares: ““segnale luminoso”segnale luminoso” Trudge:Trudge:to walk with slow, heavy steps, especially because you are tiredto walk with slow, heavy steps, especially because you are tired

blood-shod: “blood-shod: “calzando sangue” – wearing shoes of bloodcalzando sangue” – wearing shoes of blood Lame:Lame:unableunable to walk normally because of an enjury or tirednessto walk normally because of an enjury or tiredness

GlossaryGlossary

Hoots: Hoots: sounds e.g. made by the dropping bombs – Fumbling: Fumbling: to hold or try and move something with your hands

carelessly. ClumsyClumsy::a clumsy object is not easy to use and is often large and heavya clumsy object is not easy to use and is often large and heavy Stumbling:Stumbling:toto walk unsteadily and often almost fallwalk unsteadily and often almost fall.. Floundering: Floundering: unable to decide what to say or do so that you find it unable to decide what to say or do so that you find it

difficult to continuedifficult to continue Lime: “Lime: “calcecalce”” Dim: Dim: fairly dark or not giving much light Plunge: Plunge: to move, fall forwards or backwards Guttering: “Guttering: “breath breath struggendosi” Choking: beaing unable to Flung: (v.fling) Flung: (v.fling) to trow something violently or angrilyto trow something violently or angrily

GlossaryGlossary Writhing: Writhing: moving continually because of great painmoving continually because of great pain like a devil's sick of sinlike a devil's sick of sin: “: “come un diavolo stanco del come un diavolo stanco del

peccato”peccato” Jolt: Jolt: a sudden or violent movementa sudden or violent movement gargling from the froth-corrupted lungsgargling from the froth-corrupted lungs: “: “Che sale Che sale

gorgogliando dai polmoni distrutti”gorgogliando 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 innocenti”lingue innocenti”

ZestZest::enthusiasmenthusiasm

Cud = bolo alimentare dei ruminanti

Italian TranslationItalian Translation Piegati in due, come vecchi mendicanti sotto i sacchi,Piegati in due, come vecchi mendicanti sotto i sacchi,

Ginocchia piegate all’interno, tossendo come streghe, bestemmiavamo Ginocchia piegate all’interno, tossendo come streghe, bestemmiavamo nel fango,nel fango,Finchè vedemmò il segnale Finchè vedemmò il segnale luminosoluminoso e cominciammo a ritornare, 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 scarpeUomini camminavano addormentati. Molti avevano perso le loro scarpeMa zoppicavano, vestiti di solo sangue. Tutti erano zoppi; tutti ciechi;Ma zoppicavano, vestiti di solo sangue. Tutti erano zoppi; tutti 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! - Un’estasi di gesticolio,Gas! Gas! Veloci, ragazzi! - Un’estasi di gesticolio,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 verdi,Senza chiarezza, attraverso i vetri appannati e le fitte luci verdi,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, più amaro del fieleOsceno come il cancro, più amaro del fieleDi disgustose, incurabili piaghe di lingue innocenti,-Di disgustose, incurabili piaghe di lingue innocenti,-Mio amico, non diresti con un così grande entusiasmoMio amico, non diresti con un così grande entusiasmoAi ragazzi desiderosi di una qualche gloria,Ai ragazzi desiderosi di una qualche gloria,La vecchia bugia: Dulce et decorum estLa vecchia bugia: Dulce et decorum estPro patria mori.Pro patria mori.