Dulce et Decorum Est

Here is an exam response to this magnificent poem by Wilfred Owen. It is for part a) only, which is:

In this poem Owen explores ideas about war. Write about the ways in which Owen presents war in this poem. 

This poem is one of the most powerful and well-known poems of the First World War. Written during Owen’s time at Craiglockhart Hospital in Scotland, it is a passionate and bitter reflection on the horrors of trench warfare. It was at Craiglockhart that Owen met Sassoon, whose poems also convey a passionate anti-war sentiment. Unlike the poets before them, the poems of Owen, Sassoon and others such as Ivor Gurney and Isaac Rosenberg are written by soldiers with first-hand experience of trench warfare and its horrors. Consequently, they have little time for the romanticised propaganda of their predecessors. War, Owen suggests, is not noble or glorious at all. Quite the opposite: it is a crime against humanity. The poem ends with a chilling indictment to readers to acknowledge this; anyone who suggests that to die for one’s country is ‘noble’ or fitting is nothing short of a liar.

The first stanza sets the scene: soldiers march towards their ‘distant rest’ away from the ‘flares’ of the front line. Owen uses similes to describe them; they are ‘like old beggars’ and ‘[cough] like hags’, suggesting that these men, once young and full of life, now resemble the elderly and decrepit. The imagery is designed to shock; yet it only becomes more disturbing as the poem progresses. For beggars and hags may not be the most attractive of folk, but they are at least human, as is the soldier in the gas attack in the second stanza: ‘like a man in fire or lime’ (my emphasis). In the final stanza, however, the similes no longer describe that which is human. As the gas begins to take effect and we witness the slow and agonising death of the ill-fated soldier, his face is ‘like a devil’s sick of sin’. This is the face of a gargoyle, a demon, a twisted contortion of the human face, no longer recognisable as the soldier that once was. The hags and beggars of the opening lines seem healthy in comparison. The destructive effect of the gas is captured in two final similes: ‘obscene as cancer’ and ‘bitter as the cud of vile incurable sores’. Both serve to emphasise Owen’s message: War is a poison, toxic to those who ingest it. Its effects are those of a terminal disease, causing only suffering and ending only in death. His anger can be heard in the harsh plosives: ‘bitter as the cud‘ and his disgust rings out in the sibilance of ‘obscene as cancer’.

Verbs play a key part in the poem. Owen uses them, firstly, to show the passing of time. In the first stanza, they are construed in the past tense: ‘cursed‘, ‘turned‘, ‘marched‘ and ‘limped‘ depicting the slow and painful process of the soldiers’ journey. During the attack, they shift to the present continuous: ‘fumbling / Fitting‘, ‘yelling‘, ‘stumbling‘ ‘flound’ring‘ and ‘drowning‘. This contributes to the sense of immediacy and action that dominates the second stanza (and is the result of the frequent caesura and fragmented speech there). Secondly, they create an atmosphere of emergency and panic. The verbs appeal to the sense of sound: we hear the ‘yelling’ and then in the third stanza, the ‘choking’. The sounds become less commonplace (the coughing and trudging of the opening stanza) and more peculiar, until the final verb, the ‘gargling’ of the man’s lungs. (The filling of the lungs during a gas attack had the same effect as when a person drowns.) The effect is cumulative; there is a sense of rapid degeneration as the soldier, and we who watch him, descend into hell.

Adjectives and adverbs also deserve our attention. Owen uses these to create the surreal atmosphere of a nightmare. There is a dreamlike quality to the gas shells that fall ‘softly’ as the men march ‘asleep’. This is further emphasised during the attack in the second stanza: the scene is ‘dim’ and ‘ misty’ and everything is bathed in a light that is ‘thick’ and ‘green’. The effect is one of hazy confusion (it is no wonder the helmets, or gas masks, are ‘clumsy’) and this, juxtaposed with the emergency and and panic created by the syntax, has a distorting effect on the poem. It, like that which it describes, feels wrong, perverted, unreal.

This dreamlike atmosphere is significant in two ways. Firstly, it is the repeated dreams (nightmares?) of the attack that haunt Owen in the days (months? years?) to come, and ‘smother’ him with the conviction that war is an abomination. Secondly, it distances us from the horror of the action. Whilst the use of tense creates the sense that the action is unfolding right before our eyes, and is horrific and graphic, it is perhaps too horrific for us to digest. We cannot stomach the reality of such horrors, and it is only fitting that we should in some way fail to comprehend this scene. In this context, the poem’s final message:

…you would not tell

The old lie: Dulce et decorum est

Pro patria mori

is a wake-up call. This is the truth, and it has a clarity that rings clear and loud in contrast to the chaos and confusion of previous stanzas. Owen leaves behind his unreal vision to let his message resound: the propaganda is a lie. War is an abomination, and to die in it is not noble. It is the stuff of nightmares.






Practice Exam Questions: GCSE English Literature

Hi gang,

Here are the practice exam questions on your set texts for the Literature exam.




Enjoy (?!?) having a go at them.

Please don’t time yourselves for this; I want to see your best work when you’re NOT up against the clock.

Have a great half term!

Mrs. B

Three LITB4 essays, just for fun.

They’re also for half-term homework. But for fun, too.

Complete at least TWO of the following essays by Tuesday 4th November. Click on the title of the poem for a link to the text.

1. ‘Goblin Market depicts the triumph of its protagonists over the capitalist market. It is a paean to consumer power.’ To what extent do you agree with this interpretation of the poem?

2. ‘It is with the male partner that power resides within price relationships, and therefore in society at large.’ To what extent is this the case in D. H. Lawrence’s Last Words to Miriam?

3. ‘Carol Ann Duffy’s use of metaphor in Valentine presents love as a uniquely destructive force.’ How far do you consider this interpretation of the poem to be true?

It’s a start…

Dear Year 10,

Here is the start to our past exam question on Calpurnia:

How is the character of Calpurnia important to the novel as a whole?

Calpurnia is important to the novel as a whole for a variety of reasons. Lee uses her to add detail and depth to the novel’s main themes, such as (in)justice, family, equality and personal change. Furthermore, she is used as a representative of the black community in a Southern town in 1930s Alabama. Like Atticus, Calpurnia is used by Lee as a mouthpiece through which she expresses moral and ethical views.

Firstly, Calpurnia plays a significant part in Lee’s exploration of the theme of injustice. Whenever she has to discipline Scout, she does so in a way which is appropriate and fair. For example…

Over to you!

How does Hosseini begin the story of ‘The Kite Runner’?

The novel’s opening establishes a highly personal, intimate first person narrative voice that has distinctive qualities. It is very much a speaking voice, with fragmented sentences (‘Because the past claws its way out’) that lend it an informal, conversational quality. It is also serious and reflective in tone: ‘I became what I am today…’ and ‘I thought of the life I had lived…’ are pensive, perhaps heavy. We may sense a cathartic quality beneath the surface of the language, as if the narrator is somehow cleansing himself of past events through the act of storytelling.

Secondly, there are a number of unanswered questions posed by the beginning, most obviously: What was it that happened on that day in the winter of 1975? How did it ‘change everything’? The answers are hinted at; we can infer from the ‘overcast’ and ‘frigid’ weather that it was a negative experience, and the mention of a ‘past of unatoned sins’ hints at a guilty act, a shameful ‘sin’ of unspeakable nature. We must continue reading to find out the precise nature of this sin.

In terms of setting, it is clear that we are in the real world – references to actual places such as ‘Golden Gate Park’ in ‘San Francisco’ make this clear. It is not explicitly stated, but we may well deduce that the past events of the winter of 1975 occurred in either Kabul or Pakistan, as someone called ‘Rahim Khan’, calling from Pakistan, is depicted as synonymous with ‘my past of unatoned sins.’ The two settings are interesting; readers may well detect a tension between the East and West, or, more specifically, make connections with the recent conflict between America and Afghanistan.

There is a gap of 26 years between the ‘today’ of the narrative’s frame and the events that form the main plot. This considerably lengthy period of time may lead us to presume that the novel will tell the story of those 26 years, and to deduce that the narrator – if 12 years old in 1975 – is now 38 as he tells it.

Other characters are mentioned briefly – we are told that Rahim Khan is a ‘friend’ and that Hassan is (was?) ‘the hare-lipped kite runner’. Who exactly Baba is remains unclear for now. Interestingly, there are the voices of both Rahim Khan on the telephone in the present and Hassan ‘whispering’ from the past. Both have a memorable, haunting quality, as if their speakers are communicating from a far away time and place.

Finally, the ‘kite runner’ of the novel’s title is revealed, and the image of the kites in the sky acts as the catalyst for Amir’s memories. They are depicted as vivid and free – ‘high above the trees’ and ‘floating side by side’, hinting at some of the novel’s key themes of childhood, freedom and friendship.


Upper Sixth! LITB4 Coursework Idea…

Two great things are happening tomorrow.
1. It’s payday.
2. The shortlisted poems for the T.S. Eliot Poetry Prize will be announced.

This made me think, why don’t you have a look at them and see what you think? And whilst you’re at it, why don’t you consider them using some of the ideas in Section C of the the Critical Anthology? Could make for a very interesting coursework essay…

Click on the link below (tomorrow) for the lowdown…

T. S. Poetry Prize – Shortlist