Wilfred Edward Salter Owen MC (18 March 1893 – 4 November 1918) was an English poet and soldier, one of the leading poets of the First World War. His shocking, realistic war poetry on the horrors of trenches and gas warfare was heavily influenced by his friend Siegfried Sassoon and stood in stark contrast to both the public perception of war at the time, and to the confidently patriotic verse written earlier by war poets such as Rupert Brooke. Among his best-known works — most of which were published posthumously — are "Dulce et Decorum Est", "Insensibility", "Anthem for Doomed Youth", "Futility" and "Strange Meeting".
Wilfred Owen was born the eldest of four children in a house near Oswestry in Shropshire called Plas Wilmot on 18 March 1893, of mixed English and Welsh ancestry. His siblings were Harold, Colin, and Mary Millard Owen. At that time, his parents, Thomas and Harriet Susan (Shaw) Owen, lived in a comfortable house owned by his grandfather but, on his death in 1897, the family was forced to move to lodgings in the back streets of Birkenhead. He was educated at the Birkenhead Institute and at Shrewsbury Technical School (now The Wakeman School), and discovered his vocation in 1903 or 1904 during a holiday spent in Cheshire. Owen was raised as an Anglican of the evangelical school, and in his youth was a devout believer, in part due to his strong relationship with his mother, which was to last throughout his life. His early influences included the "big six" of romantic poetry, particularly John Keats, and the Bible.
Shortly after leaving school in 1911, Owen passed the matriculation exam for the University of London, but not with the first-class honours needed for a scholarship (his studies suffered as Owen mourned the loss of his uncle and role model, Edgar Hilton in a hunting accident), which in his family's circumstances was the only way he could have afforded to attend.
In return for free lodging, and some tuition for the entrance exam, Owen worked as lay assistant to the Vicar of Dunsden near Reading and as a pupil-teacher at Wyle Cop School. He then attended classes at University College, Reading (now the University of Reading), in botany and later, at the urging of the head of the English Department, free lessons in Old English. His time spent at Dunsden parish led him to disillusionment with the church, both in its ceremony and its failure to provide aid for those in need.
Prior to the outbreak of World War I, he worked as a private tutor teaching English and French at the Berlitz School of Languages in Bordeaux, France. There he met the older French poet Laurent Tailhade, with whom he later corresponded in French.[1]
On 21 October 1915, he enlisted in the Artists' Rifles Officers' Training Corps. For the next seven months, he trained at Hare Hall Camp in Essex. On 4 June 1916 he was commissioned as a second lieutenant (on probation) in the Manchester Regiment.[2] Owen started the war as a cheerful and optimistic man, but he soon changed forever. Initially, he held his troops in contempt for their loutish behaviour, and in a letter to his mother described his company as "expressionless lumps".[3] However, Owen's outlook on the war was to be changed dramatically after two traumatic experiences. Firstly, he was blown high into the air by a trench mortar, landing among the remains of a fellow officer. Soon after, he became trapped for days in an old German dugout. After these two events, Owen was diagnosed as suffering from shell shock and sent to Craiglockhart War Hospital in Edinburgh for treatment. It was while recuperating at Craiglockhart that he met fellow poet Siegfried Sassoon, an encounter that was to transform Owen's life.
After a period of convalescence in Northern Ireland, then a short spell working as a teacher in nearby Tynecastle High School, he returned to light regimental duties. In March 1918, he was posted to the Northern Command Depot at Ripon.[4] A number of poems were composed in Ripon, including "Futility" and "Strange Meeting". His 25th birthday was spent quietly in Ripon Cathedral.
After returning to the front, Owen led units of the Second Manchesters on 1 October 1918 to storm a number of enemy strong points near the village of Joncourt. However, only one week before the end of the war, whilst attempting to traverse a canal, he was shot in the head and killed. The news of his death, on 4 November 1918, was given to his mother on Armistice Day. For his courage and leadership in the Joncourt action, he was awarded the Military Cross, an award he had always sought in order to justify himself as a war poet, but the award was not gazetted until 15 February 1919.[5] The citation followed on 30 July 1919:
2nd Lt, Wilfred Edward Salter Owen, 5th Bn. Manch. R., T.F., attd. 2nd Bn. For conspicuous gallantry and devotion to duty in the attack on the Fonsomme Line on October 1st/2nd, 1918. On the company commander becoming a casualty, he assumed command and showed fine leadership and resisted a heavy counter-attack. He personally manipulated a captured enemy machine gun from an isolated position and inflicted considerable losses on the enemy. Throughout he behaved most gallantly.
[6]
Owen is regarded by historians as the leading poet of the First World War, known for his war poetry on the horrors of trench and gas warfare. He had been writing poetry for some years before the war, himself dating his poetic beginnings to a stay at Broxton by the Hill, when he was ten years old.[7] The Romantic poets Keats and Shelley influenced much of Owen's early writing and poetry. His great friend, the poet Siegfried Sassoon, later had a profound effect on Owen's poetic voice, and Owen's most famous poems ("Dulce et Decorum Est" and "Anthem for Doomed Youth") show direct results of Sassoon's influence. The novel Regeneration by Pat Barker shows this relationship closely. Manuscript copies of the poems survive, annotated in Sassoon's handwriting. Owen's poetry would eventually be more widely acclaimed than that of his mentor. While his use of pararhyme, with its heavy reliance on assonance, was innovative, he was not the only poet at the time to use these particular techniques. He was, however, one of the first to experiment with it extensively.
<poem> Anthem For Doomed Youth
What passing-bells for these who die as cattle? Only the monstrous anger of the guns. Only the stuttering rifles' rapid rattle Can patter out their hasty orisons. No mockeries now for them; no prayers nor bells, Nor any voice of mourning save the choirs, - The shrill, demented choirs of wailing shells; And bugles calling for them from sad shires.
What candles may be held to speed them all? Not in the hands of boys, but in their eyes Shall shine the holy glimmers of goodbyes. The pallor of girls' brows shall be their pall; Their flowers the tenderness of patient minds, And each slow dusk a drawing down of blinds. </poem>
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His poetry itself underwent significant changes in 1917. As a part of his therapy at Craiglockhart, Owen's doctor, Arthur Brock, encouraged Owen to translate his experiences, specifically the experiences he relived in his dreams, into poetry. Sassoon, who was becoming influenced by Freudian psychoanalysis, aided him here, showing Owen through example what poetry could do. Sassoon's use of satire influenced Owen, who tried his hand at writing "in Sassoon's style". Further, the content of Owen's verse was undeniably changed by his work with Sassoon. Sassoon's emphasis on realism and "writing from experience" was contrary to Owen's hitherto romantic-influenced style, as seen in his earlier sonnets. Owen was to take both Sassoon's gritty realism and his own romantic notions and create a poetic synthesis that was both potent and sympathetic, as summarised by his famous phrase "the pity of war". In this way, Owen's poetry is quite distinctive, and he is, by many, considered a greater poet than Sassoon. Nonetheless, Sassoon contributed to Owen's popularity by his strong promotion of his poetry, both before and after Owen's death, and his editing was instrumental in the making of Owen as a poet.
Thousands of poems were published during the war, but very few of them had the benefit of such strong patronage, and it is as a result of Sassoon's influence, as well as support from Edith Sitwell and the editing of his poems into a new anthology in 1931 by Edmund Blunden that ensured his popularity, coupled with a revival of interest in his poetry in the 1960s which plucked him out of a relatively exclusive readership into the public eye. Though he had plans for a volume of verse, for which he had written a "Preface", he never saw his own work published apart from those poems he included in The Hydra, the magazine he edited at Craiglockhart War Hospital, and "Miners", which was published in The Nation.
There were many other influences on Owen's poetry, including his mother. His letters to her provide us with insight into Owen's life at the front, as well as the development of his philosophy regarding the war. Graphic details of the horror Owen witnessed were never spared. Owen's experiences with religion also heavily influenced his poetry, notably in poems such as "Anthem for Doomed Youth", in which the ceremony of a funeral is reenacted not in a church, but on the battlefield itself, and "At a Calvary near the Ancre", which comments on the Crucifixion of Christ. Owen's experiences in war led him to further challenge his religious beliefs, claiming in his poem "Exposure" that "love of God seems dying".
Only five of Owen's poems had been published before his death, one of which was in fragmentary form. His best known poems include "Anthem for Doomed Youth", "Futility", "Dulce Et Decorum Est", "The Parable of the Old Men and the Young" and "Strange Meeting". Some of his poems feature in Benjamin Britten's War Requiem.
Owen's full unexpurgated opus is in the academic two-volume work The Complete Poems and Fragments (1994) by Jon Stallworthy. Many of his poems have never been published in popular form.
In 1975 Mrs. Harold Owen, Wilfred's sister-in-law, donated all of the manuscripts, photographs and letters which her late husband had owned to the University of Oxford's English Faculty Library. As well as the personal artifacts this also includes all of Wilfred's personal library and an almost complete set of The Hydra — the magazine of Craiglockhart War Hospital. These can be accessed by any member of the public on application in advance to the English Faculty librarian.
The Harry Ransom Humanities Research Center at the University of Texas at Austin holds a large collection of Wilfred Owen's family correspondence.
Owen held Siegfried Sassoon in an esteem not far from hero-worship, remarking to his mother that he was "not worthy to light [Sassoon's] pipe". On being discharged from Craiglockhart, Owen was stationed on home-duty in Scarborough for several months, during which time he associated with members of the artistic circle into which Sassoon had introduced him, which included Robert Ross and Robert Graves. He also met H.G. Wells and Arnold Bennett, and it was during this period he developed the stylistic voice for which he is now recognised. Many of his early poems were penned while stationed at the Clarence Garden Hotel, now the Clifton Hotel in Scarborough's North Bay. A blue tourist plaque on the hotel marks its association with Owen.
Robert Graves[9] and Sacheverell Sitwell[10] (who also personally knew him) have stated Owen was homosexual, and homoeroticism is a central element in much of Owen's poetry.[11][12][13][14] Through Sassoon, Owen was introduced to a sophisticated homosexual literary circle which included Oscar Wilde's friend Robbie Ross, writer and poet Osbert Sitwell, and Scottish writer C. K. Scott-Moncrieff, the translator of Proust. This contact broadened Owen's outlook, and increased his confidence in incorporating homoerotic elements into his work.[15][16] Historians have debated whether Owen had an affair with Scott-Moncrieff in May 1918; Scott-Moncrieff had dedicated various works to a "Mr W.O.",[17] but Owen never responded.[18]
The account of Owen's sexual development has been somewhat obscured because his brother, Harold Owen, removed what he considered discreditable passages in Owen's letters and diaries after the death of their mother.[19] Owen also requested that his mother burn a sack of his personal papers in the event of his death, which she did. Andrew Motion wrote of Owen's relationship with Sassoon: "On the one hand, Sassoon's wealth, posh connections and aristocratic manner appealed to the snob in Owen: on the other, Sassoon's homosexuality admitted Owen to a style of living and thinking that he found naturally sympathetic. [20]
Owen's grave (centre), in
Ors communal cemetery
In July 1918, Owen returned to active service in France, although he might have stayed on home-duty indefinitely. His decision was almost wholly the result of Sassoon's being sent back to England. Sassoon, who had been shot in the head in a so-called friendly fire incident, was put on sick-leave for the remaining duration of the war. Owen saw it as his patriotic duty to take Sassoon's place at the front, that the horrific realities of the war might continue to be told. Sassoon was violently opposed to the idea of Owen returning to the trenches, threatening to "stab [him] in the leg" if he tried it. Aware of his attitude, Owen did not inform him of his action until he was once again in France.
Owen was killed in action on 4 November 1918 during the crossing of the Sambre–Oise Canal, exactly one week (almost to the hour) before the signing of the Armistice and was promoted to the rank of Lieutenant the day after his death. His mother received the telegram informing her of his death on Armistice Day, as the church bells were ringing out in celebration. He is buried at Ors Communal Cemetery.[21] There are memorials to Wilfred Owen at Gailly,[22] Ors,[23] Oswestry,[24] Birkenhead (Central Library) and Shrewsbury.[25]
On 11 November 1985, Owen was one of the 16 Great War poets commemorated on a slate stone unveiled in Westminster Abbey's Poet's Corner.[26] The inscription on the stone is taken from Owen's "Preface" to his poems: "My subject is War, and the pity of War. The Poetry is in the pity."[27] There is also a small museum dedicated to Owen and Sassoon at the Craiglockhart War Hospital, now a Napier University building.
The forester's house in Ors where Owen spent his last night, Maison forestière de l'Ermitage, has been transformed by Turner Prize nominee Simon Patterson into a white sculptured memorial to Owen and his poetry, which opened to the public on 1 October 2011.[28]
Pat Barker's 1991 historical novel Regeneration describes the meeting and relationship between Sassoon and Owen,[29] acknowledging that, from Sassoon's perspective, the meeting had a profoundly significant effect on Owen. Owen's treatment with his own doctor, Arthur Brock, is also touched upon briefly. Owen's death is described in the third book of Barker's Regeneration trilogy, The Ghost Road.[30] In the 1997 film he was played by Stuart Bunce.[31] The play Not About Heroes by Stephen MacDonald also takes as its subject matter the friendship between Owen and Sassoon, and begins with their meeting at Craiglockhart during World War I.[32] Owen was mentioned as a source of inspiration for one of the correspondents in the epistolary novel The Guernsey Literary and Potato Peel Pie Society by Mary Ann Shaffer and Annie Barrows.[33]
Owen is the subject of the 2007 BBC docudrama Wilfred Owen: A Remembrance Tale, in which he is played by Samuel Barnett.[34] His poetry has been reworked into various formats, such as The Ravishing Beauties' recording of Owen's poem "Futility" in an April 1982 John Peel session.[35] Benjamin Britten incorporated nine of Owen's poems into his War Requiem, opus 66, along with words from the Latin Mass for the Dead (Missa pro Defunctis). The Requiem was commissioned for the reconsecration of Coventry Cathedral, and first performed there on 30 May 1962.[36] A screen adaptation was made by Derek Jarman in 1988, with the 1963 recording as the soundtrack.[37]
In 1982, "Anthem for Doomed Youth" was set to music and recorded by the 10,000 Maniacs in Fredonia, New York. The recording appeared on their first EP release Human Conflict Number Five and later on the compilation Hope Chest. The song is unique in the oeuvre of the group as the poem is sung by guitarist John Lombardo, not lead singer Natalie Merchant (who sings back-up vocals on the track). Also in 1982, singer Virginia Astley set the poem "Futility" to music she had composed.[38]
- ^ Sitwell, Osbert, Noble Essences, London: Macmillan, 1950, pp93-4.
- ^ London Gazette: (Supplement) no. 29617. p. 5726. 6 June 1916. Retrieved 3 June 2009.
- ^ "Ox.ac.uk". Oucs.ox.ac.uk. http://www.oucs.ox.ac.uk/ww1lit/education/tutorials/intro/owen/letters.html. Retrieved 27 March 2012.
- ^ Welcome to Ripon Cathedral[dead link]
- ^ London Gazette: (Supplement) no. 31183. p. 2378. 14 February 1919. Retrieved 11 November 2009.
- ^ London Gazette: (Supplement) no. 31480. p. 9761. 29 July 1919. Retrieved 3 June 2009.
- ^ Sitwell O. op. cit. p93
- ^ "Poetry Season - Poems - Anthem For Doomed Youth by wilfred Owen". BBC. http://www.bbc.co.uk/poetryseason/poems/anthem_for_doomed_youth.shtml. Retrieved 2 April 2012.
- ^ Graves, Robert Goodbye To All That: An Autobiography, NY 1929 ("Owen was an idealistic homosexual"); 1st ed only: quote subsequently excised. See: Cohen, Joseph Conspiracy of Silence,New York Review of Books, Vol 22 No 19
- ^ Hibbard,Dominic, The Truth Untold, p513
- ^ Hibberd, Dominic. Wilfred Owen, The Truth Untold (Weidenfeld & Nicholson, 2002) ISBN 0-460-87921-9 pxxii
- ^ Fussell, Paul.The Great War and Modern Memory (Oxford University Press, 2000) ISBN 0-19-513331-5 p286
- ^ Owen, Wilfred. The Complete Poems and Fragments, by Wilfred Owen; edited by Jon Stallworthy (W. W. Norton, 1984) ISBN 0-393-01830-X)
- ^ Caesar, Adrian. Taking It Like a Man: Suffering, Sexuality and the War Poets (Manchester University Press, 1993) ISBN 0-7190-3834-0 pp1-256
- ^ Hibberd, ibid. p337,375
- ^ Hoare, Philip. Oscar Wilde's Last Stand: decadence, conspiracy, and the most outrageous trial of the century(Arcade Publishing,1998) ISBN 1-55970-423-3 p24
- ^ Hibberd, p155
- ^ Hipp, Daniel W. (2005). The Poetry of Shell Shock. McFarland. pp. 88–89. ISBN 0-7864-2174-6
- ^ Hibberd (2002) p20
- ^ Motion, Andrew (2008). Ways of Life. Faber and Faber. p. 218. ISBN [[Special:BookSources/978057122365|978057122365]]
- ^ Wilfred Owen's grave, www.1914–18.co.uk. Accessed 5 December 2008
- ^ Memorial at Gailly, www.1914–18.co.uk. Accessed 5 December 2008
- ^ Memorial at Ors, www.1914–18.co.uk. Accessed 5 December 2008
- ^ Memorial at Oswestry, www.1914–18.co.uk. Accessed 5 December 2008
- ^ Memorial at Shrewsbury, www.1914–18.co.uk. Accessed 5 December 2008
- ^ Writers and Literature of The Great War, Harold B. Lee Library, Brigham Young University. Accessed 5 December 2008
- ^ "Wilfred Owen: Preface to Edition". Poets of the Great War. Harold B. Lee Library, Brigham Young University. http://net.lib.byu.edu/english/wwi/poets/Preface.html.
- ^ "Simon Patterson / La Maison Forestière". artconnexion. http://www.artconnexion.org/espace-public-public-realm/42-simon-patterson--la-maison-forestiere.
- ^ "The War Poets at Craiglockhart". Craiglockhart. http://sites.scran.ac.uk/Warp/regeneration.htm. Retrieved 5 December 2008.
- ^ Brown, Dennis (2005). Monteith, Sharon. ed. Critical Perspectives on Pat Barker. University of South Carolina Press. pp. 187–202. ISBN 978-1-57003-570-8.
- ^ Regeneration at the Internet Movie Database
- ^ Meyer-Dinkgräfe, Daniel (2005). Biographical Plays About Famous Artists. Cambridge Scholars Press. pp. 24–29. ISBN 978-1-904303-47-3. http://books.google.com/?id=wR50GEyHk-QC&pg=PA24.
- ^ Shaffer, Mary Ann (2008). The Guernsey Literary and Potato Peel Pie Society. The Dial Press. pp. 72–73. ISBN 978-0-385-34099-1.
- ^ Wilfred Owen: A Remembrance Tale at the Internet Movie Database
- ^ "Peel Sessions: The Ravishing Beauties". BBC Radio 1. 14 April 1982. http://www.bbc.co.uk/radio1/johnpeel/sessions/1980s/1982/Apr14ravishingbeautie/. Retrieved 5 December 2008.
- ^ Behroozi, Cyrus; Niday, Thomas. "the War Requiem". Benjamin Britten Page, Caltech.. http://www.its.caltech.edu/~tan/Britten/britwar.html. Retrieved 5 December 2008.
- ^ Cooke, Mervyn (1996). Britten: "War Requiem". Cambridge Music Handbook. ISBN 0-521-44089-0.
- ^ "Virginia Astley Discography | Compilations". Virginiaastley.com. http://www.virginiaastley.com/discography/comps/html/reel.html. Retrieved 27 March 2012.
- Works by Wilfred Owen at Project Gutenberg
- Profile and poems at Poets.org
- The Wilfred Owen Collection, in The First World War Poetry Digital Archive by Oxford University
- The Wilfred Owen resource page at warpoetry.co.uk
- Wilfred Owen at BBC Poetry Season
- Selected Poetry of Wilfred Owen – Biography and 7 poems (Anthem for Doomed Youth, Arms and the Boy, Dulce et Decorum Est, Exposure, Futility, Spring Offensive, Strange Meeting)
- Selected Poems at Poetseers
- Wilfred Owen Association
- Details of Wilfred Owen's burial place (Commonwealth War Graves Commission)
- Owen Profile
- Lost Poets of the Great War, a hypertext document on the poetry of World War I by Harry Rusche, of the English Department, Emory University, Atlanta GA.
| Persondata |
| Name |
Owen, Wilfred Edward Salter |
| Alternative names |
|
| Short description |
English poet and soldier |
| Date of birth |
18 March 1893 |
| Place of birth |
Oswestry, Shropshire |
| Date of death |
4 November 1918 |
| Place of death |
Sambre–Oise Canal, France |
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