Wilfred Owen

Wilfred Edward Salter Owen MC (18 March 1893 – 4 November 1918) was a British poet and
soldier, and 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 sat 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. Some of his best-
known works—most of which were published posthumously—include "Dulce et Decorum Est",
"Insensibility", "Anthem for Doomed Youth", "Futility" and "Strange Meeting". His preface
intended for a book of poems to be published in 1919 contains numerous well-known phrases,
especially "War, and the pity of War", and "the Poetry is in the pity".[1]

He was killed in action at the Battle of the Sambre a week before the war ended. In a moment of
ghastly irony, the telegram from the War Office announcing his death was delivered to his
mother's home as her town's church bells were ringing in celebration of the Armistice.

Early life

Wilfred Owen was born the eldest of four children in Plas Wilmot; a house near Oswestry in
Shropshire on 18 March 1893, of mixed English and Welsh ancestry. At that time, his parents,
Thomas and Susan 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, as with many other writers of the time, 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, to a hunting accident) which
in his family's circumstances were the only way he could afford 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
lack of 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.[2]
War service

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.[3] 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 wrote to his mother calling his company
"expressionless lumps".[4] 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 in 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 whilst recuperating at
Craiglockhart that he was to meet fellow poet Siegfried Sassoon, an encounter which was to
transform Owen's life.

After a period of convalescence in Scotland, 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.[5] 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 by an
enemy rifle and was killed. The news of his death, on 4 November 1918, was to be given to his
mother on Armistice Day. For his courage and leadership in the Joncourt action, he was awarded
the Military Cross, an award which he had always sought in order to justify himself as a war
poet, but the award was not gazetted until 15 February 1919.[6] 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
lst/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.[7]

Poetry

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.[8] The Romantic poets Keats and P.B. 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 consonance, 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.

As for his poetry itself, it 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 the Craiglockhart War Hospital and 'Miners' which was published in "The Nation".

Owen had many other influences on his poetry, including his mother, with whom he remained
close throughout his life. 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. Owen's experiences in war led him to further challenge his religious
beliefs, claiming in his poem Exposure that 'love of God seems dying'.

These influences built on his pre-war interest in Romantic poetry, and especially that of John
Keats.
Relationship with Sassoon

Owen held 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. [2

Death

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."[1] There is also a small museum dedicated to Owen and Sassoon at the Craiglockhart
War Hospital, now a Napier University building.

Literary output

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 Man 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.

Depictions in popular culture

Owen's stature as an archetypal war poet has meant references to him and his work are
commonplace in popular culture.

Pat Barker's 1991 historical novel Regeneration describes the meeting and relationship between
Sassoon and Owen,[27] 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.[28] In the 1997 film he was played by Stuart Bunce.[29] 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.[30] 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.[31]
Owen himself is the subject of the 2007 BBC docudrama Wilfred Owen: A Remembrance Tale,
in which he is played by Samuel Barnett.[32] 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.[33] Benjamin Britten incorporated nine Owen 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.[34] A screen adaptation was made by Derek Jarman in 1988, with the 1963 recording as the
soundtrack.[35]

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).

Siegfried Sassoon
Siegfried Loraine Sassoon, CBE, MC (8 September 1886 – 1 September 1967) was an English poet and
author. He became known as a writer of satirical anti-war verse during World War I. He later won
acclaim for his prose work, notably his three-volume fictionalised autobiography, collectively known as
the "Sherston Trilogy".