T. E. Hulme’s War Poem: ‘Trenches: St Eloi’

In this week’s Dispatches from The Secret Library, Dr Oliver Tearle celebrates the poet and thinker who died 100 years ago this week

On 28 September 1917, T. E. Hulme was killed in action in Oostduinkerke in Flanders. Hulme’s death, as Robert Ferguson records in his biography, The Short Sharp Life of T. E. Hulme, was particularly brutal: he suffered a direct hit from a large shell which literally blew him to pieces. What was left of him was buried in West-Vlaanderen, Belgium where he is described in the war graves records as simply ‘one of the war poets’.

In some ways, this is a decidedly inapt description of Hulme. His entire poetic output was slim – including verse fragments it stretches to no more than 20 pages – and he wrote all of his poetry in the years preceding the outbreak of the First World War in 1914. But the poems he did write helped to forge a new form and style for English poetry.

T. E. Hulme was a larger-than-life figure in virtually every way. Standing at over six feet tall, with a ruddy complexion, a willingness to argue with anyone (or, indeed,

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A Short Analysis of Keith Douglas’s ‘Vergissmeinnicht’

By Dr Oliver Tearle (Loughborough University)

Keith Douglas (1920-44) described his poetry as ‘extrospective’, a neat coinage designed to dovetail with the more usual introspection of much English poetry. Douglas, who was killed during the invasion of Normandy on 9 June 1944, aged just 24, is now regarded as one of the greatest British poets of the Second World War, and ‘Vergissmeinnicht’ is one of his most celebrated poems.

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Ford Madox Ford’s ‘Antwerp’: The First Great Modernist Poem of WWI

In this week’s Dispatches from the Secret Library, Dr Oliver Tearle explores a modernist war poem by an overlooked writer

As it’s Refugee Week, my thoughts have turned to poetry about refugees – such as Auden’s ‘Refugee Blues’ and the lines from the Elizabethan play Sir Thomas More (which may have been penned by Shakespeare) about the plight of refugees in Tudor London. Modernist poetry, too, treated the plight of refugees during and after the First World War, and one of the first poets to do so was Ford Madox Ford, better known now as a novelist.

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A Short Analysis of Siegfried Sassoon’s ‘Everyone Sang’

By Dr Oliver Tearle (Loughborough University)

‘Everyone Sang’ is one of Siegfried Sassoon’s most popular and widely anthologised poems. The poem was published in 1919, the year following the end of the First World War, and the jubilant singing that features in the poem has been interpreted as a reference to the Armistice. You can read ‘Everyone Sang’ here.

A few words of summary first, then. ‘Everyone Sang’ is divided into two stanzas, each of five lines. The stanzas rhyme abcbb. The speaker of the poem hears everyone around suddenly burst into song, and the sound of singing fills him with delight. There’s a suggestion that this delight is related to a feeling of relief and, indeed, release: he likens it to the feeling a bird that had been caged must feel when it is freed and allowed to fly away.

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A Short Analysis of Isaac Rosenberg’s ‘Break of Day in the Trenches’

By Dr Oliver Tearle (Loughborough University)

‘Break of Day in the Trenches’ is by one of the First World War’s leading war poets, Isaac Rosenberg (1890-1918). The poem might be analysed as war poetry’s answer to John Donne’s ‘The Flea’ – because the rat which is so friendly towards the English poet will also cross No Man’s Land and make friends with the German enemy. The rat, that ubiquitous feature of WWI imagery, here acts as a reminder of the English and Germans’ common humanity, even in times of war.

Break of Day in the Trenches

The darkness crumbles away.
It is the same old druid Time as ever,
Only a live thing leaps my hand,
A queer sardonic rat,
As I pull the parapet’s poppy
To stick behind my ear.
Droll rat, they would shoot you if they knew
Your cosmopolitan sympathies.

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