By P. Moeyes
Siegfried Sassoon: Scorched Glory is the 1st survey of the poet's released paintings because his dying and the 1st to attract at the edited diaries and letters. We learn the way Sassoon's relations history and Jewish inheritance, his sexuality, his adventure of warfare - particularly his public competition to it - his dating to the Georgian poets and different writers, and his eventual withdrawal to nation existence formed his creativity. Sassoon's prestige as a struggle poet has overshadowed his wider achievements and the complicated character at the back of them. This severe review of Sassoon's paintings is lengthy past due and should supply a beneficial starting-point for destiny reappraisals of a author for whom existence and paintings have been fused.
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Additional resources for Siegfried Sassoon: Scorched Glory: A Critical Study
Also, Marsh would seem to have not always been consistent in his criticism: Robert Graves reports that when he first showed Marsh some of his poems in 1912, he was told that he was "using 'an outworn vocabulary' and must reform it"; according to him this made him dispense with the use of'thou, 'thee' or 'where'er'. So why didn't Marsh object to Sassoon's archaisms? The most likely answer is that Marsh wanted to draw Sassoon's attention to the fact that some of his poems lacked meaning altogether ("It seems a necessity now to write either with one's eye on an object or with one's mind at grips with a more or less definite idea.
The individual human losses within the company that are suffered in the course of the war are in comparison apparently less important, for, as the poet suggests in the last section of the poem, he can still distance himself from the realities of the war and the suffering of his men. It is in this respect that he differs completely from Sassoon: AN OFFICER AND TEMPORARY REBEL 43 I can assume a giant attitude and godlike mood and then detachedly regard all riots, conflicts and collisions. The men I've lived with lurch suddenly into a far perspective: They distantly gather like a dark cloud of birds in the autumn sky.
Though the bold claim "I am a soldier, convinced that I am acting on behalf of soldiers" suggests otherwise, Sassoon embarked on his Quixotic action without either his fellow officers or his men knowing anything about his plans. In Siegfried's Journey Sassoon recalled the hesitations he felt shortly before he decided to go through with its publication: Possibly what I disliked most was the prospect of being misunderstood and disapproved of by my fellow officers. Some of them would regard my behaviour as a disgrace to the Regiment.
Siegfried Sassoon: Scorched Glory: A Critical Study by P. Moeyes