By Elizabeth Vandiver
Elizabeth Vandiver examines the ways that British poets of the 1st international struggle used classical literature, tradition, and historical past as a resource of pictures, principles, or even words for his or her personal poetry. Vandiver argues that classics used to be a very important resource for writers from a large choice of backgrounds, from working-class poets to these expert in public faculties, and for a large choice of political positions and viewpoints. Poets used references to classics either to help and to oppose the warfare from its starting all of the technique to the Armistice and after. by way of exploring the significance of classics within the poetry of the 1st international conflict, Vandiver bargains a brand new viewpoint on that poetry and at the historical past of classics in British tradition.
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Additional info for Stand in the Trench, Achilles: Classical Receptions in British Poetry of the Great War
1914), 692. 6 For a description of the ofﬁcers’ uniform, see Parker, Old Lie, 163–4. 10 This chapter examines the relationship between classics and the ethos that 7 J. M. Winter, The Great War and the British People, 2nd edn. (Basingstoke: Palgrave Macmillan, 2003), 92, 98; Jeffrey Richards, Happiest Days: The Public Schools in English Fiction (Manchester: Manchester University Press, 1988), 13. 4), and the full discussion, pp. 83–99. See also J. M. Winter, ‘Britain’s “Lost Generation” of the First World War’, Population Studies, 31 (1977), 452–66.
God! watch it straggle by, The sullen pack of ragged, ugly swine! Is that the Legion, Gracchus? ’ ‘Strabo,’ said Gracchus, ‘you are strange to-night. The Legion is the Legion, it’s all right. If these new men are slovenly in your thinking, Hell take it! you’ll not better them by drinking. They all try, Strabo; trust their hearts and hands. ’60 Graves leaves the symbolic applicability of the Roman legion to the modern war entirely up to the reader to determine; the poem does 60 Robert Graves, The Complete Poems in One Volume, ed.
But ‘asked no questions’ changes the tone entirely; Garrod’s dead are not laying claim with pride to the gratitude of their country but are, on the contrary, commenting on their own alienation from any greater sense of glory or accomplishment. ’26 Garrod’s dead have enacted Tennyson’s lines, and speak of the result in Simonidean terms. These lines are in fact a rich palimpsest, as Garrod references and rejects both Simonides and Tennyson in the same few, spare words. 23 H. W. Garrod, Worms and Epitaphs (Oxford: Blackwell, 1919), 4.
Stand in the Trench, Achilles: Classical Receptions in British Poetry of the Great War by Elizabeth Vandiver