Introduction: “Dulce et Decorum Est” by Wilfred Owens
“Dulce et Decorum Est” by Wilfred Owen first appeared in 1920, a year after his death, in the posthumous collection Poems. The poem’s graphic imagery and unflinching portrayal of the horrors of World War I shocked readers and challenged the prevailing glorification of war. Owen’s use of visceral language, vivid metaphors, and irregular rhyme schemes creates a sense of chaos and despair, reflecting the psychological trauma experienced by soldiers. The poem’s bitter irony and condemnation of the lie that “it is sweet and fitting to die for one’s country” established it as a seminal work of war poetry and a poignant testament to the futility and brutality of conflict.
Text: “Dulce et Decorum Est” by Wilfred Owens
Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs,
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots,
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of gas-shells dropping softly behind.
Gas! GAS! Quick, boys!—An ecstasy of fumbling
Fitting the clumsy helmets just in time,
But someone still was yelling out and stumbling
And flound’ring like a man in fire or lime.—
Dim through the misty panes and thick green light,
As under a green sea, I saw him drowning.
In all my dreams before my helpless sight,
He plunges at me, guttering, choking, drowning.
If in some smothering dreams, you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil’s sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,—
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.
Annotations: “Dulce et Decorum Est” by Wilfred Owens
| Line | Annotation |
| Bent double, like old beggars under sacks, | Simile comparing soldiers to beggars, emphasizing exhaustion and dehumanization. |
| Knock-kneed, coughing like hags, we cursed through sludge, | Physical ailments and harsh conditions, cursing suggests bitterness and disillusionment. |
| Till on the haunting flares we turned our backs, | Flares illuminate the battlefield, hinting at danger and the soldiers’ desire to escape. |
| And towards our distant rest began to trudge. | Exhaustion and longing for rest, trudge suggests heavy, labored movement. |
| Men marched asleep. Many had lost their boots, | Sleepwalking emphasizes fatigue, lost boots symbolize vulnerability. |
| But limped on, blood-shod. All went lame; all blind; | Physical injuries, blindness may be literal or metaphorical (from fatigue/trauma). |
| Drunk with fatigue; deaf even to the hoots | Sensory overload and exhaustion, unable to hear incoming danger. |
| Of gas-shells dropping softly behind. | Understated description of deadly threat, contrast with soldiers’ unawareness. |
| Gas! GAS! Quick, boys!—An ecstasy of fumbling | Sudden alarm, chaotic scramble to put on gas masks. |
| Fitting the clumsy helmets just in time, | Frantic struggle for survival, helmets as last line of defense. |
| But someone still was yelling out and stumbling | One soldier left behind, suffering the effects of gas. |
| And flound’ring like a man in fire or lime.— | Simile comparing gas victim to someone burning, emphasizing agony. |
| Dim through the misty panes and thick green light, | Distorted vision through gas mask, eerie atmosphere. |
| As under a green sea, I saw him drowning. | Simile comparing gas attack to drowning, helplessness and suffocation. |
| In all my dreams before my helpless sight, | Trauma continues in nightmares, recurring image of dying soldier. |
| He plunges at me, guttering, choking, drowning. | Vivid description of suffering, multiple verbs intensify horror. |
| If in some smothering dreams, you too could pace | Speaker addresses reader directly, inviting them to share the experience. |
| Behind the wagon that we flung him in, | Callous disposal of the body, reflecting the dehumanizing nature of war. |
| And watch the white eyes writhing in his face, | Grotesque image of death, writhing eyes convey agony. |
| His hanging face, like a devil’s sick of sin; | Simile comparing dying man to a devil, suggesting extreme suffering. |
| If you could hear, at every jolt, the blood | Focus on bodily fluids, visceral details emphasize horror. |
| Come gargling from the froth-corrupted lungs, | Harsh sounds, description of lungs suggests decay and disease. |
| Obscene as cancer, bitter as the cud | Similes comparing suffering to disease and poison, emphasizing disgust. |
| Of vile, incurable sores on innocent tongues,— | Additional disease imagery, innocence highlights injustice of suffering. |
| My friend, you would not tell with such high zest | Direct address, challenging the glorification of war. |
| To children ardent for some desperate glory, | Criticizing those who encourage young people to seek glory in war. |
| The old Lie: Dulce et decorum est | Latin phrase meaning “It is sweet and fitting to die for one’s country,” exposed as a lie. |
| Pro patria mori. | Continuation of Latin phrase, final condemnation of the lie. |
Literary And Poetic Devices: “Dulce et Decorum Est” by Wilfred Owens
| Device | Example | Explanation | Function |
| Alliteration | “Knock-kneed, coughing like hags” | Repetition of consonant sounds at the beginning of words. | Creates a harsh, jarring sound to emphasize the soldiers’ physical suffering. |
| Allusion | “Dulce et decorum est / Pro patria mori” | Reference to Horace’s Odes, meaning “It is sweet and proper to die for one’s country.” | Contrasts the grim reality of war with the noble-sounding lie propagated by the previous generation. |
| Assonance | “Men marched asleep. Many had lost their boots,” | Repetition of vowel sounds within words. | Creates a musical quality that contrasts with the harshness of the imagery, highlighting the soldiers’ exhaustion. |
| Caesura | “Gas! GAS! Quick, boys!” | A deliberate pause or break in a line. | Adds urgency and a sudden shift in the poem’s pace, reflecting the panic of the gas attack. |
| Consonance | “Knock-kneed, coughing like hags” | Repetition of consonant sounds within words. | Emphasizes the painful, jarring nature of the soldiers’ movements and condition. |
| Enjambment | “Till on the haunting flares we turned our backs, / And towards our distant rest began to trudge.” | Continuation of a sentence without a pause beyond the end of a line. | Mirrors the relentless and unending nature of the soldiers’ march. |
| Hyperbole | “Men marched asleep.” | Exaggeration for effect. | Emphasizes the extreme exhaustion of the soldiers. |
| Imagery | “Bent double, like old beggars under sacks” | Descriptive language that appeals to the senses. | Paints a vivid picture of the soldiers’ decrepit and pitiable state. |
| Irony | “The old Lie: Dulce et decorum est / Pro patria mori.” | The use of words to convey a meaning opposite to their literal meaning. | Highlights the bitter contrast between the reality of war and the glorified perception of dying for one’s country. |
| Metaphor | “Drunk with fatigue” | A figure of speech where a word or phrase is applied to an object or action to which it is not literally applicable. | Conveys the overwhelming exhaustion experienced by the soldiers. |
| Onomatopoeia | “hoots / Of gas-shells dropping softly behind.” | A word that imitates the sound it represents. | Enhances the sensory experience of the poem, making the danger and presence of gas shells more immediate. |
| Oxymoron | “An ecstasy of fumbling” | A figure of speech in which apparently contradictory terms appear in conjunction. | Highlights the chaotic and surreal experience of the gas attack. |
| Pararhyme | “Blood-shod. All went lame; all blind;” | A half-rhyme in which there is vowel variation within the same consonant pattern. | Creates a dissonant sound, reflecting the unsettling and discordant reality of the soldiers’ experience. |
| Personification | “Flares we turned our backs” | Attribution of human qualities to non-human entities. | Adds a sense of malevolence to the flares, as if they are actively haunting the soldiers. |
| Repetition | “Gas! GAS! Quick, boys!” | Repeating words or phrases. | Emphasizes the urgency and panic of the moment. |
| Simile | “Like old beggars under sacks” | A figure of speech involving the comparison of one thing with another thing of a different kind, using “like” or “as.” | Enhances the image of the soldiers’ degraded and worn-out condition. |
| Symbolism | “White eyes writhing in his face” | The use of symbols to represent ideas or qualities. | Symbolizes the agony and dehumanization of the dying soldier. |
| Tone | Bitter, angry | The general character or attitude of a place, piece of writing, situation, etc. | Conveys the poet’s disdain for the romanticized view of war and his anger at the suffering it causes. |
| Understatement | “Deaf even to the hoots / Of gas-shells dropping softly behind.” | The presentation of something as being smaller, worse, or less important than it actually is. | Underlines the numbness and detachment of the soldiers due to constant exposure to danger. |
| Visual Imagery | “Dim through the misty panes and thick green light,” | Descriptive language that appeals to the sense of sight. | Helps the reader visualize the disorienting and terrifying experience of a gas attack. |
Themes: “Dulce et Decorum Est” by Wilfred Owens
- The Horrors of War: In “Dulce et Decorum Est,” Wilfred Owen vividly portrays the brutal realities of war, emphasizing its gruesome and dehumanizing effects on soldiers. Through graphic imagery, such as “Bent double, like old beggars under sacks” and “blood-shod,” Owen illustrates the physical and mental toll that warfare takes on individuals. The soldiers are depicted as exhausted, injured, and stripped of their humanity, marching “asleep” and “lame; all blind” (Owen, 1917). This stark depiction serves to counter the romanticized view of war, revealing it as a nightmarish experience filled with pain and suffering.
- The Futility of War: Owen’s poem also explores the futility and senselessness of war, highlighting the meaningless loss of life and the empty promises of glory. The repeated imagery of soldiers “coughing like hags” and “flound’ring like a man in fire or lime” underscores the chaotic and desperate nature of battle, where death is an ever-present threat (Owen, 1917). By portraying the soldiers’ struggles and the randomness of their deaths, Owen challenges the notion that war has any noble purpose, suggesting instead that it is a tragic waste of human life.
- The Betrayal of the Youth: The poem critiques the older generation’s betrayal of the youth by propagating the “old Lie: Dulce et decorum est / Pro patria mori” (Owen, 1917). This Latin phrase, meaning “It is sweet and proper to die for one’s country,” is revealed to be a cruel deception used to encourage young men to enlist and fight. Owen’s use of vivid and horrific imagery, such as “the blood / Come gargling from the froth-corrupted lungs,” exposes the stark contrast between the idealized vision of war and its gruesome reality. This theme underscores the manipulation and exploitation of young soldiers by those in positions of power.
- The Psychological Impact of War: Owen delves into the psychological trauma experienced by soldiers, depicting the lasting effects of their harrowing experiences. The speaker recounts haunting dreams in which a fellow soldier “plunges at me, guttering, choking, drowning,” highlighting the persistent and inescapable nature of war’s horrors (Owen, 1917). This theme emphasizes the mental anguish and torment that soldiers endure long after the physical battles have ended, challenging the glorification of war and revealing its deep, lasting scars on the human psyche.
Literary Theories and “Dulce et Decorum Est” by Wilfred Owens
| Literary Theory | Application to “Dulce et Decorum Est” | References from the Poem | Critique |
| Modernism: Rejection of traditional forms and themes, focus on subjective experience, disillusionment with war. | Owen’s poem breaks from traditional notions of heroism and glory in war. It emphasizes the psychological trauma and physical suffering of soldiers, using fragmented imagery and irregular rhyme. | “Bent double, like old beggars under sacks,” “He plunges at me, guttering, choking, drowning.” | Effectively captures the chaotic and dehumanizing nature of war, but may alienate readers unfamiliar with modernist techniques. |
| Historical Context: Analysis of literature within its historical context, considering social and political factors. | The poem reflects the disillusionment and trauma experienced by soldiers in World War I. It challenges the propaganda that glorified war and exposes the brutal reality. | “Gas! GAS! Quick, boys!—An ecstasy of fumbling,” “The old Lie: Dulce et decorum est.” | Provides a valuable historical perspective, but may overlook individual interpretations and artistic merit. |
| Psychoanalytic Criticism: Exploration of unconscious desires and motivations, examining symbols and metaphors. | The poem’s imagery of drowning and suffocating can be interpreted as symbols of psychological trauma. The recurring nightmares suggest the speaker’s inability to escape the horrors of war. | “Dim through the misty panes and thick green light, As under a green sea, I saw him drowning.” | Offers a deeper understanding of the psychological impact of war, but may oversimplify the poem’s complex themes. |
Critical Questions about “Dulce et Decorum Est” by Wilfred Owens
- How does Owen’s use of imagery impact the reader’s perception of war?
- Wilfred Owen’s use of vivid and graphic imagery in “Dulce et Decorum Est” profoundly shapes the reader’s understanding of the horrors of war. Phrases like “Bent double, like old beggars under sacks” and “blood-shod” paint a gruesome picture of the soldiers’ physical state, making their suffering palpable (Owen, 1917). This stark imagery contrasts sharply with romanticized notions of war, forcing the reader to confront the brutal reality and dispelling any illusions of glory or honor associated with battle.
- In what ways does the poem challenge the traditional notions of heroism and patriotism?
- “Dulce et Decorum Est” directly challenges traditional notions of heroism and patriotism by exposing the harsh realities of war and the deception behind the phrase “Dulce et decorum est / Pro patria mori” (Owen, 1917). Owen’s depiction of soldiers as “coughing like hags” and “flound’ring like a man in fire or lime” reveals the grim truth behind the glorified image of dying for one’s country. By juxtaposing the soldiers’ suffering with the idealized vision of patriotic sacrifice, Owen critiques the societal and governmental propaganda that glorifies war and exploits young soldiers.
- How does Owen convey the psychological trauma experienced by soldiers?
- Owen vividly conveys the psychological trauma experienced by soldiers through the poem’s intense and haunting descriptions. The recurring nightmare of a dying comrade “plunging at me, guttering, choking, drowning” exemplifies the enduring mental anguish faced by soldiers (Owen, 1917). These harrowing images illustrate that the trauma of war extends beyond the battlefield, affecting soldiers’ minds and spirits long after the physical danger has passed, thereby emphasizing the lasting impact of war on mental health.
- What is the significance of the poem’s title and the phrase “Dulce et decorum est / Pro patria mori”?
- The title and the phrase “Dulce et decorum est / Pro patria mori,” which translates to “It is sweet and proper to die for one’s country,” are used ironically to underscore the poem’s central theme of disillusionment with the glorification of war (Owen, 1917). Owen’s vivid descriptions of the soldiers’ suffering and his bitter recounting of their agonizing deaths starkly contrast with the idealistic sentiment expressed by the phrase. By framing the poem with this ironic statement, Owen critiques the patriotic propaganda that romanticizes war and highlights the deceitful nature of such rhetoric.
Literary Works Similar to “Dulce et Decorum Est” by Wilfred Owens
- “The Death of the Ball Turret Gunner” by Randall Jarrell: A chillingly brief account of a young airman’s death in World War II, highlighting the dehumanization and expendability of soldiers.
- “Anthem for Doomed Youth” by Wilfred Owen: A mournful elegy lamenting the lack of proper mourning for fallen soldiers, emphasizing the loss of youth and potential.
- “The Charge of the Light Brigade” by Alfred Lord Tennyson: A dramatic depiction of a doomed cavalry charge in the Crimean War, celebrating bravery while acknowledging the futility of war.
- “Survivors” by Siegfried Sassoon: A bitter critique of the glorification of war, highlighting the psychological trauma and disillusionment of returning soldiers.
- “The Man He Killed” by Thomas Hardy: A simple yet profound reflection on the senselessness of killing in war, as a soldier contemplates the common humanity he shares with his enemy.
Suggested Readings: “Dulce et Decorum Est” by Wilfred Owens
Books:
- Stallworthy, Jon. Wilfred Owen. Oxford University Press, 1974.
- Hibberd, Dominic. Wilfred Owen: A New Biography. Weidenfeld & Nicolson, 2002.
- Owen, Wilfred. The Complete Poems and Fragments. Edited by Jon Stallworthy, Chatto & Windus, 1983.
Web Links/URLs:
- The Poetry Foundation: https://www.poetryfoundation.org/poems/46560/dulce-et-decorum-est
- The Wilfred Owen Association: https://wilfredowen.org.uk/
Representative Quotations of “Dulce et Decorum Est” by Wilfred Owens
| Quotation | Context | Theoretical Perspective (in bold) |
| “Bent double, like old beggars under sacks,” | Describes the physical condition of soldiers as they trudge through the mud and exhaustion of war. | New Criticism: Focuses on close reading and interpretation of the poem’s imagery to understand its impact on the reader. |
| “Men marched asleep. Many had lost their boots,” | Depicts the extreme fatigue and deprivation experienced by soldiers, highlighting their dehumanized state. | Psychoanalytic Criticism: Analyzes the psychological impact of war on individuals, exploring trauma and the unconscious mind. |
| “Gas! GAS! Quick, boys!—An ecstasy of fumbling” | Conveys the panic and urgency of a gas attack, emphasizing the chaos and fear in the midst of battle. | Historical Criticism: Considers the poem’s reflection of the historical context of World War I and its impact on soldiers and society. |
| “Obscene as cancer, bitter as the cud” | Describes the effects of witnessing a soldier dying from gas poisoning, comparing it to a grotesque disease. | Feminist Criticism: Examines the poem’s portrayal of masculinity and its critique of traditional gender roles within the context of war. |
| “The old Lie: Dulce et decorum est / Pro patria mori.” | Concludes the poem with a bitter rejection of the romanticized notion that it is honorable to die for one’s country. | Postcolonial Criticism: Interprets the poem’s critique of patriotism and nationalism as it relates to the exploitation and manipulation of soldiers. |