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Influence In documenting the era of the First World War, Sassoon's satiric mockery of warfare established an influential model for other writers in the twentieth century, many of whom became lifelong friends. War Protest Combined with the influence of his pacifist friends, Sassoon's aversion to warfare resulted in emotionally charged pleas against a war he thought would never end. His poetry about combat has been recognized as a chronicle of his times, almost documentary in presentation. As is the case with any form of protest, Sassoon's war poetry elicited mixed reactions, though it is generally regarded as the highlight of his career.

His ability to capture the nuances of emotion experienced by a whole generation of soldiers in a few biting lines earned him much admiration in his time. However, Sassoon has never received as much critical attention as other great poets of the twentieth century, perhaps due to his strong identification with antiwar poetry. War Poetry While some critics praise Sassoon's controversial war poems for their common language, human interaction, concrete details, and sarcastic self-mockery, they are simultaneously criticized for their unpatriotic antiwar messages and shocking nature.

Designed to convey the disturbing brutality of combat, Sassoon's poems were abrasive, filthy, and morally ambiguous, presenting images of suicide, cowardice, and horror that contrasted sharply with pro-war propaganda of the time. Many critics, including some of Sassoon's friends and fellow poets, have condemned his presentation of warfare, maintaining that his poetry deals with only the immediate, startling aspects of war without any attempt toward artistic value.

These critics contend that Sassoon's rage appeals exclusively to the senses, to visceral response.

A number of scholars throughout the years have felt that Sassoon's need to express the ugly reality of war overshadowed his own poetry. According to fellow war poet Wilfred Owen, Sassoon's poems limit the reader to a momentary reaction instead of translating the intensity and horror of war into a universal human context.

In this book, a young man struggles with the horrors of war—and his desire to flee from battle—during the American Civil War. This work delivered such a powerful antiwar message that it was banned in Nazi Germany. Gallipoli , a film directed by Peter Weir. Three Kings , a film directed by David O. Depicting innocents who suffered the effects of chaotic and random combat, this movie questions the rationale of Operation Desert Storm.

Moeyes, Paul.

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Scorched Glory: A Critical Study. New York : Palgrave Macmillan, Thorpe, Michael. Siegfried Sassoon: A Critical Study. London: Oxford University Press, Wilson, Jean Moorcroft. London: Duckworth, Cite this article Pick a style below, and copy the text for your bibliography. September 24, Retrieved September 24, from Encyclopedia. Then, copy and paste the text into your bibliography or works cited list.

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Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, Encyclopedia. The English poet Siegfried Sassoon wrote a group of dramatic, intense lyrics in reaction to the horrors of World War I. His six volumes of partly fictionalized memoirs are a detailed record of the sensibilities of his age. Siegfried Sasson was born in Brenchley, Kent, on Sept.


He was formally educated at Marlborough School and at Clare College, Cambridge, and began publishing poems privately in However, Sassoon's distinctive voice was not heard until the publication of his war poems—in The Old Huntsman and Counter-attack He was the first of the younger Georgian poets to react violently against sentimentally patriotic notions of the glories of war; these poems have an extraordinary vigor—a stridency of tone, in fact— expressing with unconcealed irony and in colloquial terms a passionate hatred of the horrors of war.

Some of Sassoon's contemporaries produced poems that addressed more seriously the confusion of values that World War I revealed; but none responded with such passion or with such hatred of the ignorance and folly that permitted such pain. Sassoon's poems of the s—represented in Satirical Poems and and in The Road to Ruin — although they set out to satirize the corruptions and the pretensions of a disintegrating and confused materialistic society, were more controlled, artificial, less intense—and vastly less effective than the war poems.

Perhaps Sassoon's reputation will ultimately rest on his prose works. The Memoirs of George Sherston , his three-volume fictional autobiography, describes, on one level at least, the way of life and the decline in influence of the educated, cultivated, English country gentry during the first quarter of the 20th century.

More significantly, it delineates the decay of a culture and the character of an age.

Sassoon later wrote three volumes of direct autobiography to complement his Sherston trilogy. They are brilliant evocations of characters and patterns of life in one period, but they remain fundamentally the explorations of a man whose own experience, whose own alienation, is by no means representative. FAQ Policy. About this book Siegfried Sassoon: Scorched Glory is the first survey of the poet's published work since his death and the first to draw on the edited diaries and letters.

Show all. Young Nimrod Pages Moeyes, Paul. Georgian Poet Pages Moeyes, Paul.

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Satirical Intent Pages Moeyes, Paul. Advertisement Hide. Front Matter Pages i-xii.

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Front Matter Pages Prologue Family Ties. Pages Young Nimrod. An Officer and Temporary Rebel.