2. Siegfried Sassoon (1886-1967) “A Working Party” “Trench Duty” “Repression of War Experience”

3. Background– Siegfried Sassoon (1886-1967)

4. Siegfried Sassoon (1886-1967) – Biography

5. born to a well-to-do family (Jewish)

6. Siegfried Sassoon (1886-1967) – Biography born to a well-to-do family (Jewish) –lived pastoral life of a young squire

7. Siegfried Sassoon (1886-1967) – Biography born to a well-to-do family (Jewish) –lived pastoral life of a young squire RECALL:

8. Siegfried Sassoon (1886-1967) – Biography born to a well-to-do family (Jewish) –lived pastoral life of a young squire RECALL: –pastoral = of/relating to the countryside

9. Siegfried Sassoon (1886-1967) – Biography born to a well-to-do family (Jewish) –lived pastoral life of a young squire RECALL: –pastoral = of/relating to the countryside –squire = a country gentleman, esp. chief landowner

10. Siegfried Sassoon (1886-1967) – Biography born to a well-to-do family (Jewish) –lived pastoral life of a young squire fox hunt, play cricket, play golf, write poetry

11. Siegfried Sassoon (1886-1967) – Biography born to a well-to-do family (Jewish) –lived pastoral life of a young squire fox hunt, play cricket, play golf, write poetry –rode bicycle to recruiting office to join army

12. Siegfried Sassoon (1886-1967) – Biography born to a well-to-do family (Jewish) –lived pastoral life of a young squire fox hunt, play cricket, play golf, write poetry –rode bicycle to recruiting office to join army 28 years old at start of war –

13. Siegfried Sassoon (1886-1967) – Biography born to a well-to-do family (Jewish) –lived pastoral life of a young squire fox hunt, play cricket, play golf, write poetry –rode bicycle to recruiting office to join army 28 years old at start of war – Sassoon was especially unprepared for its horrors

14. Siegfried Sassoon (1886-1967) – Biography born to a well-to-do family (Jewish) –lived pastoral life of a young squire fox hunt, play cricket, play golf, write poetry –rode bicycle to recruiting office to join army 28 years old at start of war – Sassoon was especially unprepared for its horrors –was a naïve squire eager to enlist

15. Siegfried Sassoon (1886-1967) – Biography was a fearless, courageous soldier

16. Siegfried Sassoon (1886-1967) – Biography was a fearless, courageous soldier –often volunteered to lead dangerous raids and missions

17. Siegfried Sassoon (1886-1967) – Biography was a fearless, courageous soldier –often volunteered to lead dangerous raids and missions –awarded Military Cross for assisting a wounded man back to British lines while under heavy fire (1916)

18. Siegfried Sassoon (1886-1967) – Biography was a fearless, courageous soldier –often volunteered to lead dangerous raids and missions –awarded Military Cross for assisting a wounded man back to British lines while under heavy fire (1916) was severely wounded 1917; sent to Craiglockhart (England) to convalesce

19. Siegfried Sassoon (1886-1967) – Biography his reaction to the war’s realities was bitter, violent, ironic, satiric, contumely

20. Siegfried Sassoon (1886-1967) – Biography his reaction to the war’s realities was bitter, violent, ironic, satiric, contumely –contumely = rudeness or contempt arising from arrogance; insolence

21. Siegfried Sassoon (1886-1967) – Biography wrote a letter to the editor of The Times (London) declaring that the war was being deliberately and unnecessarily prolonged by insensitive political leadership (the king, Parliament), which he called a “greater enemy than the Germans”

22. Siegfried Sassoon (1886-1967) – Biography wrote a letter to the editor of The Times (London) declaring that the war was being deliberately and unnecessarily prolonged by insensitive political leadership, which he called a “greater enemy than the Germans” –narrowly avoided court martial because a friend convinced the review board that he suffered from shell shock

23. Siegfried Sassoon (1886-1967) – Biography wrote a letter to the editor of The Times (London) declaring that the war was being deliberately and unnecessarily prolonged by insensitive political leadership, which he called a “greater enemy than the Germans” –narrowly avoided court martial because a friend convinced the review board that he suffered from shell shock shell shock = PTSD which includes loss of sight, memory, muscle control; insanity; persistent nightmares; etc.

24. Siegfried Sassoon (1886-1967) – Biography began writing similar themes as Brooke (that is, pro-war themes)

25. Siegfried Sassoon (1886-1967) – Biography began writing similar themes as Brooke (that is, pro-war themes) met other war poets in hospital whose styles influenced him, especially as his feelings about the war changed

26. Siegfried Sassoon (1886-1967) – Biography began writing similar themes as Brooke (that is, pro-war themes) met other war poets in hospital whose styles influenced him, especially as his feelings about the war changed –became a public detractor of war, especially the “little men with too much power” running it

27. Siegfried Sassoon (1886-1967) – Biography began writing similar themes as Brooke (that is, pro-war themes) met other war poets in hospital whose styles influenced him, especially as his feelings about the war changed –became a public detractor of war, especially the “little men with too much power” running it –became a mentor to Wilfred Owen (next poet)

28. Siegfried Sassoon (1886-1967) – Poetic Terms

29. Siegfried Sassoon (1886-1967) poetic terms (for discussion):

30. Siegfried Sassoon (1886-1967) poetic terms (for discussion): –sonnet (Italian, Shakespearean)

31. Siegfried Sassoon (1886-1967) poetic terms (for discussion): –sonnet (Italian, Shakespearean) -- poet-- speaker-- stanza

32. Siegfried Sassoon (1886-1967) poetic terms (for discussion): –sonnet (Italian, Shakespearean) -- poet-- speaker-- stanza new terms:

33. Siegfried Sassoon (1886-1967) poetic terms (for discussion): –sonnet (Italian, Shakespearean) -- poet-- speaker-- stanza new terms: –narrative poem (“A Working Party”)

34. Siegfried Sassoon (1886-1967) poetic terms (for discussion): –sonnet (Italian, Shakespearean) -- poet-- speaker-- stanza new terms: –narrative poem (“A Working Party”) includes all basic elements of a narrative (plot)

35. Siegfried Sassoon (1886-1967) poetic terms (for discussion): –sonnet (Italian, Shakespearean) -- poet-- speaker-- stanza new terms: –narrative poem (“A Working Party”) includes all basic elements of a narrative (plot) note setting, tone, mood, characterization, imagery, sensory language, foreshadowing, etc.

36. Siegfried Sassoon (1886-1967) poetic terms (for discussion): –sonnet (Italian, Shakespearean) -- poet-- speaker-- stanza new terms: –narrative poem (“A Working Party”) includes all basic elements of a narrative (plot) note setting, tone, mood, characterization, imagery, sensory language, foreshadowing, etc. –dramatic monologue (“Repression…”)

37. Siegfried Sassoon (1886-1967) poetic terms (for discussion): –sonnet (Italian, Shakespearean) -- poet-- speaker-- stanza new terms: –narrative poem (“A Working Party”) includes all basic elements of a narrative (plot) note setting, tone, mood, characterization, imagery, sensory language, foreshadowing, etc. –dramatic monologue (“Repression…”) –stream-of-consciousness (“Repression…”)

39. Sassoon – “A Working Party”

40. a narrative poem (tells a story):

41. Sassoon – “A Working Party” a narrative poem (tells a story): Three hours ago he blundered up the trench…

42. Sassoon – “A Working Party” a narrative poem (tells a story): Three hours ago he blundered up the trench… introduction (begins narrative)

43. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood

44. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else can we figure out?

45. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else can we figure out? –“Three hours ago…” (ln. 1, ln. 26) – three hours ago… from what time?

46. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else can we figure out? –“Three hours ago…” (ln. 1, ln. 26) – three hours ago… from what time? –“…puffing a point of red” (ln. 11), “A flare went up…” (ln. 16)  lights at night

47. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else can we figure out? –“Three hours ago…” (ln. 1, ln. 26) – three hours ago… from what time? –“…puffing a point of red” (ln. 11), “A flare went up…” (ln. 16)  lights at night –“He thought of getting back by half-past twelve” (ln. 42)

48. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else can we figure out? –“Three hours ago…” (ln. 1, ln. 26) – three hours ago… from what time? –“…puffing a point of red” (ln. 11), “A flare went up…” (ln. 16)  lights at night –“He thought of getting back by half-past twelve” (ln. 42) –“The wind came posting by with chilly gusts” (ln. 20) and other context clues (lns. 40-41, 43) indicate a cold night at that

49. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else? 

50. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood

51. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling

52. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note physical cues for sensory impression:

53. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note physical cues for sensory impression: blundered…

54. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note physical cues for sensory impression: blundered…sliding…

55. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note physical cues for sensory impression: blundered…sliding…groping…

56. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note physical cues for sensory impression: blundered…sliding…groping…tripped…

57. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note physical cues for sensory impression: blundered…sliding…groping…tripped… lurched…

58. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note physical cues for sensory impression: blundered…sliding…groping…tripped… lurched… splashing wretchedly…

59. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note physical cues for sensory impression: blundered…sliding…groping…tripped… lurched… splashing wretchedly…sludge

60. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note physical cues for sensory impression: blundered…sliding…groping…tripped… lurched… splashing wretchedly…sludge (stanza 1)

61. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note physical cues for sensory impression: blundered…sliding…groping…tripped… lurched… splashing wretchedly…sludge (stanza 1)  creates impression of numbness from being tired/cold, slippery footing, etc.

62. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note sensory impression of black/white imagery

63. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note sensory impression of black/white imagery white faces…

64. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note sensory impression of black/white imagery white faces…candles glinted…

65. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note sensory impression of black/white imagery white faces…candles glinted…gloom swallowed sight…

66. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note sensory impression of black/white imagery white faces…candles glinted…gloom swallowed sight…shining whiteness…

67. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note sensory impression of black/white imagery white faces…candles glinted…gloom swallowed sight…shining whiteness… flickered…

68. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note sensory impression of black/white imagery white faces…candles glinted…gloom swallowed sight…shining whiteness… flickered…glimmering…

69. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note sensory impression of black/white imagery white faces…candles glinted…gloom swallowed sight…shining whiteness… flickered…glimmering…bleached…

70. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note sensory impression of black/white imagery white faces…candles glinted…gloom swallowed sight…shining whiteness… flickered…glimmering…bleached… slow silver moment…

71. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note sensory impression of black/white imagery white faces…candles glinted…gloom swallowed sight…shining whiteness… flickered…glimmering…bleached… slow silver moment…died in dark…

72. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note sensory impression of black/white imagery white faces…candles glinted…gloom swallowed sight…shining whiteness… flickered…glimmering…bleached… slow silver moment…died in dark… dreary…

73. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note sensory impression of black/white imagery white faces…candles glinted…gloom swallowed sight…shining whiteness… flickered…glimmering…bleached… slow silver moment…died in dark… dreary…drizzling…

74. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling –note sensory impression of black/white imagery white faces…candles glinted…gloom swallowed sight…shining whiteness… flickered…glimmering…bleached… slow silver moment…died in dark… dreary…drizzling…(stanza 2)

75. Sassoon – “A Working Party” stanzas 1-2 establish setting, mood –setting = obviously WWI in a trench… what else?  contributes to mood –mood = atmosphere = feeling note sensory impression of black/white imagery white faces…candles glinted…gloom swallowed sight…shining whiteness… flickered…glimmering…bleached… slow silver moment…died in dark… dreary…drizzling…(stanza 2)  creates strobe- like effect: darkness broken by intense flashes of light

76. Sassoon – “A Working Party” stanza 3 resumes narrative:

77. Sassoon – “A Working Party” stanza 3 resumes narrative: Three hours ago he stumbled up the trench…(26)

78. Sassoon – “A Working Party” stanza 3 resumes narrative: Three hours ago he stumbled up the trench…(26) 3 rd stanza ends by foreshadowing the narrative’s outcome:

79. Sassoon – “A Working Party” stanza 3 resumes narrative: Three hours ago he stumbled up the trench…(26) 3 rd stanza ends by foreshadowing the narrative’s outcome: Now he will never walk…

80. Sassoon – “A Working Party” stanza 3 resumes narrative: Three hours ago he stumbled up the trench…(26) 3 rd stanza ends by foreshadowing the narrative’s outcome: Now he will never walk… / He must be carried…..

81. Sassoon – “A Working Party” stanza 3 resumes narrative: Three hours ago he stumbled up the trench…(26) 3 rd stanza ends by foreshadowing the narrative’s outcome: Now he will never walk… / He must be carried…a jolting lump

82. Sassoon – “A Working Party” stanza 3 resumes narrative: Three hours ago he stumbled up the trench…(26) 3 rd stanza ends by foreshadowing the narrative’s outcome: Now he will never walk… / He must be carried…a jolting lump / Beyond all need of tenderness and care;

83. Sassoon – “A Working Party” stanza 3 resumes narrative: Three hours ago he stumbled up the trench…(26) 3 rd stanza ends by foreshadowing the narrative’s outcome: Now he will never walk… / He must be carried…a jolting lump / Beyond all need of tenderness and care; / A nine-stone corpse…(27-30)

84. Sassoon – “A Working Party” stanzas 4-5 offer characterization of the man in the poem:

85. Sassoon – “A Working Party” stanzas 4-5 offer characterization of the man in the poem: young man…meagre wife…two pale children …Midland town

86. Sassoon – “A Working Party” stanzas 4-5 offer characterization of the man in the poem: young man…meagre wife…two pale children …Midland town …a decent chap…did his work…laughed at jokes…

87. Sassoon – “A Working Party” stanzas 4-5 offer characterization of the man in the poem: young man…meagre wife…two pale children …Midland town …a decent chap…did his work…laughed at jokes… stanza 5 shows thoughts, reaction to cold

88. Sassoon – “A Working Party” stanzas 4-5 offer characterization of the man in the poem: young man…meagre wife…two pale children …Midland town …a decent chap…did his work…laughed at jokes… stanza 5 shows thoughts, reaction to cold He thought how slow time went…

89. Sassoon – “A Working Party” stanzas 4-5 offer characterization of the man in the poem: young man…meagre wife…two pale children …Midland town …a decent chap…did his work…laughed at jokes… stanza 5 shows thoughts, reaction to cold He thought how slow time went… He thought of getting back…warm to sleep

90. Sassoon – “A Working Party” stanzas 4-5 offer characterization of the man in the poem: young man…meagre wife…two pale children …Midland town …a decent chap…did his work…laughed at jokes… stanza 5 shows thoughts, reaction to cold He thought how slow time went… He thought of getting back…warm to sleep …stamping feet… blowing fingers…draughty

91. Sassoon – “A Working Party” stanzas 4-5 offer characterization of the man in the poem: young man…meagre wife…two pale children …Midland town …a decent chap…did his work…laughed at jokes… stanza 5 shows thoughts, reaction to cold He thought how slow time went… He thought of getting back…warm to sleep …stamping feet… blowing fingers…draughty he is just an average ‘Tommy’

92. Sassoon – “A Working Party” note sensory cues in stanza 5:

93. Sassoon – “A Working Party” note sensory cues in stanza 5: …how slow time went…

94. Sassoon – “A Working Party” note sensory cues in stanza 5: …how slow time went… …stamping his feet

95. Sassoon – “A Working Party” note sensory cues in stanza 5: …how slow time went… …stamping his feet / And blowing on his fingers, pinched with cold.

96. Sassoon – “A Working Party” note sensory cues in stanza 5: …how slow time went… …stamping his feet / And blowing on his fingers, pinched with cold. …tot of rum to send him warm to sleep…

97. Sassoon – “A Working Party” note sensory cues in stanza 5: …how slow time went… …stamping his feet / And blowing on his fingers, pinched with cold. …tot of rum to send him warm to sleep… …in draughty dug-out…

98. Sassoon – “A Working Party” note sensory cues in stanza 5: …how slow time went… …stamping his feet / And blowing on his fingers, pinched with cold. …tot of rum to send him warm to sleep… …in draughty dug-out… …frowsty with the fumes / Of coke…

99. Sassoon – “A Working Party” note sensory cues in stanza 5: …how slow time went… …stamping his feet / And blowing on his fingers, pinched with cold. …tot of rum to send him warm to sleep… …in draughty dug-out… …frowsty with the fumes / Of coke… …and full of snoring, weary men.

100. Sassoon – “A Working Party” note sensory cues in stanza 5: …how slow time went… …stamping his feet / And blowing on his fingers, pinched with cold. …tot of rum to send him warm to sleep… …in draughty dug-out… …frowsty with the fumes / Of coke… …and full of snoring, weary men. clear impression of cold, dark, lonely night

101. Sassoon – “A Working Party” stanza 6 gives the resolution (conclusion) of the narrative:

102. Sassoon – “A Working Party” stanza 6 gives the resolution (conclusion) of the narrative: …a flare / Gave one white glimpse of No Man’s Land and wire;

103. Sassoon – “A Working Party” stanza 6 gives the resolution (conclusion) of the narrative: …a flare / Gave one white glimpse of No Man’s Land and wire; And as he dropped his head

104. Sassoon – “A Working Party” stanza 6 gives the resolution (conclusion) of the narrative: …a flare / Gave one white glimpse of No Man’s Land and wire; And as he dropped his head the instant split His startled life with lead

105. Sassoon – “A Working Party” stanza 6 gives the resolution (conclusion) of the narrative: …a flare / Gave one white glimpse of No Man’s Land and wire; And as he dropped his head the instant split His startled life with lead, and all went out.

106. Sassoon – “A Working Party” stanza 6 gives the resolution (conclusion) of the narrative: …a flare / Gave one white glimpse of No Man’s Land and wire; And as he dropped his head the instant split His startled life with lead, and all went out. snipers would use the light of “star shells” (flares) to spot targets

107. Sassoon – “A Working Party” stanza 6 gives the resolution (conclusion) of the narrative: …a flare / Gave one white glimpse of No Man’s Land and wire; And as he dropped his head the instant split His startled life with lead, and all went out. snipers would use the light of “star shells” (flares) to spot targets end is foreshadowed in 3 rd stanza

108. Sassoon – “A Working Party” stanza 6 gives the resolution (conclusion) of the narrative: …a flare / Gave one white glimpse of No Man’s Land and wire; And as he dropped his head the instant split His startled life with lead, and all went out. snipers would use the light of “star shells” (flares) to spot targets end is foreshadowed in 3 rd stanza A nine-stone corpse with nothing more to do.

110. Sassoon – “Trench Duty”

111. a sonnet – what kind?

112. Sassoon – “Trench Duty” a sonnet – what kind? English (Shakespearean) –

113. Sassoon – “Trench Duty” a sonnet – what kind? English (Shakespearean) – narrative sonnet – tells a story

114. Sassoon – “Trench Duty” a sonnet – what kind? English (Shakespearean) – narrative sonnet – tells a story –three quatrains:

115. Sassoon – “Trench Duty” a sonnet – what kind? English (Shakespearean) – narrative sonnet – tells a story –three quatrains: –rhyming couplet:

116. Sassoon – “Trench Duty” a sonnet – what kind? English (Shakespearean) – narrative sonnet – tells a story –three quatrains: establish what “trench duty” is: –rhyming couplet:

117. Sassoon – “Trench Duty” a sonnet – what kind? English (Shakespearean) – narrative sonnet – tells a story –three quatrains: establish what “trench duty” is: routine, dull, chaotic, frenetic, tense… –rhyming couplet:

118. Sassoon – “Trench Duty” a sonnet – what kind? English (Shakespearean) – narrative sonnet – tells a story –three quatrains: establish what “trench duty” is: routine, dull, chaotic, frenetic, tense… –rhyming couplet: comments on the random senselessness of it all…

119. Sassoon – “Trench Duty” a sonnet – what kind? English (Shakespearean) – narrative sonnet – tells a story –three quatrains: establish what “trench duty” is: routine, dull, chaotic, frenetic, tense… –rhyming couplet: comments on the random senselessness of it all…  Why did he do it?

120. Sassoon – “Trench Duty” a sonnet – what kind? English (Shakespearean) – narrative sonnet – tells a story –three quatrains: establish what “trench duty” is: routine, dull, chaotic, frenetic, tense… –rhyming couplet: comments on the random senselessness of it all…  Why did he do it?…I’m wide-awake, and some chap’s dead.

121. Sassoon – “Trench Duty” a sonnet – what kind? English (Shakespearean) – narrative sonnet – tells a story –three quatrains: establish what “trench duty” is: routine, dull, chaotic, frenetic, tense… –rhyming couplet: comments on the random senselessness of it all…  Over us, Chance hovers…. (AQW, 101)

122. Sassoon – “Trench Duty” a sonnet – what kind? English (Shakespearean) – narrative sonnet – tells a story –three quatrains: establish what “trench duty” is: routine, dull, chaotic, frenetic, tense… –rhyming couplet: comments on the random senselessness of it all…  Over us, Chance hovers. It is this Chance that makes us indifferent. (AQW, 101)

124. A note on the senseless randomness of it all…

125. Sassoon – “Trench Duty”  “A Working Party” A note on the senseless randomness of it all…

126. Sassoon – “Trench Duty”  “A Working Party” A note on the senseless randomness of it all…

127. Sassoon – “Trench Duty”  “A Working Party” A note on the senseless randomness of it all…  Over us, Chance hovers. It is this Chance that makes us indifferent. (AQW, 101)

128. Sassoon – “Trench Duty”  “A Working Party” A note on the senseless randomness of it all…  Over us, Chance hovers. It is this Chance that makes us indifferent. (AQW, 101)  And as he dropped his head the instant split His startled life with lead, and all went out. (“Working Party,” 49-50)

129. Sassoon – “Trench Duty”  “A Working Party” A note on the senseless randomness of it all…  Over us, Chance hovers. It is this Chance that makes us indifferent. (AQW, 101)  And as he dropped his head the instant split His startled life with lead, and all went out. (“Working Party,” 49-50)  Why did he do it…? Starlight overhead – Blank stars. I’m wide awake; and some chap’s dead. (“Trench Duty,” 13-14)

130. Sassoon – “Trench Duty”  “A Working Party” A note on the senseless randomness of it all…  Over us, Chance hovers. It is this Chance that makes us indifferent. (AQW, 101)  And as he dropped his head the instant split His startled life with lead, and all went out. (“Working Party,” 49-50)  Why did he do it…? Starlight overhead – Blank stars. I’m wide awake; and some chap’s dead. (“Trench Duty,” 13-14)  Both poems // AQW: at any time, in any place, death can take you; it is only a matter of Chance.