‘In Flanders Fields’

In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.

We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved, and were loved, and now we lie
In Flanders fields.

Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep, though poppies grow
In Flanders fields.

NOTES

This is a poem of remembrance, a call for those living not to forget the dead who are buried in a foreign land. It demands that the living remember why the fallen died, so that they did not die in vain. This is one of the most famous poems of the First World War.

STRUCTURE: This poem uses a specifically French form, dating back to the 13th Century, known as a rondeau. A rondeau traditionally has 13 lines of 8 syllables length; it has three stanzas, with rhyme scheme AABBA AABC AABBAC; and it features a four syllable refrain (marked C in the notation previous) that repeats the opening words of the poem. Check these against McCrae’s poem: you’ll find he follows the form quite perfectly. As writing a sonnet, composing a rondeau is demanding exercise for a poet.

John McCrae: A Canadian doctor who treated soldiers on the Western Front. He threw away the poem after first writing it, only fishing it out of his bin the next day.

In Flanders Fields: features the alliteration that helps structure this poem throughout.

“…the poppies grow”: poppies were a symbol for death in war before World War One, but it was McCrae’s poem that helped to popularize the poppy as a sign of remembrance for the Great War. Poppies have been associated with the battlefield since at least the Napoleonic wars, when poppies would thrive and grow on the fields freshly manured by blood. Poppies were also associated with sleep (opium being a poppy derivate) and McCrae, being a doctor, would have been conscious of this: the idea of sleeping under the poppies is revived in the last lines.

“We are the dead.”: the poem turns, surprisingly, to the dead, who are given voice by the poet. This is a powerful and emotive turn, a direct address of the living by the fallen.

“In the sky, the larks”: these birds, traditional poetic symbols of natural beauty and freedom, contrast strongly with the world below. As often, nature provides an idealized backdrop to the war that provides a contrast with man’s immoral actions.

“Take up our quarrel with the foe”: the message of the poem is to continue the war.

“we throw the torch… hold it high”: emotive image of passing on a burning torch to light the way forward. It must be held high— as a precious object of pride.

“if ye break faith with us who die / We shall not sleep…”: the suggestion is of a curse on those who do not remember the dead; an old and powerful idea.

“Though poppies grow…” reminds us the somnolent (sleep-inducing) power of the poppy.

[ANTHOLOGY NOTE: This is the first of the poems in the anthology to give the war dead a voice that directly addresses the reader: the first of the powerfully emotive poems that try to express the ‘pity’ of the soldier’s situation.]