Siegfried Sassoon. 'They' remains in copyright and so cannot be reproduced here.


This poem satirically contrasts the moral improvement to British soldiers promised by a Bishop with the physical damage and moral degradation that they actually experience.

STRUCTURE: ‘They’ is comprised of two stanzas of equal length: six lines of iambic pentameter each, with rhyme scheme ABABCC. The second stanza subverts the message of the first. ‘They’ has a clever rhythmical structure, intended to create a particular tone to the poem. Sassoon subtly subverts the Bishop’s strident sermon in the first stanza by his use of colons and semi-colons as caesuras or pauses in the middle of each line. These give the first stanza a deliberately halting rhythm that, along with the rhetorical confidence of the Bishop’s sermon, gives his speech a subtle staginess that suggests an insincere performance. By contrast, the strong rhythm given to the answers of the men in the second stanza reinforces the ugly truth that they tell. The soldiers’ reply tends to pause more ‘naturally’ at the end of lines, ‘end-stopping’ each statement, giving a sense of complete meaning.

Siegfried Sassoon: Siegfried Sassoon is the greatest of the British poets to have survived the war. Born into a wealthy family, Sassoon had a lonely childhood. He took the expected route of his privileged class from public school (Marlborough) and thence up to university (Cambridge), though he quit Cambridge without a degree. At Cambridge, Sassoon fell in love with David Thomas, who later died serving with Sassoon and their friend Robert Graves in the Royal Welch Fusiliers at Fricourt (Graves would write the poem ‘Goliath and David’ in tribute to Thomas; Sassoon ‘The Last Meeting’ and ‘A Letter Home’). Sassoon took Thomas’ death badly and would go out into no-man’s land nightly, “looking for Germans to kill”. Sassoon, in fact, had a reputation for bravery amongst his men (he was known as ‘Mad Jack’) and won the Military Cross for his actions during the Battle of the Somme. Sassoon was shot in 1917 and invalided home, there meeting a number of notable pacifists. Sassoon became convinced that he had to make a statement about the conduct of the war, which he described in a letter (later read to parliament) as “now become a war of aggression and conquest”. His friend Graves, fearing that Sassoon would be harshly punished, testified before the army medical board that Sassoon had shell-shock and Sassoon was sent to Craiglockhart War Hospital, Edinburgh. It was here that Sassoon met Wilfred Owen and fostered his writing ambitions. Sassoon eventually returned to fight on the Western front in 1918, but was again shot in June of that year. He did however survive the war, and published his brilliant autobiographical trilogy, The Memoirs of George Sherston over the next twenty years. He died in 1967.

They: ‘They’ are the idealised British soldiers of whom the bishop speaks. ‘They’ are quite unlike the real soldiers who go to war.

“The Bishop tells us:”: The figure of religious authority in the poem— a Bishop of the Church of England— speaks with confidence about a situation of which he has no knowledge. He represents a brand of religious cant and hypocrisy that was deeply unpopular amongst many men at the front.

“When the boys come back / They will not be the same;”: The meaning of the poem turns on this observation— that the war changes the men who fought in it. Note the easy familiarity, even patronizing tone of the reference to ‘the boys’, and the use of alliteration in this first line, as throughout the poem.

“for they’ll have fought / In a just cause;”: alliteration (‘f’) is again used to give a rhythmic force to the Bishop’s leading statements. The mention of a “just cause” reinforces the sense that the Bishop is dealing in popular platitudes about the justification for war— that it is “just”, or ‘right’.

“their comrades blood has bought…”: the soldiers are explicitly compared to Christ, who ‘bought’ man eternal life by dying for their sins. Sassoon’s earlier poem ‘The Redeemer’ explicitly made this contrast: interestingly, Sassoon now seems to refute this sentimental analogy.

“New right to breed an honourable race,”: what follows from this Christ-like redemption is more unpleasant however. The Bishop uses pseudo-scientific language, popular around the turn of the century. In Social Darwinist terms, the ‘right to breed’ is claimed through the sacrifice of soldiers. This ‘survival of the fittest’ (here, the fittest are the most “honourable”) is an idea that underlay much elitist thinking about society and often had, as here, a racist dimension. Compare and contrast this line with those found in Rupert Brooke’s ‘Peace’ and ‘The Dead’.

“they have challenged Death and dared him face to face”: the Bishop’s heroic and clichéd rhetoric unwittingly recalls the line in Corinthians 13:12, that declares “now we see through a glass, darkly; but then, face to face”. This Biblical line declares that before death we have necessarily imperfect knowledge, only attaining real enlightenment when we meet God. In many ways, the Bishop embodies this cosmic ignorance.

“‘We’re none of us the same!’ the boys reply”: The anguished agreement echoes— along with the use of the phrase “the boys” – the first line, only to subvert the Bishop’s prediction.

“For George lost both his legs…”: A grim litany of injuries follows, spelling out the true consequences of war for “the boys”. Note that the soldiers are named, rather than idealized and anonymous in the Bishop’s sermon. The description is explicit and pitiful: “Poor Jim’s shot through the lungs and like to die”.

“‘And Bert’s gone syphilitic:”: Bert has contracted syphilis, a sexually transmitted disease. Soldiers on leave would commonly visit prostitutes in the local towns and villages; brothels were even graded in some areas for use by officers (signed by blue lamps) and privates (red lamps). Venereal infection was endemic, as prostitutes could sleep with over a hundred men a day. Note the deeply ironic contrast, then, between this and the Bishop’s claim that “their comrades blood has bought / New right to breed an honourable race”.

“…that hasn’t found some change.”: the irony of this statement illustrates Sassoon’s satirical point, that a massive change has indeed come to the men, but quite different to that which the Bishop predicts.

“And the Bishop said; ‘the ways of God are strange!”: The Bishop resorts to idiotic cliché to explain the real change witnessed, essentially pronouncing that ‘God works in mysterious ways’.

[ANTHOLOGY NOTE: This poem is in some ways representative of the selections that Stallworthy makes from Sassoon’s poetry in the OBOWP. Stallworthy describes Sassoon’s later war poems as “launched at the reader like a hand grenade” (p.68), and this, written in 1916, fits the same billing. It is a cutting attack on the hypocrisy of authority and the kind of rhetoric used to encourage others to go abroad and fight. As such it stands special comparison with Sassoon’s own attack on the military leadership, ‘The General’ (p.177), but also G.K. Chesterton’s acerbic attack on the political class, ‘Elegy in a Country Churchyard’ (p.212).]