Into Battle – Julian Grenfell

‘Into Battle’

The naked earth is warm with spring,
And with green grass and bursting trees
Leans to the sun’s gaze glorying,
And quivers in the loving breeze;
And life is Colour and Warmth and Light,
And a striving evermore for these;
And he is dead who will not fight;
And who dies fighting has increase.

The fighting man shall from the sun
Take warmth, and life from the glowing earth;
Speed with the light-foot winds to run,
And with the trees a newer birth;
And find, when fighting shall be done,
Great rest, and fullness after dearth.

All the bright company of Heaven
Hold him in their high comradeship-
The Dog-star, and the Sisters Seven,
Orion’s Belt and sworded hip.

The woodland trees that stand together,
They stand to him each one a friend;
They gently speak in the windy weather;
They guide to valley and ridge’s end.

The kestrel hovering by day,
And the little owls that call by night,
Bid him be swift and keen as they-
As keen of sound, as swift of sight.

The blackbird sings to him, ‘Brother, brother,
If this be the last song you shall sing,
Sing well, for you will not sing another;
Brother, sing.’

In dreary doubtful waiting hours,
Before the brazen frenzy starts,
The horses show him nobler powers;
O patient eyes, courageous hearts!

And when the burning moment breaks,
And all things else are out of mind,
And Joy of Battle only takes
Him by the throat, and makes him blind-

Through joy and blindness he shall know,
Not caring much to know, that still
Nor lead nor steel shall reach him, so
That it be not the Destined Will.

The thundering line of battle stands,
And in the air death moans and sings;
But Day shall clasp him with strong hands,
And Night shall fold him in soft wings.

NOTES

This poem has a strong pastoral feel, as in so many of the poems of the First World War (remember, the poetry written immediately before the war was very concerned with the countryside and rural life). In this way, it follows some of the traditional and conservative forms of Edwardian poetry. This form of pastoral has been adapted, though, so that nature becomes a source of inspiration for the soldier. Grenfell’s soldier in this poem follows the classical ideal of the soldier, who looks to gain glory through battle.

STRUCTURE: Simple, classic rhyme scheme: 4 line verse (quatrain) of 8 syllables each, rhyming ABAB (a form known as ‘cross-rhyme’).

Julian Grenfell: Julian Grenfell was an aggressive character who gloried in going to war. He once famously wrote in a letter home, “I adore war. It is like a big picnic without the objectivelessness of a picnic. I have never been more well or more happy”. This poem is written in praise of battle and the soldier.

‘Into Battle’: The poem describes the inspiration that a soldier can take from nature in the quiet contemplative moments before battle. It was first published in The Times the day after Grenfell’s death, on 27th May 1915.

“The naked earth is warm with spring…”: sets the pastoral scene of the poem.

“…who dies fighting has increase”: perverse declaration that war is life: those who die in battle have lived life to its fullest.

“The fighting man shall from the sun / Take warmth…”: this is a key stanza in the poem. It is a sextet and focuses on the ‘fighting man’ and his qualities, taken from nature.

‘Speed with the light-foot winds to run”: the soldier appears to be an idealized warrior-god. Physical exertion is also seen as liberating- all part of Grenfell’s classical, ‘muscular’ and masculine aesthetic.

“All the bright company of Heaven / Hold him in their high comradeship”: The noble and high nature of soldiery. The stars named after are associated with the hunt: Sirius (the Dog-Star) is Orion’s (the hunter’s) hunting hound.

Stanzas 5, 6, 7, 8: the landscape / trees and animals are the soldier’s inspiration and friends. He has their best qualities, follows their laws. The key line is “the horses show him nobler powers”– nature teaches the man in war, and he in turn becomes one with nature (horses are traditional symbols of wisdom; hence Blake’s ‘horses of instruction’ and Swift’s Houyhmhnms).

“And when the burning moment breaks…”: these next two stanzas are where the poem reaches an almost orgasmic climax, a pleasure in impulse and power during battle. “Joy of battle” is expresses a Classical kind of pleasure in war. This is a very masculine, aggressive idea of war and soldiering. The great soldier is a little like the ‘man-killer’ Achilles in spirit, impervious to the weapons of the other side: “Nor lead nor steel shall touch him”. The great warrior puts himself in the hands of fate, “the Destined Will”.

“…in the air Death moans and sings…”: incredible image where Death becomes the god of this world, the mind that rules over it. Grenfell almost seems to exult in this: perhaps only death brings true glory?

“But Day shall clasp him… Night…”: the poem ends on a note of reassuring restfulness, the ecstacy of battle done.

[ANTHOLOGY NOTE: At this point, the anthology moves from poems by those with a lack of knowledge of the front line (Brooke saw action, but never fought) to a more direct knowledge of what battle is like. Note that Grenfell still indulges in some of the Classical idealizations of the warrior that Brooke, Asquith and others also dealt in.]

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In Time of ‘The Breaking of Nations’ – Thomas Hardy

In Time of ‘The Breaking of Nations’

I

Only a man harrowing clods
In a slow silent walk
With an old horse that stumbles and nods
Half asleep as they stalk.

II

Only thin smoke without flame
From the heaps of couch-grass;
Yet this will go onward the same
Though Dynasties pass.

III

Yonder a maid and her wight
Come whispering by:
War’s annals will cloud into night
Ere their story die.

Thomas Hardy

NOTES

In this poem a farmer leads his horse as he farms his fields: a young man and his lover walk by as he does so. This simple poem was written by Hardy for a conservative paper, the Saturday Review, in January 1916. Hardy was asked for a heartening poem at a time when public opinion was turning against the war.

STRUCTURE: Three alternate rhyming quatrains, ABAB. The lines are short and the sense fragmentary, as we read. There is enjambment here, but the running over of meaning from line to line in fact slows the reader down as she attempts to build a picture.

In Time of ‘The Breaking of Nations’: this poem takes an epochal perspective on the war. It recognizes the world-changing nature of the war (the “breaking of Nations”), but only to contrast this to the timeless nature of the work of the farmer and the meeting of lovers. The title is taken from the Bible: Jeremiah, 51:20— “Thou art my battle axe and weapons of war: for with thee will I break in pieces the nations, and with thee will I destroy kingdoms.” This poem can be interestingly compared to a very similar poem in theme and content, ‘As the Team’s Head Brass’ by Edward Thomas (p.180).

“Only a man harrowing clods”: Harrowing turns over the ground to prepare for seeds. There is a double meaning here, however: the war is also ‘harrowing’, or ‘extremely disturbing’. The word “only” is deceiving: though indeed this poem concerns a simple farmer, the poem suggests that such men will outlast the war.

“In a slow, silent walk”: note the sibilance here and throughout the first stanza, which, with the use of assonance in the opening stanza (only, clods, slow, horse, nods) leads to a soft, slowly paced beginning to the poem, suitable to its slow-moving subject.

“Half asleep as they stalk”: the beginning of the poem has a deliberately slow, soporific feel: everything moves at a slower pace in this rural world.

“Only thin smoke without flame”: contrasts with the terrible fires and destruction of the war. The farmer is burning weed he has pulled from his fields.

“this will go onward…though dynasties pass”: compared to the war, the conflagration the farmer starts is small, but part of a farming tradition that will continue “the same” as rulers and governments come and go over centuries.

“Yonder a maid and her wight”: antiquated language here: wight is an old word for a knight or man. The lovers are another timeless element added to this scene, contrasted with the passing horrors of war.

whispering by”: the deliberate quiet of the scene in this poem can be a source of criticism— isn’t Hardy similarly silent about the events in Europe? In taking refuge in timeless truths, isn’t he running away from the horrific events of today?

“War’s annals”: annals are books describing particular years. These books will fade away and disappear (“cloud into night”) “Ere their story die”. ‘They’ are the couple— love and lovers, Hardy seems to say, are eternal.

[ANTHOLOGY NOTE: This poem is typical of a certain pastoral or rural view of humanity’s rightful place in Nature— a view opposed the mechanized horror of man’s present wars. Pastoral scenes and the depiction of rural life were popular in poetry before the First World War, and the peace and contentment found there, the space for thought and refuge, and the nostalgia felt there for a lost England means Nature is a subject matter that runs throughout most of the poetry of the First World War.]