Robert Nichols, a fellow English war poet, wrote an introduction to Siegfried Sassoon’s 1918 collection Counter-Attack and Other Poems that is reprinted in my Dover Edition of the War Poems of Siegfried Sassoon. In it, Nichols recounts a conversation he once had with Sassoon, on the topic of “certain exalté poems in [Nichols's] Ardours and Endeavours.” Sassoon likes the poems, and says:
“War has made me. I think I am a man now as well as a poet. You have said the things well enough. Now let us nevermore say another word of whatever litlte may be good in war for the individual who has a heart to be steeled.”
I remember I nodded, for further acquaintance with war inclines me to his opinion.
“Let no one ever,” he continued, “from henceforth say a word in any way countenancing war. It is dangerous even to speak of how here and there the individual may gain some hardship of soul by it. For war is hell and those who institute it are criminals. Were there anything to say for it, it should not be said for its spiritual disasters far outweigh any of its advantages.”
War poems are, in some sense, a kind of Remembrance. Many are about individual fallen comrades; many more refer to the unnamed dead. Ghosts are everywhere, and dying men are everywhere, suffering and taking their last breaths. The poems are a record of horror and calamity, and many are also accusations.
How then does one read the poems without thinking of the “hardship of soul” Sassoon gained by the war? It was the war that allowed him to see and understand these things, and the war that allowed him to develop into the poet he did. His poems could only have been written by someone who had just those spiritual advantages war does offer—and as such, there is always the subtext: you were not there, you cannot Remember the way we can. Is it possible to read Sassoon’s work while following his instruction never to “say a word in any way countenancing war”?
I think the answer to that question is yes, but it’s one that I think will dog me throughout the Great War project.