Wilfred Owen

Wilfred Owen (born March 18, 1893, Oswestry, Shropshire, England—killed November 4, 1918, France) was an English poet noted for his anger at the cruelty and waste of war and his pity for its victims. His poetry was drawn from his experiences while fighting in World War I. Owen’s work helped lay the foundation for the Modernist era in poetry. He also is significant for his technical experiments in assonance, which were particularly influential in the 1930s.

(Read Britannica’s essay “War Stories: 13 Modern Writers Who Served in War.”)

Background and formative years

Owen’s father, Thomas Owen, was a railway clerk, and his mother, Susan (née Shaw) Owen, had come from an affluent family whose fortunes changed for the worse when she was young. Wilfred Owen was the eldest of four children, and when he was born the family resided in his maternal grandfather’s home in Oswestry, Shropshire, England. His grandfather’s death in 1897 forced the family to move to Birkenhead, Merseyside. Owen was educated at the Birkenhead Institute and then at Shrewsbury Borough Technical School, after his father became an assistant railway superintendent in Shrewsbury, Shropshire.

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Poetry: First Lines

Owen matriculated at the University of London but did not earn the scholarship he needed to continue his education there. He then took an unpaid position as an assistant to an Anglican vicar near Reading, Berkshire, where he tended to those in need in the parish. Some critics believe that this experience heightened Owen’s sensitivity to human suffering, which would come through in his writing. However, he also became disillusioned with Christianity. After an illness in 1913 he lived in France. He had already begun to write and, while working as a tutor near Bordeaux, was preparing a book of “Minor Poems—in Minor Keys—by a Minor,” which was never published. These early poems are consciously modeled on those of the Romantic poet John Keats; often ambitious, they show enjoyment of poetry as a craft.

World War I, meeting Siegfried Sassoon, and maturity as a poet

In 1915 Owen enlisted in the British army, and the following year he was sent to France with the Lancashire Fusiliers to fight in the trenches in World War I. In 1917, during his first six months of battle, his troop was gassed with poison and forced to sleep in an open field of snow. In one incident he spent several days huddled in a foxhole near the body of a soldier who had been killed. As a poet, the experience of trench warfare brought Owen to rapid maturity; the poems written after January 1917 are full of anger at war’s brutality, an elegiac pity for those “who die as cattle” (in “Anthem for Doomed Youth”), and a rare descriptive power.

By May 1917 Owen had been experiencing severe headaches (he had suffered a concussion during battle earlier in the year). He was diagnosed with “shell shock” (the term at the time for combat fatigue) and sent to Craiglockhart, a hospital for wounded soldiers near Edinburgh. It was there that he met the poet Siegfried Sassoon, an officer who shared his feelings about the war and who became interested in his work. Reading Sassoon’s poems and discussing his work with Sassoon revolutionized Owen’s style and his conception of poetry.

Between August 1917 and September 1918 Owen wrote many of his most-celebrated poems, including “Dulce et Decorum Est” and “Exposure,” which describe the gas attack and the fighting in the snow, respectively, that he had experienced early in 1917. In “Strange Meeting,” the poem’s soldier speaker descends into hell, where he encounters the shade of an enemy soldier whom he killed in battle:

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“I am the enemy you killed, my friend.
I knew you in this dark: for so you frowned
Yesterday through me as you jabbed and killed.
I parried; but my hands were loath and cold.
Let us sleep now.…”

Death and posthumous publications

Despite the plans of well-wishers to find him a staff job, Owen returned to France in August 1918 as a company commander. He was awarded the Military Cross in October and was killed a week before Armistice Day (November 11, 1918).

Published posthumously by Sassoon, Owen’s single volume of poems contains the most poignant English poetry of the war. His collected poems, edited by Cecil Day-Lewis—who called them “certainly the finest written by any English poet of the First War and probably the greatest poems about the war in our literature”—were published in 1963. Owen’s collected letters, edited by his younger brother Harold Owen and by John Bell, were published in 1967.

Legacy

Owen’s poems were used in British composer Benjamin Britten’s War Requiem (1962), a work for choir and orchestra that is also based on the Latin requiem mass. In 1989 director Derek Jarman adapted the work to film, with Nathaniel Parker playing Owen. Booker Prize-winning author Pat Barker’s Regeneration trilogy (1991–95) also covers Owen’s war experience, as does Richard Weston’s film The Burying Party (2018).