For the present-day reader with historical hindsight, however, the reading of and moral response to that same poem will be different, the very overtness of the patriotism causing the modern reader precisely to reject its implications. It is of historical and sociological interest to consider the reception of a patriotic and pro-war poem in its contemporary context, however difficult it may sometimes be to appreciate literary effect in a work the morality of which is questionable. The greatness ofsaythe English poets of the First World War who showed its horror is undeniable, but otherĪttitudes to the wars in the lyric need not be neglected. Since wars are fought between nations, the study of modern war poetry ought surely to be comparative, even though there are enormous contrasts within and between national literatures. How useful in the context of the lyrics of the world wars was an aesthetic division between poetry and verse, and what was the place of song? Could aesthetic and moral judgements be mixed? Are war poems only those produced by soldiers who fought (and, so some interpretations seem to imply, actually fell) in the wars, or is a broader view of all lyrics associated with the events of the two world wars possible? How can we distinguish between the reception of war poems in their own time and their reception now? Some points seem fairly clear. With these doubtless naivequestions came a series of others. The view that war poetry in the twentieth century actually means anti-war poetry appears inadequate given the enormous amount of poetry produced, and an aesthetic approach to poetry seems limited. The starting point for this book was the question of how to define war poetry in this century and, beyond that, how a good war poem is to be recognized. But they gave rise to an enormous amount of poetry, they used the lyric in a variety of ways and, beyond that, they affected the idea of poetry. ![]() They were new in that they were wars of machinery and of killing on an unprecedented scale they were wars fought by soldiers who were mostly civilians in uniform and as world wars they involved directly and on a massive scale people who were not soldiers at all. ![]() The two world wars are the major historical events of the present century. MY LILLI OF THE LAMPLIGHT: SONGS OF THE SECOND WORLD WARħ WORLD WAR THREE BLUES: THE LYRIC AND AUGUST 1945 ![]() THERE IS NO NEED FOR ALARM: POEMS OF THE ALLIES, 1939–45 WHEN THIS BLEEDING WAR IS OVER: SONGS OF THE FIRST WORLD WARĤ TOMORROW THE WHOLE WORLD: FASCISM AND THE LYRIC 5 WE HATE AS ONE: POEMS OF THE FIRST WORLD WAR There’s a mad’nin’ shout as the sabres flash out, For I’m sounding the “Charge” -no wonder! And it’s Hell’, said the Trumpeter tall. I’m urgin’ ’em on, they’re scamperin’ on, There’s a drummin’ of hoofs like thunder. (Is it the call I’m seeking?)’ ‘Can’t mistake the call’, said the Trumpeter tall, ‘When my trumpet goes a-speakin’. 784.6’835502’0931 ISBN 4-2 (Print Edition) Library of Congress Cataloging in Publication Data available on request ISBN 2-1 Master e-book ISBN ISBN 0-4 (Glassbook Format) British Library Cataloguing in Publication Data Fighting songs and warring words: popular lyrics of two world wars. ![]() No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. © 1990 Brian Murdoch All rights reserved. FIGHTING SONGS AND WARRING WORDS Popular lyrics of two world warsįirst published 1990 by Routledge 11 New Fetter Lane, London EC4P 4EE 29 West 35th Street, New York, NY 10001 This edition published in the Taylor & Francis e-Library, 2002.
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