Siegfried Sassoon Glory Of Women

The rubric of the verse form itself is equivocal. presenting the inquiry whether adult females functions during war are glorious as the soldiers on the battleground. A figure of techniques were used in this verse form to pass on Sassoons thought of emotional truth about the war. Sassoon speaks straight to the readers by composing in 2nd individual You. an effort to affect the readers and convey attending to those he directed this verse form at adult females. He besides uses vowel rhyme which creates a euphonous consequence when being read.

The verse form begins with a praising tone. with irony and resentment scattered throughout the remainder of its content. You love us when we’re heroes. place on leave. Or wounded in a mentionable topographic point. depicts womens ignorance in respects to war. believing soldiers to be heroes merely when they are wounded in a mentionable topographic point.

The Great War offered many occupation chances for adult females that had long been denied them.

You make us shells. portray the many adult females who were recruited into weaponries mills during the war. This line is dry in a sense that it is the shells that kill the soldiers. whether they be British or German. It is a apposition to line 8 And mourn our laureled memories when we’re killed. picturing that the adult females make shells that kill soldiers. and are hence farther heating the struggle of war. making more deceases and bereavement.

Strong imaginations were presented in the concluding three lines of the verse form.

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a German female parent knitting socks for her boy while he lay dead in the clay. This imagination shows the ignorance and how much cognition and experience adult females have about the truth of war. It is intended to straiten those adult females who tend to pass clip at place. and have no thought of the ferociousness of war that Sassoon and many other soldiers had experienced. This imagination is besides a contrast of adult females and work forces functions during The Great War. Sassoon is anguished by the fact that adult females sit at place comfortably while soldiers are put on the lining their lives on the battleground.

The imaginations from the concluding three lines besides depict that whether it be British or German. the soldiers are all persons. His face is trodden deeper in the clay. allowed readers to sympathize with the honor that dead soldiers frequently receive. German soldiers besides have adult females to mourn their laureled memories when they are killed.

The emotions that Sassoon portrayed in this verse form are both dismaying and suffering. Treading the awful cadavers – blind with blood. describes the pragmatism of war. in contrast to By narratives of soil and danger lovingly thrilled. Sassoon believes that adult females perceive war as a epic narrative. where in world it is full of blood and force.

Therefore. the rubric and the content of this compelling and powerful verse forms are written in pure sarcasm. In Sassoons sentiment. adult females can non gain glorification by knitting at place. nor by doing shells that encourage farther violent deaths. The usage of narrative in 2nd individual efficaciously leaves readers with an apprehension of the ferociousness of war. and an penetration into the functions which adult females played during World War I.


  1. Sassoon. S. Glory of Women. The Norton Anthology of Literature vol. 2. 2000.
  2. Kanaya. T. Sassoon’s Use of Irony in “Glory of Women” . hypertext transfer protocol: //www. haverford. edu/engl/english354/GreatWar/Sassoon/Sasslehr. hypertext markup language. 1997.
  3. Lehr. A. On Glory Of Women by Siegfried Sassoon. hypertext transfer protocol: //www. haverford. edu/engl/english354/GreatWar/Sassoon/Sasslehr. hypertext markup language. 1999.

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Siegfried Sassoon Glory Of Women
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