1. Shakespeare and the Literary Heritage Controlled Assessment,
MARCH 2011: Mr Waugh’s Year 11 Class
Shakespeare and
the literary
heritage
How do the authors show their ideas about war in
Shakespeare’s Henry V and the poetry of Wilfred Owen
Your answer should be 1000-1200 words in length and use extensive
examples from Henry V and Wilfred Owen’s poems.
It must also:
! Identify the distinctive textual features for both the poems and the play
! Explore the differences and similarities between the play and poetry
! Indicate ways that the texts reflect the ideas of society at the time they
were written
! Discuss what the language used in the texts may tell us about the author’s
views on war.
You have one session to complete this controlled assessment
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2. Wilfred Owen

3. WILFRED EDWARD SALTER OWEN, 1893 - 1918.
Born Oswestry, Shropshire. Educated at Birkenhead Institute and Shrewsbury
Technical College.
From the age of nineteen Owen wanted to be a poet and immersed himself in poetry,
being especially impressed by Keats and Shelley. He wrote almost no poetry of
importance until he saw action in France in 1917.
He was deeply attached to his mother to whom most of his 664 letters are addressed.
(She saved every one.) He was a committed Christian and became lay assistant to the
vicar of Dunsden near Reading 1911-1913 - teaching Bible classes and leading prayer
meetings - as well as visiting parishioners and helping in other ways.
From 1913 to 1915 he worked as a language tutor in France.
He felt pressured by the propaganda to become a soldier and volunteered on 21st
October 1915. He spent the last day of 1916 in a tent in France joining the Second
Manchesters. He was full of boyish high spirits at being a soldier.
Within a week he had been transported to the front line in a cattle wagon and was
"sleeping" 70 or 80 yards from a heavy gun which fired every minute or so. He was
soon wading miles along trenches two feet deep in water. Within a few days he was
experiencing gas attacks and was horrified by the stench of the rotting dead; his sentry
was blinded, his company then slept out in deep snow and intense frost till the end of
January. That month was a profound shock for him: he now understood the meaning
of war. "The people of England needn't hope. They must agitate," he wrote home.
(See his poems The Sentry and Exposure.)
He escaped bullets until the last week of the war, but he saw a good deal of front-line
action: he was blown up, concussed and suffered shell-shock. At Craiglockhart, the
psychiatric hospital in Edinburgh, he met Siegfried Sassoon who inspired him to
develop his war poetry.
He was sent back to the trenches in September, 1918 and in October won the Military
Cross by seizing a German machine-gun and using it to kill a number of Germans.
On 4th November he was shot and killed near the village of Ors. The news of his
death reached his parents home as the Armistice bells were ringing on 11 November.
Owen is widely accepted as the greatest writer of war poetry in the English language.

4. ANTHEM FOR DOOMED YOUTH
by WILFRED OWEN
What passing-bells for these who die as cattle?
---Only the monstrous anger of the guns.
Only the stuttering rifles' rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers nor bells;
Nor any voice of mourning save the choirs,---
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.
What candles may be held to speed them all?
Not in the hands of boys but in their eyes
Shall shine the holy glimmers of goodbyes.
The pallor of girls' brows shall be their pall;
Their flowers the tenderness of patient minds,
And each slow dusk a drawing-down of blinds.

5. FUTILITY
by WILFRED OWEN
Move him into the sun---
Gently its touch awoke him once,
At home, whispering of fields half-sown.
Always it woke him, even in France,
Until this morning and this snow.
If anything might rouse him now
The kind old sun will know.
Think how it wakes the seeds---
Woke once the clays of a cold star.
Are limbs, so dear achieved, are sides
Full-nerved, still warm, too hard to stir?
---O what made fatuous sunbeams toil
To break earth's sleep at all?

6. DULCE ET DECORUM EST
by WILFRED OWEN
Bent double, like old beggars under sacks,
Knock-kneed, coughing like hags, we cursed through sludge,
Till on the haunting flares we turned our backs
And towards our distant rest began to trudge.
Men marched asleep. Many had lost their boots
But limped on, blood-shod. All went lame; all blind;
Drunk with fatigue; deaf even to the hoots
Of tired, outstripped Five-Nines that dropped behind.
Gas! Gas! Quick, boys!---An ecstasy of fumbling,
Fitting the clumsy helmets just in time;
But someone still was yelling out and stumbling,
And flound'ring like a man in fire or lime...
Dim, through the misty panes and thick green light,
As under a green sea, I saw him drowning.
In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.
If in some smothering dreams you too could pace
Behind the wagon that we flung him in,
And watch the white eyes writhing in his face,
His hanging face, like a devil's sick of sin;
If you could hear, at every jolt, the blood
Come gargling from the froth-corrupted lungs,
Obscene as cancer, bitter as the cud
Of vile, incurable sores on innocent tongues,---
My friend, you would not tell with such high zest
To children ardent for some desperate glory,
The old Lie: Dulce et decorum est
Pro patria mori.