1 10 31 https://shellshockpopularculturearchive.com/omeka/files/original/48b058a89c4e2191274e7193fe5731a5.jpg 5a5a6a5d99d422fbe8df5f11f82dd0d6 https://shellshockpopularculturearchive.com/omeka/files/original/3fc1f4156c7cfc1047993e378296c58c.jpg fd165dc4f8ec8b2f25a1af13c8e6f258 https://shellshockpopularculturearchive.com/omeka/files/original/769f6c0b72d3b98b4b4b3f6f7bf48b9b.jpg 1cdc9fd4602e5398553fafec191dc8d3 https://shellshockpopularculturearchive.com/omeka/files/original/4b2ae2fccad7553a0f432e2e3ff48125.jpg 73343440c90dd9454ab7621ca84d1a0b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource War Poetry Subject The topic of the resource Poetry of the First World War Description An account of the resource During the First World War, writers responded to this international upheaval. While early war poetry lauded values such as bravery, courage, and patriotism, later war poetry dealt with the horrors of war and its lasting impact. This collection reflects later war poetry, though it includes some earlier war poems as well. Date A point or period of time associated with an event in the lifecycle of the resource 1914-1928 Language A language of the resource English Musical Score score, notation, in manuscript or printed form, of a musical work, probably so called from the vertical scoring lines that connect successive related staves. A score may contain the single part for a solo work or the many parts that make up an orchestral or ensemble composition. A full, or orchestral, score shows all the parts of a large work, with each part on separate staves in vertical alignment (though subdivisions of related instruments frequently share a stave), and is for the use of the conductor. (The notation for each performer, called a part, contains only the line or lines he or she is to perform.) Thus, the conductor can see at a glance what each performer should be playing and what the ensemble sound should be. Some conductors prefer to commit the score to memory in order to concentrate entirely on guiding the performance. The reduction of a full score to fit the scope of the piano is called a piano score. Such a score, especially when it is of a complex piece, is often divided between two pianos. A vocal score, used for large works, such as operas and oratorios, in rehearsal, contains the piano reduction of the orchestral parts, along with the vocal lines indicated separately above the piano. Citation: Britannica, T. Editors of Encyclopaedia. "score." Encyclopedia Britannica, September 13, 2017. https://www.britannica.com/art/score-music. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Hydra: Magazine of Craiglockhart War Hospital, December 1917 Subject The topic of the resource Illustrated cover of 'The Hydra' for December 1917 showing a Hydra attacking a soldier, defended by two nurses. Description An account of the resource The Hydra was launched in April 1917 and stopped publication in 1918, serving as a hospital magazine for the soldiers at Craiglockhart Hospital. Wilfred Owen served as one of its editors, while Siegfried Sassoon's poems "Break of Day" and "Base Details" were published in its December 1917 issue. The magazine adopted the name of the Lernaean Hydra slain by Hercules during his twelve labors: "The name of the journal will indicate what we wish its character to be: many headed – many sided" (The Hydra, Journal of the Craiglockhart War Hospital 1917; 1:5). Creator An entity primarily responsible for making the resource Wilfred Owen, Siegfried Sassoon Source A related resource from which the described resource is derived https://oxford.omeka.net/s/ww1lit/item/65890#?c=&m=&s=&cv=&xywh=-781%2C-521%2C2722%2C1777 Publisher An entity responsible for making the resource available Oxford University Date A point or period of time associated with an event in the lifecycle of the resource December 1917 Contributor An entity responsible for making contributions to the resource Wilfred Owen, Siegfried Sassoon Format The file format, physical medium, or dimensions of the resource Paper magazine Type The nature or genre of the resource Magazine craiglockhart hospital hospital magazine magazine shellshock siegfried sassoon war poetry wilfred owen https://shellshockpopularculturearchive.com/omeka/files/original/93704bd258692fa92fc72704f38c3056.png 5f55cc99b8d5a64213ff5555c9405fff https://shellshockpopularculturearchive.com/omeka/files/original/bf3299c1e4363aa733850e9c3c475068.png 5ca9103ee5114ed7d601a198443e7144 https://shellshockpopularculturearchive.com/omeka/files/original/f603abf4b61072f377050d06af050e61.png ae66ab1dad083608282137a39543f09f Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource War Poetry Subject The topic of the resource Poetry of the First World War Description An account of the resource During the First World War, writers responded to this international upheaval. While early war poetry lauded values such as bravery, courage, and patriotism, later war poetry dealt with the horrors of war and its lasting impact. This collection reflects later war poetry, though it includes some earlier war poems as well. Date A point or period of time associated with an event in the lifecycle of the resource 1914-1928 Language A language of the resource English Poem Language sung, chanted, spoken, or written according to some pattern of recurrence that emphasizes the relationships between words on the basis of sound as well as sense: this pattern is almost always a rhythm or metre, which may be supplemented by rhyme or alliteration or both. The demands of verbal patterning usually make poetry a more condensed medium than prose or everyday speech, often involving variations in syntax, the use of special words and phrases (poetic diction) peculiar to poets, and a more frequent and more elaborate use of figures of speech, principally metaphor and simile. All cultures have their poetry, using it for various purposes from sacred ritual to obscene insult, but it is generally employed in those utterances and writings that call for heightened intensity of emotion, dignity of expression, or subtlety of meditation. Poetry is valued for combining pleasures of sound with freshness of ideas, whether these be solemn or comical. Some critics make an evaluative distinction between poetry, which is elevated or inspired, and verse, which is merely clever or mechanical. The three major categories of poetry are narrative, dramatic, and lyric, the last being the most extensive. "poetry." Oxford Reference. https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100333227 If I read a book [and] it makes my whole body so cold no fire ever can warm me I know that is poetry. These are the only way I know it. Is there any other way. Dickinson/Higginson Correspondence: 16 August 1870 (Letter 342) http://archive.emilydickinson.org/correspondence/higginson/jnl342.html Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Song of the Mud Creator An entity primarily responsible for making the resource Mary Borden Source A related resource from which the described resource is derived <a href="https://www.poetryfoundation.org/poems/57329/at-the-somme-the-song-of-the-mud">https://www.poetryfoundation.org/poems/57329/at-the-somme-the-song-of-the-mud</a> Publisher An entity responsible for making the resource available Current Opinion Date A point or period of time associated with an event in the lifecycle of the resource 1917 Language A language of the resource English Type The nature or genre of the resource Poetry Description An account of the resource Published in <em>Current Opinion</em> in 1917, Mary Borden wrote of her experiences as a woman at war in her poem "The Song of the Mud." Throughout the poem, Borden enumerates the various qualities of mud, an environmental threat on the battlefield of war, which pulls soldiers down to their final rest. <br /><br /> <div style="text-indent:-1em;padding-left:1em;">This is the song of the mud, </div> <div style="text-indent:-1em;padding-left:1em;">The pale yellow glistening mud that covers the hills like satin; </div> <div style="text-indent:-1em;padding-left:1em;">The grey gleaming silvery mud that is spread like enamel over the valleys; </div> <div style="text-indent:-1em;padding-left:1em;">The frothing, squirting, spurting, liquid mud that gurgles along the road beds; </div> <div style="text-indent:-1em;padding-left:1em;">The thick elastic mud that is kneaded and pounded and squeezed under the hoofs of the horses; </div> <div style="text-indent:-1em;padding-left:1em;">The invincible, inexhaustible mud of the war zone. </div> <div style="text-indent:-1em;padding-left:1em;"></div> <div style="text-indent:-1em;padding-left:1em;"></div> <div style="text-indent:-1em;padding-left:1em;">This is the song of the mud, the uniform of the poilu. </div> <div style="text-indent:-1em;padding-left:1em;">His coat is of mud, his great dragging flapping coat, that is too big for him and too heavy; </div> <div style="text-indent:-1em;padding-left:1em;">His coat that once was blue and now is grey and stiff with the mud that cakes to it. </div> <div style="text-indent:-1em;padding-left:1em;">This is the mud that clothes him. His trousers and boots are of mud, </div> <div style="text-indent:-1em;padding-left:1em;">And his skin is of mud; </div> <div style="text-indent:-1em;padding-left:1em;">And there is mud in his beard. </div> <div style="text-indent:-1em;padding-left:1em;">His head is crowned with a helmet of mud. </div> <div style="text-indent:-1em;padding-left:1em;">He wears it well. </div> <div style="text-indent:-1em;padding-left:1em;">He wears it as a king wears the ermine that bores him. </div> <div style="text-indent:-1em;padding-left:1em;">He has set a new style in clothing; </div> <div style="text-indent:-1em;padding-left:1em;">He has introduced the chic of mud. </div> <div style="text-indent:-1em;padding-left:1em;"></div> <div style="text-indent:-1em;padding-left:1em;"></div> <div style="text-indent:-1em;padding-left:1em;">This is the song of the mud that wriggles its way into battle. </div> <div style="text-indent:-1em;padding-left:1em;">The impertinent, the intrusive, the ubiquitous, the unwelcome, </div> <div style="text-indent:-1em;padding-left:1em;">The slimy inveterate nuisance, </div> <div style="text-indent:-1em;padding-left:1em;">That fills the trenches, </div> <div style="text-indent:-1em;padding-left:1em;">That mixes in with the food of the soldiers, </div> <div style="text-indent:-1em;padding-left:1em;">That spoils the working of motors and crawls into their secret parts, </div> <div style="text-indent:-1em;padding-left:1em;">That spreads itself over the guns, </div> <div style="text-indent:-1em;padding-left:1em;">That sucks the guns down and holds them fast in its slimy voluminous lips, </div> <div style="text-indent:-1em;padding-left:1em;">That has no respect for destruction and muzzles the bursting shells; </div> <div style="text-indent:-1em;padding-left:1em;">And slowly, softly, easily, </div> <div style="text-indent:-1em;padding-left:1em;">Soaks up the fire, the noise; soaks up the energy and the courage; </div> <div style="text-indent:-1em;padding-left:1em;">Soaks up the power of armies; </div> <div style="text-indent:-1em;padding-left:1em;">Soaks up the battle. </div> <div style="text-indent:-1em;padding-left:1em;">Just soaks it up and thus stops it. </div> <div style="text-indent:-1em;padding-left:1em;"></div> <div style="text-indent:-1em;padding-left:1em;"></div> <div style="text-indent:-1em;padding-left:1em;">This is the hymn of mud-the obscene, the filthy, the putrid, </div> <div style="text-indent:-1em;padding-left:1em;">The vast liquid grave of our armies. It has drowned our men. </div> <div style="text-indent:-1em;padding-left:1em;">Its monstrous distended belly reeks with the undigested dead. </div> <div style="text-indent:-1em;padding-left:1em;">Our men have gone into it, sinking slowly, and struggling and slowly disappearing. </div> <div style="text-indent:-1em;padding-left:1em;">Our fine men, our brave, strong, young men; </div> <div style="text-indent:-1em;padding-left:1em;">Our glowing red, shouting, brawny men. </div> <div style="text-indent:-1em;padding-left:1em;">Slowly, inch by inch, they have gone down into it, </div> <div style="text-indent:-1em;padding-left:1em;">Into its darkness, its thickness, its silence. </div> <div style="text-indent:-1em;padding-left:1em;">Slowly, irresistibly, it drew them down, sucked them down, </div> <div style="text-indent:-1em;padding-left:1em;">And they were drowned in thick, bitter, heaving mud. </div> <div style="text-indent:-1em;padding-left:1em;">Now it hides them, Oh, so many of them! </div> <div style="text-indent:-1em;padding-left:1em;">Under its smooth glistening surface it is hiding them blandly. </div> <div style="text-indent:-1em;padding-left:1em;">There is not a trace of them. </div> <div style="text-indent:-1em;padding-left:1em;">There is no mark where they went down.</div> <div style="text-indent:-1em;padding-left:1em;"> The mute enormous mouth of the mud has closed over them.</div> <div style="text-indent:-1em;padding-left:1em;"></div> <div style="text-indent:-1em;padding-left:1em;"></div> <div style="text-indent:-1em;padding-left:1em;"> This is the song of the mud,</div> <div style="text-indent:-1em;padding-left:1em;"> The beautiful glistening golden mud that covers the hills like satin; </div> <div style="text-indent:-1em;padding-left:1em;">The mysterious gleaming silvery mud that is spread like enamel over the valleys. </div> <div style="text-indent:-1em;padding-left:1em;">Mud, the disguise of the war zone; </div> <div style="text-indent:-1em;padding-left:1em;">Mud, the mantle of battles; </div> <div style="text-indent:-1em;padding-left:1em;">Mud, the smooth fluid grave of our soldiers: </div> <div style="text-indent:-1em;padding-left:1em;">This is the song of the mud.</div> mary borden poem war poetry women writers https://shellshockpopularculturearchive.com/omeka/files/original/58dde367c21504093b76f96726ff5a89.jpg 3d371f12c7cf297aae5e503d31cae0e6 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Popular Culture Subject The topic of the resource Popular Culture Description An account of the resource During the First World War, popular culture documented the events of the war, as well as its lasting effects upon bodies and brains. Films, music, comics, and newspapers all reflected the events of the war, along with major assumptions regarding shellshock as a disability. This collection organizes popular culture of the First World War as a means of viewing shell-shock. Comics According to Scott McCloud, comics are "juxtaposed pictorial and other images in deliberate sequence, intended to convey information and/or to produce an aesthetic response in the viewer" (20). Work Cited: McCloud, Scott. Understanding Comics: The Invisible Art. Kitchen Sink Press, 1993. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Keep smiling! : More news by Liarless for German homes Subject The topic of the resource In the 1916 special war edition of Punch Almanack, titled Keep Smiling! More News by Liarless for German Homes, a cartoon by John Hassall satirizes the practice of physical mutilation in order to malinger, with a caption that reads: “Almost the only persons who are making a respectable income in London now are the bone-breakers. Young men are flocking in their thousands to doctors who make a specialty of breaking a leg, or an arm, or even a neck, in order to make them of no use to the press gang.” The accompanying cartoon depicted men leaving a doctor’s office on crutches and bandaged, while in the background, a doctor leans insidiously towards a third man. The sign over the door reads “bones broken while you wait.” While this cartoon is intended as a parody, the draft was in effect by 1916, and men both on the home front and men at the front line found ways to physically injure themselves in order to be sent home or to avoid recruitment. On the front lines, voluntary or involuntary attempts to elude military service presented the threat of treason. Creator An entity primarily responsible for making the resource Written by Walter Emanual, illustrated by John Hassell Source A related resource from which the described resource is derived https://www.google.com/url?q=https://babel.hathitrust.org/cgi/pt?id%3Dnjp.32101062077514%26seq%3D13&amp;sa=D&amp;source=editors&amp;ust=1702077375551439&amp;usg=AOvVaw1Wkz7UOpeofCzMwhDUs2AU Publisher An entity responsible for making the resource available The Famous Punch Almanack Date A point or period of time associated with an event in the lifecycle of the resource 1916 Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant London; Eveleigh Nash, 36 King St, Covent Garden, W.C. Description An account of the resource The following item shows a pictorial comic, featuring two men standing in the foreground, while the background features a green wall with a black door in it. On the wall, a sign reads, "Bones Broken While You Wait." One man uses crutches, while the other man's arm is in a sling. There are two additional men in the background. One man with a mustache speaks to a man in an elegant hat. Format The file format, physical medium, or dimensions of the resource Comic, page 13 of a 56 page comic Language A language of the resource English comics popular culture punch almanack shellshock https://shellshockpopularculturearchive.com/omeka/files/original/f2dc60afabc0c9114970205e68b8be26.jpg e211737e4ffe8250fde14f6f79a4ffbc https://shellshockpopularculturearchive.com/omeka/files/original/2ec306a6ff1367dfe366409e094ecc73.jpg ae2cdfffe26b5a5fac3e43479141c42b https://shellshockpopularculturearchive.com/omeka/files/original/fca9f34aede9eab7771f46e5abe43e3a.jpg b0fd0e0fa60c0edb634b8228c241202d https://shellshockpopularculturearchive.com/omeka/files/original/f413ef61b7cfc82329241dba9b779fe9.jpg dc0fb03de6f9870cf73e4755cdac8365 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Popular Culture Subject The topic of the resource Popular Culture Description An account of the resource During the First World War, popular culture documented the events of the war, as well as its lasting effects upon bodies and brains. Films, music, comics, and newspapers all reflected the events of the war, along with major assumptions regarding shellshock as a disability. This collection organizes popular culture of the First World War as a means of viewing shell-shock. Musical Score score, notation, in manuscript or printed form, of a musical work, probably so called from the vertical scoring lines that connect successive related staves. A score may contain the single part for a solo work or the many parts that make up an orchestral or ensemble composition. A full, or orchestral, score shows all the parts of a large work, with each part on separate staves in vertical alignment (though subdivisions of related instruments frequently share a stave), and is for the use of the conductor. (The notation for each performer, called a part, contains only the line or lines he or she is to perform.) Thus, the conductor can see at a glance what each performer should be playing and what the ensemble sound should be. Some conductors prefer to commit the score to memory in order to concentrate entirely on guiding the performance. The reduction of a full score to fit the scope of the piano is called a piano score. Such a score, especially when it is of a complex piece, is often divided between two pianos. A vocal score, used for large works, such as operas and oratorios, in rehearsal, contains the piano reduction of the orchestral parts, along with the vocal lines indicated separately above the piano. Citation: Britannica, T. Editors of Encyclopaedia. "score." Encyclopedia Britannica, September 13, 2017. https://www.britannica.com/art/score-music. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Shell-shock Shake Subject The topic of the resource Ragtime score, circa 1919 Description An account of the resource <p>This piece of ragtime music satirizes the stereotypic movements of those diagnosed with shellshock. For voice and piano.</p> <p>The lyrics of this musical arrangement reads thus:</p> <p>Verse 1:<br />Over there, somewhere in France, our boys have learned a brand-new dance<br />everybody gets a thrill, shells start to bursting, you can't sit still- <br />Dance that causes minds to roam- the question answered just why girls leave home<br />Now if you give me half a chance, I'm going to tell you 'bout this dance so pretty.</p> <p>Chorus: <br />First you start to prancing right and left a-glancing<br />Grab a gal, don't be a-fraid Just pop wide open like a hand grenade<br />Feel your nerves a-jumping head begins thumping <br />Curl up like a rattlesnake and dance the ever-loving shell-shock shake.<br />Just strut your stuff and dance the shell-shock shake. <br /><br /></p> <p>Verse 2: <br />Since this dance has hit the town It made a preacher lay his bible down <br />everybody large and small started to dancing can't stop at all<br />It clings it makes you crave and wish and shakes your shoulders like a jellyfish Now <br />come little children unto me, I have a tale I'll tell to thee, some story.</p> <p>Chorus: <br />First you start to prancing right and left a-glancing<br />Grab a gal, don't be a-fraid Just pop wide open like a hand grenade<br />Feel your nerves a-jumping head begins thumping <br />Curl up like a rattlesnake and dance the ever-loving shell-shock shake.<br />Just strut your stuff and dance the shell-shock shake.</p> Creator An entity primarily responsible for making the resource Mikell, F. Eugene, composer, Grey, Joe, 1879-1956, lyricist Source A related resource from which the described resource is derived https://www.loc.gov/item/2013569542/ Date A point or period of time associated with an event in the lifecycle of the resource 1919 Publisher An entity responsible for making the resource available Hell Fighters Band Inc Rights Information about rights held in and over the resource Library of Congress, Music Division. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant New York City https://shellshockpopularculturearchive.com/omeka/files/original/4c5a185d9f7d24ab908d86d761c67119.jpg d29a62fd4a3cefd4dfb6211d47b73cf2 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource War Poetry Subject The topic of the resource Poetry of the First World War Description An account of the resource During the First World War, writers responded to this international upheaval. While early war poetry lauded values such as bravery, courage, and patriotism, later war poetry dealt with the horrors of war and its lasting impact. This collection reflects later war poetry, though it includes some earlier war poems as well. Date A point or period of time associated with an event in the lifecycle of the resource 1914-1928 Language A language of the resource English Poem Language sung, chanted, spoken, or written according to some pattern of recurrence that emphasizes the relationships between words on the basis of sound as well as sense: this pattern is almost always a rhythm or metre, which may be supplemented by rhyme or alliteration or both. The demands of verbal patterning usually make poetry a more condensed medium than prose or everyday speech, often involving variations in syntax, the use of special words and phrases (poetic diction) peculiar to poets, and a more frequent and more elaborate use of figures of speech, principally metaphor and simile. All cultures have their poetry, using it for various purposes from sacred ritual to obscene insult, but it is generally employed in those utterances and writings that call for heightened intensity of emotion, dignity of expression, or subtlety of meditation. Poetry is valued for combining pleasures of sound with freshness of ideas, whether these be solemn or comical. Some critics make an evaluative distinction between poetry, which is elevated or inspired, and verse, which is merely clever or mechanical. The three major categories of poetry are narrative, dramatic, and lyric, the last being the most extensive. "poetry." Oxford Reference. https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100333227 If I read a book [and] it makes my whole body so cold no fire ever can warm me I know that is poetry. These are the only way I know it. Is there any other way. Dickinson/Higginson Correspondence: 16 August 1870 (Letter 342) http://archive.emilydickinson.org/correspondence/higginson/jnl342.html Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Rear-Guard Subject The topic of the resource War poem by Siegfried Sassoon Description An account of the resource In April 1917, Sassoon’s company with the Royal Welsh Fusiliers supported a French assault on the supposedly secure German defenses, known as the Hindenburg Line. His 1917 poem “The Rear-Guard (Hindenburg Line, April, 1917)” is based upon this attack. In this poem, a soldier, lost in the maze of the trenches, demands directions of a man he finds curled in the mud. Enraged, the soldier kicks the man, only to discover “the livid face” of the curled corpse who formed the rear-guard, whose “fists of fingers clutched a blackening wound” (15-18). Creator An entity primarily responsible for making the resource Siegfried Sassoon Publisher An entity responsible for making the resource available Published in<em> Fifty Poems; Counter Attack And Other Poems</em> Date A point or period of time associated with an event in the lifecycle of the resource 1917 Rights Information about rights held in and over the resource The Berg Collection, New York Public Library / The Siegfried Sassoon Literary Estate. This item is available for non-commercial educational use under the terms of the Jisc Model Licence. Further details available at: http://ww1lit.nsms.ox.ac.uk/ww1lit/permitteduse Relation A related resource <a href="ww1lit.nsms.ox.ac.uk/ww1lit/collections/item/9785">ww1lit.nsms.ox.ac.uk/ww1lit/collections/item/9785</a> https://shellshockpopularculturearchive.com/omeka/files/original/7f57ec566f2bb7b6519c6410cee710b1.JPG 9a2bedb33d25f9d6440b0ef8fdb8cac3 https://shellshockpopularculturearchive.com/omeka/files/original/5d87d26a445785c96150584a14a568b3.JPG f18b9d3ba25983f49713ce34cc189c25 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource War Poetry Subject The topic of the resource Poetry of the First World War Description An account of the resource During the First World War, writers responded to this international upheaval. While early war poetry lauded values such as bravery, courage, and patriotism, later war poetry dealt with the horrors of war and its lasting impact. This collection reflects later war poetry, though it includes some earlier war poems as well. Date A point or period of time associated with an event in the lifecycle of the resource 1914-1928 Language A language of the resource English Poem Language sung, chanted, spoken, or written according to some pattern of recurrence that emphasizes the relationships between words on the basis of sound as well as sense: this pattern is almost always a rhythm or metre, which may be supplemented by rhyme or alliteration or both. The demands of verbal patterning usually make poetry a more condensed medium than prose or everyday speech, often involving variations in syntax, the use of special words and phrases (poetic diction) peculiar to poets, and a more frequent and more elaborate use of figures of speech, principally metaphor and simile. All cultures have their poetry, using it for various purposes from sacred ritual to obscene insult, but it is generally employed in those utterances and writings that call for heightened intensity of emotion, dignity of expression, or subtlety of meditation. Poetry is valued for combining pleasures of sound with freshness of ideas, whether these be solemn or comical. Some critics make an evaluative distinction between poetry, which is elevated or inspired, and verse, which is merely clever or mechanical. The three major categories of poetry are narrative, dramatic, and lyric, the last being the most extensive. "poetry." Oxford Reference. https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100333227 If I read a book [and] it makes my whole body so cold no fire ever can warm me I know that is poetry. These are the only way I know it. Is there any other way. Dickinson/Higginson Correspondence: 16 August 1870 (Letter 342) http://archive.emilydickinson.org/correspondence/higginson/jnl342.html Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Strange Meeting Subject The topic of the resource War poem by Wilfred Owen Description An account of the resource Wilfred Owen’s poem portrays two speakers meeting in “some profound dull tunnel, long since scooped / Through granites which titanic wars had groined” (2-3). This granite tunnel is the aftermath of titanic wars, an image which reflects afterlife as the product of cataclysmic destruction. As a metaphor, this granite tunnel may not seem visceral at first, but the “strange meeting” occurs twice, once on the battlefield, as the first speaker bayonets the other, and twice after death, where the two soldiers recognize each other. Date A point or period of time associated with an event in the lifecycle of the resource 1893-1918 Rights Information about rights held in and over the resource The British Library / The Wilfred Owen Literary Estate <a href="http://ww1lit.nsms.ox.ac.uk/ww1lit/collections/document/5654"></a> Creator An entity primarily responsible for making the resource Wilfred Owen Source A related resource from which the described resource is derived <a href="http://ww1lit.nsms.ox.ac.uk/ww1lit/collections/document/5654">http://ww1lit.nsms.ox.ac.uk/ww1lit/collections/document/5654</a> poem war poetry wilfred owen https://shellshockpopularculturearchive.com/omeka/files/original/f6ce37e812cc0c080f1f88939a1e90b9.jpg 318a354f720da4b48678830f0b1c242b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource War Poetry Subject The topic of the resource Poetry of the First World War Description An account of the resource During the First World War, writers responded to this international upheaval. While early war poetry lauded values such as bravery, courage, and patriotism, later war poetry dealt with the horrors of war and its lasting impact. This collection reflects later war poetry, though it includes some earlier war poems as well. Date A point or period of time associated with an event in the lifecycle of the resource 1914-1928 Language A language of the resource English Poem Language sung, chanted, spoken, or written according to some pattern of recurrence that emphasizes the relationships between words on the basis of sound as well as sense: this pattern is almost always a rhythm or metre, which may be supplemented by rhyme or alliteration or both. The demands of verbal patterning usually make poetry a more condensed medium than prose or everyday speech, often involving variations in syntax, the use of special words and phrases (poetic diction) peculiar to poets, and a more frequent and more elaborate use of figures of speech, principally metaphor and simile. All cultures have their poetry, using it for various purposes from sacred ritual to obscene insult, but it is generally employed in those utterances and writings that call for heightened intensity of emotion, dignity of expression, or subtlety of meditation. Poetry is valued for combining pleasures of sound with freshness of ideas, whether these be solemn or comical. Some critics make an evaluative distinction between poetry, which is elevated or inspired, and verse, which is merely clever or mechanical. The three major categories of poetry are narrative, dramatic, and lyric, the last being the most extensive. "poetry." Oxford Reference. https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100333227 If I read a book [and] it makes my whole body so cold no fire ever can warm me I know that is poetry. These are the only way I know it. Is there any other way. Dickinson/Higginson Correspondence: 16 August 1870 (Letter 342) http://archive.emilydickinson.org/correspondence/higginson/jnl342.html Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Repression of War Experience Subject The topic of the resource War poetry by Siegfried Sassoon Description An account of the resource In his poem "Repression of War Experience," Siegfried Sassoon uses a metaphor of moths, who "blunder in," only to "scorch their wings with glory, liquid flame," like soldiers who believed that they would prove themselves heroes through war. Like these moths, these men do not escape unscathed, but "go stark, staring mad because of the guns." Sassoon also depicts a common belief held by psychologists of the era" "And it's been proved that soldiers don't go mad / Unless they lose control of ugly thoughts" One such man who believed this hypothesis was W.H.R. Rivers, who treated Sassoon for his shell-shock at Craiglockhart Hospital. In the summer of 1917, Rivers delivered a talk to the Royal Society of Medicine, titled "The Repression of War Experience." Rivers argued that shell-shock was the result of rapid training which did not allow soldiers to accumulate repression of battle trauma which would later become shell-shock. Rivers believed in Sigmund Freud's repression hypothesis of trauma, where negative thoughts are pushed to the back of the unconscious mind. In his similarly named poem "Repression of War Experience," Sassoon translates this psychological theory into his depiction of shell-shock, which turns men into illogical creatures, like moths who fly towards the very fire which kills them, their ugly thoughts of war, "that drive them out to jabber among the trees." Now light the candles; one; two; there's a moth; What silly beggars they are to blunder in And scorch their wings with glory, liquid flame— No, no, not that,—it's bad to think of war, When thoughts you've gagged all day come back to scare you; And it's been proved that soldiers don't go mad Unless they lose control of ugly thoughts That drive them out to jabber among the trees. Now light your pipe; look, what a steady hand. Draw a deep breath; stop thinking; count fifteen, And you're as right as rain ... Why won't it rain? ... I wish there'd be a thunder-storm to-night, With bucketsful of water to sluice the dark, And make the roses hang their dripping heads. Books; what a jolly company they are, Standing so quiet and patient on their shelves, Dressed in dim brown, and black, and white, and green, And every kind of colour. Which will you read? Come on; O do read something; they're so wise. I tell you all the wisdom of the world Is waiting for you on those shelves; and yet You sit and gnaw your nails, and let your pipe out, And listen to the silence: on the ceiling There's one big, dizzy moth that bumps and flutters; And in the breathless air outside the house The garden waits for something that delays. There must be crowds of ghosts among the trees,— Not people killed in battle,—they're in France,— But horrible shapes in shrouds--old men who died Slow, natural deaths,—old men with ugly souls, Who wore their bodies out with nasty sins. * * * You're quiet and peaceful, summering safe at home; You'd never think there was a bloody war on! ... O yes, you would ... why, you can hear the guns. Hark! Thud, thud, thud,—quite soft ... they never cease— Those whispering guns—O Christ, I want to go out And screech at them to stop—I'm going crazy; I'm going stark, staring mad because of the guns. Creator An entity primarily responsible for making the resource Siegfried Sassoon Source A related resource from which the described resource is derived <a href="http://ww1lit.nsms.ox.ac.uk/ww1lit/collections/document/9855/9738">http://ww1lit.nsms.ox.ac.uk/ww1lit/collections/document/9855/9738</a> Publisher An entity responsible for making the resource available <a href="https://oxford.omeka.net/s/ww1lit/item/68688" class="waffle-rich-text-link" style="font-size:13px;color:#1155cc;font-weight:normal;text-decoration:underline;font-family:Arial;font-style:italic;">Counter Attack And Other Poems</a> Date A point or period of time associated with an event in the lifecycle of the resource 1919 Rights Information about rights held in and over the resource The Harry Ransom Center / The Siegfried Sassoon Literary Estate  Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource War Poetry Subject The topic of the resource Poetry of the First World War Description An account of the resource During the First World War, writers responded to this international upheaval. While early war poetry lauded values such as bravery, courage, and patriotism, later war poetry dealt with the horrors of war and its lasting impact. This collection reflects later war poetry, though it includes some earlier war poems as well. Date A point or period of time associated with an event in the lifecycle of the resource 1914-1928 Language A language of the resource English Poem Language sung, chanted, spoken, or written according to some pattern of recurrence that emphasizes the relationships between words on the basis of sound as well as sense: this pattern is almost always a rhythm or metre, which may be supplemented by rhyme or alliteration or both. The demands of verbal patterning usually make poetry a more condensed medium than prose or everyday speech, often involving variations in syntax, the use of special words and phrases (poetic diction) peculiar to poets, and a more frequent and more elaborate use of figures of speech, principally metaphor and simile. All cultures have their poetry, using it for various purposes from sacred ritual to obscene insult, but it is generally employed in those utterances and writings that call for heightened intensity of emotion, dignity of expression, or subtlety of meditation. Poetry is valued for combining pleasures of sound with freshness of ideas, whether these be solemn or comical. Some critics make an evaluative distinction between poetry, which is elevated or inspired, and verse, which is merely clever or mechanical. The three major categories of poetry are narrative, dramatic, and lyric, the last being the most extensive. "poetry." Oxford Reference. https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100333227 If I read a book [and] it makes my whole body so cold no fire ever can warm me I know that is poetry. These are the only way I know it. Is there any other way. Dickinson/Higginson Correspondence: 16 August 1870 (Letter 342) http://archive.emilydickinson.org/correspondence/higginson/jnl342.html Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Dead Man's Dump Subject The topic of the resource War poetry by Isaac Rosenberg Description An account of the resource As a private on the front lines of the Western Front, Rosenberg was injured before he was reassigned to a works battalion. This experience is reflected in his poem “Dead Man’s Dump,” which is written from the point of view of a soldier going out on a limber, or carriage, to set up barbed wire in No-Man’s Land. As the man drives the carriage, “The wheels lurched over sprawled dead / But pained them not, though their bones crunched,” providing a graphic depiction of the dead who still seem to suffer in No-Man’s Land, despite their deceased condition (7-8). To make matters worse, the dying are among the dead in No-Man’s Land, slipping from stretchers, or already almost dead, mingling with the corpses ground beneath the wheels of the limber: “We heard his weak scream / We heard his very last sound, / And our wheels grazed his dead face” (84-86). The limber must lay out the barbed wire to protect the men who are still living, so the wheels continue their grisly procession. How long, Rosenberg seems to ask, until the living soldiers join the corpses in No-Man’s Land? The plunging limbers over the shattered track Racketed with their rusty freight, Stuck out like many crowns of thorns, And the rusty stakes like sceptres old To stay the flood of brutish men Upon our brothers dear. The wheels lurched over sprawled dead But pained them not, though their bones crunched, Their shut mouths made no moan. They lie there huddled, friend and foeman, Man born of man, and born of woman, And shells go crying over them From night till night and now. Earth has waited for them, All the time of their growth Fretting for their decay: Now she has them at last! In the strength of their strength Suspended—stopped and held. What fierce imaginings their dark souls lit? Earth! have they gone into you! Somewhere they must have gone, And flung on your hard back Is their soul’s sack Emptied of God-ancestralled essences. Who hurled them out? Who hurled? None saw their spirits’ shadow shake the grass, Or stood aside for the half used life to pass Out of those doomed nostrils and the doomed mouth, When the swift iron burning bee Drained the wild honey of their youth. What of us who, flung on the shrieking pyre, Walk, our usual thoughts untouched, Our lucky limbs as on ichor fed, Immortal seeming ever? Perhaps when the flames beat loud on us, A fear may choke in our veins And the startled blood may stop. The air is loud with death, The dark air spurts with fire, The explosions ceaseless are. Timelessly now, some minutes past, Those dead strode time with vigorous life, Till the shrapnel called ‘An end!’ But not to all. In bleeding pangs Some borne on stretchers dreamed of home, Dear things, war-blotted from their hearts. Maniac Earth! howling and flying, your bowel Seared by the jagged fire, the iron love, The impetuous storm of savage love. Dark Earth! dark Heavens! swinging in chemic smoke, What dead are born when you kiss each soundless soul With lightning and thunder from your mined heart, Which man’s self dug, and his blind fingers loosed? A man’s brains splattered on A stretcher-bearer’s face; His shook shoulders slipped their load, But when they bent to look again The drowning soul was sunk too deep For human tenderness. They left this dead with the older dead, Stretched at the cross roads. Burnt black by strange decay Their sinister faces lie, The lid over each eye, The grass and coloured clay More motion have than they, Joined to the great sunk silences. Here is one not long dead; His dark hearing caught our far wheels, And the choked soul stretched weak hands To reach the living word the far wheels said, The blood-dazed intelligence beating for light, Crying through the suspense of the far torturing wheels Swift for the end to break Or the wheels to break, Cried as the tide of the world broke over his sight. Will they come? Will they ever come? Even as the mixed hoofs of the mules, The quivering-bellied mules, And the rushing wheels all mixed With his tortured upturned sight. So we crashed round the bend, We heard his weak scream, We heard his very last sound, And our wheels grazed his dead face. Creator An entity primarily responsible for making the resource Isaac Rosenberg Source A related resource from which the described resource is derived <a href="http://ww1lit.nsms.ox.ac.uk/ww1lit/collections/document/1704/1488">http://ww1lit.nsms.ox.ac.uk/ww1lit/collections/document/1704/1488</a><br /><a href="http://ww1lit.nsms.ox.ac.uk/ww1lit/db/object/ww1/3268">http://ww1lit.nsms.ox.ac.uk/ww1lit/db/object/ww1/3268</a> Date A point or period of time associated with an event in the lifecycle of the resource 1917 Rights Information about rights held in and over the resource The Isaac Rosenberg Literary Estate. isaac rosenberg poem war poetry https://shellshockpopularculturearchive.com/omeka/files/original/b130dadb94277f7848c6ec1df721ac8e.jpg fcbe17c1e6297c53936b7ec68b6a08a9 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource War Poetry Subject The topic of the resource Poetry of the First World War Description An account of the resource During the First World War, writers responded to this international upheaval. While early war poetry lauded values such as bravery, courage, and patriotism, later war poetry dealt with the horrors of war and its lasting impact. This collection reflects later war poetry, though it includes some earlier war poems as well. Date A point or period of time associated with an event in the lifecycle of the resource 1914-1928 Language A language of the resource English Poem Language sung, chanted, spoken, or written according to some pattern of recurrence that emphasizes the relationships between words on the basis of sound as well as sense: this pattern is almost always a rhythm or metre, which may be supplemented by rhyme or alliteration or both. The demands of verbal patterning usually make poetry a more condensed medium than prose or everyday speech, often involving variations in syntax, the use of special words and phrases (poetic diction) peculiar to poets, and a more frequent and more elaborate use of figures of speech, principally metaphor and simile. All cultures have their poetry, using it for various purposes from sacred ritual to obscene insult, but it is generally employed in those utterances and writings that call for heightened intensity of emotion, dignity of expression, or subtlety of meditation. Poetry is valued for combining pleasures of sound with freshness of ideas, whether these be solemn or comical. Some critics make an evaluative distinction between poetry, which is elevated or inspired, and verse, which is merely clever or mechanical. The three major categories of poetry are narrative, dramatic, and lyric, the last being the most extensive. "poetry." Oxford Reference. https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100333227 If I read a book [and] it makes my whole body so cold no fire ever can warm me I know that is poetry. These are the only way I know it. Is there any other way. Dickinson/Higginson Correspondence: 16 August 1870 (Letter 342) http://archive.emilydickinson.org/correspondence/higginson/jnl342.html Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Break of Day in the Trenches Subject The topic of the resource War Poetry by Isaac Rosenberg Description An account of the resource This draft of Break of Day In the Trenches was typed and set by Annie Rosenberg, possibly in June, while Isaac Rosenberg created the written annotations, likely in July. Rosenberg’s earlier poetry betrays his Romantic influences. In “Break of Day in the Trenches,” Rosenberg describes a “queer sardonic rat” leaping over his hand as he pulls “the parapet’s poppy / to stick behind my ear” (4-6). Despite the threat of disease and harm which most rats posed in the trenches, this rat is deserting the trench for German lines, a deserter who is not punished. Rosenberg addresses the rat directly as he ponders how the young men in the trench are less likely to survive the war than the rat, who may come and go as he pleases. In this poem, Rosenberg’s poppy remains behind his ear, white with dust from the ground above the trench. Creator An entity primarily responsible for making the resource Isaac Rosenberg Source A related resource from which the described resource is derived <a href="http://ww1lit.nsms.ox.ac.uk/ww1lit/collections/item/1469">http://ww1lit.nsms.ox.ac.uk/ww1lit/collections/item/1469</a> Date A point or period of time associated with an event in the lifecycle of the resource June 1916 - July 1916 Rights Information about rights held in and over the resource The Imperial War Museum/The Isaac Rosenberg Literary Estate http://www.iwm.org.uk/ isaac rosenberg poem war poetry https://shellshockpopularculturearchive.com/omeka/files/original/a32f8e2904bd591847fc5861d9426d11.png 645c4f57bc2c8c3ea19e785f0afe6a1b Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Clinical Records of Shell-shock Subject The topic of the resource Mental health Description An account of the resource The controversial term shell-shock was initially coined by Charles Myers in 1915, cribbed from the lexicon of soldiers, but by 1922, the term which the War Office Committee references most often is war neurasthenia, or simply neurasthenia. In 1980, the American Psychological Association would add Post-Traumatic Stress Disorder (PTSD) to the third edition of the Diagnostic and Statistical Manual of Mental Disorders. Like PTSD, shell-shock describes a traumatic event, but unlike shell-shock, PTSD references traumatic contexts beyond combat and war: the two terms are not equivalent, nor are their historical contexts contiguous. This collection organizes materials on the legal and medical context of the diagnosis. Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Repression of War Experience Description An account of the resource In this speech, given in front of the Royal Society of Medicine, Rivers explains the process of being shell-shocked as repression, a means of obscuring mental content from memory and rendering memory inaccessible. However, when trauma was incompletely obscured or when repression takes place in circumstances which continue the process of traumatization, troubling symptoms indicated that the trauma remained. He recounts several case studies in which men suffered from incomplete repression of war memories: in one case, a young officer was haunted by nightmares of his friend, who he had seen on the field of battle, blown into pieces. In another, a man was seized with paralyzing dread and dissociation when he tried to think of France. Rivers cautions doctors to assess such cases in an individual manner, to avoid the clearing of soldiers as fit for service when they might still be experiencing traumatic responses. Creator An entity primarily responsible for making the resource W. H. R. Rivers Source A related resource from which the described resource is derived Rivers WHR. The Repression of War Experience. Proceedings of the Royal Society of Medicine. 1918;11(Sect_Psych):1-20. <a href="https://doi.org/10.1177/003591571801101501">doi:10.1177/003591571801101501</a> Publisher An entity responsible for making the resource available Proceedings of the Royal Society of Medicine Date A point or period of time associated with an event in the lifecycle of the resource December 4, 1917 Subject The topic of the resource A speech, later published, based on W.H.R. Rivers' experiences treating men like Siegfried Sassoon at Craiglockhart Hospital. Coverage The spatial or temporal topic of the resource, the spatial applicability of the resource, or the jurisdiction under which the resource is relevant Craiglockhart Hospital psychology shellshock whr rivers