The Poem

(Critical Guide to Poetry for Students)

“Exposure” examines the sensations of soldiers slowly freezing to death in the trenches of World War I in a poem of forty lines divided into eight stanzas. The persona of the poem adopts the identity of all the soldiers as they huddle against the wind and snow on the war front waiting for something to happen. As the cold sets in, sentries and ordinary soldiers watch confusing flares in the frontline fortification from which they have withdrawn for the night. Gusts of wind moan on the barbed wire of no-man’s-land like dying men, while guns rumble in the distance, apocalyptic portents of other possible wars. The numb soldiers ask, “What are we doing here?” but nothing happens.

Dawn itself, traditionally a symbol of hope, is ominous as “clouds sag stormy,” the men grow colder and wetter, and the new day marshals its cloudy troops to usher in a new day of fighting for the soldiers. Suddenly, bullets fly but are tossed about by the wind, which appears to be a more powerful instrument of death than the artillery.

In the fifth stanza, the snow and cold send the soldiers into a numbed reverie about home. The bemused soldiers ask of their freezing selves, “Is it that we are dying?” In stanza 6, their disembodied ghosts visit the banked, early-morning fires of home and observe crickets on the hearth and mice playing while the household sleeps; however, the ghosts feel shut out of this domestic scene and must turn back to their own slow deaths on the front. Faith in the comforts and certainties of home clashes with the conviction that God intended for these men to die in cold misery. The love of God itself is remote and seems to be dying.

The last stanza observes that God’s frost will freeze the mud in which the soldiers find themselves, and it will freeze their hands, foreheads, and, finally, their eyes in their final act of dying. The next morning, burial parties with “shovels in their shaking grasp” will half recognize their comrades, who died of exposure while nothing in particular was happening in the war. They were felled by wind, snow, mud, and the seeming indifference of God rather than by wounds caused by bullets and bayonets.

Exposure Forms and Devices

(Critical Guide to Poetry for Students)

“Exposure” exemplifies one of Wilfred Owen’s most noted techniques: the use of slant rhymes, such as wire/war, grow/gray, and us/ice. Emily Dickinson and Gerard Manley Hopkins also used this type of rhyme, as does Welsh poetry, but Owen seems not to have been familiar with any of these traditions. Slant rhyme and assonance bring out the jarring sensations of war and move “Exposure” and Owen’s other poems away from more refined poetic forms of earlier centuries.

Owen also eschews elegant language, preferring to record more stark images such as “mad gusts,” “twitching agonies,” and “flickering gunnery.” The only images that are nurturing and warm are the ones that depict the fires of home in stanzas 6 and 7, and they stand in ironic contrast to the freezing soldiers. Indeed, the warmth of home seems to mock the realities of war, since civilians “believe not otherwise can kind fires burn;/ Nor ever suns smile true on child, or field, or fruit.” This clash of home-front experience and battlefield reality is also echoed in Owen’s poem “Futility” in its vain hope that “the kind old sun” of childhood will know how to rouse a dead comrade.

The stillness of slowly freezing to death becomes a counterpoint to the progressive verbs in the poem: “watching,” “twitching,” “massing,” “shivering,” “wandering,” “fingering,” “shrivelling,” “puckering,” and, finally, “dying.” As in other...

(The entire section is 494 words.)