Biography (Critical Survey of Poetry: British, Irish, & Commonwealth Poets)
Siegfried Lorraine Sassoon was born in the Kentish weald in 1886, the second of three sons of Alfred Ezra Sassoon and Theresa Georgina Thornycroft. His father was descended from a long line of wealthy Jewish merchants and bankers who, after wandering through Spain, Persia, and India, had come to settle in England. The family was proud of its orthodoxy, and Siegfried’s father was the first to marry outside the faith. Siegfried’s mother, in contrast, was an artist, the close relative of three well-known sculptors, and a member of the landed gentry. The marriage was a failure, and Alfred Sassoon left when Siegfried was five, leaving the younger Sassoon to be reared by his mother as an Anglican.
Siegfried had no formal schooling as a child, though from the ages of nine to fourteen he learned from private tutors and a German governess. In 1902, he attended Marlborough, and in 1905, he entered Clare College, Cambridge. Sassoon’s temperament was not disciplined enough for scholarly pursuits; he began by reading law, switched to history, and ultimately left Cambridge without a degree. He returned to Kent, where, on an inherited income of five hundred pounds a year, he was able to devote his energies to foxhunting, racing, and writing poetry. Sassoon loved the pastoral beauty of the Kentish downs and attempted to portray it in a number of dreamy, sentimental lyrics. Between the ages of nineteen and twenty-six, Sassoon had nine volumes of poetry privately published, before he enjoyed a mild success with The Daffodil Murderer in 1913. The poem was chiefly intended as a parody of John Masefield’s The Everlasting Mercy, but Sassoon’s poem had a strong human appeal of its own. By this time, Sassoon had been befriended by Edward Marsh, the editor of Georgian Poetry. Marsh encouraged Sassoon’s literary endeavors and persuaded him to come to London in May, 1914, where Sassoon began to move in the literary world and to meet such notable authors as Rupert Brooke. Sassoon, however, felt unhappy and lacked a sense of purpose, and when he enlisted in the army on August 3, 1914 (two days before England entered the war), it was to escape a sterile existence.
Sassoon’s early life had been extremely sheltered, even pampered, and it was a very immature twenty-eight-year-old who went to war, totally unprepared for what he would find. After convalescence from injuries received in a fall during cavalry training, he accepted a commission and went through training as an infantry officer. Thus, he did not arrive in France until November, 1915, where he became transport officer for the First Battalion of the Royal Welch Fusiliers. Here he met and befriended the poet Robert Graves. In Goodbye to All That (1929), Graves describes his first meeting with Sassoon and relates how, when he showed Sassoon his first book of poems, Over the Brazier (1916), Sassoon, whose early war poems were idealistic, had frowned and said that war should not be written about in such a realistic way. Graves, who had been in France six months, remarked that Sassoon had not yet been in the trenches.
Graves already knew what Sassoon would soon discover, indeed what all the British troops in France were coming to feel: growing disillusionment at the frustration and the staggering casualties of trench warfare. There were 420,000 British casualties in the Somme offensive beginning on July 1, 1916—an offensive that gained virtually nothing. The Somme was Sassoon’s most bitter experience in the trenches; after it, he would never write the old kind of poetry again.
In spite of his pacifist leanings, Sassoon distinguished himself in the war. Called “Mad Jack” by his...
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Biography (Cyclopedia of World Authors, Fourth Revised Edition)
Much of the literary reputation of Siegfried Lorraine Sassoon (suh-SEWN) rests on his vigorous war poems, written during his long stint at the front during World War I. Like those of Wilfred Owen, whom Sassoon influenced and encouraged, his poems are a bitter testament to the ingloriousness of warfare. Sassoon, then an officer in the British Army, developed an aversion to and horror toward war and became a pacifist; for a time he refused to undertake further military duty, a situation he presents in such poems as “The Rear Guard” and “Counter-Attack.” To later generations he became better known for the autobiographical novels in which he relates what he has called his “mental history,” the chronicle of his youth and of the spiritual crisis resulting from his experiences on the battlefield. Of these works the three earliest, Memoirs of a Fox-Hunting Man, Memoirs of an Infantry Officer, and Sherston’s Progress mask their author with the alias “George Sherston.” Fictional in form, they nevertheless present a reflective survey of personal events recorded in Sassoon’s voluminous diaries. His more formal autobiographies, The Old Century and Seven More Years, The Weald of Youth, and Siegfried’s Journey 1916-1920, reexamine much of the same ground from a later, more mature point of view. Memoirs of a Fox-Hunting Man, which was awarded both the Hawthornden Prize and the James Tait Black Memorial Prize...
(The entire section is 476 words.)