“The General,” by the English poet Sigfried Sassoon (1886-1967), is one of many of this poet’s works prompted by World War I. Sassoon was a war hero who eventually became an outspoken opponent of the war. He used many of his poems to express his disgust with that wasteful conflict itself and with the men who were running the war effort. “The General” is clearly one such poem.
As the poem opens, a British general is saying “Good-morning” (1) to troops who pass him on the way to the front. This phrase is ironic for various reasons. First, the greeting is so conventional as to be merely formulaic; it is often simply a thing to say, not an expression of genuine emotion. Furthermore, mornings were especially bad times for troops fighting the kind of trench warfare common in World War I. It was often in the mornings that troops were sent “over the top” of the trenches to try to attack enemy positions, which were often not very far away. Frequently these attacks involved mass slaughter: essentially defenseless men ran straight into walls of blistering machine-gunfire. The general, of course, is trying to be as cheerful and encouraging as possible, not wanting to dampen morale, but everyone involved in the battles of World War I knew that mornings were rarely ever truly “good.”
The fact that the speaker (by using the word “we”) includes himself among the soldiers is significant. Obviously he is better educated than they are, but he feels great sympathy for them, partly because common soldiers during this war were almost literally cannon fodder. Whereas the general greets the men with perfunctory exclamations, the speaker of the poem actually walks with them to “the line” (2) and presumably fights alongside them (as Sassoon himself did). The general, of course, will stay behind, formulating battle plans (which were rarely very successful on either side in World War I) and perhaps greeting other, later men on their way to the front.
Line 3 is successful partly because of the order in which events are described. The crucial fact—death—is delayed until the end of the line. The syntax (or sentence structure) would have been much less effective if the speaker had mentioned the deaths before mentioning the smiling. In line 3 as it is currently constructed, the reference to death comes as...
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