Titlebook: Siegfried Sassoon: Scorched Glory; A Critical Study Paul Moeyes Book 1997 Palgrave Macmillan, a division of Macmillan Publishers Limited 19

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Prologue Family Tieso admit he did not really know, though the family connection did exist. Recalling these incidents in . (1942), he comments that he had been “unwilling to confess that I was only a poor relation”, adding that he was proud of the Thornycroft blood from his mother’s side of the family, “and more than t

Left-Atrium

Young Nimrodge when people were still striving for beauty rather than truth; the poetic young man usually had little or nothing personal to communicate but saw poetry as an exercise in creating beauty with words. And so this poetry was generally derivative, echoing the style and sentiments of the prevailing lit

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An Officer and Temporary Rebelfilled, only then to start wondering if the price had been worth paying: the war that made the poet destroyed the man, and Sassoon’s post-war life is mainly one long attempt (he called it his spiritual journey) to find a new equilibrium after a profound experience that left him spiritually and emoti

横条

Georgian Poetand the civilians who remained at home made him take a more critical view of the values of the older generation which he had until then accepted without question. As he recalled in ., the war even became a barrier between his mother and him, so that eventually he gave up discussing it with her altog

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豪华

Through the Wicket Gate October 1926 (after my fortieth birthday)”. In fact it was not published until 1928, but that he decided on a title for a volume that apparently was to mark the start of a new ‘life-begins-at-forty’ phase as early as 1923, suggests that he was dissatisfied with his existence and felt that it was ti

粗糙滥制

Memoirs of an Infantry Officers in 1917, wrote to him asking if he would like to contribute to the regimental history he was compiling. Sassoon’s inital response took the form of a poem, ‘A Footnote on the War’, in which he expressed his reluctance to re-live his war memories:.But he soon relented and, using his war diaries, he

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控诉

God’s Treasuregraphy of one of the favourite authors of his youth, George Meredith. In August 1947 he wrote to Max Beerbohm.Sassoon dedicated the book to G.M. Trevelyan (1876–1962), the eminent historian, who had been a personal friend of Meredith. In 1906 Trevelyan published his . and he contributed the explanat