{"id":714,"date":"2016-10-06T14:07:06","date_gmt":"2016-10-06T14:07:06","guid":{"rendered":"https:\/\/courses.lumenlearning.com\/englishlitvictorianmodern\/?post_type=chapter&#038;p=714"},"modified":"2016-10-10T23:57:14","modified_gmt":"2016-10-10T23:57:14","slug":"study-questions-activities-and-resources-15","status":"publish","type":"chapter","link":"https:\/\/courses.lumenlearning.com\/suny-englishlitvictorianmodern\/chapter\/study-questions-activities-and-resources-15\/","title":{"raw":"Study Questions, Activities, and Resources: Siegfried Sassoon","rendered":"Study Questions, Activities, and Resources: Siegfried Sassoon"},"content":{"raw":"<div class=\"bcc-box bcc-info\">\r\n<h3>Study Questions and Activities<\/h3>\r\n<h2>General Question<\/h2>\r\n<ol>\r\n \t<li>Interestingly, Sassoon was entitled to write the initials M.C. after his name. What do these initials stand for? (Hint: it doesn\u2019t mean \u201cmaster of ceremonies.\u201d)<\/li>\r\n<\/ol>\r\n<h2>Counter-Attack<\/h2>\r\n<ol>\r\n \t<li>What does the image in line 8 of Stanza 2 describe? One critic is reminded of the Goya painting <em>The Colossus<\/em>, which described another war scene (the Peninsular War). What do you think?\u00a0<img class=\"aligncenter size-medium wp-image-1139\" src=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images\/wp-content\/uploads\/sites\/880\/2016\/10\/10235542\/543px-El_coloso-272x300.jpg\" alt=\"Oil painting of a naked giant looming over a village, partially obscured by wispy clouds\" width=\"272\" height=\"300\" \/><\/li>\r\n \t<li>Note that in the published version of the poem (<em>Collected Poems<\/em>: 1908-1956, Faber), the lines 7-13 are indented. What is the effect or purpose of this indentation?<\/li>\r\n<\/ol>\r\n<h2>The Death-Bed<\/h2>\r\n<ol>\r\n \t<li>What is the poem\u2019s setting? See stanza 3.<\/li>\r\n<\/ol>\r\n<h2>Does It Matter?<\/h2>\r\n<ol>\r\n \t<li>Who is talking?<\/li>\r\n \t<li>What type of irony\u2014situational, dramatic or verbal, pervades the poem?<\/li>\r\n \t<li>What are the dreams from the pit?<\/li>\r\n \t<li>What is the poem\u2019s theme?<\/li>\r\n<\/ol>\r\n<h2>Base Details<\/h2>\r\n<ol>\r\n \t<li>Identify the speaker.<\/li>\r\n \t<li>Why are the majors \u201cscarlet\u201d?<\/li>\r\n \t<li>Give all noun and adjective meanings for \u201cbase.\u201d Eliminate those that are clearly unintended.<\/li>\r\n \t<li>Define \u201cdetails.\u201d<\/li>\r\n \t<li>Why did Sassoon use the word \u201cscrap\u201d and not \u201cbattle\u201d?<\/li>\r\n \t<li>What is the effect of the spondaic foot (aka spondee) at line 9?<\/li>\r\n \t<li>Why did Sassoon use the word \u201ctoddle\u201d in line 10?<\/li>\r\n<\/ol>\r\n<h2>Essay Questions<\/h2>\r\nIn a brief essay, discuss how irony contributes to theme in \u201cDoes It Matter?\"\r\n\r\nHow does diction contribute to theme in \u201cBase Details\"?\r\n\r\n<a href=\"http:\/\/www.ppu.org.uk\/learn\/infodocs\/people\/pst_sassoon.html\">http:\/\/www.ppu.org.uk\/learn\/infodocs\/people\/pst_sassoon.html<\/a>\r\n\r\nContrast Sassoon\u2019s early war poem \u201cAbsolution\u201d with any of his poems in the Oxford tutorial or from <em>Counter-Attack and Other Poems<\/em> (Project Bartleby) <a href=\"http:\/\/www.bartleby.com\/136\/\">http:\/\/www.bartleby.com\/136\/<\/a>\r\n\r\nPay particular attention to diction.\r\n\r\n<\/div>\r\n<div class=\"textbox shaded\">\r\n<h2>Resources<\/h2>\r\n<ul>\r\n \t<li>An excellent seven-page pamphlet by Ian Brinton on Sassoon, dealing with poems which Sassoon proudly referred to as \u201can antidote to the glorification of \u2018the supreme sacrifice\u2019 and such-like prevalent phrases\u201d: <a href=\"https:\/\/www2.le.ac.uk\/offices\/english-association\/publications\/bookmarks\/WW1\/5Sassoon.pdf\">https:\/\/www2.le.ac.uk\/offices\/english-association\/publications\/bookmarks\/WW1\/5Sassoon.pdf<\/a><\/li>\r\n \t<li>\u201cFrom Mametz Wood to the General\u201d: An informative and wide-ranging podcast lecture by Professor Jean Moorcroft Wilson, biographer of Siegfried Sassoon. In it she mentions some unpublished Sassoon poems she recently discovered, one of which shows an uncharacteristically romantic attitude to war, reminiscent of Rupert Brooke\u2019s \u201cIII: The Dead\u201d.<a href=\"http:\/\/podcasts.ox.ac.uk\/series\/first-world-war-poetry-digital-archive\">http:\/\/podcasts.ox.ac.uk\/series\/first-world-war-poetry-digital-archive<\/a><\/li>\r\n \t<li>BBC <em>In Our Time<\/em> podcast on Siegfried Sassoon: <a href=\"http:\/\/www.bbc.co.uk\/programmes\/b007mvl9\">http:\/\/www.bbc.co.uk\/programmes\/b007mvl9<\/a><\/li>\r\n \t<li>Declaration against the war\": Read carefully this highly controversial manifesto of\u00a0Sassoon\u2019s (July 1917),\u00a0which was read to the House of Commons in London and was considered\u00a0by some to be an act of treason.\u00a0Sassoon narrowly escaped death by firing squad for his actions.<\/li>\r\n \t<li><a href=\"http:\/\/www.oucs.ox.ac.uk\/ww1lit\/education\/tutorials\/intro\/sassoon\/declaration.html\">http:\/\/www.oucs.ox.ac.uk\/ww1lit\/education\/tutorials\/intro\/sassoon\/declaration.html<\/a><\/li>\r\n \t<li>U.K. World War I\u00a0recruitment posters: <a href=\"http:\/\/www.bbc.co.uk\/schools\/0\/ww1\/25332968\">http:\/\/www.bbc.co.uk\/schools\/0\/ww1\/25332968<\/a><\/li>\r\n \t<li>Essays on Sassoon from Modernism Lab, Yale University: <a href=\"http:\/\/modernism.research.yale.edu\/wiki\/index.php\/Siegfried_Sassoon\">http:\/\/modernism.research.yale.edu\/wiki\/index.php\/Siegfried_Sassoon<\/a><\/li>\r\n \t<li>Sample student essay on a Sassoon poem (\u201cGlory of Women\u201d): <a href=\"http:\/\/www.haverford.edu\/engl\/english354\/GreatWar\/Sassoon\/Sasskanay.html\">http:\/\/www.haverford.edu\/engl\/english354\/GreatWar\/Sassoon\/Sasskanay.html<\/a><\/li>\r\n<\/ul>\r\n<\/div>\r\n<h2>\u00a0Attributions<\/h2>\r\n<strong><a name=\"Figure1\"><\/a><a href=\"http:\/\/opentextbc.ca\/englishliterature\/part\/siegfried-sassoon-1886-1967#Figure1\">Figure 1<\/a>\r\n<\/strong>Siegfried Sassoon by George Charles Beresford (1915) by George Charles (<a href=\"http:\/\/commons.wikimedia.org\/wiki\/File:Siegfried_Sassoon_by_George_Charles_Beresford_(1915).jpg\">http:\/\/commons.wikimedia.org\/wiki\/File:Siegfried_Sassoon_by_George_Charles_Beresford_(1915).jpg<\/a>) is in the Public Domain","rendered":"<div class=\"bcc-box bcc-info\">\n<h3>Study Questions and Activities<\/h3>\n<h2>General Question<\/h2>\n<ol>\n<li>Interestingly, Sassoon was entitled to write the initials M.C. after his name. What do these initials stand for? (Hint: it doesn\u2019t mean \u201cmaster of ceremonies.\u201d)<\/li>\n<\/ol>\n<h2>Counter-Attack<\/h2>\n<ol>\n<li>What does the image in line 8 of Stanza 2 describe? One critic is reminded of the Goya painting <em>The Colossus<\/em>, which described another war scene (the Peninsular War). What do you think?\u00a0<img loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-1139\" src=\"https:\/\/s3-us-west-2.amazonaws.com\/courses-images\/wp-content\/uploads\/sites\/880\/2016\/10\/10235542\/543px-El_coloso-272x300.jpg\" alt=\"Oil painting of a naked giant looming over a village, partially obscured by wispy clouds\" width=\"272\" height=\"300\" \/><\/li>\n<li>Note that in the published version of the poem (<em>Collected Poems<\/em>: 1908-1956, Faber), the lines 7-13 are indented. What is the effect or purpose of this indentation?<\/li>\n<\/ol>\n<h2>The Death-Bed<\/h2>\n<ol>\n<li>What is the poem\u2019s setting? See stanza 3.<\/li>\n<\/ol>\n<h2>Does It Matter?<\/h2>\n<ol>\n<li>Who is talking?<\/li>\n<li>What type of irony\u2014situational, dramatic or verbal, pervades the poem?<\/li>\n<li>What are the dreams from the pit?<\/li>\n<li>What is the poem\u2019s theme?<\/li>\n<\/ol>\n<h2>Base Details<\/h2>\n<ol>\n<li>Identify the speaker.<\/li>\n<li>Why are the majors \u201cscarlet\u201d?<\/li>\n<li>Give all noun and adjective meanings for \u201cbase.\u201d Eliminate those that are clearly unintended.<\/li>\n<li>Define \u201cdetails.\u201d<\/li>\n<li>Why did Sassoon use the word \u201cscrap\u201d and not \u201cbattle\u201d?<\/li>\n<li>What is the effect of the spondaic foot (aka spondee) at line 9?<\/li>\n<li>Why did Sassoon use the word \u201ctoddle\u201d in line 10?<\/li>\n<\/ol>\n<h2>Essay Questions<\/h2>\n<p>In a brief essay, discuss how irony contributes to theme in \u201cDoes It Matter?&#8221;<\/p>\n<p>How does diction contribute to theme in \u201cBase Details&#8221;?<\/p>\n<p><a href=\"http:\/\/www.ppu.org.uk\/learn\/infodocs\/people\/pst_sassoon.html\">http:\/\/www.ppu.org.uk\/learn\/infodocs\/people\/pst_sassoon.html<\/a><\/p>\n<p>Contrast Sassoon\u2019s early war poem \u201cAbsolution\u201d with any of his poems in the Oxford tutorial or from <em>Counter-Attack and Other Poems<\/em> (Project Bartleby) <a href=\"http:\/\/www.bartleby.com\/136\/\">http:\/\/www.bartleby.com\/136\/<\/a><\/p>\n<p>Pay particular attention to diction.<\/p>\n<\/div>\n<div class=\"textbox shaded\">\n<h2>Resources<\/h2>\n<ul>\n<li>An excellent seven-page pamphlet by Ian Brinton on Sassoon, dealing with poems which Sassoon proudly referred to as \u201can antidote to the glorification of \u2018the supreme sacrifice\u2019 and such-like prevalent phrases\u201d: <a href=\"https:\/\/www2.le.ac.uk\/offices\/english-association\/publications\/bookmarks\/WW1\/5Sassoon.pdf\">https:\/\/www2.le.ac.uk\/offices\/english-association\/publications\/bookmarks\/WW1\/5Sassoon.pdf<\/a><\/li>\n<li>\u201cFrom Mametz Wood to the General\u201d: An informative and wide-ranging podcast lecture by Professor Jean Moorcroft Wilson, biographer of Siegfried Sassoon. In it she mentions some unpublished Sassoon poems she recently discovered, one of which shows an uncharacteristically romantic attitude to war, reminiscent of Rupert Brooke\u2019s \u201cIII: The Dead\u201d.<a href=\"http:\/\/podcasts.ox.ac.uk\/series\/first-world-war-poetry-digital-archive\">http:\/\/podcasts.ox.ac.uk\/series\/first-world-war-poetry-digital-archive<\/a><\/li>\n<li>BBC <em>In Our Time<\/em> podcast on Siegfried Sassoon: <a href=\"http:\/\/www.bbc.co.uk\/programmes\/b007mvl9\">http:\/\/www.bbc.co.uk\/programmes\/b007mvl9<\/a><\/li>\n<li>Declaration against the war&#8221;: Read carefully this highly controversial manifesto of\u00a0Sassoon\u2019s (July 1917),\u00a0which was read to the House of Commons in London and was considered\u00a0by some to be an act of treason.\u00a0Sassoon narrowly escaped death by firing squad for his actions.<\/li>\n<li><a href=\"http:\/\/www.oucs.ox.ac.uk\/ww1lit\/education\/tutorials\/intro\/sassoon\/declaration.html\">http:\/\/www.oucs.ox.ac.uk\/ww1lit\/education\/tutorials\/intro\/sassoon\/declaration.html<\/a><\/li>\n<li>U.K. World War I\u00a0recruitment posters: <a href=\"http:\/\/www.bbc.co.uk\/schools\/0\/ww1\/25332968\">http:\/\/www.bbc.co.uk\/schools\/0\/ww1\/25332968<\/a><\/li>\n<li>Essays on Sassoon from Modernism Lab, Yale University: <a href=\"http:\/\/modernism.research.yale.edu\/wiki\/index.php\/Siegfried_Sassoon\">http:\/\/modernism.research.yale.edu\/wiki\/index.php\/Siegfried_Sassoon<\/a><\/li>\n<li>Sample student essay on a Sassoon poem (\u201cGlory of Women\u201d): <a href=\"http:\/\/www.haverford.edu\/engl\/english354\/GreatWar\/Sassoon\/Sasskanay.html\">http:\/\/www.haverford.edu\/engl\/english354\/GreatWar\/Sassoon\/Sasskanay.html<\/a><\/li>\n<\/ul>\n<\/div>\n<h2>\u00a0Attributions<\/h2>\n<p><strong><a name=\"Figure1\" id=\"Figure1\"><\/a><a href=\"http:\/\/opentextbc.ca\/englishliterature\/part\/siegfried-sassoon-1886-1967#Figure1\">Figure 1<\/a><br \/>\n<\/strong>Siegfried Sassoon by George Charles Beresford (1915) by George Charles (<a href=\"http:\/\/commons.wikimedia.org\/wiki\/File:Siegfried_Sassoon_by_George_Charles_Beresford_(1915).jpg\">http:\/\/commons.wikimedia.org\/wiki\/File:Siegfried_Sassoon_by_George_Charles_Beresford_(1915).jpg<\/a>) is in the Public Domain<\/p>\n\n\t\t\t <section class=\"citations-section\" role=\"contentinfo\">\n\t\t\t <h3>Candela Citations<\/h3>\n\t\t\t\t\t <div>\n\t\t\t\t\t\t <div id=\"citation-list-714\">\n\t\t\t\t\t\t\t <div class=\"licensing\"><div class=\"license-attribution-dropdown-subheading\">CC licensed content, Shared previously<\/div><ul class=\"citation-list\"><li>British Literature: Victorians and Moderns. <strong>Authored by<\/strong>: James Sexton. <strong>Located at<\/strong>: <a target=\"_blank\" href=\"https:\/\/opentextbc.ca\/englishliterature\">https:\/\/opentextbc.ca\/englishliterature<\/a>. <strong>Project<\/strong>: BCcampus Open Textbook Project. <strong>License<\/strong>: <em><a target=\"_blank\" rel=\"license\" href=\"https:\/\/creativecommons.org\/licenses\/by\/4.0\/\">CC BY: Attribution<\/a><\/em><\/li><\/ul><div class=\"license-attribution-dropdown-subheading\">Public domain content<\/div><ul class=\"citation-list\"><li>Image of The Colossus. <strong>Authored by<\/strong>: Follower of Goya. <strong>Located at<\/strong>: <a target=\"_blank\" href=\"https:\/\/commons.wikimedia.org\/wiki\/File:El_coloso.jpg\">https:\/\/commons.wikimedia.org\/wiki\/File:El_coloso.jpg<\/a>. <strong>License<\/strong>: <em><a target=\"_blank\" rel=\"license\" href=\"https:\/\/creativecommons.org\/about\/pdm\">Public Domain: No Known Copyright<\/a><\/em><\/li><\/ul><\/div>\n\t\t\t\t\t\t <\/div>\n\t\t\t\t\t <\/div>\n\t\t\t <\/section>","protected":false},"author":19,"menu_order":6,"template":"","meta":{"_candela_citation":"[{\"type\":\"cc\",\"description\":\"British Literature: Victorians and Moderns\",\"author\":\"James Sexton\",\"organization\":\"\",\"url\":\"https:\/\/opentextbc.ca\/englishliterature\",\"project\":\"BCcampus Open Textbook Project\",\"license\":\"cc-by\",\"license_terms\":\"\"},{\"type\":\"pd\",\"description\":\"Image of The Colossus\",\"author\":\"Follower of 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