The poem is in three stanzas,
the first and last of eight lines, and the second of seven.
This unevenness is emphasised by the enjambement between
stanzas, which the punctuation (particularly the parenthetical dashes of
lines 8 and 9) emphasises. The lines vary in length but are about ten syllables
long, with little regularity of metre or length, something that adds to
the colloquial feel of the speaking voice, the poet seeming to recount a dream
or a nightmare-like experience, as though caught in mid-account. Although the poem is in the third person, it has the effect of free undirected speech in that there is no 'he said' or 'he thought' indication. Rather, we are plunged straight into the experience of the soldier.
The poem starts with the adverb 'suddenly'--an unusual start to a sentence--and in the same way, this
gives us the impression that we are plunged into the middle of the action that
it describes. The poem is full of participles: 'running.. stumbling...
hearing... smacking... sweating' that give it a sense of pace and purpose. we
are dragged out of the past tense 'awoke.. was running' into what seems
like the present action 'stumbling', enacting the confusion of the
central character in the poem (in fact, the auxiliary verb 'was' governs all the following participles, so that the poem makes perfect grammatical sense--it is an interesting effect).
The 'raw' experience of the
protagonist and the 'raw-seamed hot khaki' link together the new recruit and
his uncomfortable clothes and the sharpness of his awakening until we
are uncertain as to whether this is a real experience or not.
The enjambement between line 1 and 2 emphasises the word 'raw'
and brings to it the added sense of hurt or vulnerability. He seem literally
weighed down by sweat, the wordplay here on 'heavy' suggesting that his fear
and effort is a physical weight upon him. The object of the charge is paradoxically
pictured as beautiful--'a green hedge / that dazzled' suggests that he
is attracted to it, the following 'with rifle fire' almost creating a sense of bathos
as we--with him--realise the danger it represents.
The semantic field of the
body resonates throughout the poem, but it is represented by
inanimate things that are personified--the 'bullets smacking the belly
out of the air', the rifle 'numb as a smashed arm', these imagined injuries
making the man in the midst of it seem almost invulnerable by
comparison, though the wounds suggested do present a dark threat of what may be
in store for him. The 'patriotic tear' of line 7 might remind us of the
patriotism in 'The
Charge of the Light Brigade', the sentimentality of those not directly affected by war. Now, it is transformed into an industrial weight
of 'molten iron', the machine-like image reinforcing the unnaturalness of the
experience of the charge, and the effort it represents. The 'catch in the
throat' of tears here becomes the real pain of breathing heavily when running,
the pain 'like molten iron' as Hughes uses hyperbole to get his
point across.
In stanza two, the transformation
of patriotism to pain seems to impel the hesitation of the man
'in bewilderment then'. The forces propelling him--presumably states,
government--are seen as 'cold clockwork'; both fate and powers simply beyond
his control. He is seen as the moving hand that the clockwork causes to
act 'pointing that second', but the self-questioning causes him
(unlike the soldiers Tennyson describes) to pause. He seems to see
himself at this moment, running like someone who has been awakened out of fear,
'jumped up in the dark' (here surely a symbolic dark--he has run into
the battle without questioning what he is fighting for) and is
'listening between his footfalls for the reason'. The image suggests someone
who is being chased, and of course he is not being chased, but has simply
started to charge, he is the one running towards the guns--and this makes him
pause. again he seems like something inanimate, a statue, frozen in movement
while he thinks about what he is doing. The strong caesura in the middle
of line 15 emphasises this pause, as does the shorter stanza.
The poem sets off again with the
strongly sibilant line 'then the shot-slashed furrows/ threw up a yellow
hare'. The hare--traditionally a swift-moving animal who could easily outrun a
man--is here passive, 'thrown up' by the earth, and instead of running, it
'rolled like a flame / And crawled in a threshing circle'. Against the 'clods'
of the field across which the soldier runs, it seems brightly coloured (like
the green hedge--or like the flame it resembles in movement?) and yellow (Hares
are usually a light brown colour--but this hare may be more the colour of a
golden Labrador) It seems to be clearly injured, the word 'threshing'
particularly suggesting its pain, but it is silent, and the horrible silent
scream suggested by 'its mouth wide/ Open silent' seems to foretell the
soldier's fate if he stays still. Hares often rely on their colour
to camouflage them against predators, and will therefore lie still in
fields unless disturbed,when they run in their characteristically zig-zag
fashion to elude pursuit (like a soldier trying to dodge bullets, one might
think). Have a look at this clip of hares being hunted by golden
eagles (don't worry, the hares escape) to get an idea of how fast they can go.
For Hughes (and more importantly, for the soldier he is writing about ) a
running hare like this would have been a familiar sight--the hare wounded and
thrashing about on the ground, would have been a very vivid reminder of what
injury you could get by staying still.
In the final stanza, the soldier
moves again: 'plunged past' the hare. The very powerful word 'plunged' here reminds us
perhaps of the gassed soldier in 'Dulce and Decorum Est'-- 'he
plunges at me', but also--as does this whole poem--reminds me of
Owen's poem 'Spring Offensive'. This poem has also the grass and the
attractiveness of the green along which men race 'exposed'--and also describes
how they 'plunged' toward death and how they 'crawled' back--well worth a read
to really see where Hughes was coming from.
Hughes here describes how the
soldier drops everything--like someone running for their life would drop
'luxuries', he here drops 'King, honour, human dignity'--in other words, drops
that 'brimming tear' of patriotism. Abstractions here seem like real
possessions, abandoned in the face of reality. Here, finally, only 'alarm'
fuels his run, like the hare running from hounds. The final image of the
poem suggesting how the air becomes electric, his terror like a bomb about to
explode, the vivid 'blue' like the earlier 'yellow' and 'green' seeming to
sharpen the image.
The poem actually ends with this
panic, the 'terror's touchy dynamite' crackling and about to go off--like
the start of the poem, it seems abrupt, as though we have seen just a
section of an experience, perhaps only partly understood. For an
interesting reading of the poem, look at Tim Kendall's War poetry blog--this article will hopefully have given you the information you need to answer some of the questions that he raises. Despite his unkind words about the anthology, or
perhaps because of them, he makes some good points about this poem.
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