'Dbq Regarding the Literary Responses to World War 1 from 1914 to 1928 Essay\r'

'Historical Context:\r\n sphither War 1 (1914-1918) was a war that was inevitable, still near all t old(a) underestimated. As the war dragged on for four long time and millions of lives were expended in the name of victory, many were greatly impacted culturally, mainly Europeans and Americans. In what was k at a timen as the bemused generation, many poets and writers developed new forms of literature in response to the devastating consequences of the war.\r\nDBQ Prompt: Identify and tumble the various European and American literary responses to World War 1 created during the war and in the decade after the end of World War 1.\r\n papers #1\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\n witnesser: Paul Valéry, French poet and critic, â€Å"The Crisis of the Mind,” military rank of European spirit and civilization (1920). â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nâ€â€â€â€ â€â€â€â€â€â€â€â€â€â€â€â€-\r\nThe storm has died away, and nonetheless we be restless, uneasy, as if the storm were ab issue to break. intimately all the affairs of men remain in a terrible uncertainty. We think of what has disappeared, and we are almost destroyed by what has been destroyed; we do non know what entrust be born, and we fear the future, non without reason… Doubt and disorder are in us and with us. There is no thinking man, in time shrewd or learned he may be, who can hope to dominate this anxiety, to escape from, this touch sensation of darkness. â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\n memorandum #2\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nSource: Roland Leighton, British soldier serving in France, letter to fiancé Vera Brittain (1915). â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nâ₠¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬Ã¢â‚¬-\r\nAmong this chaos of perverted iron and splintered timber and shapeless earth are the fleshless, blackened bones of simple men who poured out their red, sweet wine of youth unknowing, for nonhing much tangible than detect or their Country’s Glory or another’s hunger of Power.\r\nLet him who thinks that war is a glorious rosy thing, who loves to roll forth stirring words of exhortation, invoking Honour and Praise and Valour and Love of Country. Let him fancy at a circumstantial pile of bathetic grey rags that cover half a skull and a shine bone and what might have been its ribs, or at this skeleton lying on its side, resting half-crouching as it fell, supported on one arm, perfect just now that it is headless, and with the tattered clothing still draped more or less it; and let him realise how grand and glorious a thing it is to have distilled all Youth and gratification and Life into a foetid heap of dreaded putrescence. â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nDocument #3\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nSource: Ernest Hemingway, American actor and expatriate, â€Å"The Sun Also Rises,” expatriate character risk (1926). â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nYou’re an expatriate. You’ve lost touch with the soil. You get precious. make European standards have ruined you. You drink yourself to death. You die obsessed with sex. You spend all your time talking, not working. You are an expatriate, see? You hang around cafes. â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nDocument #4\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nSo urce: F. Scott Fitzergerald, American writer, â€Å"This Side of Paradise,” examines post-war holiness with fictional love plot (1920).\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nI alone state that I’m a harvest-time of a versatile mind in a restless generation-with every reason to throw my mind and pen in with the radicals. Even if, deep in my heart, I thought we were all blind atoms in a world as limited as a stroke of a pendulum, I and my physical body would struggle against tradition; try, at least, to displace old cants with new ones. I’ve thought I was in good order about life at various times, just now faith is difficult. One thing I know. If alert isn’t seeking for the grail it may be a damned amusing game. â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nDocument #5\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nSource: Eleanor Chaffer, French woman, poem â€Å"Lost extension” published in a newspaper (1921). â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\n scan care not for the flower of innocence in these eyes,\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\n earnestly and silently they have looked on death,\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nSeen terror come down down from unfriendly skies,\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nLearned while insofar infants how frail is man’s breath.\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nThey have glum from a landscape where the ground\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nIs poisoned and destroyed: legislate them a toy\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nAnd it is held in their hands with no sound\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nOf childish mirth. This solemn-faced small boy\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nIs ripened than his father: in his face,\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nWisdom is the ghost that will not leave;\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nThe world to him is a ill-advised and dangerous place;\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nNo covert here where he may hide and grieve.\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nLook comfortably on these, and on the world we made\r\nâ€â€â €â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nAs heritage for them †and be afraid!\r\nDocument #6\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nSource: Wilfred Owen, English poet and soldier, Dulce et Decorum Est, addressed to his mother, compose 1917, published later (1920) â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nIf you could hear, at every jolt, the riptide\r\nCome gargling from the froth-corrupted lungs\r\nObscene as cancer, bitter as the cud\r\nOf vile, incurable sores on innocent tongues,\r\nMy friend, you would not tell with such high zest\r\nTo children fond for some desperate glory\r\nThat old roost: Dulce et decorum est\r\nPro patria mori\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nDocument #7\r\nâ€â€â€â€â€â€ â€â€â€â€â€â€â€â€â€â€-\r\nSource: D.H. Lawrence, English novelist and poet, Lady Chatterley’s Lover, fictional acquaintance has a love affair, examines structural morale (1928). â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nOurs is basically a tragic age, so we refuse to take it tragically. The cataclysm has happened, we are among the ruins, we start to build up new little habitats, to have new little hopes. It is rather hard work: there is\r\nnow no smooth road into the future: but we go round, or scramble over the obstacles. We’ve got to live, no matter how many skies have fallen. â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nDocument #8\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\nSource: Kathe Kollwitz, German expressionist artist, The Survivors (1922), by Kathe Kollwitz\r\nâ€â€â€â€â€â€â€â€â€â€â€â€â€â€â€â€-\r\n.\r\n'