“His experience alone makes him worth a dozen people like me” 14
Osborne
. About Stanhope
. Hyperbolic quantifier “a dozen” elevates Stanhope in anticipation for his character’s entrance
. “Alone” isolates experience as a crucial value
. War typicality - the experienced soldiers survived the longest while new officers died quickly
“He’s been out here a long time. It - it tells on a man - rather badly” 19
Osborne
. About Stanhope
. Osborne acknowledges psychological damage (atypical) while protecting Stanhope’s reputation
. Hesitation reflects his discomfort in speaking ill of someone he respects while the euphemism “tells on a man” softens the impact this has on Stanhope
.
“[despite his stars of rank he is no more than a boy]”
“[His uniform, though old and war-stained, is well cut and cared for]”
“[Dark shadows under his eyes]”
Stanhope
1. Immediately establishes Stanhope’s paradoxical role in the play, emotionally a commanding officer but physically a child. “Boy” strips authority, revealing vulnerability and highlighting the premature burden placed on young men. “Stars of rank” symbolizes authority and institutional power
2. Stanhope still clings to discipline and duty, despite exhaustion he maintains appearance suggesting pride. Visual imagery of “Old and war-stained” conveys prolonged exposure while “well cut and cared for” indicates refinement and control, two things Stanhope clings too
3. “Dark” symbolizes danger and moral doom while “shadows” hints at something haunting Stanhope (war typicality - moral turmoil of soldiers leading to nightmares)
“Without being doped with whisky - i’d go mad with fright” 31
Stanhope
. Reveals Stanhope’s disguised fear and dependence on alcohol. He is not naturally fearless, drinking as a coping mechanism, demonstrating the psychological strain of command
. “Doped” suggests deliberate numbing while “Mad with fright” is extreme and emotional
. Links to the theme of the mental effects of war
. Hyperbole (“go mad”)
[he looks around, a little bewildered]
16
Raleigh
. Adjective “bewildered” suggests disorientation and vulnerability, unlike Stanhope who masks his fear Raleigh does not understand what he is facing, embodying youthful idealism and psychological unpreparedness
. Stagecraft - Raleigh’s character, physically hesitating/ portraying bewilderment creates immediate physical contrast with the more experienced soldiers in the dugout
. Foreshadows Raleigh’s fate, continuing to remain inexperienced, confused but having lost innocence and youth.
[A well built healthy-looking boy of about eighteen, with a very new uniform] 16
Raleigh
. Presents him as youthful, innocent, and unscarred by war. The noun “boy” is crucial in reducing him to child-like innocence.
. His physical strength (“well built”, “healthy-looking”) contrasts sharply with the psychological fragility he will later develop, as sheriff deliberately presents him as full of vitality at the start
. The uniform symbolises: his inexperience, naivety and untested patriotism
. Represents the typical young public-school officer of WWI, physically fit, motivated by ideals and lacking real understanding of warfare - reflects the tragic pattern of the death of the young generation
“[I] asked him if he could get me into this Battalion” 18
Raleigh
. Reveals Raleigh’s idealism and hero-worship of Stanhope, associating Stanhope with safety, home and traditional masculine honour (things that increase the strain for duty for Stanhope)
. War typicality - school environments heavily influenced conscription, with young men often sought to serve with friends or admired figures out of honour and romantic patriotism
. The syntax is simple and direct - “asked him” reflects Raleigh’s openness and innocence
. The verb “asked” implies dependence, showcasing how Raleigh feels he is not far placed from the school atmosphere
“Why - er- do you have to run fast?” 27
Raleigh
. Exposes Raleigh’s lack of combat experience, not yet internalised the life-or-death stakes while hinting at his schoolboy mindset - he approaches war with curiosity
. The dash and (“er”) indicates nervousness and uncertainty, his speech is fragmented, suggesting hesitation in asking naïve a question
“[Reveals a fine head, with close-cropped iron-grey hair]” 9
Osborne
. Constructs Osborne as dignified, composed, and quietly authoritative with the evaluative adjective “fine” suggests nobility and moral strength
. His appearance symbolizes his aging role as the company’s paternal figure
. “Reveals” implies gradual exposure, suggesting calmness amongst chaos
. Symbolism of “Iron” connotes strength, endurance, and resilience, while “Grey” implies age, experience, and wisdom
. His solidity contrasts sharply with Raleigh’s “bewildered” innocence and Stanhope’s deteriorating mental state
. Osborne = dual educator (audience and characters)
“[He looks about forty-five, physically as hard as nails]” 9
Osborne
“I do love that fellow, I’d go to hell with him” 14
Osborne
. Religious imagery foreshadows Osborne’s death whilst showcasing his dedication towards Stanhope who he trusts with his life
. War typicality - “Love” challenges typical masculinity while intensifying male bonding
“The other officers call me uncle” 17
Osborne
. Establishes Osborne a paternal figure, unlike Stanhope’s volatile authority, whose leadership is rooted in emotional stability and care. “uncle” suggests warmth, and guidance positioning him as a mediator, moral anchor, and protector within the trench
. “Call me” implies the nickname is given affectionately rather than claimed
. “Uncle” symbolizes wisdom and reassurance, subtly highlighting his comparative age and maturity
. Typically, soldiers formed surrogate families to replace absent familial support with war disrupting the home front’s steady influence
.
“If you notice a - difference in Stanhope- you’ll know it’s only the strain -“ 19
Osborne
. Osborne acts as a moral buffer, excusing Stanhope before Raleigh’s youthful idealism is destroyed
. Repetition of (“–”) creates hesitation suggesting Osborne’s discomfort in acknowledging Stanhope’s trauma openly
. War typicality - “strain” was the typical approach to what is now recognised as shell shock or PTSD, as soldiers refused to acknowledge psychological issues
. Dramatic irony: the audience recognises that the “strain” is far more serious than Osborne suggests
. Euphemism: “only the strain” masks the severity of Stanhope’s condition
“We must have pepper it’s a disinfectant” 24
Osborne
. War typicality - soldiers developed habits or superstitions to feel protected, clinging to the small things
. Bathos - seriousness of war is contrasted with mundane discussion of pepper, creating a sense of humour
. Symbolism: Pepper symbolises futile attempts to control an uncontrollable situation
“I wish you’d turn in and sleep for a bit” 28
Osborne
. Highlights Osborne’s paternal role and emotional intelligence. Osborne sees beyond Stanhope’s authority and to his strain. Portrays Osborne as a moral compass, while simultaneously exposing Stanhope’s fragility beneath his commanding exterior
. I wish” is tentative rather than commanding, despite Osborne’s seniority he is caring and gentle
. Domestic imagery – concern about sleep evokes themes of home, momentarily humanising war
“You can’t help but feel sorry for him. I think he’s tried hard” 29
Osborne
. About Hibbert
“You’ll feel alright in a minute. How’s that? Comfortable?” 34
Osborne
“I mean - after all - war’s bad enough with pepper - [noisy sip] - but war without pepper - it’s - bloody awful” 25
Trotter
“[middle-aged and homely looking. His face is fat and round]” 22
Trotter
“quiet as an empty ‘ouse” 24
Trotter
“I’m going to draw a hundred and forty-four little circles on a bit o’ paper, and every hour i’m going to black one in; that’ll make time go all right” 26
Trotter
“t’s this beastly neuralgia. It seems to be right inside this eye. The beastly pain gets worse everyday” 28
Hibbert
“[a small, slightly built man in his early twenties, with a little mostache and a pallid face]” 28
Hibbert
“Another little worm trying to wiggle home” 29
Stanhope
. About Hibbert
. Contemptuous tone, demonstrating how Stanhope equates fear with weakness
. Zoomorphism - dehumanizes Hibbert, trivializing his distress
. War typicality of stigma around psychological illness
. Stanhope attacks Hibbert because he sees in him what he fears in himself
