The Great War and Modernism

james Joyce: "The Dead"

At the annual dance and dinner party held by Kate and Julia Morkan and their young niece, Mary Jane Morkan, the housemaid Lily frantically greets guests. Set at or just before the feast of the Epiphany on January 6, which celebrates the manifestation of Christ's divinity to the Magi, the party draws together a variety of relatives and friends. Kate and Julia particularly await the arrival of their favorite nephew, Gabriel Conroy, and his wife, Gretta. When they arrive, Gabriel attempts to chat with Lily as she takes his coat, but she snaps in reply to his question about her love life. Gabriel ends the uncomfortable exchange by giving Lily a generous tip, but the experience makes him anxious. He relaxes when he joins his aunts and Gretta, though Gretta's good-natured teasing about his dedication to galoshes irritates him. They discuss their decision to stay at a hotel that evening rather than make the long trip home. The arrival of another guest, the always-drunk Freddy Malins, disrupts the conversation. Gabriel makes sure that Freddy is fit to join the party while the guests chat over drinks in between taking breaks from the dancing. An older gentleman, Mr. Browne, flirts with some young girls, who dodge his advances. Gabriel steers a drunken Freddy toward the drawing room to get help from Mr. Browne, who attempts to sober Freddy up.

james Joyce: "The Dead"

At the hotel, Gabriel grows irritated by Gretta's behavior. She does not seem to share his romantic inclinations, and in fact bursts into tears. Gretta confesses that she has been thinking of the song from the party because a former lover had sung it to her in her youth in Galway. Gretta recounts the sad story of this boy, Michael Furey, who died after waiting outside of her window in the cold. Gretta later falls asleep, but Gabriel remains awake, disturbed by Gretta's new information. He curls up on the bed, contemplating his own mortality. Seeing the snow at the window, he envisions it blanketing the graveyard where Michael Furey rests, as well as all of Ireland.

Wilfred Owen: "Dulce Et Decorum Est"

Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through sludge, Till on the haunting flares we turned our backs, And towards our distant rest began to trudge. Men marched asleep. Many had lost their boots, But limped on, blood-shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots Of gas-shells dropping softly behind. Gas! GAS! Quick, boys!—An ecstasy of fumbling Fitting the clumsy helmets just in time, But someone still was yelling out and stumbling And flound'ring like a man in fire or lime.— Dim through the misty panes and thick green light, As under a green sea, I saw him drowning. In all my dreams before my helpless sight, He plunges at me, guttering, choking, drowning. If in some smothering dreams, you too could pace Behind the wagon that we flung him in, And watch the white eyes writhing in his face, His hanging face, like a devil's sick of sin; If you could hear, at every jolt, the blood Come gargling from the froth-corrupted lungs, Obscene as cancer, bitter as the cud Of vile, incurable sores on innocent tongues,— My friend, you would not tell with such high zest To children ardent for some desperate glory, The old Lie: Dulce et decorum est Pro patria mori.

Wilfred Owen: "Dulce Et Decorum Est"

Formally, the poem combines two sonnets, as it is formed by 28 lines, though the spacing of the stanzas is irregular.[citation needed] The text presents a vignette from the front lines of World War I; specifically, of British soldiers attacked with chlorine gas. In the rush when the shells with poison gas explode, one soldier is unable to get his mask on in time. The speaker of the poem describes the gruesome effects of the gas on the man and concludes that, if one were to see first-hand the reality of war, one might not repeat mendacious platitudes like dulce et decorum est pro patria mori: "How sweet and honourable it is to die for one's country."

Wilfred Owen: "Disabled"

He sat in a wheeled chair, waiting for dark, And shivered in his ghastly suit of grey, Legless, sewn short at elbow. Through the park Voices of boys rang saddening like a hymn, Voices of play and pleasure after day, Till gathering sleep had mothered them from him. * * * * * About this time Town used to swing so gay When glow-lamps budded in the light-blue trees, And girls glanced lovelier as the air grew dim,— In the old times, before he threw away his knees. Now he will never feel again how slim Girls' waists are, or how warm their subtle hands, All of them touch him like some queer disease. * * * * * There was an artist silly for his face, For it was younger than his youth, last year. Now, he is old; his back will never brace; He's lost his colour very far from here, Poured it down shell-holes till the veins ran dry, And half his lifetime lapsed in the hot race And leap of purple spurted from his thigh. * * * * * One time he liked a blood-smear down his leg, After the matches carried shoulder-high. It was after football, when he'd drunk a peg, He thought he'd better join. He wonders why. Someone had said he'd look a god in kilts. That's why; and maybe, too, to please his Meg, Aye, that was it, to please the giddy jilts, He asked to join. He didn't have to beg; Smiling they wrote his lie: aged nineteen years. Germans he scarcely thought of, all their guilt, And Austria's, did not move him. And no fears Of Fear came yet. He thought of jewelled hilts For daggers in plaid socks; of smart salutes; And care of arms; and leave; and pay arrears; Esprit de corps; and hints for young recruits. And soon, he was drafted out with drums and cheers. * * * * * Some cheered him home, but not as crowds cheer Goal. Only a solemn man who brought him fruits Thanked him; and then inquired about his soul. * * * * * Now, he will spend a few sick years in institutes, And do what things the rules consider wise, And take whatever pity they may dole. Tonight he noticed how the women's eyes Passed from him to the strong men that were whole. How cold and late it is! Why don't they come And put him into bed? Why don't they come?

Ivor Gurney: "To His Love"

He's gone, and all our plans Are useless indeed. We'll walk no more on Cotswold Where the sheep feed Quietly and take no heed. His body that was so quick Is not as you Knew it, on Severn river Under the blue Driving our small boat through. You would not know him now ... But still he died Nobly, so cover him over With violets of pride Purple from Severn side. Cover him, cover him soon! And with thick-set Masses of memoried flowers— Hide that red wet Thing I must somehow forget.

William Butler Yeats: "Easter, 1916"

I have met them at close of day Coming with vivid faces From counter or desk among grey Eighteenth-century houses. I have passed with a nod of the head Or polite meaningless words, Or have lingered awhile and said Polite meaningless words, And thought before I had done Of a mocking tale or a gibe To please a companion Around the fire at the club, Being certain that they and I But lived where motley is worn: All changed, changed utterly: A terrible beauty is born. That woman's days were spent In ignorant good-will, Her nights in argument Until her voice grew shrill. What voice more sweet than hers When, young and beautiful, She rode to harriers? This man had kept a school And rode our wingèd horse; This other his helper and friend Was coming into his force; He might have won fame in the end, So sensitive his nature seemed, So daring and sweet his thought. This other man I had dreamed A drunken, vainglorious lout. He had done most bitter wrong To some who are near my heart, Yet I number him in the song; He, too, has resigned his part In the casual comedy; He, too, has been changed in his turn, Transformed utterly: A terrible beauty is born. Hearts with one purpose alone Through summer and winter seem Enchanted to a stone To trouble the living stream. The horse that comes from the road, The rider, the birds that range From cloud to tumbling cloud, Minute by minute they change; A shadow of cloud on the stream Changes minute by minute; A horse-hoof slides on the brim, And a horse plashes within it; The long-legged moor-hens dive, And hens to moor-cocks call; Minute by minute they live: The stone's in the midst of all. Too long a sacrifice Can make a stone of the heart. O when may it suffice? That is Heaven's part, our part To murmur name upon name, As a mother names her child When sleep at last has come On limbs that had run wild. What is it but nightfall? No, no, not night but death; Was it needless death after all? For England may keep faith For all that is done and said. We know their dream; enough To know they dreamed and are dead; And what if excess of love Bewildered them till they died? I write it out in a verse— MacDonagh and MacBride And Connolly and Pearse Now and in time to be, Wherever green is worn, Are changed, changed utterly: A terrible beauty is born.

Wilfred Owen:"The Parable of the Old Man and the Young

In the biblical version (Genesis 1-19), Abram takes his son Isaac up into the mountains and prepares his sacrifice. It is to be Isaac, and Abram is anguished. He is just about to take his son's life in order to fulfill God's command when an angel appears and tells him to stay his hand. A ram caught in a nearby thicket is sacrificed instead. In Owen's poem, there are a few modern touches that ground it in the context of WWI. Abram builds "parapets and trenches" and holds Isaac down with "straps and belts". Where the poem most markedly deviates from the biblical story is when the angel instructs Abram to sacrifice the "Ram of Pride" instead of Isaac, but the old man slays his son anyway and then, in one of the most memorable and disconcerting lines in Owen's oeuvre, also slays "half the seed of Europe, one by one". It is commonly assumed that Abram stands for the rulers of Europe and Isaac is a typical soldier, representative of all the young men slaughtered so such rulers could play out their games of conquest. Rather than slay their own pride, the military machine sacrificed the next generation. Owen's poem may be traditional in its structure, but the seething commentary is certainly not ambiguous. Scholar Andrew Gates writes, "Owen's poem is not one of idealized glory and divine mystery, but an account of true and bitter reality of his day."

T.S. Elliot: "The Love Song of J. Alfred Prufrock"

J. Alfred Prufrock performs his "love song" in the form of a dramatic monologue in verse. At the beginning of the poem, he asks an unknown "you" to accompany him on a walk through the red light district. Prufrock and his friend ramble through the dirty roads and alleys of the red light district, walking by "sawdust restaurants" and cheap hotels on their way to get coffee. Prufrock listens to women "come and go, talking of Michelangelo." He grows self-conscious of his old age and his shabby clothes and never works up the courage to talk to the women. Prufrock thinks so little of himself that he won't even allow himself the simple joy of eating a peach. He doesn't dare. At the end of the poem, he hears "the mermaids singing, each to each." He does not think they will sing to him.

james Joyce: "The Dead"

Just before dinner, Julia sings a song for the guests. Miss Ivors makes her exit to the surprise of Mary Jane and Gretta, and to the relief of Gabriel. Finally, dinner is ready, and Gabriel assumes his place at the head of the table to carve the goose. After much fussing, everyone eats, and finally Gabriel delivers his speech, in which he praises Kate, Julia, and Mary Jane for their hospitality. Framing this quality as an Irish strength, Gabriel laments the present age in which such hospitality is undervalued. Nevertheless, he insists, people must not linger on the past and the dead, but live and rejoice in the present with the living. The table breaks into a loud applause for Gabriel's speech, and the entire party toasts their three hostesses. Later, guests begin to leave, and Gabriel recounts a story about his grandfather and his horse, which forever walked in circles even when taken out of the mill where it worked. After finishing the anecdote, Gabriel realizes that Gretta stands transfixed by the song that Mr. Bartell D'Arcy sings in the drawing room. When the music stops and the rest of the party guests assemble before the door to leave, Gretta remains detached and thoughtful. Gabriel is enamored with and preoccupied by his wife's mysterious mood and recalls their courtship as they walk from the house and catch a cab into Dublin.

T.S. Elliot: "The Love Song of J. Alfred Prufrock"

Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized upon a table; Let us go, through certain half-deserted streets, The muttering retreats Of restless nights in one-night cheap hotels And sawdust restaurants with oyster-shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question ... Oh, do not ask, "What is it?" Let us go and make our visit. In the room the women come and go Talking of Michelangelo. The yellow fog that rubs its back upon the window-panes, The yellow smoke that rubs its muzzle on the window-panes, Licked its tongue into the corners of the evening, Lingered upon the pools that stand in drains, Let fall upon its back the soot that falls from chimneys, Slipped by the terrace, made a sudden leap, And seeing that it was a soft October night, Curled once about the house, and fell asleep. And indeed there will be time For the yellow smoke that slides along the street, Rubbing its back upon the window-panes; There will be time, there will be time To prepare a face to meet the faces that you meet; There will be time to murder and create, And time for all the works and days of hands That lift and drop a question on your plate; Time for you and time for me, And time yet for a hundred indecisions, And for a hundred visions and revisions, Before the taking of a toast and tea. In the room the women come and go Talking of Michelangelo. And indeed there will be time To wonder, "Do I dare?" and, "Do I dare?" Time to turn back and descend the stair, With a bald spot in the middle of my hair — (They will say: "How his hair is growing thin!") My morning coat, my collar mounting firmly to the chin, My necktie rich and modest, but asserted by a simple pin — (They will say: "But how his arms and legs are thin!") Do I dare Disturb the universe? In a minute there is time For decisions and revisions which a minute will reverse. For I have known them all already, known them all: Have known the evenings, mornings, afternoons, I have measured out my life with coffee spoons; I know the voices dying with a dying fall Beneath the music from a farther room. So how should I presume? And I have known the eyes already, known them all— The eyes that fix you in a formulated phrase, And when I am formulated, sprawling on a pin, When I am pinned and wriggling on the wall, Then how should I begin To spit out all the butt-ends of my days and ways? And how should I presume? And I have known the arms already, known them all— Arms that are braceleted and white and bare (But in the lamplight, downed with light brown hair!) Is it perfume from a dress That makes me so digress? Arms that lie along a table, or wrap about a shawl. And should I then presume? And how should I begin? Shall I say, I have gone at dusk through narrow streets And watched the smoke that rises from the pipes Of lonely men in shirt-sleeves, leaning out of windows? ... I should have been a pair of ragged claws Scuttling across the floors of silent seas. And the afternoon, the evening, sleeps so peacefully! Smoothed by long fingers, Asleep ... tired ... or it malingers, Stretched on the floor, here beside you and me. Should I, after tea and cakes and ices, Have the strength to force the moment to its crisis? But though I have wept and fasted, wept and prayed, Though I have seen my head (grown slightly bald) brought in upon a platter, I am no prophet — and here's no great matter; I have seen the moment of my greatness flicker, And I have seen the eternal Footman hold my coat, and snicker, And in short, I was afraid. And would it have been worth it, after all, After the cups, the marmalade, the tea, Among the porcelain, among some talk of you and me, Would it have been worth while, To have bitten off the matter with a smile, To have squeezed the universe into a ball To roll it towards some overwhelming question, To say: "I am Lazarus, come from the dead, Come back to tell you all, I shall tell you all"— If one, settling a pillow by her head Should say: "That is not what I meant at all; That is not it, at all." And would it have been worth it, after all, Would it have been worth while, After the sunsets and the dooryards and the sprinkled streets, After the novels, after the teacups, after the skirts that trail along the floor— And this, and so much more?— It is impossible to say just what I mean! But as if a magic lantern threw the nerves in patterns on a screen: Would it have been worth while If one, settling a pillow or throwing off a shawl, And turning toward the window, should say: "That is not it at all, That is not what I meant, at all." No! I am not Prince Hamlet, nor was meant to be; Am an attendant lord, one that will do To swell a progress, start a scene or two, Advise the prince; no doubt, an easy tool, Deferential, glad to be of use, Politic, cautious, and meticulous; Full of high sentence, but a bit obtuse; At times, indeed, almost ridiculous— Almost, at times, the Fool. I grow old ... I grow old ... I shall wear the bottoms of my trousers rolled. Shall I part my hair behind? Do I dare to eat a peach? I shall wear white flannel trousers, and walk upon the beach. I have heard the mermaids singing, each to each. I do not think that they will sing to me. I have seen them riding seaward on the waves Combing the white hair of the waves blown back When the wind blows the water white and black. We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown Till human voices wake us, and we drown.

james Joyce: "Araby"

On the morning of the bazaar the narrator reminds his uncle that he plans to attend the event so that the uncle will return home early and provide train fare. Yet dinner passes and a guest visits, but the uncle does not return. The narrator impatiently endures the time passing, until at 9p.m. the uncle finally returns, unbothered that he has forgotten about the narrator's plans. Reciting the epigram "All work and no play makes Jack a dull boy," the uncle gives the narrator the money and asks him if he knows the poem "The Arab's Farewell to his Steed." The narrator leaves just as his uncle begins to recite the lines, and, thanks to eternally slow trains, arrives at the bazaar just before 10p.m., when it is starting to close down. He approaches one stall that is still open, but buys nothing, feeling unwanted by the woman watching over the goods. With no purchase for Mangan's sister, the narrator stands angrily in the deserted bazaar as the lights go out.

james Joyce: "Araby"

One morning, Mangan's sister asks the narrator if he plans to go to Araby, a Dublin bazaar. She notes that she cannot attend, as she has already committed to attend a retreat with her school. Having recovered from the shock of the conversation, the narrator offers to bring her something from the bazaar. This brief meeting launches the narrator into a period of eager, restless waiting and fidgety tension in anticipation of the bazaar. He cannot focus in school. He finds the lessons tedious, and they distract him from thinking about Mangan's sister.

Siegfried Sassoon: "On Passing the New Menin Gate

Siegfried Sassoon's On Passing the New Menin Gate was originally published in 1928. Sassoon wrote this poem after WWI. It has a sarcastic and bitter tone about the war. This poem is about the war memorial, New Menin Gate, which has the names of 54, 889 soldiers of WWI engraved on it; it is located outside of Brussels. After Sassoon's friend died he was never the same; he starting writing anti-war poetry. This poem is extremely bitter, probably because he felt that the dead were not immortalized the way that they should have been and also the fact that there was a war to begin with. The war undoubtedly changes people and you view life and the significance of life in a whole new manner.

Wilfred Owen:"The Parable of the Old Man and the Young

So Abram rose, and clave the wood, and went, And took the fire with him, and a knife. And as they sojourned both of them together, Isaac the first-born spake and said, My Father, Behold the preparations, fire and iron, But where the lamb for this burnt-offering? Then Abram bound the youth with belts and straps, and builded parapets and trenches there, And stretchèd forth the knife to slay his son. When lo! an angel called him out of heaven, Saying, Lay not thy hand upon the lad, Neither do anything to him. Behold, A ram, caught in a thicket by its horns; Offer the Ram of Pride instead of him. But the old man would not so, but slew his son, And half the seed of Europe, one by one.

Rupert Brooke: "The Soldier"

The Soldier If I should die, think only this of me, That there's some corner of a foreign field That is forever England. There shall be In that rich earth a richer dust concealed; A dust whom England bore, shaped, made aware, Gave, once, her flowers to love, her ways to roam, A body of England's, breathing English air, Washed by the rivers, blest by suns of home. And think, this heart, all evil shed away, A pulse in the eternal mind, no less Gives somewhere back the thoughts by England given; Her sights and sounds; dreams happy as her day; And laughter, learnt of friends; and gentleness, In hearts at peace, under an English heaven.

james Joyce: "Araby"

The narrator, an unnamed boy, describes the North Dublin street on which his house is located. He thinks about the priest who died in the house before his family moved in and the games that he and his friends played in the street. He recalls how they would run through the back lanes of the houses and hide in the shadows when they reached the street again, hoping to avoid people in the neighborhood, particularly the boy's uncle or the sister of his friend Mangan. The sister often comes to the front of their house to call the brother, a moment that the narrator savors. Every day begins for this narrator with such glimpses of Mangan's sister. He places himself in the front room of his house so he can see her leave her house, and then he rushes out to walk behind her quietly until finally passing her. The narrator and Mangan's sister talk little, but she is always in his thoughts. He thinks about her when he accompanies his aunt to do food shopping on Saturday evening in the busy marketplace and when he sits in the back room of his house alone. The narrator's infatuation is so intense that he fears he will never gather the courage to speak with the girl and express his feelings

james Joyce: "The Dead"

The party continues with a piano performance by Mary Jane. More dancing follows, which finds Gabriel paired up with Miss Ivors, a fellow university instructor. A fervent supporter of Irish culture, Miss Ivors embarrasses Gabriel by labeling him a "West Briton" for writing literary reviews for a conservative newspaper. Gabriel dismisses the accusation, but Miss Ivors pushes the point by inviting Gabriel to visit the Aran Isles, where Irish is spoken, during the summer. When Gabriel declines, explaining that he has arranged a cycling trip on the continent, Miss Ivors corners him about his lack of interest in his own country. Gabriel exclaims that he is sick of Ireland. After the dance, he flees to a corner and engages in a few more conversations, but he cannot forget the interlude with Miss Ivors.

William Butler Yeats: "The Second Coming"

The poem begins with the image of a falcon flying out of earshot from its human master. In medieval times, people would use falcons or hawks to track down animals at ground level. In this image, however, the falcon has gotten itself lost by flying too far away, which we can read as a reference to the collapse of traditional social arrangements in Europe at the time Yeats was writing. In the fourth line, the poem abruptly shifts into a description of "anarchy" and an orgy of violence in which "the ceremony of innocence is drowned." The speaker laments that only bad people seem to have any enthusiasm nowadays. At line 9, the second stanza of the poem begins by setting up a new vision. The speaker takes the violence which has engulfed society as a sign that "the Second Coming is at hand." He imagines a sphinx in the desert, and we are meant to think that this mythical animal, rather than Christ, is what is coming to fulfill the prophecy from the Biblical Book of Revelation. At line 18, the vision ends as "darkness drops again," but the speaker remains troubled. Finally, at the end of the poem, the speaker asks a rhetorical question which really amounts to a prophecy that the beast is on its way to Bethlehem, the birthplace of Christ, to be born into the world.

Rupert Brooke: "The Soldier"

The speaker informs his audience what to think should he die. He tells them only to consider that a portion of some foreign field will be "forever England" as a result of his death. The soldier, who was raised and nurtured by his country, England, will be buried in the earth. After he dies, the soldier will go to a peaceful, English heaven, where he will re-experience all his English memories.

Ivor Gurney: "To His Love"

This poem is a monologue, in which one soldier speaks to the fiancé or girlfriend of a dead soldier of his death— mourning his loss and regretting that he will never have the pleasure of the dead soldier's company again. The poem was inspired by the supposed death of Ivor Gurney's best friend Willy Harvey in August 1916. Reality told a happier story than the drama described in the poem: Harvey was not in fact killed, but had been made a prisoner of war, returning to his fiancé Sarah Kane at the end of the wa

William Butler Yeats: "The Second Coming"

Turning and turning in the widening gyre The falcon cannot hear the falconer; Things fall apart; the centre cannot hold; Mere anarchy is loosed upon the world, The blood-dimmed tide is loosed, and everywhere The ceremony of innocence is drowned; The best lack all conviction, while the worst Are full of passionate intensity. Surely some revelation is at hand; Surely the Second Coming is at hand. The Second Coming! Hardly are those words out When a vast image out of Spiritus Mundi Troubles my sight: somewhere in sands of the desert A shape with lion body and the head of a man, A gaze blank and pitiless as the sun, Is moving its slow thighs, while all about it Reel shadows of the indignant desert birds. The darkness drops again; but now I know That twenty centuries of stony sleep Were vexed to nightmare by a rocking cradle, And what rough beast, its hour come round at last, Slouches towards Bethlehem to be born?

Siegfried Sassoon: "On Passing the New Menin Gate

Who will remember, passing through this Gate, The unheroic Dead who fed the guns? Who shall absolve the foulness of their fate, - Those doomed, conscripted, unvictorious ones? Crudely renewed, the Salient holds its own. Paid are its dim defenders by this pomp; Paid, with a pile of peace-complacent stone, The armies who endured that sullen swamp. Here was the world's worst wound. And here with pride 'Their name liveth for evermore' the Gateway claims. Was ever an immolation so belied As these intolerably nameless names? Well might the Dead who struggled in the slime Rise and deride this sepulchre of crime.

William Butler Yeats: "Easter, 1916"

Yeats starts the poem off by talking about the dudes he runs into in the street when the shops and offices are closing up around Dublin. He basically makes superficial small talk with them, saying "polite meaningless words" (6). And every now and then, he'll tell a funny story that might get a laugh at the bar. But he doesn't really value his interactions with any of these people. So yeah—dude's a bit of a snooty jerk. Next, Yeats breaks off and starts going through a list of all the people who were involved with the Easter Uprising of 1916. He mentions a woman who helped out with the effort, along with some other guys who might have had bright futures if they hadn't gotten themselves executed for treason. One guy was even responsible for hurting people close to Yeats, and Yeats didn't think much of him. But still, Yeats is getting a little uncertain about his superiority, and is starting to wonder if these people he's mentioning might actually be heroes. As he continues, Yeats compares these fighters and their unchanging dedication to a rock that sitting at the bottom of a stream. The stream and the nature around it keep changing, but the stone remains unmoved. At the end of the day, Yeats isn't sure how much he admires the people he's talking about. But he definitely has learned to respect them and the sacrifice they made for something they believed in. Yeats closes the poem by repeating the phrase "A terrible beauty is born," which he's mentioned several times in the poem. Basically, this phrase closes the poem by suggesting that even though the deaths of the Easter Uprising are terrible, history tends to remember bloody battles and self-sacrifice more than anything else. So with regards to being remembered, there's kind of a terrible beauty in the death that came out of Easter, 1916.