A.P. Herbert
The war, though we dislike it quite a bit,
Is sometimes laughable, you must admit.
0 Lord, the lectures we have had to bear
From all the red-hot scribes who ‘really know’—
0 Lord, how cross the bilious weeklies were
About our ‘flirting’ with Badoglio!
It showed that Mr. Churchill was insane;
It showed that Eisenhower was a Hun.
It showed that principle was down the drain;
It showed that dirty work was being done.
No honest man could use the fellow long:
A single handshake was a deep disgrace.
And now great Russia (who can do no wrong)
Sails in and wraps him in a warm embrace!
The war, though not a masterpiece of wit,
Is sometimes laughable, you must admit.
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Analysis (AI Assisted)
This poem offers a wry commentary on the contradictions and absurdities of wartime politics, particularly focusing on the shifting alliances and the moral judgments passed by various groups. Its tone is one of sarcastic amusement, as the speaker mocks the serious posturing of those who criticize the decisions made by leaders like Winston Churchill, while also highlighting the inconsistencies and hypocrisy that often define the public and media response to wartime strategy.
The opening lines, “The war, though we dislike it quite a bit, / Is sometimes laughable, you must admit,” set the tone for the rest of the poem. The speaker acknowledges the gravity of war but immediately undercuts it by calling attention to the laughable aspects of the situation. There is a sense that, while war is a serious and tragic matter, the way it is discussed and analyzed often becomes absurd. The “red-hot scribes” and their criticisms are the first targets of the speaker’s irony. These “scribes” are the writers and journalists who claim to know better than the political leaders making the actual decisions. The use of the phrase “really know” conveys the sense of self-importance that these critics often take on, despite being far removed from the realities of war.
The poem specifically references the controversy surrounding Italy’s wartime role. The mention of “flirting with Badoglio” refers to the Italian general Pietro Badoglio, who, after Mussolini’s ousting, became the head of the Italian government and led Italy to the Allies’ side in 1943. This political maneuver, which was viewed by some as opportunistic or dishonorable, drew harsh criticism in the British press at the time. The speaker clearly finds the overblown indignation of the press ridiculous, especially since the situation was so complex, involving shifting alliances and the desperate need for any help in defeating the Axis powers.
The poem then shifts to mock the criticism of major figures like Churchill and Eisenhower. The line “It showed that Mr. Churchill was insane; / It showed that Eisenhower was a Hun” highlights the ridiculousness of the accusations. Churchill, a symbol of British defiance, and Eisenhower, the Supreme Commander of Allied forces, are painted as villains by the very people who should be supporting them. The speaker uses hyperbole to show how those who criticize wartime leadership are often out of touch with the broader strategic picture. The phrase “It showed that principle was down the drain” captures the sentiment that, in wartime, traditional moral codes are often bent or ignored, and it is often easy for people to criticize without understanding the complexities involved.
The poem further highlights the hypocrisy of political judgments with the line “No honest man could use the fellow long: / A single handshake was a deep disgrace.” This could be a reference to the disdain with which many in Britain initially regarded alliances with former enemies, such as Italy. The suggestion is that even the most casual diplomatic gestures—like a handshake—were viewed as deeply dishonorable by the press, only to be reversed later, when “great Russia” (the Soviet Union) enters into an alliance and embraces these same figures. The shift in alliances is pointed out in the lines, “And now great Russia (who can do no wrong) / Sails in and wraps him in a warm embrace!” Here, the poem critiques the changing political winds, where alliances are made or broken based on convenience rather than principle.
The final lines, “The war, though not a masterpiece of wit, / Is sometimes laughable, you must admit,” bring the poem full circle, reinforcing the theme of absurdity. The speaker acknowledges the seriousness of the war but insists that the political maneuvers surrounding it—along with the public’s reactions—often seem absurd. The poem’s use of humor and sarcasm exposes the ridiculousness of the way in which public opinion and media narratives can become detached from the actual realities of war.
Overall, this poem is a satirical examination of wartime politics and the hypocrisy, opportunism, and inconsistency of public opinion. It uses irony to expose the contradictions inherent in the decisions of leaders and the reactions of the press and the public. The speaker’s mockery reveals the often farcical nature of war discussions, suggesting that while the war itself may not be a “masterpiece of wit,” the political landscape around it certainly is.