Jessie Pope
(It is reported that women in Stuttgart have been forbidden by military proclamation to cast amorous glances on the British prisoners.)
OH! Stuttgart Frauleins, and capacious Fraus,
What shocking news is this that filters through?
Have you been fostering domestic rows
By casting, naughtily, glad eyes of blue
At poor old Tommy in his prison-house?
Tut! tut! This is a pretty how-d’ye do!
Anna and Gretchen, where’s your strength of mind?
Think of that khaki crowd whose force of arms
Bustles your goose-step legions from behind ;
These very captives should inspire alarms.
You are indeed disloyal and unkind .
To fall a prey to their dishevelled charms.
The gods have come among you, I admit,
To make your jealous Herren fume and fuss.
Unkempt, unshaven, rather short of kit,
The prisoners attract you even thus.
But, Fraus and Frauleins, what’s the use of it?
Their hearts, please understand, belong to us !
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Analysis (AI Assisted)
This poem humorously explores the tension between wartime loyalty and personal attraction, focusing on the absurd situation where German women are forbidden by military order from gazing at British prisoners of war. The poem, while lighthearted and playful, offers a satirical commentary on the emotions and conflicts that war stirs up in unexpected places, especially when it comes to the emotional and sexual tensions that arise in times of conflict.
From the outset, the speaker addresses the “Stuttgart Frauleins and capacious Fraus,” warning them against “casting amorous glances” at British soldiers held in captivity. The tone is one of mock reprimand, but there’s also a light touch of sympathy for the women, as though the speaker recognizes the natural inclination to feel attraction even in such dire circumstances. The line “What shocking news is this that filters through?” emphasizes the absurdity of the situation—what is, in essence, an innocuous human impulse (admiring another person) is being made into something scandalous and forbidden by the military.
The poem presents the German women as being seduced by the “poor old Tommy” in his prison garb, with his “disheveled charms” and unkempt appearance. There’s humor in the contrast between the rough, unshaven British soldier and the romantic idealization of him. The speaker seems to suggest that despite the soldier’s lack of proper uniform or personal grooming, there’s something irresistibly human, or perhaps even heroic, about the British prisoner that draws the attention of the German women.
However, the speaker also scolds these women—Anna, Gretchen, and the rest—for their disloyalty to their own side. The accusation of “disloyalty” is exaggerated, making the poem’s critique not only about wartime patriotism but about the absurdity of military orders that extend to controlling human behavior in the realm of personal attraction. The women, described as being “unkind,” are reminded of their national duty and of the prisoners’ allegiance to the British army, which represents the very force that is “bustling your goose-step legions from behind.” There’s a comedic element here in how the speaker tries to appeal to the women’s sense of duty and nationalism, while also acknowledging the allure of the enemy soldiers.
The final lines are particularly playful, with the speaker attempting to squash the idea that any of the British prisoners might have romantic interest in the German women. “Their hearts, please understand, belong to us!” is delivered almost as a reassurance, as though trying to protect the women from the dangerous allure of the British prisoners, whose hearts are already claimed by their British comrades.
The humor in the poem comes not just from its playful scolding of the women but from the way it simultaneously acknowledges the universal nature of attraction and the ridiculousness of trying to control something as deeply human as desire through military decree. The poem also subtly critiques the rigid nationalism and chauvinism that dominated the wartime ethos. The idea that the “hearts” of the prisoners belong to the British soldiers speaks to the absurdity of territorial claims, not just on land but on love and affection.
In conclusion, the poem is a witty and sardonic commentary on the intersection of human emotion, loyalty, and wartime propaganda. It uses humor to reveal the tensions that arise in times of war, especially regarding relationships between opposing forces, and critiques the ways in which wartime authorities seek to control even the most personal and instinctive aspects of life. Despite its humor, it highlights the absurdity of military control over the most human of instincts and reflects the way war permeates all aspects of life—even love and attraction.