Studied by 0 people
"'Stretcher bear-ers'" - Stage directions 3.3.90
Not long after Trotter and Raleigh have left, there are already casualties
Highlights the sense of futility and the horrors of war
"[Osborne] takes out form his tunic pocket a large, old-fashioned watch" - Stage directions 1.1.35
The final actions of the act create a poignant emphasis on the theme of time; the monotonous existence of waiting and time passing
"[quietly] You're going to stay here." - Stage directions and Stanhope 2.2.55
The stage directions make the audience expect a crescendo due to it emphasizing the tension
"[Stanhope] looked splendid!" - Raleigh 1.1.18
The praising adjective, linked with the exclamation mark highlights a sense of hero worshiping in Raleigh's relationship with Stanhope
"[to Raleigh] I expect Stanhope'll let you go on duty alone now." - Osborne 2.1.40
AO4: In the 2017 film adaption, this scene appears as if Osborne is mentoring Raleigh which highlights his father-like characteristics
"after puffing at his pipe in silence for a while" - Stage directions 1.1.21
Because of the stage directions, the audience will be able to see Osborne's parental instincts in not just his language, but also his actions (due to it creating a homely/fatherly scene)
"All right, Broughton, I'm coming." - Stanhope 3.3.95
The ongoing horrors of war are displayed in Stanhope's lack of time to grieve
Ironically it feels as if the play finishes with a new beginning, highlighting the true meanings of the play being centered around time and the waiting period rather than the fighting
"All youngsters" - Stanhope 3.1.67
The description of the men as 'youngsters' highlights the absurdity at innocent young men risking their lives for a single German prisoner
It also refers to the common feeling of youth and innocence being destroyed in WW1
AO3: Recruitment officers would often turn a blind eye to any concern about age as they got paid for each man who enlisted - 250,000 boys and young men under the age of 19 were said to have fought
"Another little worm trying to wriggle home." - Stanhope 1.1.29
Stanhope's cynical approach suggests that this is a common occurance
AO3: Hibbert is arguably one of the less sympathetic characters in the play, this suggests that Sherriff did not consider himself to be heroic in any way. However, it is ironic that Sherriff shares a lot in common with Hibbert, further suggesting that he used Hibbert as a means of distancing himself from it
"Aye, aye, sir. You don't want me to go out and look at that blinkin' ruin?" - Trotter 1.1.28 "I'll see to that" - Stanhope 1.1.28
Where Trotter's character is almost implied to be too lazy, Stanhope's character is proven to take too much responsibility where perhaps he should rest
"Bring him down here." - Stanhope 3.3.92
After hearing that Raleigh had been hit, Stanhope displays his true feelings of friendship towards him when he goes against protocol to care for his friend personally
"Clings to the walls." - Stanhope 2.2.52
Although talking about the smell of bacon, the deeper meaning behind the words highlight a sense of desperation and panic embedded in Stanhope
"coming slowly down the steps", "goes into his dugout", "appearing", "He goes again", "Mason has come in" and "He goes out" - Stage directions 2.1.42-43
The entrances and exits in close succession heighten the unsettling atmosphere in this sequence
-The fact that these interruptions happen while Stanhope is talking orderly and professionally shows how the theme is directly linked the war
"Did you play rugger?" - Raleigh 2.1.40
As soon as a new topic is introduced, Raleigh is shown to be keen to change the subject completely away from the topic of war
Shows, like the previous metaphor about flowers, that he finds comfort in discussing his hobbies from home
"Do you like fish?" - Colonel 2.2.54
As food was previously used for comic relief, the colonel uses it as an escape route to their conversation
"Doesn't this tea taste of onions?" - Trotter 2.2.62
Trotter's character is displayed here as being able to not dwell on the negatives, instead returning to the often humorous topic of food
"For a moment Raleigh stares wide-eyed at Stanhope, who is trembling and breathing heavily" - Stage directions 2.1.48
Although Stanhope often appears as frightening, the stage directions highlight a more sensitive side to Stanhope; proving that in reality he is just as frightened as the other men
"Hardy goes up the narrow steps into the trench above, singing softly and happily to himself" - Stage directions 1.1.15
Hardy is shown through his actions to have a sense of schadenfreude (satisfaction or pleasure felt at someone else's misfortune). Consequently, it emphasises and foreshadows the scale to the misfortune he is leaving
"He opens his eyes and stares vacantly into Stanhope's face." - Stage directions 2.2.57
The facial expression would physically display to the audience how Hibbert has become emotionally drained in that short argument with Stanhope
"He's a long way the best company commander we've got." - Osborne 1.1.12
In contrast to Hardy, Osborne's loyal and optimistic character traits are seen here as he is very defensive of Stanhope
It also highlights other characteristics Osborne has of being morally genuine and having parental instincts as he cares for vulnerable people. Conversely, he is displayed as having an irritation to people who are unthinking, careless and insensitive
"He's awfully new to it all - " - Stanhope 2.2.54
Stanhope display's his more protective side as he desperately attempts to change Raleigh's fate
"Hibbert can do from two till four, and I'll go on from then till stand-to. That'll be at six" - Stanhope 1.1.26
Although Stanhope's authority is seen to be more agressive, his language goes on to prove that he is professional, organised and obeyed with it.
"Hibbert sneaks quietly away" - Stage directions 3.2.82
The word 'sneaks' highlights Hibbert's dishonest and untrustworthy characteristics
"Hibbert takes a leather case from his pocket and produces some picture postcards." - Stage directions 3.2.78 "Couple of damn fine girls in that" - Hibbert 3.2.79
Hibbert tries to overcompensate for his 'lack of manliness' in not wanting to fight by objectifying women
His exaggerated descriptions and sudden unlikable qualities makes the audience question the legitimacy of his neuralgia
"His dark hair is carefully brushed; his uniform though old and war-stained, is well cut and cared for" - Stage directions 1.1.22
The way that Stanhope is presented, and the way he looks suggests that he is an organised character who likes structure and control
"His face is red, fat and round" - Stage directions 1.1.22
"He puts the box on its side and sits on it. It is too low... he puts it on its end. It is then too high..." - Stage directions 1.1.24
"That's because you never stop eating" - Stanhope 1.1.27
Although Stanhope and Trotter entered together, the stage directions that describe each other create a great contrast between the characters
The stage directions and speech surrounding Trotter often have comic potential within the actions
"How delicious. No pate de foie gras?" - Stanhope 3.3.88 "No what, sir?" - Mason 3.3.88
Even at the climax of the play, food and lower class characters are still being used for comic relief
"How is the dear young boy? Drinking like a fish, as usual?" - Hardy 1.1.12
Hardy's character traits are shown in the satirical questions he asks Osborne, being insensitive about Stanhope's situation
"I could send an officer from another company - " - Colonel 2.2.54
"it's necessary" - Colonel 2.2.54
The colonel's character is presented as being manipulative as he is able to anticipate Stanhope's reply
The fact that this characteristic is given to an authoritative character mirrors the suggestions WW1 literature gives to authority
He also uses the idea of 'duty' to manipulate Stanhope as was done to many soldiers
"I don't want the risk of losing it." - Osborne 3.1.72 "Oh! [There is silence. He puts the ring slowly down.]" - Raleigh 3.1.72
Osborne carefully words his answer to avoid the topic of his feeling of inescapable death
The stage direction after Raleigh's response would create a visible tension
"I got kicked in just the same place at rugger" - Raleigh 3.3.93
Again, his innocence and youth is highlighted to create sympathy
His naivety is also displayed in this phrase as he does not realise the severity of his situation
He is also keen to return to a comforting topic
"I know. It's rotten, isn't it? I've got it like hell - " - Stanhope 2.2.54
Stanhope's words seem brisk, suggesting he is expecting Hibbert's response and that his mood has changed since his conversation with the Colonel
"I love that fellow" - Osborne 1.1.14
Not only does it display Osborne's positive character traits but it also exhibits the typical theme displayed in WW1 literature of camaraderie
"I reckon 'e only wanted to keep cheerful." - Trotter 3.2.82
Trotter attempts to keep the peace just as Osborne would have done
He proves once again that his class, and tendencies of being used for comic relief, don't solely define him
"I wonder how a worm knows when it's going up or down." - Stanhope 2.1.44
The phrase acts as another metaphor for the men, suggesting that they are directionless and mindlessly follow instructions
"I wonder what it is they put in the water" - Osborne 1.1.10
The unnecessary topic of conversation in Osborne's duologue with Hardy is structurally placed at the beginning of the play, where the dialogue should be more eventful, to highlight the boring wait the men feel in the trenches
"I'd rather 'ave a bang or two than this damn quiet." - Trotter 2.1.40
Although said in a humorous manner, Trotter's statement emphasises the seriousness to how waiting for an inevitable death affects the men's minds
"I'm awfully sorry, Dennis" - Raleigh 3.2.85
The climax of the play is achieved here when the argument become between friends rather than soldiers
"I'm glad it's you and I - together, Raleigh." - Osborne 3.1.73
Displays the feeling of camaraderie in his last few moments and his inherent 'uncle' like qualities
"If you ask me, 'e's been crying - " - Trotter 2.2.64
The 'gossipy' way that Trotter treats the situation displays the way in which actions that were considered to be more feminine were perceived in a negative manner
AO3: It would have been common to have these perspectives in the male-dominated society of the early 20th century
"If you went, I'd have you shot - for deserting. It's a hell of a disgrace - to die like that." - Stanhope 2.2.56
Stanhope's threat and fractured language displays how his anger can take control of him
Because of his anger, he seems to use fairly obvious manipulative techniques as he attempts to shame Hibbert into staying
A04: Hibbert's character and how he acts shares a very similar behavioural pattern to the dead man in Siegfried Sassoon's poem 'The Hero'
AO4: Hibbert's situation is also very similar to the deserter who gets shot in 'The Deserter' by Winifred Mary Letts which highlights the irony in the fact that the institute they are fighting for is the one that kills them
"It all seems rather - silly, doesn't it?" - Raleigh 2.1.42
Displays the theme of futility often presented in WW1 literature
A04: 'The Target' by Ivor Gurney explores the same feeling of questioning the purpose of fighting when the German's seem "really quite decent" (Raleigh 2.1.42)
"It's - it's a big strain on a man." - Osborne 1.1.19
Describing the effects of war using the phrase 'big strain' decreases the reality of war
Osborne's character traits of being caring to Raleigh's vulnerable nature, and not wanting to face the reality of war might have affected his manner of saying this
"It's as 'ot as 'ell in 'ere" - Trotter 3.2.83
Pathetic fallacy is created, highlighting the tension rising in anticipation for something bad to happen soon
"it's the only thing a decent man can do" - Stanhope 2.2.58
Recognising the theme of duty felt in WW1 literature
Ironic how the Colonel manipulates Stanhope with the feeling of duty and Stanhope manipulates Hibbert in the same way
"Joking apart. It's damn ridiculous" - Trotter 2.2.62
Even in a character that is often seen as unintelligent, of a lower class and is mainly used for comic relief recognises their dire situation
Subsequently this proves that Trotter's character is not all that he seems to be
"Looks like letters. May be useful." - Colonel 3.1.75
Highlights the futility of the war in the juxtaposition of the sacrifice Osborne and the other men made for a 'prisoner' who doesn't reveal much information
"MrHibbert'll show you the way up." - Stanhope 3.3.91
Stanhope demonstrates the clever leader he is since he is able to convince Hibbert into leaving by giving him a new responsibility
"Near where I live" - Osborne 3.1.71
Returns to comforting topics such as his home to calm him
"No man of mine's going sick before the attack. They're going to take an equal chance - together" - Stanhope 1.1.29
Although Stanhope demonstrates the theme of camaraderie here, it is proven to not be used as pro-war propaganda, as it is often used
AO4: 'In Flander's Fields' by John McCrae explores the same concept of camaraderie not being linked to pro-war propaganda
"no more than a boy" - Stage directions 1.1.22
In contrast to the rumours surrounding Stanhope and the way in which people react to him, the stage directions describe him as being just as young, innocent and vulnerable as Raleigh
"Oh, I know old Dennis's temper! I remember once at school he caught some chaps in a study with a bottle of whisky. Lord! the roof nearly blew off" - Raleigh 1.1.19
Since the audience have already established that Stanhope is a keen drinker, this statement becomes a form of dramatic irony
It also creates a sense of naivety and innocence in Raleigh's character as he ignores the obvious hints from Osborne. Raleigh is blinded by his own hero worshipping
"Oh, you sweet, sentimental old darling!" - Hardy 1.1.14
WW1 soldiers are often displayed as having a heightened awareness of masculinity, meaning that Hardy picks out typically feminine traits in Osborne and makes them negative by obtaining a mocking tone
"Osborne and Raleigh go up together into the pale evening sun ... suddenly, there comes the dull 'crush' of bursting smoke bombs e.t.c." - Stage directions 3.1.73
The image to the audience is an empty stage but the poignant exit paired with the sound effects continue to create drama even without witnessing the action
"Osborne glances at his watch as it lies on the table" - Stage directions 3.1.73
There is a physical symbolic value in this action as he leaves his most prized possessions displaying how he is accepting death
The image that the watch previously played with solidifying the theme of time and waiting is referenced here - implying that the wait is now over
"Pause" and "There is another pause" - Stage directions 2.2.59
Sherriff cleverly uses silence to build tension on stage
The sequence would have been visibly and audibly poignant
"playing in front of a huge crowd - all shouting and cheering - " - Raleigh 2.1.41
"You don't notice it when the game begins." - Osborne 2.1.41
The punctuation in the duologue that makes it feel as if Osborne is interrupting Raleigh displays his sensitivity with war
The noise Raleigh describes can be likened to some of the horrifying conditions of war, a feeling that Osborne is quick to escape from
"plenty of bread and butter and strawberry jam." - Osborne 2.2.59
The talk about food easily grounds the tension between Stanhope and Hibbert
The foods he requests are typically seen as comfort foods, often linking to childhood memories, and serves a foreshadowing purpose of the comfort Osborne will need when Stanhope informs him of the plan
However, after the news has been broken, the topic of food seems to be unable to lift the mood or break the tension again (2.2.60)
"poor little feller" - Trotter 3.2.82
Highlights Trotter's intelligence as he's able to make an accurate observation of Hibbert's character as opposed to rising to him as Stanhope does
"Raleigh comes slowly down the steps, walking as though he were asleep" - Stage directions 3.1.76
The description immediately marks a difference to his previous character
His experience has made him lose his innocence and spark of life
"Raleigh is facing Stanhope squarely." - Stage directions 3.2.84
A visible way that Raleigh has been affected by the raid meaning that the combat has influenced a confidence boost in him
The action also highlights his current grief-stricken nature as he is not minding his manners when talking to someone of a higher rank
"Raleigh looks at Stanhope fascinated and horrified." - Stage directions 3.2.85
Displays Raleigh's naivity in his dehumanizing look at Stanhope that reveals his inability to figure out the true reason to Stanhope's rise in temper
"Raleigh sits on the edge of Osborne's bed." - Stage directions 3.1.76
The action acts as a sharp reminder to Stanhope of Osborne's death, and visibly shows how he would tie Raleigh to the situation as if it his fault
"She doesn't know that if I went up those steps into the front line - without being doped with whisky - I'd go mad with fright." - Stanhope 1.1.31
The fact that Stanhope feels comfortable enough to offload his most personal feelings to Osborne says a lot about both their characters and the platonic relationship they have
In Osborne's company, Stanhope is seen to put himself down rather than being as confident as he is when providing the role of authority with the other men
"Stanhope covers Raleigh with his blanket, looks intently at the boy" - Stage directions 3.3.92
In Raleigh's physically weakest moment, he is not referred to by name or as a soldier
By highlighting his youth at this particular moment, the futility of war is made apparent as the audience are left to wonder why an innocent 'child' would die
"Stanhope is lounging at the table... Osborne, sitting on the right-hand bed, begins to puff clouds of smoke" - Stage directions 1.1.30
The verbs that provide the actions to what the two men do in each other's company create a larger atmosphere of comfort than before
"Stanhope stares at Raleigh as though dazed" - Stage directions 1.1.23
It would suggest throughout the play that one of the reasons Stanhope uses drink as a coping mechanism is so that he can forget
However the adjective that describes Stanhope shows the type of reaction he has when he is forced to remember memories from home he wants to forget.
"Still it'll be awfully nice if the brigadier's pleased." - Stanhope 3.1.76
Stanhope shows the care he had for Osborne as he defends him by being atypically satirical to the colonel
"Strong smell of bacon" - Colonel 2.2.52
Demonstrates how the mundanity of life continues even in their unusual surroundings
"Suddenly the boy falls on his knees" - Stage directions 3.1.74
"bit o' string, sir; little box o' fruit drops" - S-M 3.1.75
The use of the word 'boy' displays his vulnerability and the fact that he's young and scares, just like Raleigh or any of the innocent young English men
The boyish items and descriptions create sympathy for him, just as it would with an English 'boy'
"Suddenly there comes the faint whistle" - Stage directions 3.3.89
Even with the wait, that lasted the entire play, and the preparation the soldiers have gone through, nothing will stop the suddenness of the event
"That lad's too keen on his 'duty'. He told me he liked being up there with the men better than down here with us." - Hibbert 3.2.80
The changed topic creates a sudden decrease in mood
Hibbert is obviously seen her to try and stir the tension to deflect from his own issues and to make someone else feel Stanhope's anger instead of himself (or it is possible that it is his inherent personality)
"The solitary candle-flame" "The shock stabs out the candle-flame" - Stage directions 3.3.95
Throughout the play, candles have been a symbol of life, and it is fitting that in the moment that Raleigh dies, the candle is naturally blown out
"Then I advise you never to leave it to anyone else again - unless you want to rejoin your platoon out there." - Stanhope 1.1.25
Not only do Stanhope's words prove the authority he has over the other characters but it also displays the aggressive manner in which he presents it
"They say there are ruins, somewhere in the forest" and "digging up Roman remains." - Osborne 3.1.71
Almost ironic since in the aftermath of war, there will be ruins and relics of them and WW1
It highlights the human propensity for destruction and re-building which adds a clear sense of futility (especially as it happened again 21 years later in WW2), but subsequently it proves that something will grow in its place
AO3: Due to the play being performed first in 1928, the audience would have already began to see this taking effect
Suggests that in times of stress, Osborne finds comfort in referring back to boyish ways
"They would if you pressed a bit of moss round them - " - Osborne 2.1.39
" - to make 'em feel at 'ome, eh?" - Trotter 2.1.39
The phrase is similar to the earwig metaphor from act 1 scene 1 as it symbolises what the men have to go through
The implication with this metaphor is that just like flowers being moved, the men have to surround themselves with things that feel more like home to comfort themselves
"They're up in the sap, having a last look round." - Stanhope 3.1.66
The phrase has a double meaning: one being factual stating that Osborne and Raleigh are checking everything's in order, the other being a foreshadow for their tragic ends
"They've got some conference to arrange the placing of reserves." - Colonel 3.1.66
When explaining the chosen time of a raid that is likely to cause many casualties and deaths, the colonel proves that he, and ranks higher than him, have questionable priorities
"Through the night there comes the impatient grumble of gunfire that never dies away." - Stage directions 3.2.86
The use of the word 'impatient' should present itself in the sound effect and remind the audience of the theme of time continuing to decrease before their death
By the end of the scene, a sympathy has been achieved to both characters, creating a realistic sense of atmopshere
AO5: Sherriff has been praised for his ability to create realistic characters who have balanced negative and positive characteristics
"Trotter takes a pair of pince-nez from his pocket" - Stage directions 3.2.79
As a lower class character, it is ironic that he would be using an item typically used by men of a higher class
It demonstrates that Trotter's character isn't solely defined by his class
"Trotter's plan to make time pass quickly. One hundred and forty-four little circles - one for each hour of six days." - Osborne 2.1.41
Although the idea seems juvenile, the simple coping mechanism Trotter uses to combat the feeling of time passing demonstrates how calm-minded he is
"Very good, sir." - Mason 3.3.87
Mason shows his loyalty and dutiful characteristics as he plainly follows Stanhope's orders that may lead to his death
"we shall be in the front row of the stalls." - Stanhope 2.1.43
The futility of war is hinted at in this statement as the connotations make the battle feel similar to a show
"We'll wire ourselves right in" - Stanhope 2.1.43
The phrase acts as a metaphor to the claustrophobic environment the men have to face
"Well, bye-bye." - Colonel 2.2.54
It feels like he is finishing on a high note, which contrasts greatly with their previous topic of conversation
The language differs from the more commonly used "cheero" which demonstrates how he is not part of their group - maybe even seeing himself as better
"Well, damn it, it's no good going up till I feel fit." - Hibbert 3.3.90
Although the audience feel a small amount of sympathy for Hibbert, they are more sympathetic to Stanhope after having had an insight to his character in the previous scene
"Well, good luck, Osborne. I'm certain you'll put up a good show." - Colonel 3.1.67
The colonel undermines the severity of the situation which is easy for him to do so since he is not taking part
"Well, if you want to get the best pace out of an earwig, dip it in whisky - makes 'em go like hell!" - Hardy 1.1.15
The imagery is an obvious metaphor for the men fighting in WW1. It represents the way that the men have adopted the same way of thinking that the authority have, of treating them all as if they were animals.
It perhaps more specifically is a metaphor for Stanhope because of the reference to how alcohol is used as a coping mechanism to the horrors of war
"Well, Jimmy" - Stanhope 3.3.93
This is the first moment in the play that Stanhope refers to Raleigh using his first name
It demonstrates how in a time of need, Stanhope's inherent platonic love for Raleigh champions any of his other emotions
"Were you and I picked - specially?" "Yes." "I say!" - Raleigh and Osborne 2.2.64
The two characters reactions to the news represent their contrasting experiences so far:
Osborne who has had more experience than Raleigh recognises the likelihood of death in their situation
Whereas Raleigh represents the mentality of people who have been fed propaganda by war officials and have not yet experienced the true horrors of war
"what if they keep on attacking?" - S-M 2.2.51 "Then we keep on beating them off." - Stanhope 2.2.51
Both characters realise the unspoken answer is 'death'
"What's - on my legs? Something holding them down -" - Raleigh 3.3.94
At this point, the audience are made aware of the severity of Raleigh's injury (that he's paralysed) and Raleigh's naivety in not realising
"When people are going potty they never talk about it; they keep it to themselves." - Osborne 2.1.45
Similar to the symptoms of what we now know as PTSD
Often the men are presented as being scared to talk about their emotions in WW1 literature, and most of the time it is due to fear of seeming feminine
"Why didn't you tell me instead of talking about neuralgia?" - Stanhope 2.2.57
Stanhope's manipulative technique to make Hibbert feel more comfortable in staying is ironic as he hypocritically hides his own feelings from nearly all of the characters
"With gently smiling jaws!" - Osborne 2.2.63
The metaphor seems initially to be of the enemies (aka the Germans) but after implying the absurdity of war, the audience might naturally question whether it could also serve to describe the British army
"Worms haven't got any blood" - Osborne 2.1.44
Stating this after Stanhope's comment that likens worms to the men highlights the dehumanizing element of war that WW1 literary writers often explore
"Yes. I should get quite a fright if I were a German and met you coming round a corner." - Osborne 1.1.14
Despite the friction between the two characters in this scene, the comic manner that the soldiers adopt, in the long wait within the trenches, is demonstrated
AO5: However, it might show more about Osborne's character by suggesting that he is able to subtly and cleverly mock Hardy without having to ignorantly insult him
"Yes. Just the type. Plenty of guts - " - Colonel 2.2.54
The colonel's works that almost act to dehumanize Raleigh demonstrates how he has a detached attitude to war so that he can proceed with his job
"You are a fussy old man" - Hardy 1.1.12
AO4: 'The Bohemians' by Ivor Gurney exhibits the concept that no matter what kind of person you are, all the soldiers are the same in the army - Hardy and Osborne are purposefully shown to be contrasting characters in this scene but because of their situation they are forced to get along.
This comparison is more specifically shown after Hardy's exit, when Osborne starts singing the song that the play opened with Hardy singing
"You know, Uncle, I'm an awful fool. I'm captain of this company. What's that bloody little prig of a boy matter?" - Stanhope 1.1.33
Sherriff cleverly writes Stanhope's speech so that it sounds like the ramblings of a drunk man through the use of punctuation, italics that stress particular words and rhetorical questions
Note
Flashcard