Demystifying The Myths on The Great War in Under Fire and All Quiet on The Western Front

At the close of the twentieth century, German literary scholar Hans Wagener observed the profound impact of war literature, noting that "epoch-making books come to mind that capture the spirit of those times most vividly." This observation holds particularly true for the literary expressions of the Great War, which have significantly influenced contemporary perceptions of modern warfare. Two prominent works, Henri Barbusse’s Under Fire (1917) and Erich Maria Remarque’s All Quiet on the Western Front (1929), offer episodic narratives that strive to unveil the harsh realities of combat from opposing perspectives during the 1914-1918 conflict. Both authors skillfully blend fiction and autobiography to challenge romanticized notions of patriotic glory and adventure, portraying a stark spectrum of trench life that oscillates between monotonous waiting and gruesome horror. Furthermore, as advocates for soldiers unable or unwilling to voice their experiences, Barbusse and Remarque assume the role of "moral witnesses," driven by a profound loyalty to their fallen comrades. Nevertheless, criticisms arise regarding their use of fictitious elements alongside authentic narratives, suggesting that such choices may inadvertently undermine their critique of war myths. Thus, while these works have undeniably shaped modern views of military conflict, they also provoke critical inquiry into the function and integrity of Great War literature.

Nationalism and Pre-War Sentiments

The late-nineteenth and early-twentieth centuries witnessed a surge of nationalism across Europe, with military training becoming a rite of passage for many young men in France and Germany. This cultural backdrop fostered a belief in the nobility of warfare, reinforced by mass media and educational institutions that instilled a sense of patriotism through tales of honor and valor. The youthful enthusiasm at the war's outbreak is poignantly captured in Rupert Brooke’s 1914 sonnet, “Peace,” which derides the non-believers in war as “sick hearts that honor could not move.” Brooke's imagery evokes a sense of baptism, framing young men as embarking on a noble mission of cleansing: “as swimmers into cleanness leaping.” Barbusse similarly begins Under Fire with a metaphorical nod to pre-war illness, setting the opening chapter in an Alpine sanatorium where patients discuss the war as a potential catalyst for renewal: “Perhaps it is the war to end wars.” This notion, however, quickly unravels as Barbusse confronts the harrowing realities of the battlefield.

Deconstructing Illusions of Glory

In a visceral and impassioned narrative, Barbusse dismantles the myths of hope and renewal associated with the Great War. Written in 1916, during a year marked by unprecedented casualties at the Somme and Verdun, Under Fire exposes the grotesque horrors of combat: “I saw his body rising, upright, black, his two arms fully outstretched and a flame in place of his head!” Rather than celebrating patriotic glory, Barbusse’s work reveals a hellish vision of terror and slaughter, repeatedly focusing on the mutilated bodies of fallen comrades. Interspersed with relentless monotony, his narrative starkly contrasts the idealized image of soldiers embarking on heroic exploits. For instance, one passage reflects the ennui of waiting in the trenches: “We are waiting. We get tired of sitting down, so we get up.” The soldiers’ transformation into “machines for waiting” conveys a sense of purposelessness, further illustrated by moments of disorientation as they mistakenly enter enemy territory: “Where are we? God Almighty! Where are we?” Over the course of the novel, the glorified myths of honor and valor dissolve into a narrative steeped in the traumatic realities of war.

Challenging the Narrative of the Noble Soldier

Influenced by Barbusse’s account and alarmed by attempts to sanitize the war, Remarque penned All Quiet on the Western Front to confront the public's indifference. Initially rejected by a publishing house that believed the German public had lost interest in war narratives, Remarque adopted a third-person perspective to highlight the dissonance between romantic ideals and the grim reality of trench life. Through the experiences of young German recruit Paul Bäumer, the text reveals the aftermath of gas attacks: “I know the terrible sights from the field hospital, soldiers who have been gassed, choking for days on end as they spew up their burned-out lungs, bit by bit.” By contrasting the noble soldier stereotype with the raw vulnerability of young men, Remarque underscores the loss of dignity and humanity in wartime, depicting soldiers resorting to desperate measures, such as stealing boots from the dead. This grim portrayal serves to humanize the soldiers while illustrating the brutal transformation wrought by war.

Critique of Authority and Mythologizing War

Both authors direct their critiques toward the "home front," targeting civilians and authority figures who perpetuate romanticized notions of war. In All Quiet on the Western Front, Paul’s schoolmaster Kantorek epitomizes the misguided belief in the nobility of war, urging his students to enlist with fervent rhetoric: “You’ll all go, won’t you lads?” Such rhetoric appears absurd and deceptive in light of the soldiers' experiences, prompting readers to reassess their assumptions about modern warfare. Barbusse similarly critiques those who romanticize war from a safe distance, mockingly portraying “trench-tourists” who trivialize the soldiers’ suffering. His depiction of journalists visiting the trenches highlights the absurdity of their inquiries and the disconnect between their perceptions and the soldiers' grim reality. These portrayals serve as powerful indictments of those who speak authoritatively about war without having experienced it firsthand.

Voices of the Silenced

Remarque’s intention to document the experiences of a generation “destroyed by war” is explicitly stated in the epigraph of All Quiet on the Western Front, reflecting his commitment to giving voice to those silenced by trauma and death. Paul’s reflections on the challenges of returning to civilian life illustrate the profound dislocation felt by soldiers: “Our knowledge of life is limited to death. What will happen afterwards?” Remarque emphasizes the tragedy of stolen youth, reinforcing the recurring theme of youth throughout the narrative. In doing so, he lays bare the futility of war and its devastating impact on a generation.

The Role of the Moral Witness

Barbusse, too, embraces the role of "moral witness" in Under Fire, employing direct experience to lend authority to his narrative. His use of military slang and colloquial language captures the soldiers’ voices, conveying the unsayable aspects of trench life. A fellow soldier’s praise for Barbusse’s work, stating, “You have cried out with the voice of truth,” underscores the sense of comradeship that permeates the text. Yet, both authors risk romanticizing the brutality of war by imbuing their narratives with heroic values of loyalty and duty. For instance, Paul’s attempt to rescue his friend Kat reflects a sentimentality that has rendered Remarque’s work ripe for cinematic adaptation. Critics point to certain embellishments in both novels, raising questions about the integrity of their accounts and whether their critiques of war myths are undermined by their aestheticization of violence.

Strength in Fusion of Fact and Fiction

Despite these criticisms, the fusion of authentic and fictional elements can be viewed as a strength of both texts. By weaving together personal experiences and broader narratives, Barbusse and Remarque encapsulate the collective fate of soldiers united by their shared understanding of war's horrors. This synthesis of documentary and fiction is articulated by literary theorist Victor Brombert, who describes the interplay of fragmentation and continuity in their narratives. By providing perspective and objectivity, Barbusse and Remarque allow readers to connect with their characters, establishing their accounts as quintessential representations of trench life during the Great War.

Conclusion

In conclusion, Barbusse’s Under Fire and Remarque’s All Quiet on the Western Front powerfully convey the moments of terror and monotony experienced by soldiers during the Great War. Their dual purpose—exposing the horrific realities of trench warfare and giving voice to those silenced by conflict—resonates with readers long after the war's end. While questions regarding the integrity of their narratives persist, both authors effectively unveil the overarching truths of life in the trenches, challenging romanticized notions of warfare and provoking critical reflection on the nature of conflict.

Table of Themes in Under Fire and All Quiet on the Western Front