‘Heavens! what fortitude one needs, to become a decent writer. One runs madly through green thickets, enamoured of the bird-notes which last but a few moments; one stumbles, picks oneself up, and emerges into a barren waste; one ruminates miserably for a while, dragging desolate feet through the dust of dead dreams. And then, if one is lucky, one plunges into another fool’s paradise of “poetry”.’ This is Siegfried Sassoon, an English poet born 140 years ago today, writing lyrically about the difficulties of composing poetry. Although a brave and decorated First World War soldier, he is best remembered for his war poetry and autobiographical prose, while his extensive diaries provide an unusually immediate record of his life and wartime experiences.
Sassoon was born at Weirleigh, near Matfield in Kent, on 8 September 1886, and educated at Marlborough College and Clare College, Cambridge. He was the second of three sons born to Alfred Ezra Sassoon, a member of a wealthy Jewish merchant family, and Theresa Thornycroft, an Anglo-Catholic. Alfred had been disinherited by his family for marrying Theresa. After leaving Cambridge without a degree, Sassoon spent nearly a decade doing very little other than hunting, socialising and writing occasional verse. On the outbreak of war, he enlisted as a cavalry trooper in the Sussex Yeomanry, but injured his arm in a riding accident in October 1914. After recovering, he was commissioned as a second lieutenant in the 3rd Battalion (Special Reserve), Royal Welch Fusiliers, and was posted to the Western Front. He was considered a reckless soldier, but was awarded the Military Cross for rescuing a wounded lance-corporal under heavy fire in May 1916.Significantly, while in France, Sassoon met Robert Graves. They encouraged each other’s love of poetry, and Graves’s grittier style is known to have influenced Sassoon. In April 1917, Sassoon was wounded and returned to England. By then, he had grown hostile to the continuation of the war and his poetry increasingly reflected the realities of life in the trenches. The Old Huntsman, containing a substantial group of war poems, appeared in 1917, followed by Counter-Attack and Other Poems in 1918. On 15 June 1917, Sassoon completed A Soldier’s Declaration, condemning what he believed was the deliberate prolongation of the conflict. After he refused to return to duty, the statement was published in The Times and read in Parliament on 31 July. Some called for Sassoon to be court-martialled, but the Army instead sent him before a medical board, which declared him unfit for service and referred him to Craiglockhart War Hospital near Edinburgh. There he met the psychiatrist W. H. R. Rivers and the poet Wilfred Owen.
Sassoon subsequently returned to active service, first in Palestine and then in France, where in June 1918 he was accidentally shot in the head by a British sentry. After the war, he lived briefly in Oxford, but then settled in Tufton Street, Westminster, in 1919. He became literary editor of the Daily Herald, a role that brought him into contact with many literary names of the day, and became something of a literary celebrity himself. He spent the best part of two decades writing autobiographical or semi-autobiographical books, such as Memoirs of an Infantry Officer and Siegfried’s Journey. He married Hester Gatty in 1933, and they had one son before the marriage broke down and the couple separated in 1945. Sassoon lived the last years of his life in relative seclusion at Heytesbury in Wiltshire, converting to Catholicism in 1957. He died of stomach cancer on 1 September 1967, aged 80. Further information is available from Wikipedia, Poetry Foundation or Encyclopaedia Britannica.
Cambridge University Library holds what it describes as ‘the world’s richest assemblage of Sassoon’s manuscripts and archival papers’, including a run of diaries stretching from 1905 to 1959. The Cambridge Digital Library has made available images of 23 of Sassoon’s journals, focusing on the war years but covering 1915-1927 and 1931-1932. It describes Sassoon as a ‘gifted diarist’ and the journals as ‘a fascinating resource’ of First World War literature. However, the library does not provide complete transcriptions of the diary pages.
‘Unlike edited printed transcriptions,’ it says, ‘the digitisations allow the viewer to form a thorough sense of the nature of the physical documents. Sassoon wrote in a small but neat and legible hand, frequently using the notebooks from both ends. His war journals were used for a wide variety of purposes: in addition to making diary entries Sassoon drafted poetry, made pencil or ink sketches, listed members of his battalion and their fates, made notes on military briefings and diagrams of trenches, listed locations and dates of times spent at or near the Front, noted quotations, and transcribed letters. The wartime notebooks were small enough to have been carried by Sassoon in the pocket of his Army tunic, and many had enclosures such as letters tucked into the outer cover or inner pouches; some bear tangible evidence of use in the trenches, from the mud on notebook MS Add.9852/1/7 to the candlewax spilled on MS Add.9852/1/9, presumably as Sassoon sat writing in his dug-out by candlelight.’
Printed transcriptions are available in three volumes edited by Rupert Hart-Davis and published by Faber and Faber between 1981 and 1985: Diaries 1915-1918, Diaries 1920-1922 and Diaries 1923-1925 (all of which can be digitally borrowed from Internet Archive). Here are several extracts from the last of these. Hart-Davis notes, however, that most of the text of Diaries 1923-1925 was taken from ‘fair copies’ Sassoon himself made of the original diaries in 1931 and 1932. It is assumed, he says, that the originals were discarded.
This article is a revised version of one first published on 8 September 2016.








