Professional Documents
Culture Documents
Monica Kempski
Mrs. Johnstone
1 April 2009
Kempski 2
Introduction:
War is an inevitable force that transpires from two nations’ contradicting beliefs
or values. When these opposite forces clash, each side does what is necessary to uphold
their strong conviction and achieve their means; for instance, allowing their young men to
fight in the war for the greater good of their country. These youths are bombarded by
patriotic propaganda, by which they are all too willing to serve their country. For this
reason, they are totally blinded to the true nature of war and its unimaginable
experiences. Upon suffering horrendous ordeals during wartime, young men’s lives are
In All Quiet on the Western Front, Erich Maria Remarque attempts to tell the
story of these youths through Paul Baumer, as he comes to realize the horrific reality
involved with serving his homeland of Germany during World War One. Remarque
giftedly delivers this story through superb structure, style, and theme.
Critical Commentaries:
There have been both positive and negative criticisms regarding Remarque’s
chosen writing style that deals with the theme in All Quiet on the Western Front since its
initial publication in 1928. In a positive criticism, Frank Ernest Hill claims Remarque’s
style as a “sharply etched description of suffering, endurance, grim humor, and climactic
event.” (Contemporary Literary Criticism 325.5) Then, he adds that this style is a work of
art that will impact the sensitive reader dramatically. Within the style, the novel contains
intense graphic content that extract varying emotions from the reader. Frank Ernest Hill
continues to say that “there are the passages of vulgar humor, Germanic yet universal in
character.” An example of this vulgar humor is shown when Paul’s artillery talks about
Kempski 3
women. One particular man even comments on his girlfriend’s stockings and boasts
about her mammoth legs. Boasting about huge legs is paradoxical because a man would
usually boast about a skinny wife, rather than one of substance. Nonetheless, the paradox
creates humor for the reader. Even though this humor may not seem vulgar to the modern
day, it was deemed so at the time that the novel was written in the 1920s where it was
scandalous for a woman to display her legs. These archetypes of sexuality and humor are
universal because they do not only happen in Germany, but in all cultures. The
universality created compels the reader because they can identify with the content of the
passage. In grimmer archetypical situations like death and war, a universal connection
allows for the reader to feel strongly towards the narrator and his traumas. By having this
identification with the narrator, the reader can understand the content of the book as
realistic. The more the reader connects and relates to the characters, the more likely the
reader is to be affected by the novel. Hill concludes his criticism by stating in regards to
the impact of the reader, “in this sense it is a work of art.” (Contemporary Literary
Criticism 325.7) Only when the reader is impacted by the characters and the story, can
they truly feel the depression of a non-existent youth that war brings to the young men.
In the criticism, he notes that the writing style was told with “a sort of naïveté which is
the result of not too little experience, but of too much.” (Contemporary Literary Criticism
326.3) Krutch further remarks that Remarque’s abundant experience of war kept him
from using rhetoric that spurs deep analysis. Remarque, being a war veteran, thought of
the experience of war as something that could never be properly analyzed. Thus, Krutch
scolds Remarque’s simplicity in style because it does not allow the reader to have a
Kempski 4
novel’s style will refute Krutch’s criticism. Even though Remarque’s style is simplistic, it
contains enough careful diction and descriptions that formulate a moving tale that enables
any reader to feel emotion for the characters when they diminish their youth.
Style:
In All Quiet on the Western Front, Remarque’s brilliant style allows for the reader
to be able to feel emotional for his character’s loss of youth. At the beginning of the
novel, Paul visits his friend who is dying in an army hospital from a wound he had
received during combat. “He lies there now- but why? The whole world ought to pass by
this bed and say: “That is Franz Kemmerich, nineteen and a half years old; he does not
want to die. Let him not die!” (29.7) This passage contains syntax of distinguishing
exclamation point used helps to create a tone of urgency in Paul’s voice. With this
marking, the reader can assume that he is feeling overwhelmed by a rush of demanding
concern for the life of his friend who may not be with him for much longer. The syntax
also affects the passage’s pacing. The semicolons make the passage’s flow very
inconsistent and broken. This is because the semicolons create long complex sentences
that are used for Paul’s long drawn-out and concerned thoughts. These sentences provide
a sharp contrast with the short sentences in the passage that portray thoughts of stress and
exigency. The syntax aids in contributing to the rhetorical effect on the reader because it
shows that Paul is actually thinking about his expiring friend, and expresses Paul’s
feeling that his friend should be entitled to hold on to his life by commanding that he not
die.
Kempski 5
In this situation, both Paul and his friend have lost their youth. Paul’s friend is
paralyzed and dying to the point where cannot have happy, normal experiences that a
normal youth his age could. Paul has also lost some of his youth because he is
experiencing death. For one of the first times, Paul becomes aware of death and starts to
abandon his childish thoughts that all things turn out joyful in life.
A second passage showing Paul’s loss of youth contains moving style. This
passage tells of the moment when Paul is sitting alone in an abandoned trench until he is
severely wounded man who slowly dies. The man is described as having eyes that “cry
out.” (Remarque 219.3) This personification shows that the man is struggling, and Paul is
aware of this because he can see the suffering in his eyes. Remarque also depicts the
man’s struggling through auditory and kinesthetic imagery. The words “gazes, still,
without a sound, and gurgle ceased” (Remarque 220) show the progression of the man
inching closer to death and finally dying. After the man passes away, Paul “propped the
man up again so that he lies comfortably. I close his eyes.” (221.9-222) These caring
regretful actions show that Paul respects the man and feels remorse for the terrible ordeal
that Paul inflicted upon not only the Frenchman, but himself as well. The actions of
making the man comfortable are to ease Paul’s mind by thinking that the man no longer
suffers. In conclusion, the style used by Remarque throughout the novel shows the horrid
experience of death suffered by Paul during the war that rob him from his happy
Gruesome diction and visual imagery are also crucial elements of Remarque’s
style that draw emotions from the terrible yet maturing ordeals Paul had to suffer
through. A significant passage describes horses that become critically wounded during
battle. Their piercing cries were described by Paul as, “the moaning of the world, it is the
martyred creation, wild with anguish, filled with terror, and groaning” (62.9). From
Paul’s comment, the reader can agree that the suffering of innocent animals is a lofty
through graphic diction. “The belly of one is ripped open, the guts trail out. He becomes
tangled in them and falls, then he stands up again.” (Remarque 63.8) This appalling
image created through the ghastly diction of the passage further creates a sense of
repulsion with the reader. In a later passage, Remarque uses extremely graphic words to
describe soldiers’ injuries during bombardment. “We see men living with their skulls
blown open, we see soldiers run with their two feet cut off, they stagger on their
splintered stumps into the next shell hole; a lance corporal crawls a mile and a half on his
hands dragging his smashed knee behind him; another goes to the dressing station and
over his clasped hands bulge his intestines; we see men without mouths, without jaws,
These descriptions of the injuries to both humans and animals create the
unimaginable scenes of war that construct a sickening feeling that Paul and the reader
both feel. Again, Paul is forced to leave his youth behind him as he literally sees that life
mentality of war. When Paul is fighting on the front, he says “If your own father came
Kempski 7
over with [the enemy] you would not hesitate to fling a bomb at him.” (114.4) Under
normal circumstances, it would be satanic for someone to want to brutally kill their
father, but because the person fears for their own life during battle, they will do whatever
they can to save themselves. Paul losses his youthful innocence by being required to
Techniques:
Remarque utilizes many techniques that satisfactorily tell Paul’s story of the
trauma involved with war that result in his lost youth. The First Person point of view is
crucial to the narration of the story because Paul gives personal accounts of his days in
the trenches. This personal account allows insight on Paul’s thoughts and emotions
throughout the novel as he develops from a child mindset to a disturbed yet mature adult.
With a second or third person point of view, we cannot get fist-hand documentation on
A final technique that Remarque utilizes is a flashback. Through the novel Paul
accounts his childhood memories, such as attending school and church. After these
memories, Paul realizes that that part of his life is no longer with him and that it died
Structure:
The novel’s structure contributes to its success by making the content of the story
both realistic and relatable, allowing for the reader to feel empathetic for Paul’s
misplaced youth. All Quiet on the Western Front moves in chronological order from
chapter to chapter. These chapters are short depictions of events from Paul’s point of
view where he tells of his experiences and feelings. In result, this technique mirrors a
Kempski 8
journal entry. The journal entry structure creates a realistic effect because the reader
registers the experiences and events as they happen, step-by-step. Here, they can easily
identify with Paul because they are simultaneously going through the events that destroy
his youth.
the novel. By experiencing dialogue, the reader can actually feel as if they are with Paul
Theme:
The several themes in the novel contribute to Remarque’s purpose of writing the
novel: having the common person understand how the overall emotional effects of war
lead for the young men to have a nonexistent youth. Firstly, the soldiers loose their
annihilation. It is not against men that we fling our bombs, what do we know of
men in this moment when Death is hunting us down…..we can destroy and kill, to
Here, they ultimately are trying to avoid death, doing whatever it takes regardless
if they kill a man. Later, Paul reiterates himself by saying that “Through the years our
business has been killing, our knowledge of life is limited to death.” (264.3) The troops
are no longer immune to murder and violence as they were as boys. The young troops are
In addition, the men lost their youth because they are no longer exposed to
women while at war. When looking at a girl in a poster in the bunker, Paul explains,
“[She] is a wonder to us. We have quite forgotten that there are such things, and even
now we can hardly believe our eyes. We have seen nothing like it for years, nothing like
it for happiness, beauty and joy.” (141.8) It is apparent in this statement that Paul and his
friends have forgotten about the youthful focus of finding and loving a woman. Later on
in the novel, Paul returns home on absence. During this time, we see how Paul is
emotionally disconnected from the world outside of war. When he first returns home and
sees his family he explains, “There is a distance, a veil between us.” (160.5) Paul is
unable to show emotion he showed in his youth towards his family. He cannot connect
with them because they have not experienced what Paul had in war. The people of his
youth are strangers to him. Furthermore, we see Paul’s disconnection with the objects of
through my mind, but they do not grip me, they are mere shadows and memories.
Here, Paul has lost the passion for the values he had in his childhood.
Paul is also emotionally altered when he discovers that the enemy is an ordinary
person. When he unintentionally stabs a Frenchman, he sees that they are as common as
Kempski 10
brothers. He discovers he has a family and a life of his own, leaving Paul to feel immense
guilt:
Now for the first time, I see you are a man like me. I thought of your hand
grenades, your bayonet, your rifle: now I see your wife, your face, and our
fellowship…Why do they never tell us that you are poor devils like us, that your
mothers are just as anxious as ours, and that we have the same fear of death, the
same dying and the same agony-Forgive me, comrade; how could you be my
enemy?
Along with his realization that the enemy is similar to himself, Paul has lost his clouded
Conclusion:
Erich Maria Remarque brilliantly portrays how the unimaginable experiences of war rob
young soldiers of their youth. Remarque’s technique, style, structure, and chosen themes
accurately serve the purpose of his novel, allowing for all readers to relate to and undergo
the appalling event of war. All Quiet on the Western Front will remain a masterwork of
Works Cited
Remarque, Erich Maria. All Quiet on the Western Front. New York: Fawcett Books, 1982.