This book is to be neither an accusation nor a confession, and least of all an adventure, for death is not an adventure to those who stand face to face with it. It will try simply to tell of a generation of men who, even though they may have escaped shells, were destroyed by the war.
This passage is the epigraph to the novel, telling the reader what the book is intended to be and mapping out some of its basic stylistic and thematic ground. The statement that the book is not “an adventure” separates it from most war novels in that it will dispense with elements of romance and excitement in favor of a stark, unsentimental presentation. The clarification that “death is not an adventure to those who stand face to face with it” suggests that books that tell stories of war as though they were exciting adventures do not do justice to the actual experience of soldiers. Death may be an adventure to the reader, sitting comfortably at home, but it is anything but that to the soldier who is actually confronted with the possibility of being blown to pieces at any moment. The epigraph also declares that the book will be the story of an entire generation, one “destroyed by the war” even if not actually killed off by it. The epigraph thus opens the novel’s exploration of the effect of the war on those who fought it; war is a transforming force that not only injures and traumatizes but also annihilates selfhood.
There is friction, however, between the claim that the book will attempt “simply” to depict this annihilation and the claim that the book is not an accusation. All Quiet on the Western Front certainly takes a strong critical position against the war and against nationalist and ignorant figures like Kantorek and Himmelstoss. Perhaps the meaning of the epigraph is that the book will let events speak for themselves since they have not been embellished for the sake of some political goal. Still, it is hard to see the one-dimensional Kantorek as anything other than the object of accusation. The friction between realism and antiwar fervor found in the epigraph parallels an aesthetic tension in the novel, as Remarque tries to reconcile his hatred of the war with a need to create realistic characters who are more than mere punching bags.
For us lads of eighteen they ought to have been mediators and guides to the world of maturity . . . to the future . . . in our hearts we trusted them. The idea of authority, which they represented, was associated in our minds with a greater insight and a more humane wisdom. But the first death we saw shattered this belief. We had to recognize that our generation was more to be trusted than theirs. . . . The first bombardment showed us our mistake, and under it the world as they had taught it to us broke in pieces.
This quotation from Chapter One constitutes Paul’s first and most direct exploration of how the older generation betrays the younger generation by convincing them to sacrifice their lives for the empty ideals of patriotism and honor. Paul says that authority figures from the older generation—parents, leaders, teachers such as Kantorek—should have been wise guides to the future and that, as boys, the young soldiers all assumed that they would be. But after the war began, the soldiers realized that the older generation had failed them, and Paul reacts to this failure with anger and disdain. He emphasizes that the older generation, which is constantly ready to criticize and ostracize young men for signs of cowardice or unpatriotic behavior but has not itself experienced the war, has no understanding of what the fighting is actually like. The younger generation must look to themselves to determine what is true and right because the older generation has proved itself incapable of teaching them.
At the sound of the first droning of the shells we rush back, in one part of our being, a thousand years. By the animal instinct that is awakened in us we are led and protected. It is not conscious; it is far quicker, much more sure, less fallible, than consciousness. . . . It is this other, this second sight in us, that has thrown us to the ground and saved us, without our knowing how. . . . We march up, moody or good-tempered soldiers—we reach the zone where the front begins and become on the instant human animals.
With these words, Paul describes, in Chapter Four, the psychological transformation that soldiers undergo when heading into battle. Paul observes this phenomenon as he and his comrades near the front on their mission to lay barbed wire. They cease to become men (“moody or good-tempered soldiers”) and instead become beasts (“human animals”). To survive, it is necessary for the soldiers to sacrifice the thoughtful and analytical parts of their minds and rely instead wholly on animal instinct. Paul describes men who have been walking thoughtlessly along and suddenly thrown themselves to the ground just in time to avoid a shell, without having been consciously aware that a shell was approaching and without having intended to leap to avoid it. Paul calls this instinct a “second sight” and says that it is the only thing that enables soldiers to survive a battle. In this way, Paul implies that battles are animalistic and even subhuman, a large aspect of the devastation that the war wreaks on a soldier’s humanity.
Just as we turn into animals when we go up to the line . . . so we turn into wags and loafers when we are resting. . . . We want to live at any price; so we cannot burden ourselves with feelings which, though they may be ornamental enough in peacetime, would be out of place here. Kemmerich is dead, Haie Westhus is dying . . . Martens has no legs anymore, Meyer is dead, Max is dead, Beyer is dead, Hammerling is dead . . . it is a damnable business, but what has it to do with us now—we live.
In this grim passage from Chapter Seven, Paul discusses the psychological process of how a soldier disconnects himself from his feelings in order to survive the terror of the war. After the bloody fighting, Paul and his friends are lying about enjoying a moment of relaxation and leisure, and have pushed their recent horrific experiences out of their minds. Paul says that terror can be survived only if one avoids thinking about it; otherwise, feelings of grief, fear, and despair would drive a man mad. Paul even looks upon those feelings with contempt, calling them “ornamental enough during peacetime” and implying that they are superfluous luxuries rather than essential components of the human experience. To help the reader understand the pressure that is always upon the soldier, Paul presents his appalling list of recent casualties, friends, and comrades who were either killed or badly injured in recent fighting. There is even a grotesque poetry to the list with the alliteration and rhyme of the names Martens, Meyer, Max, and Beyer, demonstrating the stoic attitude that Paul claims is necessary for survival.
Comrade, I did not want to kill you. . . . But you were only an idea to me before, an abstraction that lived in my mind and called forth its appropriate response. . . . I thought of your hand-grenades, of your bayonet, of your rifle; now I see your wife and your face and our fellowship. Forgive me, comrade. We always see it too late. 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, and the same dying and the same agony—Forgive me, comrade; how could you be my enemy?
Paul utters these words in Chapter Nine to the corpse of Gérard Duval, the French soldier whom he has just killed. Paul realizes for the first time that, despite the dictates of nationalism, Duval is fundamentally no different from him. As Duval becomes a fully realized person in Paul’s mind, as he thinks beyond the man’s weapons to “your wife and your face and our fellowship,” Paul observes, as he does in Chapter Eight among the Russian prisoners, that the war has forced men who are not enemies to fight each other. The propaganda campaigns waged by the opposing governments have convinced many men that their opponents are evil; as such, Paul initially conceives of the French soldier as “an abstraction”—the enemy. Once he understands Duval as a human being, the artificial divisions between the two men become irrelevant. Paul’s sympathy for Duval’s suffering is evident in his address of him as “comrade” and his reference to himself and Duval as “we” and “us,” in opposition to the “they”—those in power, who attempt to deny the essential sameness of men such as Paul and Duval.
Early in the book, before Kemmerich's death, Paul pictures the man's nails and growing after his death, into long spirals and corkscrews. While this is a powerful visual, it is not true. A corpse's skin shrinks away from its nails and hair after death, giving the appearance of increased length. Sorry if I grossed you out, but that was on my test and I thought you should know just in case.
63 out of 91 people found this helpful
Okay. Here is my advice to you. Read all through SparkNotes as you read through the book. I was soo confused til I looked on SparkNotes. But of course I looked over Spring Break right before the final test! It is a good book when you understand it TRUST ME! Yah -Sydney
37 out of 74 people found this helpful
This is really helpful, thanks!
4 out of 5 people found this helpful