Themes are the fundamental and often universal ideas explored in a literary work.
The overriding theme of All Quiet on the Western Front is the terrible brutality of war, which informs every scene in the novel. Whereas war novels before All Quiet on the Western Front tended to romanticize what war was like, emphasizing ideas such as glory, honor, patriotic duty, and adventure, All Quiet on the Western Front sets out to portray war as it was actually experienced, replacing the romantic picture of glory and heroism with a decidedly unromantic vision of fear, meaninglessness, and butchery. In many ways, World War I demanded this depiction more than any war before it—it completely altered mankind’s conception of military conflict with its catastrophic levels of carnage and violence, its battles that lasted for months, and its gruesome new technological advancements (e.g., machine guns, poison gas, trenches) that made killing easier and more impersonal than ever before. Remarque’s novel dramatizes these aspects of World War I and portrays the mind-numbing terror and savagery of war with a relentless focus on the physical and psychological damage that it occasions. At the end of the novel, almost every major character is dead, epitomizing the war’s devastating effect on the generation of young men who were forced to fight it.
Because All Quiet on the Western Front is set among soldiers fighting on the front, one of its main focuses is the ruinous effect that war has on the soldiers who fight it. These men are subject to constant physical danger, as they could literally be blown to pieces at any moment. This intense physical threat also serves as an unceasing attack on the nerves, forcing soldiers to cope with primal, instinctive fear during every waking moment. Additionally, the soldiers are forced to live in appalling conditions—in filthy, waterlogged ditches full of rats and decaying corpses and infested with lice. They frequently go without food and sleep, adequate clothing, or sufficient medical care. They are forced, moreover, to deal with the frequent, sudden deaths of their close friends and comrades, often in close proximity and in extremely violent fashion. Remarque portrays the overall effect of these conditions as a crippling overload of panic and despair. The only way for soldiers to survive is to disconnect themselves from their feelings, suppressing their emotions and accepting the conditions of their lives.
In Remarque’s view, this emotional disconnection has a hugely destructive impact on a soldier’s humanity; Paul, for instance, becomes unable to imagine a future without the war and unable to remember how he felt in the past. He also loses his ability to speak to his family. Soldiers no longer pause to mourn fallen friends and comrades; when Kemmerich is on his deathbed, at the beginning of the novel, the most pressing question among his friends is who will inherit his boots. Among the living soldiers, however, Remarque portrays intense bonds of loyalty and friendship that spring up as a result of the shared experience of war. These feelings are the only romanticized element of the novel and are virtually the only emotions that preserve the soldiers’ fundamental humanity.
In many ways, the precipitating cause of World War I was the ethic of nationalism, the idea that competing nation-states were a fundamental part of existence, that one owed one’s first loyalty to one’s nation, and that one’s national identity was the primary component of one’s overall identity. The ethic of nationalism was not new, but it had reached new heights of intensity in the nineteenth century, and this fervor generally carried over into the start of World War I.
In its depiction of the horror of war, All Quiet on the Western Front presents a scathing critique of the idea of nationalism, showing it to be a hollow, hypocritical ideology, a tool used by those in power to control a nation’s populace. Paul and his friends are seduced into joining the army by nationalist ideas, but the experience of fighting quickly schools them in nationalism’s irrelevance in the face of the war’s horrors. The relative worthlessness on the battlefield of the patriots Kantorek and Himmelstoss accentuates the inappropriateness of outmoded ideals in modern warfare. Remarque illustrates that soldiers on the front fight not for the glory of their nation but rather for their own survival; they kill to keep from being killed. Additionally, Paul and his friends do not consider the opposing armies to be their real enemies; in their view, their real enemies are the men in power in their own nation, who they believe have sacrificed them to the war simply to increase their own power and glory.
