Last Post by Carol Ann Duffy

Last Post by Carol Ann Duffy is about reversing the horrors of World War I. In the poem, the speaker depicts traumatic experiences on the battlefield as if in reverse. The speaker imagines soldiers returning to their trenches, reversing injuries, and ultimately walking away from the brutality as whole, healthy men. The poem explores the devastating impact of war, the loss of life, and the desire for a world where such atrocities could be undone.

This study guide is written for students and teachers of English Literature, particularly those studying CCEA’s GCSE English Literature Conflict Anthology. For more study guides from this anthology, check out the Conflict page, or the list of poems in the series at the bottom of this guide.

Poem: Last Post by Carol Ann Duffy

In all my dreams, before my helpless sight,
He plunges at me, guttering, choking, drowning.

If poetry could tell it backwards, true, begin
that moment shrapnel scythed you to the stinking mud…
but you get up, amazed, watch bled bad blood
run upwards from the slime into its wounds;
see lines and lines of British boys rewind
back to their trenches, kiss the photographs from home –
mothers, sweethearts, sisters, younger brothers
not entering the story now
to die and die and die.
Dulce – No – Decorum – No – Pro patria mori.
You walk away.

You walk away; drop your gun (fixed bayonet)
like all your mates do too –
Harry, Tommy, Wilfred, Edward, Bert –
and light a cigarette.
There’s coffee in the square,
warm French bread
and all those thousands dead
are shaking dried mud from their hair
and queuing up for home. Freshly alive,
a lad plays Tipperary to the crowd, released
from History; the glistening, healthy horses fit for heroes, kings.

You lean against a wall,
your several million lives still possible
and crammed with love, work, children, talent, English beer, good food.
You see the poet tuck away his pocket-book and smile.
If poetry could truly tell it backwards,
then it would.

What is Last Post about?

‘Last Post’ is a poem which imagines reversing the horrific events of war, making soldiers come back to life and return home unharmed.

Stanza 1 Summary:

The poem begins with a reference to one of the best known WWI poets, ‘Dulce Et Decorum Est’ by Wilfred Owen. The reference is a vivid, haunting image of the recurring nightmare of witnessing a fellow soldier’s death on the battlefield. The soldier is depicted as drowning in the gas attack, creating a traumatic portrayal of the brutality of war.

Stanza 2 Summary:

Duffy then uses a unique narrative idea, suggesting the possibility of recounting the war in reverse. The speaker vividly depicts the moment of impact, where shrapnel inflicts wounds, and envisions soldiers watching the blood drip backwards into the wound, then walk backwards, back to their trenches.

The soldiers, portrayed as British boys, are seen kissing photographs from home, emphasising their humanity. The repetition of “die and die and die” underscores the relentless and cyclical nature of war.

The stanza concludes with another reference to Owen’s ‘Dulce Et Decorum Est’, with the final line of that poem, ‘Dulce et decorum est pro patria mori’ interrupted with the defiant word ‘no’. The speaker interrupts the message ‘It is sweet and honourable to die for your country’ with the word ‘no’, and then walks away.

Stanza 3 Summary:

In the third stanza, the aftermath of war unfolds as soldiers, having dropped their guns, engage in simple pleasures such as fresh bread in a French cafe, and lighting a cigarette. activities. Instead of lying dead on the battlefield, these same soldiers shake the mud off their hair and sing war songs, rejoicing in being alive.

Stanza 4 Summary:

The final stanza concludes with a contemplation on the role of the poet. If the poet’s fiction could be reality, then it could reverse the horrors of war. The optimistic imagery of several million lives still possible, filled with love, work, and ordinary pleasures, contrasts with the stark reality of the war.

Context of Last Post by Carol Ann Duffy

Carol Ann Duffy’s life, education and career

Carol Ann Duffy is a 20th and 21st Century Scottish poet. Born in 1955, her early years were spent in the Gorbals, a working-class area of Glasgow. At six years old, she moved with her parents (of Irish descent) to Stafford, England. As a child, she developed a deep love for literature and poetry, which her parents and teachers nurtured. This early exposure to the power of words and storytelling significantly shaped her future career as a writer.

Personal life and career

At 16, Duffy moved to Liverpool and began a ten-year relationship with then 39-year-old Liverpudlian poet Adrain Henri. She says of him:

He gave me confidence … he was great. It was all poetry, very heady, and he was never faithful. He thought poets has a duty to be unfaithful.
from The Times article of 5th September 2005, by Jeanette Winterson

Duffy’s love of literature was fostered and encouraged by her school teachers and her ten year relationship with Henri, along with the poets, writers and artists she mixed with during that decade. She studied philosophy at the University of Liverpool and went on to earn a master’s degree in the subject. Throughout her life, Duffy has been open about her sexuality and has been an advocate for LGBTQ+ rights. Her personal relationships have also influenced her work, particularly her long-term partnership with fellow poet Jackie Kay, with whom she lived and raised children between 1991 and 2005. Duffy’s personal experiences, emotions, and reflections often find their way into her poetry, lending it a deeply personal and relatable quality.

Career and Achievements

Duffy boasts a remarkable body of work that has fetched her numerous accolades and critical acclaim throughout her career. Her debut collection, “Standing Female Nude” (1985), contributed significantly to her rise to the poetry scene, attracting attention for its sharp wit and feminist perspectives. Over time, her evocative and thought-provoking poetry has continually captivated readers.

Notably, in 2009, Duffy made history by becoming the first female, as well as the first openly gay poet laureate in the United Kingdom, a highly respected position she ably held until 2019. Throughout her career, Duffy has been the recipient of numerous awards, including the T.S. Eliot Prize, the Costa Book Award, and the Queen’s Gold Medal for Poetry.

If you want to read more poetry from Duffy, check out ThinkLit’s study guide on her poem ‘In Mrs Tilscher’s Class’, which explores childhood and adolescence, and her poem ‘War Photographer’ which explores the media’s impact on perceptions of war.

In Mrs Tilscher's Class by Carol Ann Duffy Study Guide — In Mrs Tilscher’s Class by Carol Ann Duffy Study Guide

Context: War and Conflict poetry

‘Last Post’ was written by Duffy while she was Poet Laureate in 2009. She was commissioned to write the poem to honour the deaths of two of Britain’s last three remaining WWI trench warfare veterans, Harry Patch and Henry Allingham.

The poem’s title, Last Post, refers to the famous bugle call played at services of Remembrance and at the funerals of those who fought and died at war.

Duffy said the poem is “an attempt at healing and being at one with the world”. The BBC commissioned her to write the poem which was published on 30th July 2009, the day of Allingham’s funeral.

The poem’s strong ties to war and conflict are clear not only from the title, but also in the opening lines, which quote directly from Wilfred Owen’s ‘Dulce Et Decorum Est’, grounding this poem firmly into the conflict theme.

The Royal Marines playing the 'Last Post' at Prince Philip's funeral

Line-by-line analysis

Stanza 1

In all my dreams, before my helpless sight,

The opening two lines are a direct quotation from Wilfred Owen’s ‘Dulce Et Decorum Est’, which means ‘It is sweet and honourable (to die for your country)’. In this quote, Duffy makes clear her poem’s central theme of war and conflict.
The choice of this line from Owen’s poem links well to Duffy’s concept of dreams or imagining: she wishes in ‘Last Post’ that poetry could tell a story backwards. Her reference to the haunting nightmares and PTSD of WWI soldiers evokes the idea of the relived nightmares of war.

He plunges at me, guttering, choking, drowning.

In line two, Duffy’s quotation of Owen’s poem continues. In this line, Owen uses active, physical and traumatic verbs, reliving the sight of a soldier dying from a gas attack in the trenches and front lines of WWI.
This line grounds Duffy’s poem firmly in the trenches of WWI, appropriate given the poem’s 2009 dedication to Britain’s last remaining WWI soldiers.

Stanza 2

If poetry could tell it backwards, true, begin

In stanza two, Duffy begins the original work of her poem, leaving a pause after the quotation from Wilfred Owen in stanza 2.
The conditional statement ‘If’ sets up the poem’s central theme: the desire to reverse the story of war.
The caesura (pause) on either side of the word ‘true’ emphasises the unreal sense of the conditional ‘If’. Obviously, poetry cannot reverse real events, so this poem spends its narrative in a hypothetical realm.

that moment shrapnel scythed you to the stinking mud…

The vivid imagery of shrapnel cutting through the soldier and the use of onomatopoeia with “scythed” evoke the brutality of war. A scythe is an agricultural tool used for cutting crops. The word is appropriate here in making visual the slicing action of the shrapnel.
The phrase “stinking mud” adds a sensory layer, emphasising the dehumanising conditions.
The slicing action is intensified by the sibilant sounds of ‘shrapnel scythed … stinking’
Punctuation is used for a long pause in the ellipsis at the end of the line. The effect is to move backwards rather than forwards from this moment in time. After the ellipsis, the next line moves the action back in time, not forward.
The direct address of “you” continues throughout the poem, establishing a conversational tone. This poem is written to honour Henry Allingham and Harry Patch, Britain’s longest-living WWI veterans. Perhaps in the pronoun “you”, the speaker is directing these wishes to reverse time directly to these two men, and others like them who died in conflict.

but you get up, amazed, watch bled bad blood

The sudden shift to a hopeful tone with “you get up” and “amazed” contrasts the previous line’s grim tone.
Alliteration in “bled bad blood” emphasises the physical and emotional wounds, portraying the resilience of the soldier.
The momentum of the line is interrupted again in the caesuras before and after “amazed”.

run upwards from the slime into its wounds;

The imagery of blood running upward and the personification of wounds contribute to the surreal and fantastical nature of the reversed narrative.
The word “slime” adds a repulsive element, reinforcing the grim reality of the war.

see lines and lines of British boys rewind

Enjambment at the end of this line runs it directly into the next line, keeping a sense of pace as the movement of time continues in reverse.
Repetition of “lines” creates a flowing rhythm, mirroring the idea of time reversing.
The term “British boys” humanises the soldiers and emphasises their youth and innocence.

back to their trenches, kiss the photographs from home -

The soldiers’ return to the trenches and the act of kissing photographs adds an emotional layer, highlighting the personal connections and the longing for home.
The hyphen emphasises a pause for reflection.
There is a shift from “you” to “their” in this line, switching from directly addressing a soldier who was hit by shrapnel to a third-person plural perspective. This widens the attention of the reader from an individual story to the whole battalion. The desire to reverse the action of the war would not just save one, but potentially millions.

mothers, sweethearts, sisters, younger brothers

The list of family members intensifies the emotional impact, emphasising the experience of loss in war.
The plural form of each of family member is used to emphasise the scale of the trauma.

not entering the story now

This line suggests that these loved ones are spared from the tragedy in the reversed narrative, avoiding the pain of losing family members.
The speaker refers to WWI as a “story”, not to trivialise it, but rather to intensify the personal side to their stories.

to die and die and die.

The repetition of “die” emphasises the relentless cycle of death in war, reinforcing the futility and tragedy.
“die and die and die” has a triplet rhythm, again emphasising the cyclical, repetitive nature of deaths at war.

Dulce - No - Decorum - No - Pro patria mori.

The rejection of the famous Latin phrase “Dulce et Decorum est Pro patria mori” (“it is sweet and honourable to die for your country”) challenges the glorification of dying for one’s country.
The repetition of “No” adds emphasis and a defiant tone.
The hyphens and interruptions to the rhythm of the famous phrase add to the sense of defiance and determination to retell a different, better narrative.

You walk away.

The abruptness of this line, a short, three-word sentence, signals a shift in the narrative, indicating a departure from the battlefield, unharmed and alive.

Stanza 3

You walk away; drop your gun (fixed bayonet)

Anadiplosis (the repetition of the same phrase at the end of one line and the start of another), is used here in “You walk away”, adding rhythm, continuity and emphasis to the freedom and joy of a soldier who walks away from battle uninjured.
The inclusion of “(fixed bayonet)” underscores the lethal nature of the weapon, highlighting the brutality of combat.
The use of parentheses around “(fixed bayonet)” makes it seem obvious, run of the mill, in the day-to-day conflict of WWI trenches. Yet the fixing of bayonets meant close combat; the brutality of trench warfare can easily be forgotten in history, but the speaker adds it here to remind us of what the reversal of time spares these soldiers from.
The act of being able to “drop your gun” emphasises the speaker’s desire for peace and life, as opposed to conflict and death.

like all your mates do too -

The colloquial term “mates” emphasises the camaraderie among soldiers.
The hyphen creates a pause, building suspense for the subsequent list of names.

Harry, Tommy, Wilfred, Edward, Bert -

The use of specific names adds a personal touch, potentially referencing real historical figures or symbolising the collective experience of soldiers.
The name “Harry” is perhaps a reference to Harry Patch, one of the veterans this poem is written to honour.
The enjambment creates a flowing and continuous rhythm, broken only briefly by the hyphen.

and light a cigarette.

The act of lighting a cigarette serves as a symbolic moment of transition from the intensity of battle to a more relaxed state. It suggests a return to normalcy and everyday activities.
The end stop (the full stop at the end of the line) brings this image of lighting a cigarette to a firm close.

There's coffee in the square,

The mention of coffee and the square implies a peaceful setting, contrasting with the chaos of war. It introduces a sense of comfort and routine, more associated with a relaxing holiday rather than a war zone.

warm French bread

The sensory detail of “warm French bread” adds a touch of warmth and domesticity, further contrasting with the harsh realities of war.
The ground of the image in France reminds the reader of the location of the trenches: the towns and villages of France that were torn apart by the war are instead whole, unharmed and productive because of this reversal of time.

and all those thousands dead

The juxtaposition of mundane elements with the stark reality of death creates a sense of irony and tragedy.
The enjambment connects this line to the following, emphasising the continuity of life and death.

are shaking dried mud from their hair

The vivid imagery of soldiers shaking mud from their hair symbolises cleansing or renewal, reinforcing the theme of moving away from the horrors of war.

and queuing up for home. Freshly alive,

The image of soldiers queuing up for home suggests a collective longing for a return to normal life.
The use of the gerund “queuing” adds a sense of order and anticipation.
The line is interrupted by a caesura in the full stop after “home”. The long pause allows the reader time to take in the possibility of these soldiers living rather than dying.
The adverb “Freshly” after the pause adds an invigorating tone, conveying a sense of enthusiasm.
The oxymoron “Freshly alive” captures the paradox of soldiers returning to life after death in the reversed narrative. It conveys a sense of renewal and second chances.

a lad plays Tipperary to the crowd, released

The mention of “Tipperary” alludes to a popular World War I song.
The term “lad” emphasises the youthfulness of the soldiers.
The word “released” implies liberation from the historical constraints of war.

'It's a Long Way to Tipperary', referred to in this line.

from History; the glistening, healthy horses fit for heroes, kings.

The notion of being “released from History” suggests freedom from the burdens of war’s historical legacy.
The image of “glistening, healthy horses” could symbolise a return to vitality and nobility, contrasting with the suffering of war. Or it could refer to the war horses which also died in the war.

Stanza 4

You lean against a wall,

The image of leaning against a wall conveys a casual and contemplation, creating a sense of ease and reflection.
The line is short, drawing the reader back to the present reality: the reversal of time is not possible, and these soldiers did die.
The speaker shifts back to the direct address of “you”, used at the start of the poem, emphasising the shift back to the present reality.

your several million lives still possible

The use of “several million lives” amplifies the lives and possibilities that were lost in the war.
The enjambment connects this line to the following, emphasising the continuity of life.

and crammed with love, work, children, talent, English beer, good food.

The list of positive elements reflects the richness of life that could have been for the soldiers.
The use of “crammed” suggests abundance and fulfilment. Similarly, the long list is itself “crammed”.

You see the poet tuck away his pocket-book and smile.

The poet within the poem is presented as an observer, tucking away a pocket-book, indicating a sense of satisfaction and completion.
The smile suggests a wistful response to the complex emotions evoked by war.

If poetry could truly tell it backwards,

The conditional statement returns, reiterating the central theme of the poem, and closing off the framing phrase which opened the poem.
The use of “truly” emphasises the depth and authenticity of the desire to turn time backwards.

then it would.

The final line concludes with certainty, expressing the poet’s belief in the power of poetry to reshape and reverse the narrative of war.
The simplicity of this statement adds a sense of resolution to the poem.

Analysis of form and structure

Form

Last Post by Carol Ann Duffy is a free-verse poem, meaning it lacks a strict rhyme scheme, meter, or regular structure. This form allows for flexibility and freedom in expressing the themes and emotions within the poem.

The variation in form reflects the abstract notion of telling time backwards.

The choice of free-verse could also reflect the chaos and unstructured nature of warfare and the unpredictability of mass deaths.

Verse structure

The verse structure is irregular with four verses of uneven length.

The poem is divided into four stanzas.

The first stanza is only two lines, and is a quotation from Wilfred Owen’s ‘Dulce Et Decorum Est’.

The second and third stanzas consist of 11 lines each, and contain the main story of the poem: the reversal of time to undo the damage of war.

The fourth stanza has 6 lines and brings the reader back to the reality that time cannot be reversed.

Rhythm

The poem’s rhythm is predominantly iambic, with lines containing alternating stressed and unstressed syllables. However, the rhythm is not strictly regular, allowing for variations that enhance the natural flow of the language. Enjambment is used frequently, creating a continuous and flowing rhythm that carries the reader from one line to the next.

Rhyme

“Last Post” does not adhere to a consistent rhyme scheme. While there are instances of rhyme within the poem, they are sporadic and do not follow a predetermined pattern. The lack of a strict rhyme scheme contributes to the poem’s informal and conversational tone, reinforcing its free-verse form.

Themes in 'Last Post'

War and its horrors

The poem vividly portrays the horrors of war, particularly the traumatic experiences of soldiers on the battlefield. It explores the physical and emotional toll of conflict, depicting the gut-wrenching scenes of death and the lasting impact on those who survive. In this way, it is similar in tone to Wilfred Owen’s Anthem for Doomed Youth.

Time and reversal

A central theme involves the imaginative concept of telling the story of World War I backward. The idea of reversing time is explored, presenting an alternative narrative where soldiers return to their trenches and the war’s devastation is undone. This theme prompts reflection on the irreversible nature of historical events. The idea of alternate realities is also explored in Thomas Hardy’s The Man He Killed, which imagines conversations and friendships between soldiers from opposite sides.

Loss and sacrifice

The poem addresses the profound loss and sacrifice associated with war. It emphasises the personal connections severed by death, such as the soldiers’ relationships with mothers, sweethearts, sisters, and younger brothers. The repetition of “to die and die and die” underscores the repetitive tragedy. Alfred Lord Tennyson’s The Charge of the Light Brigade, and Henry Newbolt’s Vitaï Lampada both explore sacrifice and personal loss for a cause.

Rejection of glory in war

The rejection of the Latin phrase “Dulce et Decorum est Pro patria mori” expresses a strong anti-war sentiment. The poem challenges the glorification of dying for one’s country, emphasising the grim reality of war and the futility of seeking honour in its brutality. This provides a good contrast to Henry Newbolt’s Vitaï Lampada, which glorifies war and the personal sacrifice of oneself for one’s country.

Remembrance and reflection

The poem engages with the act of remembrance and reflection, exploring how individuals, including the poet within the poem, process the traumatic events of war. The poet’s contemplative stance and the reference to a pocket-book suggest a role in recording and preserving memories. There are connections through the theme of remembrance to many poems in the CCEA Conflict Anthology, including Requiem for the Croppies by Seamus Heaney, Mametz Wood by Owen Sheers and Anthem for Doomed Youth by Wilfred Owen.

Imaginative power of poetry

The poem suggests that if poetry could tell the story backward, it would. This theme highlights the imaginative and transformative power of poetry to reshape and reinterpret historical narratives. It raises questions about the role of art in understanding and representing the complexities of war. Last Post opens with ‘If…’ and likewise, The Man He Killed by Thomas Hardy opens with ‘Had he and I but met …’, connecting these poems by their desire to imagine a different reality.

Quiz on Last Post by Carol Ann Duffy

Last Post by Carol Ann Duffy

Test your knowledge of the poem ‘Last Post’.

Comprehension Questions

What feeling is conveyed by the phrase “before my helpless sight” in the first line, and how does it set the mood for the poem?
In the quotation from Owen’s ‘Dulce Et Decorum Est’, explain the impact of the verbs “plunges,” “guttering,” “choking,” and “drowning” in describing the soldier’s death in a gas attack. How do these words make you feel about the scene?
Why does the poet suggest telling the story of World War I backward?
What is the significance of the list of names like “Harry, Tommy, Wilfred, Edward, Bert” in the second stanza? Why do you think these names are included?
Discuss the meaning behind the rejection of the Latin phrase “Dulce – No – Decorum – No – Pro patria mori.” What message is the poet conveying by saying “No” to this phrase?
How does the act of dropping the gun with a fixed bayonet symbolise a shift in the poem?
Explore the contrast between the scenes of war and post-war normalcy in the third stanza. What emotions are evoked by the mention of coffee, warm French bread, and soldiers shaking dried mud from their hair?
What does the soldier playing “Tipperary” symbolise in the context of the poem?
Examine the portrayal of the poet in the last stanza. What role does the poet play in the narrative, and what emotions are conveyed by the act of tucking away the pocket-book and smiling?
Compare and contrast “Last Post” to another poem from the CCEA Conflict Anthology (or another poem of your own choice, or from a different anthology) that explores themes related to horrors of war.

Links to other poems in the CCEA Conflict Anthology:

Anthem for Doomed Youth by Wilfred Owen

Both Anthem for Doomed Youth and Last Post explore the horrors of war, human loss and suitable ways to look back on the past/remembrance. There are very clear differences in the structures of each poem and their rhythm and rhyme schemes, providing students with plenty of material to both compare and contrast.

The Man He Killed by Thomas Hardy

Both The Man He Killed by Thomas Hardy and Last Post explore the possibilities of ‘what if’. In Last Post, Duffy imagines the reversal of time, and in The Man He Killed, Hardy explores the possibility of missed friendship across different sides of a conflict. Hardy’s poem is from a different time to Duffy’s, and uses a very different form and structure, giving students plenty to contrast.

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