Journeys End LitChart

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Journey’s End
of the Central Powers, who were ultimately defeated eight
INTR
INTRODUCTION
ODUCTION months later.
BRIEF BIOGRAPHY OF R.C. SHERRIFF
RELATED LITERARY WORKS
Robert Cedric Sherriff was born in 1896 in Hampton Wick,
Middlesex. Upon finishing school in 1914, he began working in Although the novel has more fighting and action than Journey’s
his father’s insurance office, working as a clerk until World War End, Erich Maria Remarque’s All Quiet on the Western Front is
I. Sherriff served in the East Surrey Regiment, fighting in similar to Sherriff’s play because of its interest in exploring not
several notable battles until he was finally injured in 1917. At only the absurd brutalities of war, but also the moments of
this point, he returned to his original line of work, acting as an quiet anticipation that characterize prolonged conflicts.
insurance adjuster for ten years. During this period, he began Published just one year apart, the two texts look at different
to write plays, drawing upon his wartime experiences in works sides of World War I, and taken together, readers can begin to
like Journey’s End, his most famous and celebrated artistic understand that the emotional experience of war is rather
effort. First produced in 1928, Journey’s End attracted uniform, regardless of the country for which a soldier fights.
widespread critical acclaim and enjoyed a long run in London. Indeed, both Journey’s End and All Quiet on the Western Front
After this success, Sherriff attended New College, Oxford in explore what it feels like to wait for something (terrible) to
the early thirties, where he was part of the Royal Society of happen—a theme that also surfaces in Samuel Beckett’s 1954
Literature and the Society of Antiquaries of London. During his play, Waiting for Godot. Although Waiting for Godot is not
lifetime, he composed eighteen original plays, wrote fifteen film expressly about war, it still examines the existential thoughts
scripts, and even published several novels. that arise when someone must pass the time. In Waiting for
Godot, Estragon and Dimitri wait for a man named Godot, but
can’t remember why, exactly, they are doing so; nor do they
HISTORICAL CONTEXT
know what will happen when Godot arrives. Similarly, the
Journey’s End is a play about World War I, which began in 1914 characters of Journey’s End wait for the Germans to attack, but
and lasted until 1918. The conflict itself was set off when Franz they don’t know precisely what this attack will be like. As they
Ferdinand, the archduke of Austria, was assassinated by a pass the time, they begin to see the cycles of action and
Yugoslavian nationalist attempting to upset Austro-Hungarian inaction as seemingly interminable, thinking that no matter
rule. As a result of this assassination, many European and Asian what they do, the war will go on in a pattern of alternating calm
countries were swept up in a war that escalated quickly due to and chaos. In this way, Journey’s End and Waiting for Godot are
past years of international tensions and political allegiances. alike, as both plays make use of anticipation to create a sense of
Although the war itself was too complex to fully cover here, futility and existential uncertainty.
suffice it to say that the two major players were the countries
that made up the Allies (including France, the British Empire,
KEY FACTS
the Russian Empire, the United States, and Italy, among many
others) and the countries that made up the Central Powers • Full Title: Journey’s End
(including Germany, Austria-Hungary, the Ottoman Empire, • When Published: Journey’s End was first produced on
and Bulgaria, among others). In the end, the Allies won, leaving December 9th, 1928
Germany and Austria-Hungary to bear the major brunt of the
• Literary Period: Modernism
loss. Both Russia and the Ottoman Empire, for their part,
withdrew from the war before it ended. Journey’s End takes • Genre: Drama, Realism
place during the final year of the war. More specifically, the play • Setting: A military dugout in the British trenches of St.
elapses over the days leading up to the Battle of St. Quentin, Quentin, France during World War I.
which began on March 21st and marked the beginning of • Climax: After days of mounting tension and anticipation, the
Operation Michael, a German offensive attempt to advance Germans finally stage a massive attack on the British
through Allied lines in order to seize control of British supply trenches, seriously overwhelming Stanhope’s infantry and
points in the seaports of the English Channel. Although the fatally wounding Raleigh.
German forces wreaked havoc on the Allies and gained • Antagonist: The Germans are the most obvious antagonists
significant grounds, they eventually ran out of supplies and men in Journey’s End, but they hardly ever actually appear in the
before achieving their goal. This failure signaled the downturn play. Because of this, the threat they pose—the sense of
doom that hovers over the British dugout—becomes the true
antagonistic force.
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EXTRA CREDIT Hibbert goes to bed. “Another little worm trying to wriggle
home,” Stanhope says.
Rowing Club. R.C. Sherriff composed and staged his first play in
order to raise money for Kingston Rowing Club so that the During dinner, Trotter decides to make a chart representing
organization could purchase a new boat. the remaining hours until he and his fellow officers can leave
the trenches. On a paper he draws 144 circles, intending to fill
The Big Screen. Since it first premiered, Journey’s End has been them in as the hours pass. By the end of dinner, only Stanhope
staged many, many times. In 2018, though, it was adapted as a and Osborne remain in the dugout, and Stanhope is exceedingly
feature film for the first time. drunk. He admits that he’s afraid Raleigh will write to his
sister—who’s waiting for Stanhope to return—and tell her
about his drinking. Stanhope declares that he’s going to censor
PL
PLO
OT SUMMARY Raleigh’s letters, and Osborne puts his drunken friend to bed.
The following day, the Colonel informs Stanhope that the long-
In the first scene of Journey’s End, Osborne arrives in the British awaited German attack is set to take place on March 21st, in
trenches of St. Quentin, France in the last year of World War I. two days. Stanhope relays this information to Osborne, who
He is the second-in-command of an infantry stationed only 70 says he’s glad something is happening at last. Stanhope then
yards from the trenches of their Germany enemies. The nature muses on his experience in the trenches and worries that he’s
of this kind of military service is quite intense, so the infantries going crazy. Osborne assures him he’s merely experiencing
rotate working this location, each group taking six-day shifts. “nerve strain.”
When Osborne arrives, he has a brief conversation with Hardy,
the second-in-command who has just finished his six days. Raleigh enters the dugout with a letter, and Stanhope tells him
Hardy tells Osborne there is a German attack expected to to leave it open so it can be censored. Raleigh says that he
come soon, and the two soldiers talk about Stanhope, the hasn’t said anything confidential, but Stanhope angrily insists
captain of the infantry. Stanhope is a hard-drinking young man that he follow orders and allow his letter to be censored. When
who has been in the war already for three years. Hardy exalts Raleigh leaves, Stanhope asks Osborne to read the letter, only
Stanhope as both a sound leader and a prolific drinker. Hardy to discover that the boy has said only positive things about him.
also tells Osborne about an officer who recently left, and he Later that afternoon, the Colonel tells Stanhope that the
hopes that the replacement will be a better, braver soldier. higher-ups have decided to stage a raid on the German
When Hardy leaves, Osborne sits down to a dinner made by trenches before the attack on the 21st. To Stanhope, this
Mason, the officers’ cook. At this point, Raleigh, the new officer, sounds like a suicide mission, but the Colonel insists that it
enters. As Osborne and Raleigh talk, Raleigh reveals that he must be done, and the two men determine that Osborne and
knows Stanhope from before the war. He and Stanhope went to Raleigh should be the ones to lead the effort. After the Colonel
the same high school, and Stanhope was a respected rugby departs, Hibbert enters the dugout and tells Stanhope that his
captain whose father was friends with Raleigh’s father. The neuralgia has progressed so badly that he believes he must go
boys spent summers together, and Stanhope started dating home. This enrages Stanhope, who pressures him to stay and
Raleigh’s sister. When Stanhope went off to war, Raleigh even pulls a gun on him, though he doesn’t shoot. Finally
thought constantly of him as brave captain. When Raleigh Hibbert makes it clear that he doesn’t truly have neuralgia.
enlisted, he even asked a relative to help him get assigned to Rather, he can’t stand the war. Stanhope becomes more
Stanhope’s infantry. Hearing this, Osborne realizes he should sympathetic, telling Hibbert that he too feels this way. He
warn Raleigh that Stanhope has changed. Next the two men reveals that the only thing keeping him from faking sick and
talk about Raleigh’s journey through the trenches to the front going home is drinking.
lines, which he says was an unnervingly quiet experience. The next day, the Colonel and Stanhope go through the plan for
Osborne confirms that it is “often quiet” there, despite it being the raid: Osborne and his men will launch a smoke bomb at a
one of the most dangerous places to be stationed. Osborne section of German fence. Raleigh and his men will slip through
says they are just “waiting for something” to happen. the fence, grab the first German soldier they can find, and take
When Stanhope enters the dugout, he’s stunned to see Raleigh. him hostage so they can gather info about the attack. Stanhope
Rather than embracing him, he simply asks how he got here. He and the Colonel then visit Osborne and Raleigh, who are
then turns his attention to Osborne and Trotter, another preparing for the mission. When they leave, Osborne and
officer, and the group sits down to eat together. Eventually, the Raleigh wait to begin, sitting together at a table and trying to
fourth officer of Stanhope’s infantry, Hibbert, enters and claims pass the time. Eventually, they talk about where Raleigh grew
that he doesn’t know if he can eat because of his neuralgia. This up. In the minutes before they leave, they continue to bond.
obviously annoys Stanhope, who urges Hibbert to eat, but The raid goes successfully, and they kidnap a young German
soldier. This pleases the Colonel, but Stanhope soon learns

Osborne has been killed. Like Stanhope, Raleigh is stunned by Stanhope was Raleigh’s role model at school, and the two boys
the loss, but the Colonel has to strain to show his emotion, as even spent summers together because their fathers are
he’s primarily excited to pass on news of the successful mission. friends. What’s more, Stanhope is romantically involved with
When the Colonel finally leaves, Stanhope and Raleigh look at Raleigh’s sister, who’s waiting for him after the war. Because of
one another as gunfire sounds overhead. this, Stanhope is weary of Raleigh, as he thinks Raleigh will
That night, Stanhope, Trotter, and Hibbert get drunk on write letters to his sister and tell her that he (Stanhope) is a
champagne, which the Colonel and other officials provided as a drunken mess. Still, though, he does nothing to change his
reward. Hibbert drinks more than he normally does, and tells behavior, continuing to drink at all hours of the day—a practice
Stanhope that Raleigh isn’t celebrating with them because he’s he eventually admits has to do with his fear of war, saying that
with the soldiers on watch. This enrages Stanhope, and when he only has two choices: either he must fake sick and get out of
Raleigh comes into the dugout, he asks why he would eat with the war entirely, or he has to get drunk enough to be able to
the sergeants rather than the officers. Raleigh admits he ignore his crippling fear.
couldn’t imagine feasting and partying on the day of Osborne’s Raleigh – A young officer fresh out of school. Raleigh went to
death. He asks how Stanhope can do so, and Stanhope yells, “To the same school as Stanhope, who is several years older than
forget! You think there’s no limit to what a man can bear?” him. As such, he has always admired Stanhope—so much so that
The next morning, the officers are hungover when the German he asked a high-ranking relation of his to help him get placed in
attack begins. Stanhope and Hibbert are in the dugout, and Stanhope’s infantry. When he arrives in the trenches and sees
Hibbert tries to delay leaving. Eventually, Stanhope gets him Stanhope once more, though, he’s surprised to find his role
into the trenches, but he himself remains. Soon Raleigh is model significantly changed. Whereas Stanhope used to be a
injured and brought into the dugout. At first, he’s in such shock strapping and optimistic man, now he is a war-worn alcoholic
that he doesn’t register how badly he’s been hurt. Shortly who treats Raleigh with the same gruff indifference he shows
thereafter, though, he realizes he can’t move his legs, and he all the other soldiers. Nonetheless, Raleigh remains eager and
starts calling Stanhope “Dennis.” In turn, Stanhope calls him good-natured as he becomes accustomed to life in the
“Jimmy” and tells him he’ll stay by his side. Stanhope goes to get trenches. What surprises him most, he tells Officer Osborne at
a candle, and when he returns Raleigh has stopped talking. A one point, is how calm and quiet everything is at war. When
soldier enters and tells Stanhope that Trotter wants him to join Raleigh is selected to carry out a very dangerous raid on the
them in the trenches. Stanhope stares at Raleigh’s lifeless body, German trenches, he doesn’t balk. In fact, he’s flattered to have
and then climbs the steps of the dugout. Moments later, a shell been chosen. Thankfully, he survives, but Osborne—who
explodes nearby, snuffing out the candle by Raleigh’s side. helped him lead the raid—doesn’t, and this fundamentally
changes Raleigh, making him somber and sad. Whereas the
other officers (including Stanhope) celebrate the success of the
CHARA
CHARACTERS
CTERS raid by drinking heavily and eating fine foods, Raleigh decides
to stand watch with lower-ranking soldiers. This infuriates
MAJOR CHARACTERS Stanhope, who asks why Raleigh would rather be with the
Stanhope – The Captain of an infantry company stationed in soldiers than with the officers, and Raleigh tells him that he
the trenches of St. Quentin, France during World War I. couldn’t possibly enjoy such a hearty meal knowing that
Stanhope is a young man, but he has already seen three years Osborne’s body still lies somewhere out there in the fields.
of combat and has gained the respect of his men, who see him Later, when the Germans finally attack the British trenches,
as a brave leader. But they also see him as something of an Raleigh is badly injured, and Stanhope stays with him until the
alcoholic. Indeed, the war has changed him greatly, turning him end, finally dispensing with the formality of calling his friend by
from a rugby captain and school hero into a hard-drinking man his last name. “Is that better, Jimmy?” he asks, but Raleigh has
with shot nerves who can drink an entire bottle of whiskey, already shut his eyes forever.
stumble to bed, and wake up and command an infantry the next Osborne – The second-in-command to Stanhope. Osborne is a
morning. Osborne, the second-in-command, admires Stanhope bit older than the other soldiers, but he is well-liked. In fact, he
like everyone else, but he recognizes the toll the war is taking actually helps keep Stanhope—his superior—psychologically
on him, suggesting in a conversation to Hardy—another grounded, making sure to take care of his friend when he’s
officer—that Stanhope’s drinking has perhaps become too gotten too drunk. In many ways, Osborne serves as a fatherly
much of a spectacle in the trenches. “When a boy like Stanhope figure to a number of the officers in Stanhope’s infantry, talking
gets a reputation out here for drinking, he turns into a kind of to them about the nature of war and giving them advice about
freak show exhibit,” he says. When a young officer named how to make the best out of trying circumstances. For instance,
Raleigh reports for duty, Stanhope doesn’t know how to he tells Raleigh to see enemy combat lights (called Very lights)
respond, since he knows Raleigh from before the war. Indeed, as “romantic” in the way they light up the sky. This, he intimates,

will help young Raleigh maintain a healthy perspective and trenches—so much so that he leaves them dirty, failing to clean
some peace of mind. Still, Osborne is not without his own them like he’s supposed to. While “handing off,” he and Osborne
doubts, as he himself has trouble seeing the point of the war. At talk about Stanhope, and Hardy expresses his admiration for
one point, he reads a passage of Alice in Wonderland aloud to the man’s ability to drink large quantities. He also suggests that
Trotter, who says, “I don’t see no point in that.” In response, Osborne should be the one leading the infantry, but Osborne
Osborne says, “Exactly. That’s just the point.” This, it seems, can brushes this off, saying that he’d “go to hell with” Stanhope if he
be applied to the war itself, which keeps going on and on had to.
without actually changing. After every bombardment, soldiers Mason – The officers’ cook. Mason is very obedient, constantly
like Osborne sit and wait for the next thing to happen—and the trying to accommodate the often ridiculous requests of people
cycle repeats. Unfortunately, this cycle is finally broken for like Trotter, who have unrealistically high culinary expectations.
Osborne when he dies in a dangerous raid the day before the Still, Mason strives to provide the officers with the best
Germans stage a massive attack on the British trenches. possible service, experimenting with his cooking techniques in
Hibbert – An officer in Stanhope’s infantry. Hibbert is so afraid order to produce the best quality food. Unfortunately, his
of dying in the trenches that he pretends to suffer from an efforts often go unnoticed, and the officers talk behind his back
acute case of neuralgia (intense nerve pain). He seizes every about the problems with his food.
opportunity to talk about his physical pain in front of Stanhope, The Colonel – Stanhope’s immediate superior. The Colonel is
finally approaching the captain and claiming that he will have to the one who tells Stanhope to expect the large German attack
go home on account of this overbearing condition. However, on March 21st. He is also the person who informs Stanhope of
he’s caught off guard when Stanhope tells him he can’t leave the high-ranking generals’ decision to raid the German
and says that he isn’t allowed to go to the doctor, either. When trenches before the attack. Stanhope, for his part, thinks this is
Hibbert presses Stanhope, he discovers that Stanhope is tired ill-advised, and even the Colonel seems to have his doubts, but
of soldiers faking various illnesses in order to excuse he does nothing to undermine his orders. Instead, he soberly
themselves from duty. During this conversation, Hibbert grows instructs Stanhope to organize the raid, helping him come to
more and more hysterical, until finally he admits that the real the conclusion that Osborne and Raleigh should be the officers
reason he wants to leave is because he can’t stand the stress to lead it.
and fear that comes along with being at war. To his surprise,
Stanhope actually begins to empathize with this sentiment,
MINOR CHARACTERS
revealing that he too feels this way. From this point on, Hibbert
stops complaining of neuralgia, forming an unlikely bond with The Sergeant-Major – A large man who ranks below Stanhope
Stanhope, who helps him through by boosting his confidence and his officers. The Sergeant-Major makes sure that all of
and agreeing to work watch shifts with him. When the Stanhope’s orders are carried out.
Germans finally stage their massive attack, Hibbert seems
intentionally slow to join the fighting, but he eventually leaves
the safety of the dugout to face the enemy. THEMES
Trotter – An officer in Stanhope’s infantry. Trotter is jovial, In LitCharts literature guides, each theme gets its own color-
irreverent, and gluttonous, frequently giving Mason—the coded icon. These icons make it easy to track where the themes
cook—a hard time about the food served in the dugout. occur most prominently throughout the work. If you don't have
Although Trotter provides primarily comedic relief in Journey’s a color printer, you can still use the icons to track themes in
End, he also taps into an important element of the play’s black and white.
thematic material by creating a chart that outlines the
remaining hours he and his fellow officers have to spend in the FRIENDSHIP AND HUMAN
trenches before going back to a safer, more removed area. Each INTERACTION
time an hour passes, Trotter blackens one of the 144 circles he
has drawn on the piece of paper, thereby making the passage of In Journey’s End, R.C. Sherriff showcases the effect
time more tangible than it might otherwise seem in the tense of war on personal relationships. In particular, he
atmosphere of the trenches. focuses on how wartime power dynamics and interpersonal
attitudes alter the ways people interact with one another. This
Hardy – The second-in-command officer stationed in
is most recognizable in Stanhope and Raleigh’s friendship,
Stanhope’s trenches before Osborne and his group take over.
which suffers because of the various stressors of military life.
Before Hardy leaves, he overlaps with Osborne so that he can
For the majority of his young adult life, Raleigh has looked up to
“hand off” the duties and fill Osborne in on anything he might
Stanhope, a classmate who eventually goes off to war and
need to know before his six-day shift. Hardy is a good-natured
becomes a captain. While Stanhope is off in the trenches of
but rather sloppy man who can’t wait to vacate the
World War I, Raleigh stays behind and finishes school, all the

while worshiping Stanhope as a hero. Later, when Raleigh joins will also change. Stanhope himself seems to understand this,
the military, he is placed under Stanhope’s command. But which is why he’s unhappy that Raleigh has been assigned to his
although he’s ecstatic to join his hero’s infantry, he soon infantry; he knows he has changed for the worse, and he
discovers that his relationship with Stanhope will be quite comprehends that this means his relationship with Raleigh will
different during wartime. Not only has the war taken a most likely change for the worse, too. Speaking to Osborne
significant toll on Stanhope’s wellbeing, but his high position in soon after Raleigh arrives, Stanhope says, “Didn’t you see him
the military also forces him to treat Raleigh with rough sitting there at supper?—staring at me?—and wondering? He’s
indifference. In this way, Sherriff suggests that human up in those trenches now—still wondering—and beginning to
companionship is highly contextual, something that grows understand.”
according to the emotional circumstances that define the Of course, there’s another reason Stanhope doesn’t want
immediate environment. Like human beings themselves, then, Raleigh to “understand” how he has changed: he fears Raleigh
relationships aren’t fixed or unchanging, but dynamic and will write to his sister and tell her how wretched Stanhope has
adaptive. become. To ensure that this doesn’t happen, he decides to
When Raleigh first reports to duty as an officer in World War I, censor Raleigh’s letters. When he tells him his plan to do this,
he’s overjoyed to have been assigned to Stanhope’s infantry. He their tense conversation shows how these new wartime
knows Stanhope from before the war, when the captain was a circumstances have altered the way they interact. “D’you
rugby hero several years his senior. Raleigh and Stanhope got understand an order? Give me that letter!” Stanhope says.
to know each other and developed a friendship of sorts during “Dennis—I’m—” Raleigh sputters, but Stanhope cuts him off,
the summers, since their fathers were friends. Stanhope also saying, “Don’t ‘Dennis’ me! Stanhope’s my name! You’re not at
became romantically involved with Raleigh’s sister, who is now school! Go and inspect your rifles!” This exchange exemplifies
waiting for him to return from the war. Since this period, how both Stanhope and Raleigh struggle to navigate the new
Raleigh has looked up to Stanhope and imagined him as a terms of their relationship.
valorous captain. But what he doesn’t know is that, while By examining the painful transformation of Stanhope and
Stanhope is indeed a well-respected soldier, he has also turned Raleigh’s relationship, Sherriff makes it clear that friendship
into a gruff and pessimistic alcoholic. and human interaction is greatly dependent upon the
Upon arriving in the trenches, Raleigh speaks with surrounding interpersonal context. However, while
Osborne—the second-in-command—and learns of Stanhope’s relationships are certainly fluid and adaptive, Sherriff suggests
transformation. Osborne is fond of Stanhope, but he also that there are certain bonds that are more resilient than others.
recognizes that the war has had a harsh effect on him. He Osborne proposes this idea to Stanhope, assuring the captain
warns Raleigh that he shouldn’t expect his relationship with that, though his relationship with Raleigh may indeed change,
Stanhope to pick up where it left off. “You mustn’t expect to find this doesn’t necessarily mean the war will completely ruin their
[Stanhope]—quite the same,” he says, and then suggests that connection. “I believe Raleigh’ll go on liking you,” Osborne says,
Stanhope has become “quick-tempered.” Raleigh brushes this “There’s something very deep, and rather fine, about hero-
off, saying, “Oh, I know old Dennis’s temper! I remember once worship.” Although Raleigh certainly notices how the emotional
at school he caught some chaps in a study with a bottle of and psychological effect of the war has influenced both
whisky. Lord! the roof nearly blew off.” Raleigh doesn’t seem to Stanhope as an individual and Raleigh’s relationship with
grasp that Stanhope has changed, instead assuming that his old Stanhope, his admiration of the struggling captain will enable
friend, who has become an alcoholic, is still someone who him to “go on liking” him. In this way, Sherriff shows readers
would lose his temper over catching his subordinates drinking. that just because human relationships change according to
Raleigh’s conception of Stanhope is based on a frame of their surrounding circumstances doesn’t mean they aren’t also
reference that can’t effectively be applied to the current resilient. Though trying environments—like those presented by
circumstances. After all, the way Stanhope interacted with war—force people to adjust the way they interact with one
people as a boarding school role model has little in common another, this doesn’t have to ruin what lies at the core of a
with how he must now act as a military captain trying to relationship. In the final scene of Journey’s End, Stanhope treats
command soldiers in the trenches. the gravely injured Raleigh with gentleness and care, and the
Osborne, for his part, picks up on Raleigh’s naïve assumption audience sees that these two men have maintained their
that he’ll be able to approach his relationship with Stanhope the connection even if the context of their relationship has
same way he used to. “You must remember he’s commanded profoundly shifted. With this, Sherriff advances a nuanced take
this company for a long time,” Osborne says of Stanhope. on human interaction, one that allows for both change and
“It’s—it’s a big strain on a man.” Osborne tries to emphasize that constancy.
people change according to what’s happening in their
lives—and if a person changes, it follows that their relationships

ANTICIPATION, EXPECTATIONS, AND This, Osborne tells him, is simply the nature of war. “We are,
UNCERTAINTY generally, just waiting for something,” he says. “When anything
happens, it happens quickly. Then we just start waiting again.”
Perhaps the most challenging thing the soldiers in
Saying this, Osborne tries to teach Raleigh to predict the very
Journey’s End face isn’t violence itself, but the threat
unpredictability of war. The only thing a soldier can know for
of violence. Although their trenches are situated only 70 yards
sure is that he can’t know for sure when something bad is going
from their German enemies, the majority of their time is spent
to happen—only that something bad will happen. Osborne
in nervous anticipation. In the long hours—and even
shows Raleigh the cycle of inaction and action that
days—between bursts of combat, the soldiers are left to
characterizes military combat, trying to get the young soldier to
grapple with their fear, which grows in intensity when the
see “waiting” as an unavoidable part of war.
battlefront is calm. Indeed, most of Journey’s End focuses on
moments of calm, suggesting that the psychological elements Despite the fact that they can never know what to expect (and
of fighting a war can be just as harrowing as the physical when to expect it), Raleigh’s fellow soldiers try to give
elements. Above all, this fretful sense of constant waiting themselves a sense of control—or order—over the passage of
comes as an unpleasant surprise to soldiers like Raleigh, who time. For instance, Trotter sketches out a chart full of 144
had expected war to bring with it a constant barrage of violence circles, “one for each hour of [the] six days” that he and the
and action. The fact that the lack of activity so unsettles the others have to spend in the trenches before retreating again to
soldiers suggests that expectations play an important role in safety. Crossing off the circles one by one gives Trotter the
the way people deal with and prepare for difficult situations; feeling that he is somehow actively participating in how the
having come ready to face constant violent action, Raleigh finds time passes. Once he breaks the days down into smaller
himself psychologically unprepared for the quiet of the measures of time, everything suddenly feels more manageable
battlefront. Then, suddenly, he has to face intensely violent to him. “That’s a hundred and forty-four hours,” he says, “eight
moments, and once those end, he has to settle into waiting thousand six ’undred and forty minutes. That doesn’t sound so
again. By putting this cycle of inaction and action on display, bad; we’ve done twenty of ’em already.” In this moment, the
Sherriff suggests that there is no true way to prepare for war, audience witnesses Trotter focusing on something tangible and
which is simultaneously calmer and crueler than anything a constant. After all, though something terrible might happen in
soldier could ever imagine. the intervening time, the hours and minutes themselves will
indeed pass. In turn, Trotter gives himself something to expect,
When Raleigh first arrives, he doesn’t know what to make of
managing to ground himself psychologically and maintain a
the seemingly tranquil atmosphere in the trenches. “It’s—it’s
sense of control.
not exactly what I thought,” he tells Osborne, “It’s just this—this
quiet that seems so funny.” It’s clear he’s disoriented by the fact In addition to Trotter’s time-chart, Sherriff installs an
that the war doesn’t adhere to his expectations. He “thought” overarching countdown in Journey’s End, as Captain Stanhope
the war would be a hectic, dangerous endeavor at all times, but learns that the Germans will stage a massive attack on the
now he finds himself in a relatively peaceful situation, and he fourth day of his infantry’s six-day stint in the trenches. As such,
doesn’t know what to make of this discrepancy. Osborne, on the entire play becomes something of a ticking bomb. By
the other hand, is a more experienced soldier who understands suggesting that the Germans will attack on a certain day,
that this odd quiet is characteristic of most war zones. He Sherriff gives the soldiers (and the audience) a false sense of
points out that the Germans are probably “sitting in their certainty—they technically know when to brace themselves,
dugouts” and also “thinking how quiet it is.” Still, Raleigh but they don’t know the exact time the Germans will strike, nor
remains disturbed by the fact that the battlefront is so different do they know what form the attack will take. In turn, their
than what he had in mind, and this ultimately reinforces the supposed certainty only exacerbates their sense of
idea that knowing what to expect is an important part of staying anticipation, making them dread the unknown all the more.
psychologically grounded during wartime. Sherriff thus puts audience members in a similar position to the
soldiers themselves, inviting them to inhabit the turbulent
The sense of anticipation in the trenches also unnerves Raleigh
emotional realm of a person awaiting doom in the trenches,
because the seeming tranquility only further emphasizes all the
knowing only that something bad will eventually happen. Above
bad things that could happen. “It seems—uncanny,” he says to
all, this technique emphasizes the terror of anticipation in war,
Osborne, still referring to the calm that presides over the
suggesting that the mere threat (or promise) of violence can be
battlegrounds. “It makes me feel we’re—we’re all just waiting
as harrowing as violence itself.
for something.” Whereas one might think Raleigh would be glad
the battlefront is quiet, the “uncanny” calmness of the trenches
only makes him dread the possibility of violence all the more.
Forced to spend his days passing the time with bated breath, he
feels as if he’s “just waiting for something” terrible to happen.

FEAR AND COPING reveals how he gets through the war: he searches for
distractions in order to “forget” the terrible things that have
All of the soldiers in Journey’s End find different
happened (and that will happen). He recognizes that there are
ways to cope with their fear. In fact, their responses
“limit[s] to what a man can bear,” and so he turns to superficial
to fear can be broken into three categories:
diversions as a way of moving forward.
acceptance, denial, and evasion. In general, the most
emotionally stable characters are those who accept their Like Stanhope, Officer Hibbert has a hard time accepting his
situation. These are people like Osborne and Raleigh, who circumstances. Rather than drinking, though, he tries to lie his
acknowledge their own fear and unfortunate circumstances, way out of the military by claiming he has a bad case of
but still bravely carry out their soldierly duties. Stanhope, on neuralgia (nerve pain). This is more of an evasive tactic than a
the other hand, tries to stifle (and thus deny) his own fear by coping mechanism, something Hibbert uses so that he doesn’t
drinking heavily, while Hibbert tries to escape the war have to face his fear at all. When Hibbert says he needs to leave
altogether by lying about various ailments. However, the on account of his pain, Stanhope tries to force him to stay.
soldiers best able to handle fear (like Osborne and Raleigh) also “Stanhope!” Hibbert pleads. “I’ve tried like hell…Ever since I
end up meeting the worst fate, whereas the least brave came out here I’ve hated and loathed it. Every sound up there
characters (like Stanhope and Hibbert) apparently escape makes me all—cold and sick. I’m different to—to the
unscathed. In this way, Sherriff intimates that although fear and others—you don’t understand.” With this, Hibbert reveals that
cowardice are generally not seen as desirable traits, they are his neuralgia excuse is just that: an excuse. The true reason he’s
perhaps appropriate reactions to the gruesomely violent trying to leave is that he “hates” the trenches. When he tries to
circumstances of war. In other words, the coping mechanisms maintain that he’s “different to the others,” Stanhope objects. “I
that actually might help someone get through war are not feel the same—exactly the same!” he says. “Why didn’t you tell
necessarily those lauded in everyday life. me instead of talking about neuralgia?” After saying this, he
Soldiers like Osborne and Raleigh don’t like their encourages Hibbert to drink some whiskey. This, he upholds, is
circumstances, but they learn to generally accept that they the only thing that enables him to keep from going crazy. In a
must live under the constant threat of death. Indeed, they do separate conversation with Osborne about his first few years in
what they can to normalize their situations. When Raleigh first the military, Stanhope even confesses: “There was only two
arrives, he talks with Osborne about his journey to the ways of breaking the strain. One was pretending I was ill—and
battlefront, a journey that took him through a number of going home; the other was this. [He holds up his glass.]” Taken in
underground passageways and trenches. On his way, he looked conjunction with his conversation with Hibbert, this solidifies
up and saw the flares known as Very lights—lights sent into the the fact that Stanhope actively uses alcohol as a coping
air by soldiers to track their enemies during the night. Despite mechanism, suggesting that the only difference between
the ominous nature of the Very lights, both Raleigh and someone like him and someone like Hibbert is that he’s willing
Osborne mentally reframe them to make them less frightening. to numb himself to the world in order to preserve his ability to
“There’s something rather romantic about it all,” Osborne says go on functioning despite his fear.
of the lit-up night sky. “Yes,” Raleigh agrees. “I thought that, too.” Of all the characters in Journey’s End, Osborne and Raleigh are
In this moment, the audience sees Osborne and Raleigh’s ability perhaps the most emotionally well-balanced. They don’t use
to reframe parts of the war, shifting their attitudes so they can alcohol as a psychological crutch, and they don’t adopt escapist
deal with otherwise terrifying circumstances. Thinking of the attitudes. However, they’re also the only two characters in the
Very lights as “romantic” ultimately enables them to ignore—or play to die. While Sherriff certainly doesn’t condemn their
at least not focus on—ominous notions of violence and death. bravery, there’s no overlooking the fact that none of the other
Simply put, they make the best of their situation. characters lose their lives over the course of the play. It’s only
Stanhope’s response to fear represents the second category of to be expected, then, that the audience might wonder if
coping mechanisms: denial. Everyone in his infantry sees him as Osborne and Raleigh’s brave response to their dismal situation
a brave captain, but in reality he’s just as scared and upset as is almost unnatural, since it involves an acceptance of the
everyone else, if not more so. The night Osborne—Stanhope’s unnatural violence of war. Although the positive attitude they
close friend and second-in-command—dies in action, Stanhope display is sought after and praised in the military, it also is what
parties the night away, eating special foods and encouraging his leads them into danger, since their willingness to carry out their
men to join him in drinking champagne and whiskey. Raleigh, duties is what encourages a colonel to choose them as the only
who can’t bring himself to participate in the festivities, two men fit to lead a particularly risky raid on the German
eventually asks Stanhope how he can eat and drink so heartily trenches. In a sense, then, their acceptance of their own fear
after Osborne’s death. “To forget, you little fool—to forget!” only invites more violence and danger into their lives. The fact
Stanhope shouts. “You think there’s no limit to what a man can that they are the only characters to die ultimately calls into
bear?” With this exclamation, Stanhope straightforwardly question what kind of response is appropriate when it comes to

war and fear. Responding levelheadedly to the insanity of momentarily distract them from the cycle of violence and fear
violence, Sherriff intimates, is unnatural, whereas acting out of that monopolizes their lives day in and day out. Like the circling
self-preservation is a natural and beneficial human earwig, they are merely keeping themselves busy without
instinct—even if doing so makes a person appear dysfunctional achieving anything substantial.
or cowardly. Of all the soldiers, Stanhope is the most influenced by the
futility of his wartime efforts. However, he is captain of the
REPITITION, FUTILITY, AND infantry, so he also tries to stick to protocol, even if doing so
PERSPECTIVE feels futile. As he proceeds in this manner, though, the
In Journey’s End, Sherriff presents to the audience repetitious nature of his duties wears on him more and more,
the cyclical nature of life during war. The soldiers in until he starts questioning not only the usefulness of his own
the trenches try to organize their lives around eating meals, efforts, but the entire point of his existence. This soul-searching
drinking tea, sleeping, and taking orders, which ultimately adds comes out in a conversation with Osborne, in which Stanhope
a repetitious quality to their collective existence. Indeed, they drunkenly says, “Whenever I look at anything nowadays I see
are always either standing watch or waiting to stand watch. right through it. Looking at you now there’s your uniform—your
What’s more, the kind of violence that characterizes trench jersey—shirt-vest—then beyond that…” This desire to break
warfare is itself repetitive: the attacks come intermittently, things into their tangible parts—to “see right through”
such that the soldiers know what to expect but not when to them—makes sense for someone struggling to put together his
expect it. In turn, this leads to feelings of powerlessness and own life in a way that creates greater meaning. As captain,
futility, as if no matter what the soldiers do (and no matter how Stanhope has to adhere to everyday patterns and duties, but
they prepare), the war will continue forever. As this sensation nothing he does seems to contribute meaningfully to ending
of helplessness and futility pervades the play, characters like the war. No matter what happens, the Germans keep attacking,
Stanhope undergo what can only be called existential crises; and he and his comrades keep doing the same things over and
questioning the agency he has within his own life, he develops over, keeping themselves pointlessly occupied in the trenches.
new perspectives regarding his position in the world. In this Thus, the components of Stanhope’s everyday life don’t add up
way, Sherriff highlights the psychological process that soldiers to anything significant. It’s unsurprising, then, that he has
experience when they feel there is little they can do to begun to “see right through” ordinary things, wondering how
influence their lives. Under this interpretation, repetition leads they might all add up to make something of value. Struggling to
to a sense futility, and this futility threatens to significantly find the point of his soldierly efforts, he begins to question the
restructure the way a person conceives of their own existence. very nature of his existence.
By showcasing this progression, Sherriff illustrates to the Sherriff doesn’t allow Stanhope—or any of his characters—to
audience exactly how war alters a person’s perspective on life ever gain any sort of closure regarding the significance of their
in general. military actions. This is because as a playwright, he is interested
From the very first scene of the play, Sherriff infuses Journey’s in exploring the existential problems that arise when people
have trouble finding meaning in their everyday lives—not in the
End with cyclical imagery. When Osborne arrives in the
conclusions they may or may not reach. Indeed, the play itself
trenches and speaks with Hardy, the man whose position he’s
ends in the middle of a battle, suggesting that the violence to
taking over, the two men notice an earwig acting strangely on
which these soldiers have become accustomed will inevitably
the table. “It’s been running round and round that candle since
continue (in real life, the Battle of St. Quentin did indeed last
tea-time; must have done a mile,” Hardy says. This is a perfect
for three full days, and World War I itself didn’t end for another
representation of the way the setting of Journey’s End ensnares
eight months). Simply put, the end of the war—the “journey’s
its characters, keeping them trapped in the trenches doing the
end”—is to these soldiers elusive and seemingly unattainable.
same thing over and over again. Of course, the earwig itself
This, in turn, makes their efforts seem pointless, and this
might think it has actually gone somewhere, rather than simply
outlook refigures the way they think, forcing them to question
retraced its own steps. Similarly, any sense of progress the
their purpose. Most importantly, Stanhope exemplifies how this
soldiers experience in the trenches is superficial or fleeting. For
search for meaning easily turns inward, as he grasps at
instance, Stanhope privately criticizes Hardy for not tidying up
existential quandaries and reexamines his place in the world.
the trenches before leaving, but when Osborne suggests that
This, it seems, is what Sherriff is most interested in revealing:
he himself will clean the trenches the following day, Stanhope
the fact that, despite its patterns and protocols, war is an
laughs and makes it clear that he doesn’t truly believe such
inscrutable thing that has the power to fundamentally alter the
superficial concerns actually matter. As Stanhope shows his
way people conceive of life itself.
mounting apathy, the audience begins to understand that such
chores do nothing to truly influence the war. The soldiers can
clean the trenches all they want, but doing so will only

since Stanhope—the captain himself—openly admits that the
SYMBOLS only thing keeping him going is whiskey. In this way, Sherriff
uses the earwig as a representation of the soldiers’ lives during
Symbols appear in blue text throughout the Summary and
wartime, allowing it to show the audience what it looks like to
Analysis sections of this LitChart.
lead an almost intoxicatingly unproductive existence.
TROTTER’S CHART
On the first night that Stanhope’s infantry moves
QUO
QUOTES
TES
into the trenches to begin their six-day shift, Note: all page numbers for the quotes below refer to the
Trotter talks to his fellow officers about the time they have to Penguin edition of Journey’s End published in 1929.
pass before they’ll be able to return to a safer location. “Well,
boys!” he says. “’Ere we are for six days again. Six bloomin’
eternal days. [He makes a calculation on the table.] That’s a
Act 1 Quotes
hundred and forty-four hours; eight thousand six ’undred and OSBORNE: He’s a long way the best company commander
forty minutes. That doesn’t sound so bad; we’ve done twenty of we’ve got. HARDY: Oh, he’s a good chap, I know. But I never did
’em already. I’ve got an idea! I’m going to draw a hundred and see a youngster put away the whisky he does. D’you know, the
forty-four little circles on a bit o’ paper, and every hour I’m last time we were out resting at Valennes he came to supper
going to black one in; that’ll make the time go all right.” Saying with us and drank a whole bottle in one hour fourteen
this, he draws up a chart, one that he can use to track the minutes—we timed him. OSBORNE: I suppose it amused
passage of time. In doing so, he tries to secure a small amount everybody; I suppose everybody cheered him on, and said what
of agency over the way the time moves, which he otherwise a splendid achievement it was. HARDY: He didn’t want any
can’t control. Without counting down the remaining hours and ‘cheering’ on— OSBORNE: No, but everybody thought it was a
displaying them on a piece of paper, the time left in the big thing to do. [There is a pause.] Didn’t they? HARDY: Well, you
trenches feels “eternal.” Breaking the days into manageable can’t help, somehow, admiring a fellow who can do that—and
chunks, though, makes the time left sound not “so bad,” since then pick out his own hat all by himself and walk home—
the act suddenly assigns tangible units (hours and minutes) to OSBORNE: When a boy like Stanhope gets a reputation out
days otherwise characterized by fear, uncertainty, and here for drinking, he turns into a kind of freak show exhibit.
powerlessness. In this way, Trotter’s chart comes to represent People pay with a bottle of whisky for the morbid curiosity of
not only his desire to control his own circumstances, but also seeing him drink it.
the elaborate ways in which these men invent ways of coping
with their terror and helplessness during war. Related Characters: Osborne, Hardy (speaker), Stanhope
THE EARWIG Related Themes:
When Osborne arrives in the trenches and talks to Page Number: 12

Hardy, both men notice an earwig running around a
candle over and over again. “It’s been running round and round Explanation and Analysis
that candle since tea-time,” Hardy marvels. “Must have done a In this conversation, Osborne and Hardy discuss Stanhope’s
mile.” Given the cyclical nature of life in these trenches, this drinking habits. Osborne has just arrived in the dugout,
image of a bug sprinting circles in the dugout is quite resonant. where he and his men will take over from Hardy, the
Indeed, the soldiers in Journey’s End experience a repetitious previous captain commanding the trenches. When Hardy
pattern: they wait for something bad to happen, then expresses his awe regarding Stanhope’s unfathomable
something bad does happen, and then they go back to waiting alcohol tolerance, Osborne allows an edge of
for the next bad thing to happen. As a result, their efforts as frustration—or disapproval—to slip into his voice. “I suppose
soldiers in the trenches begin to take on a rather futile quality, it amused everybody,” he says in response to Hardy’s story
as if no matter what happens, the war will continue. As such, an about Stanhope in Valennes. “I suppose everybody cheered
earwig running a mile while merely circling the same spot is him on, and said what a splendid achievement it was.” Saying
rather representative of the soldiers’ collective existence, since this, Osborne assumes a somewhat fatherly tone, one that
it symbolizes a lack of true progress. What’s more, Hardy tells gently admonishes Hardy for encouraging Stanhope to
Osborne that if he wants to win an earwig race (a game the indulge his vices. “When a boy like Stanhope gets a
soldiers sometimes bet on), he should dip his insect in whiskey, reputation out here for drinking, he turns into a kind of
which will make it go faster than its competitors. Yet again,
then, the earwig represents a phenomenon in the soldiers’ lives,

freak show exhibit,” Osborne adds, making his disapproval always has been—a boyhood hero of sorts. Now, though,
even more clear. Of course, this disapproval arises from the Stanhope is a depressed alcoholic prone to outbursts of
fact that Osborne and Stanhope are good friends, and the rage. Despite Osborne’s good sense to warn Raleigh about
level-headed Osborne doesn’t want to see a young captain this, the young man doesn’t fully grasp his intent, instead
undo himself simply for “the morbid curiosity” of other insisting that he already knows Stanhope’s temper. Of
soldiers who don’t care enough to stop him from poisoning course, the “temper” Raleigh thinks he knows is surely not
himself. What’s more, it’s worth noting that this the same as the kind of temper Stanhope displays in the
conversation takes place in the play’s first scene—before trenches, but Raleigh is too naïve and inexperienced to
Stanhope has even arrived on stage. As such, Sherriff adequately come to terms with the idea that war
prepares the audience to meet a haggard character, the kind fundamentally changes people.
of man who can drink an entire bottle of whiskey and then
“pick out his own hat all by himself and walk home.” This
effectively creates a tense sort of anticipation as the
RALEIGH: It’s—it’s not exactly what I thought. It’s just
audience awaits Stanhope’s entrance—similar to the kind of this—this quiet that seems so funny. OSBORNE: A
anticipation the soldiers themselves feel as they sit in the hundred yards from here the Germans are sitting in their
trenches waiting for something to happen.
dugouts, thinking how quiet it is. RALEIGH: Are they as near as
that? OSBORNE: About a hundred yards. RALEIGH: It
seems—uncanny. It makes me feel we’re—we’re all just waiting
OSBORNE: You may find he’s—he’s a little bit quick- for something. OSBORNE: We are, generally, just waiting for
tempered. RALEIGH [laughing]: Oh, I know old Dennis’s something. When anything happens, it happens quickly. Then
temper! I remember once at school he caught some chaps in a we just start waiting again.
study with a bottle of whisky. Lord! the roof nearly blew off. He
gave them a dozen each with a cricket stump. [OSBORNE
Related Characters: Raleigh, Osborne (speaker)
laughs] He was so keen on the fellows in the house keeping fit.
He was frightfully down on smoking—and that sort of thing. Related Themes:
OSBORNE: You must remember he’s commanded this
company for a long time—through all sorts of rotten times. Page Number: 20
It’s—it’s a big strain on a man. […] If you notice a—difference in
Stanhope—you’ll know it’s only the strain— Explanation and Analysis
This passage takes place during Raleigh and Osborne’s
Related Characters: Raleigh, Osborne (speaker), Stanhope initial conversation about the war, when Raleigh arrives in
the dugout for the first time. What becomes clear is that
Related Themes: they are well-suited to one another, often agreeing about
the peculiarities of war—a dynamic that runs throughout
Page Number: 19 the play. Indeed, Osborne can almost be seen as something
like an older version of Raleigh, and so he helps Raleigh
Explanation and Analysis conceptualize what it’s like to exist in combat locations.
When Osborne and Raleigh meet for the first time in the When Raleigh says that the “quiet” of the battlefield is
dugout, they discuss Stanhope. Raleigh tells Osborne that unnerving, Osborne helps him see that this is exactly what
he actually knows Stanhope from school, even admitting it’s like to be at war. “A hundred yards from here the
that he went out of his way to get himself placed in Germans are sitting in their dugouts, thinking how quiet it
Stanhope’s infantry. Sensing that Raleigh looks up to is,” he says, showing the young man that his perception of
Stanhope—and knowing that Stanhope has become a hard- the trenches is quite normal. “It seems—uncanny,” Raleigh
drinking captain—Osborne tries to prepare Raleigh for the admits, suggesting that he finds the entire situation
shock of suddenly seeing that his old friend has gone somewhat surreal. After all, the word “uncanny” is often
through a significant transformation. “You may find applied to things that are “beyond what is normal or
he’s—he’s a little bit quick-tempered,” Osborne says, expected.” Indeed, Raleigh expected violence and action and
expressing his understanding that war often fundamentally commotion, but now he feels like he’s just “waiting for
changes people. Indeed, Osborne can most likely guess that something.” In order to help the young man feel less like this
Raleigh has high expectations for Stanhope, who is—and is “uncanny,” Osborne assures him that they (as soldiers) are

OSBORNE: I believe Raleigh’ll go on liking you—and
“just waiting for something.” In doing so, he reveals the looking up to you—through everything. There’s something
cyclical, repetitive nature of war. very deep, and rather fine, about hero-worship. STANHOPE:
Hero-worship be damned! [He pauses, then goes on, in a strange,
high-pitched voice] You know, Uncle, I’m an awful fool. I’m captain
It was all right at first. When I went home on leave after six of this company. What’s that bloody little prig of a boy matter?
months it was jolly fine to feel I’d done a little to make her D’you see? He’s a little prig. Wants to write home and tell
pleased. [He takes a gulp of his drink.] It was after I came back Madge all about me. Well, he won’t; d’you see, Uncle? He won’t
here—in that awful affair on Vimy Ridge. I knew I’d go mad if I write! Censorship! I censor his letters—cross out all he says
didn’t break the strain. I couldn’t bear being fully conscious all about me. OSBORNE: You can’t read his letters. STANHOPE
the time—you’ve felt that, Uncle, haven’t you? […] There were [dreamily]: Cross out all he says about me. Then we all go west
only two ways of breaking the strain. One was pretending I was in the big attack—and she goes on thinking I’m a fine fellow for
ill—and going home; the other was this. [He holds up his glass.] ever—and ever—and ever. [He pours out a drink, murmuring
[…] I thought it all out. It’s a slimy thing to go home if you’re not ‘Ever—and ever—and ever.’]
really ill, isn’t it?
Related Characters: Stanhope (speaker), Raleigh
Related Characters: Stanhope (speaker), Osborne
Related Themes:
Related Themes:
Page Number: 33
Page Number: 32
Explanation and Analysis
Explanation and Analysis During this conversation, Osborne tries to convince
In this moment, Stanhope tells Osborne about his fears of Stanhope to go easy on Raleigh, insisting that the young
returning home to his girlfriend, Raleigh’s sister. At first, he man will “go on liking” him “through everything,” despite
explains, he had no problem seeing her when he was on Stanhope’s excessive drinking, bad temper, and shot nerves.
military leave. This was after only six months of the war, and “There’s something very deep, and rather fine, about hero-
he felt “jolly fine” to come home with the sense that he’d worship,” he says, suggesting that some relational bonds are
“done a little to make [his lover] pleased.” When he says this, so strong and resilient that they can withstand many
the audience understands that Stanhope is burdened by changes and strains. Stanhope, however, pays no attention
ideas of valor and pride; he doesn’t want to let down the to his friend’s sound counsel, instead coming to the
people he’s left at home. Unfortunately, though, war is full of conclusion that because he is captain he shouldn’t have to
terror, and when he joined the fighting again after his first worry about some “bloody little prig of a boy” like Raleigh,
leave, he experienced an “awful” battle, one that clearly who he believes is going to ruin his life by revealing his new
changed him for the worse, making him feel as if he’d “go wretched ways to his lover (Raleigh’s sister). In this moment,
mad” if he didn’t “break the strain.” Indeed, this is why he has Stanhope calls upon his superior rank as a way of ignoring
turned to alcohol: to numb his fears so that he won’t the personal connection he has with Raleigh, thereby
disappoint Raleigh’s sister. The only other option would be enabling him to conclude that he should censor the boy’s
to “pretend” he’s sick, which he believes is “a slimy thing” to letters. When Osborne says he shouldn’t do this, he
do. disregards him, since he has already managed to find an
interpretation in which it’s acceptable to meddle in Raleigh’s
personal affairs—after all, Stanhope is “captain of this
company,” giving him the right to do whatever he wants.
Interestingly enough, he also talks about going “west in the
big attack,” fantasizing about the fact that if he dies,
Raleigh’s sister will “go on thinking [he’s] a fine fellow for
ever,” a notion that suggests he values his reputation more
than his own life.

Act 2, Scene 1 Quotes

OSBORNE: I remember up at Wipers we had a man shot Related Themes:
when he was out on patrol. Just at dawn. We couldn’t get him in
that night. He lay out there groaning all day. Next night three of Page Number: 47
our men crawled out to get him in. It was so near the German Explanation and Analysis
trenches that they could have shot our fellows one by one. But,
when our men began dragging the wounded man back over the Stanhope says this to Osborne while trying to convince him
rough ground, a big German officer stood up in their trenches that Raleigh no longer respects him. Afraid that the young
and called out. ‘Carry him!’—and our fellows stood up and man now sees him as a miserable drunkard, Stanhope has
carried the man back and the German officer fired some lights become acutely aware of his own appearance and lifestyle.
for them to see by. RALEIGH: How topping! OSBORNE: Next Indeed, Raleigh’s presence clarifies his own existence, as he
day we blew each other’s trenches to blazes. RALEIGH: It all suddenly notices how rotten his surroundings are. “This
seems rather—silly, doesn’t it? place must have reeked of candle-grease, and rats—and
whisky,” he says, newly self-conscious of the wretchedness
of his circumstances. What’s more, it’s worth noting that
Related Characters: Raleigh, Osborne (speaker) when Stanhope first awoke, he was certain “something
beastly had happened.” That his first instinct is to assume
Related Themes: disaster and calamity is quite telling, as it demonstrates to
the audience the intensity of his fear—this is a man who
Page Number: 42
can’t even spend one waking second without bracing for the
Explanation and Analysis worst-case scenario. In turn, this is the kind of psychological
uneasiness that has made him into the kind of person who is
Osborne’s story about the kindness of the German soldiers
embarrassed of his own appearance, the kind of person who
emphasizes something that is easy to forget: wars are
wants to hide from someone like Raleigh for fear of losing
fought by people, not by faceless entities. As such, empathy
the young man’s respect.
and good will can indeed flow between enemies, which is
exactly what happened when the German officer stood up
and told Osborne’s men to carry their wounded comrade.
Unfortunately, though, this kind of empathy often ends up
Act 2, Scene 2 Quotes
getting reversed, since war progresses in cycles of violence. S-M: Well, then, sir. If they don’t get through the first day,
Indeed, the “next day” Osborne’s men and the kind Germans they’ll attack the next day and the next— STANHOPE: They’re
“blew each other’s trenches to blazes.” When Raleigh says bound to. S-M: Then oughtn’t we to fix up something about,
that “it all seems rather silly,” he picks up on the seeming well [he gropes for the right words]—er—falling back?
futility of war, sensing the inherent stupidity and STANHOPE: There’s no need to—you see, this company’s a lot
pointlessness of constantly working to decimate an enemy better than A and B Companies on either side of us. S-M: Quite,
that is similarly working to decimate him, when the sir. STANHOPE: Well, then, if anyone breaks, A and B will break
individual soldiers have no real reason to have a personal before we do. As long as we stick here when the other
grudge against those they are trying to kill. companies have given way, we can fire into the Boche as they
try and get through the gaps on our sides—we’ll make a hell of a
mess of them. We might delay the advance a whole day. S-M
[diffidently]: Yes, sir, but what ’appens when the Boche ’as all got
I was feeling bad. I forgot Raleigh was out there with
round the back of us? STANHOPE: Then we advance and win
Trotter. I’d forgotten all about him. I was sleepy. I just knew
the war.
something beastly had happened. Then he came in with
Trotter—and looked at me. After coming in out of the night air,
this place must have reeked of candle-grease, and rats—and Related Characters: Stanhope, The Sergeant-Major
whisky. One thing a boy like that can’t stand is a smell that isn’t (speaker)
fresh. He looked at me as if I’d hit him between the eyes—as if
I’d spat on him— Related Themes:
Page Number: 51
Related Characters: Stanhope (speaker), Raleigh, Osborne,
Trotter Explanation and Analysis

In this passage, the Sergeant-Major tries to discern whether duty to go up the dugout steps and into the trenches and act
or not Stanhope has prepared an alternative way to respond fearless while his men look to him for courage. And yet,
to the German attack. Because the attack is expected to be what he really feels is that he’d “rather die” in the safety of
so harrowing, the Sergeant-Major wants to know if there is the dugout. By showcasing the fact that soldiers feel
any possibility of “falling back” (retreating) if the company is pressured to behave in valorous, brave ways, Sherriff
unable to keep the Germans at bay. Unfortunately, demonstrates to the audience that the psychological
Stanhope hasn’t been given any instructions to devise such stressors of war don’t only have to do with the surrounding
a plan, and so he simply says, “There’s no need to.” Of violence, but also with the various social pressures and
course, the audience knows that Stanhope himself isn’t expectations with which a soldier must contend.
quite as ignorant as he appears in this moment, since he has
previously admitted that he is quite afraid of dying.
Nonetheless, he chooses to focus only on what he has been
If you went—and left Osborne and Trotter and Raleigh and
ordered to do, so that when the Sergeant-Major asks what
all those men up there to do your work—could you ever
will happen when German soldiers break through the look a man straight in the face again—in all your life! [There is
infantry line and swarm at their backs, he says, “Then we
silence again.] You may be wounded. Then you can go home and
advance and win the war.” Of course, this is a very simplistic
feel proud—and if you’re killed you—you won’t have to stand
way of thinking, since in these circumstances “advance[ing]”
this hell any more. I might have fired just now. If I had you would
wouldn’t mean that they would “win the war.” Still, though,
have been dead now. But you’re still alive—with a straight
Stanhope has been ordered to hold his ground, and so he
fighting chance of coming through. Take the chance, old chap,
focuses unquestioningly on the task at hand, disregarding
and stand in with Osborne and Trotter and Raleigh. Don’t you
even his own fear by keeping himself from thinking too hard
think it worth standing in with men like that?—when you know
about the logistics of his duty.
they all feel like you do—in their hearts—and just go on sticking
it because they know it’s—it’s the only thing a decent man can
do.
Stanhope! I’ve tried like hell—I swear I have. Ever since I
came out here I’ve hated and loathed it. Every sound up
Related Characters: Stanhope (speaker), Raleigh, Osborne,
there makes me all—cold and sick. I’m different to—to the
Hibbert, Trotter
others—you don’t understand. It’s got worse and worse, and
now I can’t bear it any longer. I’ll never go up those steps Related Themes:
again—into the line—with the men looking at me—and
knowing—I’d rather die here. [He is sitting on STANHOPE’S bed, Page Number: 58
crying without effort to restrain himself.]
Related Characters: Hibbert (speaker), Stanhope Stanhope speaks these words to Hibbert, who has just told
him that he wants to escape the war by pretending to have
Related Themes: neuralgia. In order to convince Hibbert to stay, Stanhope
tries to get him to recognize the camaraderie that exists in
Page Number: 57 the trenches between officers. He does this by emphasizing
the fact that deserting the war would mean leaving behind
Explanation and Analysis “Osborne and Trotter and Raleigh and all those men” in the
In this moment, Hibbert finally admits to Stanhope that he trenches. Another interesting element of Stanhope’s
doesn’t actually have neuralgia, revealing that he has been monologue is the way he frames death. Indeed, he talks
lying about this ailment in order to go home. This is because about death as if it’s not a particularly bad or undesirable
he has “hated and loathed” the trenches ever since he first thing. “If you’re killed,” he says, “you won’t have to stand this
arrived, feeling deathly afraid all the while. “It’s got worse hell any more.” Under this interpretation, death is better
and worse, and now I can’t bear it any longer,” he says, than the awful feeling of waiting and waiting for something
outlining the increasingly intense psychological effects the bad to happen. In turn, Sherriff suggests once again that the
war has had on him. What seems to make his predicament psychological effects of war are often just as challenging to
even harder to withstand is the fact that he has to pretend deal with as the actual violence and danger that come along
as if he’s a brave officer in front of his men. Indeed, it’s his with armed conflict.

OSBORNE: Haven’t you read it? TROTTER [scornfully]: Act 3, Scene 2 Quotes
No! OSBORNE: You ought to. [Reads]
RALEIGH: Good God! Don’t you understand? How can I sit
How doth the little crocodile
down and eat that—when—[his voice is nearly breaking]—when
Improve his shining tail,
Osborne’s—lying—out there— [STANHOPE rises slowly. His eyes
And pour the waters of the Nile
On every golden scale? are wide and staring; he is fighting for breath, and his words come
How cheerfully he seems to grin brokenly.] STANHOPE: My God! You bloody little swine! You
And neatly spread his claws, think I don’t care—you think you’re the only soul that cares!
And welcomes little fishes in RALEIGH: And yet you can sit there and drink champagne—and
With gently smiling jaws! TROTTER [after a moment’s thought]: I smoke cigars— STANHOPE: The one man I could trust—my
don’t see no point in that. OSBORNE [wearily]: Exactly. That’s best friend—the one man I could talk to as man to man—who
just the point. understood everything—and you don’t think I care— RALEIGH:
But how can you when—? STANHOPE: To forget, you little
fool—to forget! D’you understand? To forget! You think there’s
Related Characters: Osborne, Trotter (speaker) no limit to what a man can bear?
Related Themes:
Related Characters: Stanhope, Raleigh (speaker), Osborne
Page Number: 63
Related Themes:
This exchange takes place after Osborne has just told Page Number: 85
Trotter that he (Osborne) has to lead a dangerous raid on Explanation and Analysis
the German trenches. After a few moments of discussing
the mission, Osborne decides to turn his attention to Alice’s Raleigh and Stanhope have this argument on the night of
Osborne’s death. As Osborne’s body lies out in the
Adventures in Wonderland, since Trotter’s pessimism about
battlefield, Stanhope dines in great excess with the other
the raid isn’t helping his own thoughts about the risky
officers, but Raleigh refuses to come into the dugout to
endeavor. When he reads Trotter this passage, Trotter has
partake in the merriment, instead choosing to eat with his
trouble making any sense out of the rhyme, but the two
men in the trenches. The idea of sitting down and eating
stanzas actually do have a meaning. Indeed, the second
“when Osborne’s” still “lying” “out there” is sickening to
stanza in particular describes a “crocodile” opening its
Raleigh, but Stanhope seems to need the distraction, as
mouth and letting “little fishes” swim unknowingly into its
made evident by his sudden outburst. In this moment, the
“smiling jaws.” Given that Osborne and Trotter have just
audience understands that Stanhope’s seemingly callous
finished talking about the deadly raid Osborne has to make
reaction to Osborne’s death isn’t because he doesn’t care,
on the German line, it’s clear that this passage from Alice’s
but because he cares too much. In the same way that he
Adventures in Wonderland stands out to him because he feels
drinks in order to escape his own fear, in this moment he
as if he is a “little fish” about to swim naively into an
parties in order to “forget” about “his best friend’s” death.
expectant and harmful mouth. When Trotter says, “I don’t
Indeed, he upholds that there’s a “limit to what a man can
see no point in that,” Osborne somberly agrees, but this is
bear,” and it seems rather apparent that he himself has
because he’s not truly thinking about the passage of poetry,
reached that limit. Though he may have been able to put up
but about the raid itself. Indeed, there is “no point” in
with the war, the idea of losing Osborne is simply too much,
carrying out the mission if the Germans are just going to kill
and so he must drink and eat and party “to forget,” once
them. In this way, Sherriff shows the audience how even the
more putting on display his never-ending struggle to cope
most good-spirited soldiers (like Osborne) can succumb to
with the horror and sadness of his wartime circumstances.
feelings of futility and pointlessness during war.

SUMMARY AND ANAL

ANALYSIS
YSIS
The color-coded icons under each analysis entry make it easy to track where the themes occur most prominently throughout the
work. Each icon corresponds to one of the themes explained in the Themes section of this LitChart.
ACT 1
It is Monday, March 18th, 1918, and Captain Hardy is drying From the very outset of Journey’s End, Sherriff’s interest in the
his wet sock over a candle flame. He sits in the dugout of the passage of time becomes apparent. “Tick!—Tock!—wind up the
British trenches in St. Quentin, France, where the military is clock, / And we’ll start the day over again,” Hardy sings to himself,
involved in trench warfare with German forces stationed only indicating just how attuned he is to the ways in which time moves.
70 yards away. As he dries his sock, Hardy sings a little ditty, This focus on the time becomes even more evident when Osborne
mumbling, “Tick!—Tock!—wind up the clock, / And we’ll start and Hardy talk about how the trenches have been calm and quiet.
the day over again.” As he finishes, Osborne descends into the Indeed, a sense of anticipation builds during periods in which
dugout, and the two men have a drink together. “Your fellows “nothing happens for hours on end”—a kind of anticipation to which
arriving?” asks Hardy, and Osborne tells him that they are the soldiers no doubt must be accustomed.
indeed on their way. Over their cups of whiskey, Osborne says
he heard that the trenches have been rather quiet, and Hardy
says, “Well, yes—in a way. But you never know. Sometimes
nothing happens for hours on end; then—all of a sudden—‘over
she comes!’—rifle grenades.”
Hardy mentions to Osborne that “the big German attack’s When Hardy and Osborne discuss “the big German attack,” they
expected any day now,” and Osborne points out that it has been once again reveal their sense of anticipation. Indeed, they’ve been
expected for the entire month. “Are you here for six days?” waiting for this attack for quite some time, and even though it
Hardy asks, and when Osborne confirms that he is, Hardy seems as if they’re edging closer to the actual event, they still are
guesses that Osborne will surely be here when the attack locked in a holding pattern of tension, one in which all they can do is
comes. “Well, you won’t be far away,” replies Osborne. “Come conjecture about when it will actually take place. In this way,
along, let’s do this handing over. Where’s the map?” With this, Sherriff demonstrates that one of the most difficult parts of being at
the two men go over the various details that Osborne needs to war is the uncertainty that comes along with waiting for something
know about the dugout before Hardy can leave (he has, after bad to happen.
all, just finished his own six-day shift).
©2018 LitCharts LLC www.LitCharts.com Page 15

Osborne tells Hardy they’re expecting a new officer, and Hardy Although Journey’s End is not first and foremost a comedic play,
says, “I hope you get better luck than I did with my last officer. there are often moments of dark or deadpan humor that shed light
He got lumbago the first night and went home.” Refocusing, on the soldiers’ attitudes regarding the war. For instance, the fact
Osborne asks about the various weapons and supplies, of that Hardy’s officer managed to go home because of a case of
which he’s supposed to take an inventory. Hardy tells him lumbago is indeed rather funny, since lumbago is an everyday injury
vague numbers, assuring him that everything’s there and that frequently amounts to little more than back pain. That a soldier
admitting that he didn’t even count the supplies when he took would use this as an excuse to go home illustrates just how
over. He then makes haste, not wanting to overlap with desperate many of these men are to leave the war. Rather than
Stanhope—the captain taking over for him—because he knows staying and facing their fears, they’d rather lie about some kind of
Stanhope will force him to clean the trenches before leaving. ailment. On another note, Sherriff uses this moment to introduce
“How is the dear young boy?” Hardy asks. “Drinking like a fish, Captain Stanhope before the man actually makes an appearance
as usual?” Osborne claims that Stanhope is the best onstage, thereby building him into a figure of curiosity, especially
commander possible, and though Hardy doesn’t disagree, all he since Osborne and Hardy seem to both respect him and disapprove
can seemingly focus on is the man’s prolific drinking habits. of his drinking habits. By foregrounding Stanhope’s entrance with
this conversation, Sherriff invites the audience to inhabit the world
of anticipation—the world of waiting—that the soldiers themselves
experience on a daily basis.
“When a boy like Stanhope gets a reputation out here for Sherriff makes an effort in this scene to present Stanhope as an
drinking,” Osborne says, “he turns into a kind of freak show unstable character. While Osborne defends his friend by pointing
exhibit. People pay with a bottle of whisky for the morbid out that Stanhope has “never had a rest,” it’s clear that the captain
curiosity of seeing him drink it.” He also points out that is a bit unhinged, especially if a mere card game can bring him to
Stanhope has been in the war for three consecutive years. violent tears. By preparing the audience to meet such a loose
Apparently, he enlisted after school and has “never had a rest” cannon, Sherriff continues to create the same kind of tense
since then, choosing to spend his leave in Paris rather than at anticipation that the soldiers likely feel when they’re in the trenches
home. “And because he’s stuck it till his nerves have got waiting for something bad to happen.
battered to bits, he’s called a drunkard,” says Osborne. Hardy
tells a story about how Stanhope recently had an argument
while playing cards and suddenly knocked everything off the
table, “lost control of himself,” and broke into tears. Perhaps
given this—or because of Osborne’s wisdom and age—Hardy
says that Osborne should be the one commanding the infantry.
Just before Hardy leaves, he pauses and looks at the table. When Hardy notices that the earwig on the table has been running
“Why, that earwig. It’s been running round and round that in circles, Sherriff presents the audience with an image of futility.
candle since tea-time; must have done a mile,” he says. Osborne Despite how hard the earwig has worked—running for an entire
says that if he were an earwig, he wouldn’t be spending time in mile—it hasn’t made any progress at all. This ultimately
the trenches. “Nor should I,” Hardy says, and then tells Osborne foreshadows the feeling of futility and repetition that bothers the
that the best way to win “earwig races” is to dip them in men throughout the play, as they constantly wait for something to
whiskey, which “makes ’em go like hell!” When he leaves, happen and then, after something actually does happen, they
Mason, the cook, enters and offers Osborne cutlets. When simply start waiting again. What’s more, the earwig’s pointless and
Osborne presses him, though, he admits that the so-called repetitive efforts align with Mason’s unsuccessful attempt to
“cutlets” are really just “ordinary ration meat” that he made in a become innovative with the ration meat. Indeed, Mason can try all
new shape. he wants to improve upon the dreadful food he’s supposed to cook,
but at the end of the day, he can’t change the fact that he’s serving
the soldiers the same low-quality fare.

At this point, the new officer arrives. His name is Raleigh, and Because the small amount of information the audience has already
he’s a “healthy-looking boy of about eighteen” who looks a bit heard about Stanhope makes him out to be an unstable drunk, the
“bewildered” by the squalid dugout. Nonetheless, he radiates a fact that Raleigh knows him from school is quite significant. Indeed,
positive attitude, greeting Osborne as “sir” and gingerly the circumstances of their previous relationship are quite clearly
accepting a drink of whiskey. Osborne explains to Raleigh that much different than they will be here. After all, going to school with
he is the second-in-command and that the others call him somebody is quite different than fighting alongside them in the
“Uncle.” He also explains that their group has just moved into trenches of World War I. As such, Sherriff adds yet another layer of
these trenches, and that Captain Stanhope is the commander. uncertainty and anticipation to the audience’s perception of
At the mention of Stanhope’s name, Raleigh perks up, saying, “I Stanhope, encouraging them to wonder how he and Raleigh will
know. It’s a frightful bit of luck.” Apparently, he knows Stanhope interact.
from school. “I was only a kid and he was one of the big fellows,”
he says, “he’s three years older than I am.”
Raleigh tells Osborne that Stanhope was the rugby captain at Osborne’s advice that Raleigh shouldn’t expect to find Stanhope
his school. When Osborne asks if Raleigh also played, he says, “quite the same” reveals his understanding of the ways in which war
“Oh, yes. Of course, I wasn’t in the same class as Dennis—I say, I can change a person. Suggesting that life in the trenches can “tell on
suppose I ought to call him Captain Stanhope?” Moving on, he a man—rather badly,” he tries to get Raleigh to accept the fact that
explains that his father is friends with Stanhope’s father, and his relationship—or even friendship—with Stanhope developed in an
that because of this the two of them have spent time together entirely different context. In this new context, Stanhope may very
during the summers. In fact, Stanhope even has a romantic well be a completely different person, meaning that the terms of his
relationship with Raleigh’s sister, who is waiting for him to and Raleigh’s friendship will most likely also be different. Not only is
return from the war. “You know, Raleigh,” Osborne says at one Stanhope Raleigh’s superior, but he’s also a rugged alcoholic, and
point, “you mustn’t expect to find him—quite the same.” When Osborne wisely intuits that this isn’t who Stanhope used to be when
he sees Raleigh’s confusion, Osborne says, “You see, he was a rugby captain in high school.
[Stanhope’s] been out here a long time. It—it tells on a
man—rather badly—”
Osborne adds that Stanhope is a “bit quick-tempered,” but The fact that Raleigh can’t keep himself from referring to Stanhope
Raleigh merely says, “Oh, I know old Dennis’s temper! I as “Dennis” supports Osborne’s notion that the boy will likely have
remember once at school he caught some chaps in a study with to shift the way he sees the captain. Unfortunately, Raleigh doesn’t
a bottle of whisky. Lord! the roof nearly blew off. He gave them seem to fully grasp this, as made clear by the way he
a dozen each with a cricket stump. He was so keen on the misunderstands Osborne’s comment about Stanhope’s temper.
fellows in the house keeping fit. He was frightfully down on Whereas Osborne is referring to the kind of temper that causes
smoking—and that sort of thing.” Hearing this, Osborne urges Stanhope to erupt in irrational anger in the middle of a card game,
Raleigh to keep in mind that Stanhope has been commanding Raleigh assumes that he is talking about Stanhope’s admirable
the company for quite some time, and that this is “a big strain tendency to hold the people around him to a high standard.
on a man.” “If you notice a—difference in Stanhope,” he says, However, it’s obvious that Stanhope—an alcoholic himself now—no
“you’ll know it’s just the strain.” longer cares about whether or not his inferiors get drunk, and the
fact that Raleigh thinks he still would care about this just goes to
show that the young boy hasn’t yet comprehended how the war has
changed his friend.

Osborne and Raleigh discuss the fact that their trench is only It’s clear that Raleigh expected war to be a constant barrage of
70 yards from German trenches, though the “front line” is noise and violence and chaos. It’s natural, then, that he finds himself
between them (their line is called the “support line”). “I’ve never disoriented by the relative calm of the trenches, the “uncann[iness]”
known anything so quiet as those trenches we came by,” of the dugouts. In this moment, Sherriff suggests that expectations
Raleigh says, referring to the ones he passed on his way to the play an important role in keeping a soldier psychologically at ease.
support line. “It’s just this—this quiet that seems so funny,” he Although Raleigh would surely prefer calm and peace to violence
says, and Osborne notes that the Germans are probably and action, he has prepared himself for the latter, and thus now
“sitting in their dugouts” thinking the same thing. “It feels unprepared for the wartime circumstances in which he finds
seems—uncanny,” Raleigh says. “It makes me feel we’re—we’re himself. Indeed, he didn’t count on the feeling of tense anticipation,
all just waiting for something.” To this, Osborne replies, “We the feeling that he is “just waiting for something” bad to happen.
are, generally just waiting for something. When anything This, Osborne tells him, is simply the nature of war—it is a cycle of
happens, it happens quickly. Then we just start waiting again.” inaction and action.
Raleigh describes his journey to the support line, describing the In this moment, Sherriff suggests that soldiers must find ways to
many trenches he traveled through. On his way, he saw the sky reframe their circumstances. This is what Osborne does when he
was lit up with lights called Very lights, which soldiers send into encourages Raleigh to see the Very lights as “romantic.” Rather than
the air in order to “watch for raids and patrols.” Regarding these dwelling on the ominous nature of these lights—which are used for
lights, Osborne says, “There’s something rather romantic about chiefly violent purposes—he urges Raleigh to shift his perspective so
it all.” When Raleigh agrees, he adds, “You must always think of that the lights become appealing and nostalgic, as if the soldiers are
it like that if you can. Think of it all as—as romantic. It helps.” looking out at the blinking lights of a beautiful city.
Mason enters the dugout, interrupting Osborne and Raleigh’s Right before Stanhope enters, Sherriff uses one last opportunity to
conversation by informing Osborne that the can of pineapple portray him as an unpredictable and ill-tempered captain. He does
chunks he secured for the company is in fact a can of apricots, this by having Mason become fearful that Stanhope will berate him
which Stanhope hates. Mason seems ill-at-ease, telling for obtaining the wrong kind of canned fruit, thereby casting
Osborne that he wanted to tell him first so that Stanhope won’t Stanhope as not only ill-tempered, but also petty and unreasonable.
blame him (Mason). Just then, Stanhope enters and Mason Having thoroughly built up a sense of suspense regarding this
retreats into the kitchen to bring out soup. The first thing character, then, he finally introduces Stanhope. What the audience
Stanhope does is ask if Hardy left without cleaning the sees upon meeting him, though, is not an enraged drunk, but a man
trenches. Then he sees Raleigh, and he doesn’t know what to caught off-guard by an old friend, thereby further casting him as a
do. “Hullo, Stanhope!” beams Raleigh. “How did you—get here?” complex character, since he doesn’t yell or shout or do anything
Stanhope manages. When Raleigh tells him he was “told to rash, but instead quietly tries to piece together his confusion
report” to his company, Stanhope mutters, “Oh. I see. Rather a regarding Raleigh’s presence.
coincidence.”

Osborne breaks the tension between Stanhope and Raleigh by Trotter’s assertion that Raleigh will feel like he’s been in the trenches
informing Stanhope that they’ll have to make do with apricots for “a year” after only an hour once again taps into the play’s
instead of pineapples. At this, Trotter—one of the other interest in the way time moves. The fear of war—the anticipation of
officers, who entered the dugout with Stanhope—rejoices, impending doom—seems to warp the way these men perceive the
saying he loves apricots and hates pineapples. He then passage of time, elongating it in strange ways and upending their
introduces himself to Raleigh, asking the boy if he feels “odd” internal sense of chronology.
being out in the trenches. “Yes. A bit,” Raleigh admits, and
Trotter says, “Oh, well, you’ll soon get used to it; you’ll feel
you’ve been ’ere a year in about an hour’s time.” Trotter then
falls into a conversation about Mason’s food, criticizing the
soup’s lack of pepper and poking fun at Mason’s attempt to turn
the ration meat into “cutlets.”
“Well, boys!” Trotter says, “ ’Ere we are for six days again. Six When Trotter makes it clear that he and his fellow officers have to
bloomin’ eternal days.” As he says this, he does some arithmetic spend six days in this dangerous dugout, the audience begins to
on the table, figuring out that they have 144 hours left of duty understand why, exactly, they are all so obsessed with time. After all,
in these trenches. “Eight thousand six ’undred and forty not only are these men expecting and bracing for a harrowing attack
minutes,” he says. “That doesn’t sound so bad; we’ve done by the Germans, they’re also waiting to leave. In turn, there’s little
twenty of ’em already. I’ve got an idea! I’m going to draw a chance they’ll be able to stop thinking about how the time passes,
hundred and forty-four circles on a bit o’ paper, and every hour so Trotter decides to draw up a physical representation of the hours
I’m going to black one in; that’ll make the time go all right.” they have left. At the very least, this might help them feel as if they
Looking at Trotter’s chart, Stanhope tells him he ought to go up have a modicum of control over their lives, which is something they
and stand watch, assuring him he can “black in three of [his] otherwise lack completely, since they can’t actually influence what
bloody little circles” when he returns. happens or when it happens.
Trotter and Raleigh go together to work a shift above the Hibbert’s complaints about neuralgia recall the story Hardy told
dugout. Meanwhile, Osborne and Stanhope decide which beds Osborne at the beginning of the play about the officer who went
they’ll take while Stanhope drinks whiskey. When Hibbert (the home because of a case of “lumbago.” What’s more, even Stanhope
fourth and final officer) enters, he claims that he has a bad case seems to have let somebody leave the trenches before, as he reveals
of neuralgia; so bad that he can’t even imagine eating because by saying that he allowed a man name Warren to leave because of
of the pain. “Try and forget about it,” Stanhope says, but Hibbert medical reasons. In turn, Sherriff shows the audience that there’s a
decides to go straight to bed. Once he’s gone, Stanhope pattern amongst British soldiers of fleeing the war because of (most
grumbles, “Another little worm trying to wriggle home,” but likely) pretend medical ailments. This is an escapist way of dealing
Osborne shows more sympathy, wondering if Hibbert’s pain with the fear presented by war. However, Stanhope seems resolved
might actually be real. “You can’t help feeling sorry for him,” he to keep Hibbert in his trenches, believing that such behavior is
says. “I think he’s tried hard.” Still, though, Stanhope remains nothing short of cowardly.
unconvinced, saying, “He’s decided to go home and spend the
rest of the war in comfortable nerve hospitals. Well, he’s
mistaken. I let Warren get away like that, but no more.”

Osborne changes the subject, saying Raleigh is a “good-looking In this conversation, Stanhope’s tone suggests that he resents
youngster.” When he reveals that Raleigh mentioned the fact Raleigh for admiring him. When he interrupts Osborne to say that
that he and Stanhope went to school together, Stanhope seems boys admire their heroes “as long as” they are still “a hero,” the
immediately put off, saying, “Has he been talking already?” In audience begins to understand that Stanhope questions whether or
response, Osborne points out that Raleigh is simply happy to not he actually deserves Raleigh’s reverence. In this moment,
have been placed in Stanhope’s company. “He seems to think a Stanhope implies that he isn’t actually a hero, despite how much
lot of you,” he says. “Yes, I’m his hero,” says Stanhope. Osborne Raleigh might respect him.
points out that this is natural, maintaining that boys at school
often have heroes and that this kind of admiration “often goes
on as long as—” At this point, Stanhope interrupts him, saying,
“As long as the hero’s a hero.”
Stanhope shows Osborne a picture of Raleigh’s sister. “She is When Stanhope suggests that Raleigh’s sister mistakenly thinks he’s
waiting for me,” he says, “and she doesn’t know. She thinks I’m a a hero, he confirms the notion that he doesn’t believe himself to be
wonderful chap—commanding a company. She doesn’t know worthy of somebody else’s admiration. He also reveals that he uses
that if I went up those steps into the front line—without being alcohol as a coping mechanism. Indeed, he admits he’d “go mad
doped with whisky—I’d go mad with fright.” Hearing this, with fright” if he wasn’t “doped with whisky.” In turn, Sherriff shows
Osborne suggests that Stanhope take a break, insisting that the the audience Stanhope’s low opinion of himself—an opinion so low
Colonel would be happy to let him leave for a while, given his that he actually appears to somewhat invite the idea of death, as
track record. Nonetheless, Stanhope resolves to “stick it out,” suggested by his assertion that he would rather stay in the war until
saying he might not have much longer anyway, since a man only his “luck” runs out than go home. If Stanhope dislikes himself so
has a finite amount of luck. Still, he says it’s “rather damnable” much, it’s easy to see why he might resent Raleigh for admiring him.
that Raleigh has come under his watch, since the boy is a “hero-
worshipper” who he now feels obligated to protect.
Continuing with his complaints, Stanhope tells Osborne that As Stanhope speaks to Osborne, he confirms once and for all that
the idea of returning from the war and reuniting with Raleigh’s his alcoholism has developed as a crutch: in order to face the war, he
sister has become a stressor. “It was all right at first. When I has to numb himself to his own fears. This is perhaps why he has so
went home on leave after six months it was jolly fine to feel I’d much scorn for people who fake an illness to go home. After all, if
done a little to make her pleased,” he says, slurping whiskey. “It he’s going to drink himself into poor health just to stay, it isn’t fair
was after I came back here […]. I knew I’d go mad if I didn’t that other people choose the easier alternative of leaving altogether.
break the strain. I couldn’t bear being fully conscious all the
time.” Once he has said this, Stanhope admits that there are
“only two ways of breaking the strain.” One, he says, is
pretending to be sick so that he can be sent home. The other is
to drink. And since he thinks it’s a “slimy thing to go home if
you’re not really ill,” he has chosen to drink.

Trying to make his friend feel better, Osborne says that when When Stanhope says he worries Raleigh will write home to his sister
the war ends Stanhope can return to his old life “as fit as ever.” and tell her how he (Stanhope) has become, he reveals another
Stanhope agrees that he used to think the same thing, but now reason why he resents Raleigh’s presence. Not only is he unhappy
that Raleigh has been assigned to his company, he doesn’t think Raleigh has come to his company because he doesn’t want to
his life will be the same. This is because he’s certain Raleigh will disappoint the young man, but he’s also nervous that Raleigh’s
write to his sister and tell her that Stanhope “reek[s] of whisky presence will negatively affect his life after the war. Nonetheless,
all day.” Osborne tries to refute this, but Stanhope says, “It’s no Osborne remains optimistic, suggesting that certain kinds of bonds
good, Uncle. Didn’t you see him sitting there at can withstand extraordinary circumstances. While the nature of
supper?—staring at me?—and wondering? He’s up in those Stanhope and Raleigh’s relationship will surely change as a result of
trenches now—still wondering—and beginning to understand. its new wartime context, Osborne believes Raleigh’s respect for
And all these months he’s wanted to be with me out here. Poor Stanhope will remain intact because “hero-worship” is a resilient
little devil!” Despite this, Osborne maintains that Raleigh will kind of connection.
keep liking Stanhope “through everything” because “there’s
something very deep, and rather fine, about hero-worship.”
“Hero-worship be damned!” Stanhope explodes. He then Amidst the discussions about Stanhope’s relationship with Raleigh,
decides to censor Raleigh’s letters so he can control what his it’s easy to overlook the significance of his friendship with Osborne.
lover hears about him. “You can’t read his letters,” Osborne Indeed, Osborne is a caring man who’s willing to let Stanhope talk
says, but Stanhope ignores him, drunkenly rambling about out his feelings even when those feelings are fueled by drunken
crossing out anything bad Raleigh might say about him. As he irrationality. What’s more, he patiently allows Stanhope to assume
does so, Osborne coaxes him to lie down. Before long, the position of leader, but when it all truly comes down to it, it’s not
Stanhope settles into a drunken sleep, and Osborne calls hard to see that he—Osborne—is the one keeping everything on
Mason and tells him to wake him (Osborne) and Hibbert at track, as he puts Stanhope to bed and makes arrangements to
certain intervals throughout the night so they can stand watch. ensure that the company knows what to do for the remainder of the
night.
ACT 2, SCENE 1
The next morning, Osborne, Trotter, and Raleigh sit in the In this scene, the feeling of tension and anticipation continues to
dugout eating breakfast. When Osborne asks Trotter how mount, even as the soldiers go through their everyday lives. Sherriff
things are in the trenches, Trotter replies that he doesn’t like juxtaposes the stress of waiting for the German attack with the
“the look of things” because of the quiet. “Standing up there in mundanity of living in the calm dugout, showcasing this dynamic
the dark last night there didn’t seem a thing in the world alive,” when Trotter swiftly transitions from talking about the Germans to
he says. Osborne agrees that it is rather inactive, and Trotter asking Osborne to “pass the jam.” Terror, it seems, sits right
says, “Too damn quiet. You can bet your boots the Boche is up alongside the trappings of everyday life, showing the audience just
to something. The big attack soon, I reckon. I don’t like it, Uncle. how accustomed these soldiers have become to waiting for death
Pass the jam.” and calamity.

The night before, Trotter tells Osborne at breakfast, he and Stanhope’s drunken comment to Raleigh—in which he tells the
Raleigh came into the dugout after their shift and saw that young officer to “go to bed”—underscores the strange and shifting
Stanhope had gotten up from bed to drink more whiskey. “He nature of their relationship. Although Stanhope hasn’t particularly
didn’t seem to know who I was. Uncanny, wasn’t it, Raleigh?” warmed up to Raleigh, in this moment he reverts back to their old
Trotter says, and Raleigh dejectedly mutters “Yes” with a ways, acting as if Raleigh is still a “school kid” who needs gentle
bowed head. “He just said, ‘Better go to bed, Raleigh’—just as if guidance. This stands in stark opposition to his otherwise gruff
Raleigh’d been a school kid,” says Trotter, who starts getting attitude, ultimately showing the audience that the terms of
ready to go on watch again. Just before he leaves, he says that Stanhope and Raleigh’s relationship are still in flux.
he doesn’t like this time of day because the Germans have just
had their breakfast and like to send “a few whizz-bangs and rifle
grenades to show” they haven’t “forgotten” the British. “Still,” he
says, “I’d rather ’ave a bang or two than this damn quiet.”
Once Osborne and Raleigh are alone, they talk about Raleigh’s Once again, Raleigh finds a mentor of sorts in Osborne, delighting in
first night in the trenches, and Raleigh admits that he feels as if the fact that the older man used to play professional rugby. In this
he’s already been on the support line for “ages.” “I can’t way, Osborne once again proves himself to be the unofficial leader
imagine—the end of six days here,” he says. Osborne asks how of the company, as he not only takes care of Stanhope, but also goes
the young man felt in the actual trenches, and Raleigh assures out of his way to help new soldiers like Raleigh find their bearings at
him that it wasn’t so bad, though he did find it “frightfully quiet war. He does this by allowing Raleigh to talk about how “uncanny” it
and uncanny—everybody creeping about and talking in low is to sit in the trenches and wait for disaster, thereby helping the
voices.” This is because the Germans are only roughly 70 yards young man work through some of the fear that comes along with
away, which Osborne likes to think of as about the same length serving in the trenches of World War I.
as a rugby field. This leads the two men into a conversation
about rugby, and Raleigh is thrilled to discover that Osborne
used to play professional rugby for the English team.
After talking about rugby, Osborne and Raleigh talk about their Osborne’s story highlights the futility of war, since it shows that the
German enemies. Osborne tells a story about how one of his Germans saved a British soldier’s life only to actively undo this
fellow soldiers was once shot and injured in the field, and when kindness the very next day. This, he shows Raleigh, is just the nature
they tried to go save him, a German officer stood up from the of war—regardless of whether or not it is “silly,” soldiers have to
trenches and yelled, “Carry him!” When the British soldiers accustom themselves to a seemingly never-ending cycle of inaction
stood and started carrying their wounded man, the Germans and action, one that doesn’t ever seem to make any progress toward
fired Very lights so the men could see their way back. “Next day anything other than senseless killing.
we blew each other’s trenches to blazes,” Osborne says, to
which Raleigh replies, “It all seems rather—silly, doesn’t it?”
Osborne agrees, and then after some silence Raleigh decides to
go finish a letter.

As Raleigh leaves, Stanhope comes in and tells him to inspect Now that the soldiers have a sense of when the German attack will
his platoon’s rifles at nine o’clock. He then tells Osborne that he come, the audience might think that they can relax to a certain
was recently talking to the Colonel, who told him that a extent. However, it’s worth noting that Stanhope doesn’t know when
German prisoner let slip that the big attack is set to happen on exactly on the 21st the attack will happen, nor does he know the
the 21st, which is just two days away. “Then it’ll come while specifics of how it will unfold. In this way, he finds himself face-to-
we’re here,” Osborne says. “Yes,” replies Stanhope. “It’ll come face with information that only provides more uncertainty. Indeed,
while we’re here. And we shall be in the front row of the stalls.” knowing the date of the attack does nothing more than cement the
He then looks down at Trotter’s chart, asking what it is. sense of dread that has been mounting throughout the play, and it is
Osborne explains that it’s “Trotter’s plan to make the time pass perhaps for this reason that Stanhope responds by wanting to
by,” and Stanhope asks how many hours there are until “dawn ridicule Trotter’s attempt to gain some agency over the passage of
on the twenty-first.” He then starts counting out the hours on time—no matter how many circles Trotter blackens, Stanhope
the chart, saying he’s going to “draw a picture of Trotter being knows there’s no avoiding the inevitable violence coming their way.
blown up in four pieces” on the 21st.
Osborne urges Stanhope to not defile Trotter’s chart, saying Stanhope’s strange existential musings cement the idea that he is
that he spent a long time making it. Stanhope agrees that psychologically unhinged. This is not to say that he is crazy, but
Trotter probably wouldn’t “see the point” in the joke anyway, rather that the stressors of war have impacted the way he sees the
since he has “no imagination.” He then asks Stanhope if he world. The repetition and futility of inaction and action have caused
thinks “life sharpens the imagination.” This leads him into him to seek out meaning in his life. This is why he tries to “see right
strangely philosophical, ponderous grounds. “Whenever I look through” things in order to understand how everything fits together:
at anything nowadays I see right through it,” he says. “Looking he wants to find meaning in his life. Unfortunately, the war itself
at you now there’s your uniform—your can’t provide him with meaning, since it feels to him like one big
jersey—shirt—vest—then beyond that—” At this point, Osborne cycle of anticipation, violence, and then anticipation again. As such,
cuts him off, suggesting they talk about something else. he desperately searches for meaning in other areas of his life, trying
Stanhope apologizes, saying that he has developed a habit of to make things adhere with one another in any way he can.
looking “right through things, and on and on—till [he] get[s]
frightened and stop[s].” To this, Osborne says that everybody in
the trenches seems to feel things “more keenly.”
Stanhope admits he sometimes wonders if there’s something The fact that Stanhope often feels he is “the only thing in the world”
wrong with him. “D’you ever get a sudden feeling that underlines the ways in which he feels estranged from his
everything’s going farther and farther away,” he asks, “till you’re environment. This is unsurprising, given that he spends his waking
the only thing in the world—and then the world begins going hours drinking himself into oblivion so as not to have to face his
away—until you’re the only thing in—in the universe—and you fears. When he looks out across the battlefield, it’s no wonder he
struggle to get back—and can’t?” Osborne says this just sounds can’t relate to his environment, since the field is a devastated piece
like a “bit of nerve strain.” Stanhope is glad to hear this, saying of land upon which humans kill one another—a very unnatural and
he actually felt this feeling this morning in the trenches. The unrelatable setting. Instead of accepting that war is an inherently
sun was coming up and he was looking over the decimated land alienating environment, though, he drowns himself in liquor.
and thinking about the “thousands of Germans” out there, all of
whom must surely be “waiting and thinking.” Then, suddenly,
the feeling came upon him. Saying this, he barks out for Mason
to bring whiskey. “So early in the morning?” Osborne asks, but
Stanhope says, “Just a spot.”

Stanhope turns his attention to censoring Raleigh’s letters, Once again, Raleigh underestimates how much his relationship with
insisting to Osborne that he’s going to have to do Stanhope has changed. When he tries to protest Stanhope’s
this—especially after last night, when Raleigh came downstairs unreasonable determination to censor his letter, he accidentally
and saw him in a wretched state and looked at him as if he’d calls him Dennis, prompting Stanhope to remind him—and rightly
“spat on him.” Just then, Raleigh enters the dugout on his way so—that he isn’t at school anymore. Indeed, Raleigh is no longer in a
to inspect his platoon’s rifles. He carries a letter, asking where context in which it is appropriate to call Stanhope by his first name,
to put it, and Stanhope tells him to leave it unsealed on the and though Stanhope is being rather unfair, Raleigh still needs to
table. Surprised, Raleigh asks why he needs to leave it open, behave according to the new terms of their relationship, in which he
and Stanhope tells him it’s because he has to censor it. “Oh,” is Stanhope’s inferior.
Raleigh says, “but—I haven’t said anything about—where we
are.” Still, Stanhope doesn’t budge. “Dennis—I’m—,” stammers
Raleigh, but Stanhope yells, “Don’t ‘Dennis’ me! Stanhope’s my
name! You’re not at school! Go and inspect your rifles!” When
Raleigh doesn’t do anything, Stanhope barks, “D’you
understand an order?”
Raleigh finally relents and puts the letter on the table without Even Osborne is taken aback by Stanhope’s power trip. As a result,
sealing it. When he leaves, Osborne says, “Good heavens, Osborne (like Raleigh) is reprimanded for not respecting Stanhope’s
Stanhope!” Still, Stanhope holds his ground, saying it’s his superior role. Of course, when Stanhope actually hears Raleigh’s
decision whether or not to censor the letters, and Osborne letter, he’s overcome by shame, since he assumed the worst about
acquiesces. Despite his vehemence, though, Stanhope says, his young friend only to discover that Raleigh still looks up to him. In
“Oh, God! I don’t want to read the blasted thing!” As such, this way, the letter confirms Osborne’s previous assertion that
Osborne offers to read it for him. Reading through it, he tells Raleigh will continue liking Stanhope because “hero-worship” is a
Stanhope that the last portion is indeed about him, so he reads resilient kind of relational bond.
it aloud. However, it isn’t what Stanhope expected: the content
is extremely positive, singing Stanhope’s praises and saying that
the soldiers regard him as “the finest officer in the battalion.”
The final sentence reads: “I’m awfully proud to think he’s my
friend.” Hearing this, Stanhope lowers his head and tells
Osborne to seal the letter.
ACT 2, SCENE 2
Later that afternoon, Stanhope speaks to the Sergeant-Major Despite Stanhope’s fear, he sets himself to the task of following his
of the company, telling him about the impending attack. He orders. This often means ignoring his good sense so that he can
instructs the man to hold ground, telling him that their infantry blindly accept his instructions. This is why, when the Sergeant-
is not to retreat even under intense pressure. Eventually, the Major asks what they’ll do if the German forces thrust beyond them,
Sergeant-Major asks what will happen if the Germans he simply states the absurd notion that they will “advance and win
surround them on all sides, including the backside (assuming the war,” as if winning the war is simply a matter of gaining ground
that they will likely get through some other part of the British and not a matter of killing the enemy. However, when the Colonel
lines). “Then we advance and win the war,” Stanhope states. informs him that his company will have to stage a raid on the
“Win the war,” says the Sergeant-Major, taking notes in a small German trenches, the audience gets the opportunity to see how
book. “Very good, sir.” When he leaves, the Colonel enters and willingly Stanhope will accept a dangerous mission.
tells Stanhope that the brigadier is almost certain the attack
will happen on the 21st. He also says that the general wants
them to raid the German trenches before the attack in order to
capture a soldier and wring information out of him.

Stanhope asks the Colonel when the general wants the raid to Stanhope’s attempt to spare Raleigh from having to lead the
happen, and the Colonel says tonight, which Stanhope dangerous raid on the German trenches is evidence of his
maintains is impossible. The Colonel agrees, saying that he told connection with the young man. No matter how hard he might try
the general it would have to take place the following afternoon. to act as if Raleigh is just another soldier—no matter how much
“I suggest sending two officers and ten men,” he says, explaining gruff indifference he shows Raleigh—the fact of the matter is that
that tonight the troops will blow a hole in the German fences, there is a fondness between them that influences the dynamic of
through which the raid members will be able to slip through. “I their military relationship, making it hard for Stanhope to send
suggest Osborne, for one,” the Colonel says. When he asks Raleigh into harm’s way.
Stanhope who else should go, the only person fit and
emotionally stable enough to do it is Raleigh, but Stanhope
tries first to send “a good sergeant.” Unfortunately, the Colonel
rejects this, instead urging him to choose Raleigh. Reluctantly,
Stanhope agrees.
On his way out, the Colonel invites Stanhope to dine with him When Stanhope says that he too has neuralgia, the audience
that night to further discuss the plans, asking if he likes fish, understands that he’s trying to manipulate Hibbert into staying.
which has been “sent up from rail-head for supper.” Once he Indeed, he wants to show the cowardly officer that anybody can
leaves, Hibbert enters and tells Stanhope that his neuralgia has make up excuses in order to leave. Nonetheless, Hibbert’s fear of
become too excruciating to ignore. “I know,” replies Stanhope. war is so overwhelming that he pushes on, insisting that he has
“It’s rotten, isn’t it? I’ve got it like hell.” This shocks Hibbert, but “tried damned hard” to put up with the pain but that he can’t bear it
he pushes on nonetheless, saying, “Well, I’m sorry, Stanhope. any longer. As such, Sherriff demonstrates to the audience just how
It’s no good. I’ve tried damned hard; but I must go down.” In desperate Hibbert is to escape his fear.
response, Stanhope asks where he plans to “go down,” and
Hibbert makes it clear that he wants to go to the doctor’s so
that he can seek out “some kind of treatment.” After a moment
of silence, he moves to leave, but Stanhope blocks him and says,
“You’re going to stay here.”
Hibbert claims the doctor will surely send him to the hospital Once again, Stanhope appears psychologically unstable. If he’s
once he sees his condition, but Stanhope claims to have already willing to shoot one of his own men, there’s no telling how unhinged
spoken to the doctor and told him to not send Hibbert he must be. Of course, his aggressiveness in this moment is most
anywhere. This angers Hibbert, who begins to yell hysterically likely the result of his own fear—since he himself can hardly handle
about his right to see a doctor and get treatment. With this, he the fear of life in the trenches, he deeply resents Hibbert’s
declares that he’s leaving, and he goes into the sleeping willingness to lie his way out of the war.
quarters of the dugout to fetch his bags. When he returns,
Stanhope has un-holstered his revolver. “You’re going to stay
here and do your job,” Stanhope says. Still, Hibbert tries to get
by, claiming he’s in unfathomable pain. At one point, he
becomes so desperate that he swings a walking stick at
Stanhope, but Stanhope catches it midair and rips it from his
hands. He then tells Hibbert that he has thirty seconds to
decide to stay. If he tries to leave, he’ll shoot him.

As Stanhope and Hibbert glare at one another, Hibbert breaks By threatening to shoot Hibbert, Stanhope proves to Hibbert that
into a high laugh, exclaiming, “Go on, then, shoot!” He swears he is serious, and by withstanding the threat, Hibbert proves that
he’ll never again return to the trenches, and he holds his he’s not as cowardly as Stanhope might think. “I liked the way you
ground even when Stanhope begins counting down from stuck that,” Stanhope says to Hibbert, implying that Hibbert can, in
fifteen. When Stanhope reaches zero, Hibbert braces to be fact, withstand great pressure, despite what he might otherwise
shot, but Stanhope merely smiles, saying, “Good man, Hibbert. I think about himself. Having proved this, Stanhope then normalizes
liked the way you stuck that.” He then urges Hibbert to stay and Hibbert’s fear by admitting that he too can barely get himself to
“see it through,” but Hibbert says, “Stanhope! I’ve tried like remain in the trenches. In doing so, he makes Hibbert feel like he
hell—I swear I have. Ever since I came out here I’ve hated and isn’t so alone, using companionship as a way of inflating his courage.
loathed it. Every sound up there makes me all—cold and sick. As such, the audience sees that Stanhope is perhaps not as
I’m different to—to the others—you don’t understand.” In unhinged as one might think, since this scene proves that he can be
response, Stanhope merely pours Hibbert a cup of whiskey and caring and shrewd as a leader.
tells him to drink it, admitting that he feels the exact same way.
Stanhope reveals to Hibbert that the only way he himself can Stanhope’s main successful tactic in trying to get Hibbert to stay is
bear the war is by drinking. He then suggests that they go on to call upon the notion of camaraderie and friendship. Rather than
watch together. He points out that if Hibbert did leave, he’d encouraging Hibbert to stay for vague notions of valor or pride, he
never be able to forgive himself for leaving behind men like implores the man to think about what it would feel like to leave
Osborne and Trotter and Raleigh. “Don’t you think it worth good people like Raleigh and Osborne and Trotter behind. The fact
standing in with men like that?” he asks. Finally, Hibbert that this works only further emphasizes Sherriff’s interest in the
promises to try to stay, asking Stanhope to not tell anybody powerful dynamics of friendship in difficult circumstances.
about their conversation.
When Hibbert leaves, Osborne enters, and Stanhope informs Trotter’s story about previous raids makes it even more clear that
him that he and Raleigh will be leading the raid on the German the mission Osborne and Raleigh are about to embark upon is—for
trenches. The plan, he explains, is that Osborne will direct the lack of a better term—a death trap. As such, the sense of futility that
procedure (overseeing the pitching of a smoke bomb) while characterizes the war (with its never-ending cycles of inaction and
Raleigh and ten soldiers dash into the trenches to grab action) once again comes to the forefront, as Trotter frames the raid
hostages. Osborne accepts this, and Stanhope leaves. Soon as something that will do little more than kill a number of good men.
after, Trotter comes out of the sleeping quarters and sits down
to have tea with Osborne, who tells him about the raid. “I
reckon the Boche are all ready waiting for it,” Trotter says. “Did
you ’ear about the raid just south of ’ere the other night?” When
Osborne says he hasn’t, Trotter explains that another British
company knocked holes in the German trench wires, but by the
time the soldiers arrived for the raid, the Germans were
waiting for them because they knew where to expect the
infiltration.

Osborne suggests that Trotter avoid talking to Raleigh about The satisfaction that Osborne derives from reading Alice’s
the raid, saying that the young boy doesn’t need to know the Adventures in Wonderland comes from the fact that the book
mission is so grim. Trotter then asks Osborne what he’s celebrates—or at least interrogates—the notion of meaninglessness.
reading, and Osborne shows him the book: Alice’s Adventures in Whereas Stanhope (for instance) searches desperately for meaning
Wonderland. This surprises Trotter, who can’t wrap his head in his otherwise futile and dismal wartime life, Osborne simply
around why a grown man would read a children’s book. “Have accepts the senselessness of war, knowing that searching for
you read it?” asks Osborne, and Trotter says, “No!” Osborne meaning in meaningless things only leads to existential unease.
then urges him to read the book and reads a passage aloud, Unfortunately, Trotter can’t see this point, which is rather
leaving his friend somewhat dumbstruck until, finally, Trotter unsurprising, given that he too seeks to add meaning to his wartime
says, “I don’t see no point in that.” In response, Osborne says, life by trying to assert a sense of control over the passage of time.
“Exactly. That’s just the point.”
Stanhope comes into the dugout and fetches Hibbert from the Raleigh’s excitement arises from his naiveté. Indeed, he sees being
sleeping quarters, and together they go on watch. After they chosen to lead the raid as a great honor, not stopping to consider
leave, Trotter tells Osborne that Hibbert’s eyes were so red the fact that this means he must carry out a highly dangerous
that he thinks he may have been crying. Not wanting to talk mission. However, his excitement may also come from the fact that
anymore, Osborne asks Trotter if he might let him write a letter the raid gives him a chance to stop waiting for something to happen.
in peace, and Trotter sets to writing his own. Just then, Raleigh While the other men have all experienced the cycles of inaction and
excitedly rushes in and says that Stanhope told him about the action that take place during trench warfare, Raleigh has only sat in
raid. “I say,” he says, “it’s most frightfully exciting!” He then asks wretched anticipation. As such, the raid gives him something to look
Osborne if the two of them were “specially” chosen for the job, forward to, finally allowing him to do something.
and when Osborne confirms that they were, he proudly
exclaims, “I say!”
ACT 3, SCENE 1
Near sunset the following day, Stanhope paces the dugout and Unlike Stanhope, the Colonel doesn’t have much at stake in the raid.
speaks with the Colonel, who tells him that headquarters has Indeed, he doesn’t have personal relationships with the men who
told him the raid must take place before 7pm. When Stanhope are venturing into danger, so he only stands to benefit from the
asks why, the Colonel says, “They’ve got some conference to mission, since he’ll be able to report any modicum of success to his
arrange the placing of reserves.” In response, Stanhope superiors. As such, Sherriff presents the Colonel as a man obsessed
guesses, “They can’t have it later because of dinner, I suppose.” with following orders, somebody who copes with the stressors of
He also guesses that the Germans are simply waiting with their military life by carrying out his tasks without question, even when
guns drawn for the raid to happen, but the Colonel merely says this means sending men to their death.
he can’t disobey orders. As they go through the plan once
more—the Colonel telling Stanhope they’ll question the
German prisoner right away—Osborne and Raleigh enter the
dugout. Stanhope encourages the Colonel to go speak to the
rest of the men who will be carrying out the raid, and though
he’s hesitant at first, Stanhope convinces him that it will be
good for their morale.

On his way out, the Colonel wishes Osborne and Raleigh good In the face of uncertainty, Stanhope can do nothing but assume a
luck, saying he’ll recommend them for awards if they succeed false sense of confidence, assuring Osborne that he will return
and reminding them how important it is to bring at least one safely. “You’re coming back, old man,” he says, but it soon becomes
hostage back. The Colonel and Stanhope turn to leave, but clear that this is something he needs to tell himself, since he doesn’t
Osborne calls Stanhope back and places his wedding ring, know what he would do “without” Osborne. As such, Sherriff
watch, and a letter on the table and asks Stanhope to make sure highlights once again the bond Stanhope has with Osborne,
they get to his wife if anything happens to him. “You’re coming showing the audience the vital importance and sustaining qualities
back, old man,” Stanhope says. “Damn it! what on earth should I of friendship during war.
do without you?”
After Stanhope leaves, Osborne and Raleigh try to pass the Again, Sherriff puts on display the friendly relationship Raleigh has
time before the raid. They only have six minutes, but it ticks developed with Osborne. One even gets the sense that Osborne has
along at an excruciatingly slow pace. Sitting at the table, they taken on a certain fatherly role in his connection with Raleigh, who
both yawn and feel “empty.” In the intervening time, they make clearly looks up to him and sees him as wise, as evidenced by the
idle chit-chat, which Raleigh periodically interrupts by asking fact that he keeps asking him questions about what the raid will be
questions about the raid, though they’ve decided to focus on like. But the best way to pass the time, they find, is to bond over
other things until the actual event. Eventually, Osborne quotes shared experiences, once again suggesting that friendship and
from Alice’s Adventures in Wonderland as a distraction, and camaraderie can help people get through difficult psychological
Raleigh finishes the passage, adding a final couplet to the circumstances.
rhyme. “Now we’re off!” Osborne says, and the two men start
talking about pigs in the forests where Raleigh grew up.
Apparently, Osborne is familiar with the area. Next, they
discuss what they’ll have when they get back from the raid, and
Osborne lets slip that the higher-ups have procured two
bottles of champagne, six cigars, and a fresh chicken.
Finally, the time comes for Osborne and Raleigh to depart for For the first time, Raleigh picks up on the inkling of doubt working
the raid. On their way out, Raleigh notices Osborne’s ring on through Osborne’s head regarding whether or not they will survive
the table and says, “I say, here’s your ring.” “Yes,” replies the raid. Whereas Osborne has until this point been a steady source
Osborne. “I’m—leaving it here. I don’t want the risk of losing it.” of reassurance, in this moment Raleigh recognizes that his friend is
“Oh!” says Raleigh, and a tense silence ensues as he puts the perhaps just as unsure about the raid as anybody else. In order to
ring on the table again. “I’m glad it’s you and I—together, keep Raleigh in good spirits, though, Osborne once again calls upon
Raleigh,” Osborne says. “Are you—really?” asks Raleigh. When the connection they’ve established, telling Raleigh that he’s glad
Osborne reaffirms that he is indeed glad to be carrying out the they’re going on the mission together. Fortunately, this helps Raleigh
raid with him, Raleigh says, “So am I—awfully.” Agreeing that put aside his fears, allowing him to focus on camaraderie rather
they “must put up a good show,” they put on their helmets and than on the possibility of disaster.
exit the dugout.

The dugout remains silent until the smoke bomb explodes Unsurprisingly, the Colonel’s first thought after the raid is about
overhead, accompanied by a thrum of machine-gun fire. The whether or not it was successful. Rather than checking on the men
commotion escalates, though it remains muffled by the earthen who actually carried out the mission, he immediately goes to the
walls of the dugout. After several moments, the noises abate, prisoner and begins the process of interrogating him. Stanhope, on
and Stanhope’s voice rises into the air. “All right, sir,” he says. the other hand, is clearly worried for his friends, so he retreats to
“Come down quickly!” In response, the Colonel’s voice calls out, check on them. In this way, Sherriff reveals each character’s
asking how many soldiers were captured. “Only one,” Stanhope priorities, once more casting the Colonel as an uncaring man
says. As the Sergeant-Major wrestles a young German soldier obsessed with carrying out his duties.
down the steps of the dugout, Stanhope goes to check on the
men. Meanwhile, the Colonel and Sergeant-Major confiscate a
notebook from the German, giving the Colonel great pleasure,
as he believes his superiors will be quite pleased with the
results of the raid.
Stanhope slowly comes down the dugout stairs, and the The fact that the Colonel sees the raid as a “feather in [his] cap”
Colonel says, “Splendid, Stanhope! We’ve got all we wanted […]. aligns with the notion that he is a man preoccupied with carrying
I must go right away and ’phone the brigadier. He’ll be very out his orders. Stanhope, on the other hand, is distraught to
pleased about it. It’s a feather in our cap, Stanhope.” With a discover that Osborne has died. This is because Osborne was in
“look of astonishment,” Stanhope says in a “dead” voice, “How many ways the person who helped keep him maintain even the
awfully nice—if the brigadier’s pleased.” Coming to his senses, slightest amount of psychological stability. Now, without his wise
the Colonel remembers to ask how the men fared, asking if friend, Stanhope has nobody to help him when he gets too drunk
they’re “all safely back.” In response, Stanhope answers that and nobody with whom he can speak candidly about his fear.
Raleigh and four men returned safely, but that Osborne—along
with six other men—have died. Osborne, it seems, was killed by
a hand grenade while waiting for Raleigh to come out with the
hostage. At this point, Raleigh enters the dugout in a daze, and
the Colonel congratulates him before leaving.
Raleigh sits on Osborne’s bed, and once he and Stanhope are It’s worth remembering that Osborne often acted as a mediator of
alone, they look at each other in silence, the Very lights shining sorts between Stanhope and Raleigh. Indeed, he tried to prepare
in faintly from above the trenches. After a moment, Stanhope Raleigh to deal with a new version of his old friend, and he often
says in an “expressionless” voice, “Must you sit on Osborne’s spoke with Stanhope about Raleigh, assuring the captain that
bed?” With this, he climbs the dugout steps, leaving Raleigh Raleigh would still admire him despite the difficult wartime
alone as “heavy guns” thud through the air in the distance. circumstances. Now, though, Osborne is gone, and Stanhope is at a
loss for how to interact with Raleigh. Unable to navigate these
interpersonal grounds, he resorts to indifference, telling Raleigh to
get off Osborne’s bed and leaving the shaken young boy alone.

ACT 3, SCENE 2
That night, Trotter, Stanhope, and Hibbert enjoy the fresh The fact that Stanhope parties in great excess on the very same
chicken, the bottles of champagne, and the cigars brought in by night that his friend has died comes as no surprise, since the
the higher-ups to celebrate the completed raid. They each get audience has seen that this is how he deals with hardship. Indeed,
drunk and talk about women, telling jokes and even looking at rather than facing his emotions, he drowns them with champagne
suggestive pictures Hibbert carries at all times. Before long, and whiskey. However, he can’t quite stomach the idea that Raleigh
Stanhope brings out a bottle of whiskey, pouring it out for his doesn’t want to eat with them, perhaps because Raleigh’s refusal to
fellow officers. As he does this, Trotter says he’ll finish his indulge makes him feel guilty for not mourning Osborne in a more
whiskey and then go relieve Raleigh, wondering aloud why the appropriate manner.
boy never came down to eat with them. “That lad’s too keen on
his ‘duty,’” Hibbert says. “He told me he liked being up there
with the men better than down here with us.” Stanhope can’t
believe his ears, seemingly indignant to hear such an insult.
Trotter, for his part, says, “I reckon that raid shook ’im up
more’n we thought.”
Talking about the raid works Stanhope into anger, so he tells his The argument that Stanhope and Raleigh have in this scene calls
officers to go to bed. However, Hibbert is so drunk he doesn’t upon the tension that has been lurking between them since Raleigh
recognize Stanhope’s indignation, instead cheekily suggesting first arrived in the dugout. Although there have been several
that Stanhope should go to bed. “Clear out of here!” Stanhope moments of friendliness between them, for the most part it’s clear
shouts, and Hibbert stumbles to the sleeping quarters, leaving that Stanhope has never gotten over his resentment of the fact that
Stanhope with Trotter, who is preparing to relieve Raleigh. Raleigh found his way into his company. By finally allowing their
Once alone, Stanhope tells Mason to bring Raleigh’s supper, tension to come to a head, Sherriff demonstrates the complex
but when Raleigh finally arrives, the young officer admits he has nature of friendship, confirming once more that relationships often
already eaten with the other soldiers. “You eat the men’s undergo difficult transformations when they are brought into new
rations when there’s barely enough for each man?” Stanhope contexts.
asks. “They asked me to share,” Raleigh says, and this comment
sparks an argument about whether or not it’s appropriate for
Raleigh to eat with his men.
“You insulted Trotter and Hibbert by not coming,” Stanhope Finally, Stanhope reveals to Raleigh why he acts the way he acts: to
tells Raleigh. After a moment of silence, Raleigh says, “I’m ignore his demons. Whereas Raleigh may have thought Stanhope is
awfully sorry, Dennis, if—if I annoyed you by coming to your a callous man content to have a grand party the very night his friend
company.” He then accuses Stanhope of resenting his presence. has died, in this moment he learns that this is simply the only way
Stanhope brushes this off and tells Raleigh to eat his dinner Stanhope knows how to cope with hardship. Indeed, Stanhope
before it goes cold. “Good God!” Raleigh finally erupts. “Don’t’ admits that there is a “limit to what a man can bear,” and it’s clear
you understand? How can I sit down and eat that—when—when that he himself has found that limit. In order to go on, it seems, he
Osborne’s lying—out there—” Stanhope stands up when he has to drink himself into oblivion.
hears this, and his next words are broken by labored breathing.
“My God!” he shouts. “You bloody little swine! You think I don’t
care—you think you’re the only soul that cares!” In response,
Raleigh points out that Stanhope is down here drinking and
feasting, but Stanhope interrupts him, saying, “To forget! You
think there’s no limit to what a man can bear?”

Realizing the effect of his words on Stanhope, Raleigh In this moment, Raleigh clearly wants to have an open conversation
apologizes, saying, “I’m awfully sorry, Dennis—I—I didn’t with Stanhope. When he tries to talk, though, Stanhope cuts him off.
understand.” Stanhope makes no reply, so Raleigh tries again. Nonetheless, it’s evident that he wants to have a frank talk about
“You don’t know how—I—” he says, but Stanhope cuts him off by the grief of losing Osborne. After all, both he and Stanhope feel this
asking him to go away. “Can’t I—” Raleigh begins. “Oh, get out!” grief, so they should be able to commiserate. Unfortunately, though,
shouts Stanhope. “For God’s sake, get out!” Stanhope remains unable to do this, opting instead to numb himself
to the pain. As such, he isolates himself from the last true friendship
he has available to him.
ACT 3, SCENE 3
The candles that have been lighting the dugout are no longer In this scene, Stanhope has apparently slept in. Already, then, the
burning. It is dawn on the following day, and Stanhope is still in audience can see the effect of Osborne’s death on him, since
bed. Mason gently wakes him and gives him tea. Trotter, for his Osborne was in many ways the only person helping Stanhope go on
part, has already gotten dressed and woken up Hibbert and functioning despite his alcoholism. It’s also worth noting that
Raleigh. Soon enough the Sergeant-Major arrives, and Stanhope orders his men to join the fighting but as of yet has made
Stanhope tells him to make sure all of the men are in the no move toward leaving the dugout himself—perhaps an indication
trenches with their platoons and prepared for the attack. As he that his fear is keeping him from fulfilling his soldierly duties.
orders people back and forth, Stanhope pours whiskey into his
tea and remains in the dugout. Just as Trotter is about to leave,
the soldiers hear the sound of falling shells. “Better go up,
Trotter,” Stanhope says. “Call the others.” He then tells Trotter
to send a soldier to periodically tell him how things are going.
When Raleigh goes up, he turns and says, “Cheero—Stanhope.” Interestingly enough, the very coping mechanism Stanhope forced
From where he sits, Stanhope doesn’t raise his head, merely on Hibbert by suggesting that he drown his fears with alcohol is now
saying, “Cheero, Raleigh. I shall be coming up soon.” The sound backfiring, as Hibbert uses his hangover as an excuse to delay
of artillery and bombs is quite steady now, and Stanhope calls joining the fight above. As such, it seems that drinking actually won’t
to Hibbert, who emerges looking quite haggard and pale. “You help him overcome his fears, and perhaps never has. In fact, what
want me to go up now?” he asks, and Stanhope says, “Of course kept him from leaving the trenches wasn’t Stanhope’s suggestion
I do.” Still, Hibbert asks for some water because the champagne that he drink, but Stanhope’s camaraderie. After all, Stanhope took
from the night before has dried his mouth. The sound above a new interest in Hibbert after their conversation about their fears.
the dugout has become very intense, but Hibbert drinks water In this way, Sherriff once again spotlights the vitalizing effects of
slowly. “There’s no appalling hurry, is there?” he asks Stanhope. friendship during war. Unfortunately, though, Hibbert must now
“No hurry!” Stanhope says. “Why d’you think the others have face the inevitable violence, and Stanhope is doing nothing to
gone up?” At this point, even Mason is ready to join the fighting, encourage him other than shouting at him to leave the dugout.
and so Stanhope tells Hibbert to go with him. Chaos abounds
above, and shouts for a stretcher reach the dugout.

The Sergeant-Major enters the dugout and fills Stanhope in on When Raleigh is injured, Stanhope shows him special attention by
what’s happening, telling him that a soldier has been badly ordering that he be brought out of the trenches and into the dugout.
wounded. As he informs him of this, yet another call for the This is perhaps the first time that he gives Raleigh special treatment,
stretcher sounds into the air. At this, the Sergeant-Major an indication that their relationship is in fact quite important to
bounds up the steps, and when he returns, he tells Stanhope him. In fact, it’s so important to him that he wants to use a stretcher
that Raleigh has been hit in the spine by a shell and can’t move to take Raleigh to a hospital—a ludicrous idea, one that underlines
his legs. Stanhope orders him to bring Raleigh down into the just how much Stanhope truly does care for Raleigh.
dugout, and when he reappears, he has Raleigh cradled in his
arms. “’E’s fainted, sir. ’E was conscious when I picked ’im up,”
the Sergeant-Major says, placing Raleigh on Osborne’s bed.
Stanhope orders him to go get two men with the stretcher, and
though the Sergeant-Major tries to point out that they’ll never
be able to get Raleigh to a hospital in these conditions,
Stanhope yells at him to follow orders.
When the Sergeant-Major leaves, Raleigh wakes up and is in a When Stanhope says, “Well, Jimmy, you got one quickly,” he calls
rather jovial mood, greeting Stanhope as if nothing terrible has Raleigh by his first name for the first time throughout the entire
happened. “Hullo—Dennis,” he says. “Well, Jimmy,” Stanhope play. In doing so, he finally acknowledges their familiarity, drawing
says, smiling, “you got one quickly.” Raleigh admits that he upon their past friendship in order to comfort the injured boy. Taken
doesn’t remember coming into the dugout. Regardless, he says, in conjunction with his previous conversation with Hibbert—in
he simply got “winded” after something knocked him over, but which he established a friendly connection in order to discourage
he claims he’s all right now, and he tries to get up. Luckily, Hibbert from leaving—this moment solidifies the notion that
Stanhope keeps him from rising. “I say—Dennis,” he says. “It—it Stanhope often uses camaraderie and friendship as a way of
hasn’t gone through, has it?” Telling the truth, Stanhope informs comforting and emboldening his soldiers. In turn, it’s clear he
Raleigh that the shell did indeed go through him. He then understands just how important relationships are in difficult
promises that he’s going to have him taken to the hospital and, circumstances, though he previously has been incapable of bringing
eventually, home. “I can’t go home just for—for a knock in the himself to show Raleigh the kind of friendly affection he does now.
back,” Raleigh says, fidgeting around until he moves in a way
that tweaks his injury, at which point he howls in pain.
Realizing the gravity of the situation, Raleigh begins to In this moment, Stanhope loses yet another friend. In turn, he is left
understand that he can’t move his legs. “Dennis—” he whispers completely alone with his fear. What’s more, it’s worth noting that
after a moment of silence. “Could we have a light? It’s—it’s so he still has yet to join his men in the trenches, instead preoccupying
frightfully dark and cold.” Immediately wanting to himself in the dugout. Of course, he has for the past few minutes
accommodate the boy’s needs, Stanhope rises and searches for been treating Raleigh, but his overall participation in the battle has
a candle, promising to also bring another blanket. For a been quite low so far, once again reminding the audience that he is
moment, he leaves Raleigh alone in the room, and Raleigh stricken with fear and struggling to get himself to venture into
releases an indistinguishable sound, “something between a sob harm’s way.
and a moan.” When Stanhope returns, he puts the blanket on
Raleigh and asks, “Is that better, Jimmy?” Unfortunately,
Raleigh doesn’t make a sound, and Stanhope stares at him for a
while before standing once more and putting the candle back
on the table.

Above, the sounds of the attack rage louder and louder. Finally, The complete and inescapable chaos of this final moment in
a soldier rushes down and tells Stanhope that Trotter has asked Journey’s End is what the soldiers have been waiting for the entire
that he “come at once.” Stanhope sends him away, promising time. Each day, they’ve waited with bated breath for this kind of
he’s on his way, and when he’s alone, he pauses one last time disaster to befall them. Now that the German attack has finally
over Osborne’s bed and “runs his fingers over Raleigh’s tousled descended upon them, though, one gets the sense that those who
hair.” Having done this, he finally climbs the steps, pausing for a survive will inevitably go on waiting for the next period of violence.
moment as his form is silhouetted against the dawn sky. Several Indeed, Sherriff doesn’t actually provide the audience with the
moments later, there comes a high-pitch sound followed by a “journey’s end,” but rather stops the play in the middle of the very
massive explosion, the force of which extinguishes the candle thing for which everybody has been waiting, thereby emphasizing
on the table and splinters the wooden supports of the dugout, the never-ending quality of war and the sense that violent conflict is
sending puffs of sand into the air as the entire space begins its nothing but a repetitious cycle.
slow collapse.

HOW T
TO
O CITE
To cite this LitChart:
MLA
Lannamann, Taylor. "Journey’s End." LitCharts. LitCharts LLC, 21
Aug 2018. Web. 21 Aug 2018.
CHICA
CHICAGO
GO MANU
MANUAL
AL
Lannamann, Taylor. "Journey’s End." LitCharts LLC, August 21,
2018. Retrieved August 21, 2018. https://www.litcharts.com/lit/
journey-s-end.
To cite any of the quotes from Journey’s End covered in the Quotes
section of this LitChart:
MLA
Sherriff, R.C.. Journey’s End. Penguin. 1929.
CHICA
CHICAGO
GO MANU
MANUAL
AL
Sherriff, R.C.. Journey’s End. London: Penguin. 1929.

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THE EARWIG Related Themes:

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Act 2, Scene 1 Quotes

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SUMMARY AND ANAL

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