to the elegiac fascination of the old Welsh poesy and he knew how to use the haunting effects of its techniques--the strange unease, for example, of the device in which final consonants confidently rhyme, but preceding vowels unsettlingly do not. Profound regret is the prevailing mood of his work, not blazing anger, and the satirical war commentaries of his friend Siegfried Sassoon play no part here.from The Guardian: The greatest voice of the Great War
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