Charlotte Mew's "June, 1915": The Contrast Between the Innocent Enthusiasm of a Child and the Numbed Sensibilities of War-weary Adults

The context of Charlotte Mew's "June, 1915" is England during the first summer after the outbreak of World War I in August 1914. This poignant poem captures the contrast between the innocent enthusiasm of a child, who delights in the sight of the first rose of summer, and the numbed sensibilities of war-weary adults. These adults, consumed by the war that threatened both the human and natural worlds, remain unmoved by the beauty of nature. However, the poem's final two lines offer a glimmer of hope. Neither the cyclical rejuvenation of nature in June nor the innocent joys of childhood embodied by "him" are affected by destruction and bloodshed. Over time, these forces of renewal and innocence will overcome and eventually overshadow the pain and suffering caused by war.

Charlotte Mew

Mew's "June, 1915" encapsulates the impact of war on the perception of beauty and joy, illustrating the stark contrast between the child's pure appreciation of nature and the jaded outlook of war-weary adults. While the adults are burdened by the weight of the world, the poem hints at the enduring resilience of nature and the capacity for innocence and hope to triumph over destruction and despair.

The opening line, "Who thinks of June's first rose today?" suggests that in the midst of the turmoil and despair of the world, only a child with their pure and untarnished perspective would take notice of the simple beauty of a rose in June. The child is described as having "shining eyes and rough bright hair," emphasizing their vitality and liveliness.

Next, it depicts the distance between this idyllic scene and the world of suffering and weariness. The green sunny lane, where the child can reach down and pick the rose, is metaphorically far away from the "veiled lamps of town," representing the darkness and gloom of urban life. The "fearless stars" further emphasize the contrast between the untroubled natural world and the world of the city.

Farther, it raises a rhetorical question about the significance of June, the month of renewal and growth, to a world burdened by grief and despair. The world's eyes have gone dim from continuously witnessing sorrow and dread. The face of grief and dread could refer to the experiences of war and loss that were prevalent during the time the poem was written:

" What’s little June to a great broken world with eyes gone dim
          From too much looking on the face of grief, the face of dread?"

The final lines juxtaposes the broken world with the child and his perception of June. The child's small, eager hand, shining eyes, and rough bright head symbolize innocence, curiosity, and vitality. In comparison to the brokenness of the world, the child's experience of June's first rose becomes even more profound. The poem suggests that the child, with their untainted perspective, is more connected to the beauty and hope of the natural world than the broken world is:

" Or what’s the broken world to June and him
          Of the small eager hand, the shining eyes, the rough bright head?"

Overall, "June, 1915" explores the theme of the dichotomy between the innocence and beauty of nature and the brokenness and grief of the world. It highlights the contrast between a child's perception and the weariness of adults, suggesting that the child's ability to appreciate the simple joys of nature is a source of hope amidst a troubled world.

Note: Charlotte Mary Mew, a London native, lived from 1869 to 1928. Her upbringing took place in Bloomsbury, and her life was marked by personal struggles. After her father's death, she was compelled to begin teaching at the age of 29. Due to a history of mental instability in her family, she never married. While she initially focused on writing short stories and essays, Mew didn't venture into poetry until her forties. Her poetry often revolved around themes of suffering, isolation, and loss, reflecting the challenges she faced in her private life. Despite the burdens of familial and financial problems, Mew's best work displayed controlled and accessible language, endearing her to contemporaries such as Thomas Hardy and John Masefield.

Ardhendu De