Play The Game – Review
Jessie Pope
Twenty-Two stalwarts in stripes and shorts
Kicking a ball along,
Set in a square of leather-lunged sports
Twenty-two thousand strong,
Some of them shabby, some of them spruce,
Savagely clamorous all,
Hurling endearments, advice or abuse,
At the muscular boys on the ball.
Stark and stiff ‘neath a stranger’s sky
A few hundred miles away,
War-worn, khaki-clad figures lie,
Their faces rigid and grey
Stagger and drop where the bullets swarm,
Where the shrapnel is bursting loud,
Die, to keep England safe and warm
For a vigorous football crowd !
Football’s a sport, and a rare sport too,
Don’t make it a source of shame.
To-day there are worthier things to do.
Englishmen, play the game!
A truce to the League, a truce to the Cup,
Get to work with a gun,
When our country’s at war we must all back up
It’s the only thing to be done!
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Analysis
Jessie Pope’s “Play The Game” is a striking example of wartime propaganda, but it also serves as a sharp critique of a public that sits safely at home while others are sent to die in their place. On the surface, the poem frames war as a thrilling competition, likening it to a football match—a beloved national pastime. Beneath this seemingly carefree portrayal, however, lies a biting challenge to those who passively cheer from the sidelines, urging them to recognize that the real issues of war demand more than mere entertainment and complacency.
From the outset, the poem captures the fervor of a football match, describing “Twenty-two stalwarts in stripes and shorts / Kicking a ball along,” cheered on by an enthusiastic crowd. The image of the “savagely clamorous” spectators evokes a society that has grown too comfortable in its distractions, focused more on sport than on the very real struggles of its soldiers. Football, here, is weaponized—elevated to the level of patriotic duty. Pope’s metaphor places those watching from the stands in sharp contrast to the soldiers fighting on the front lines. It suggests that the public is living in a false sense of security, caught up in their own leisure while others bear the burden of defending the nation.
The true challenge of the poem emerges in its second half, where Pope starkly contrasts the excitement of sport with the grim reality of war. The soldiers, described as “war-worn, khaki-clad figures,” are no longer the heroic images of battle, but rather victims of a brutal conflict. Yet Pope recontextualizes their sacrifice by claiming they die “to keep England safe and warm / For a vigorous football crowd.” This line underscores the poem’s harshest criticism: the soldiers are dying not for lofty ideals, but to ensure the continued comfort and entertainment of those who are safely removed from the horrors of war. Pope uses this juxtaposition to expose a disturbing disconnect between the idealized “game” of war and the public’s failure to take responsibility for its true cost.
Pope’s critique is clear: those cheering from the stands, wrapped up in football, are not living up to the standards their country demands in times of crisis. The war, in Pope’s eyes, is not a spectacle to be watched from afar, but a duty to be shared. It is a moral challenge to the public, urging them to recognize that war is not a pastime—it is a burden that demands active participation. The poem’s central message is an indictment of a society that enjoys the fruits of war without facing its consequences. While the football crowd celebrates, the soldiers fight and die to ensure that those at home can continue their leisurely lives.
Pope’s line of attack is unforgiving: while the crowd cheers, the men who actually face the horrors of battle are making the ultimate sacrifice. “Play The Game” is not just a call to arms—it is a moral judgment of those who fail to engage with the real issues at hand. The poem insists that those who benefit from the sacrifices of others must also take part in securing the future. It’s a sharp reminder that complacency, in the face of such sacrifice, is not an option.
The poem’s structure and tone amplify this moral urgency. In the first stanza, the rhythm mimics the pace of a football match, with its quick, lively beat and chant-like repetition. This creates an almost festive atmosphere, a call to action, urging the reader to join the “game” with enthusiasm. But as the poem progresses, the tone shifts. The language becomes more direct, even harsh, as Pope moves from celebrating sport to urging men to “get to work with a gun.” The meter slows down, mirroring the gravity of the final call to action. This shift mirrors the transition in public perception of war, from an idealized pursuit to a painful, unavoidable duty.
At its core, “Play The Game” presents war as a national duty, one that requires sacrifice. The poem is jingoistic in tone, urging men to act without hesitation, portraying war as something noble and exciting. By aligning war with the metaphor of sport, Pope strips it of its brutal reality, making it seem like just another competition to be won. The final plea to “play the game” underscores the urgency of participation, suggesting that those who do not enlist are somehow less patriotic or unworthy of the national pride the poem celebrates.
This simplistic, idealized view of war is a key feature of the poem’s propaganda. By linking the excitement of sport with the reality of battle, Pope encourages men to see war as a challenge to be faced with enthusiasm. However, this portrayal glosses over the true horrors of war. The poem offers no hint of the brutal conditions soldiers would endure—no mention of trench warfare, constant death, or the psychological trauma caused by battle. “Play The Game” presents war as a cause worth fighting for, but it fails to acknowledge the cost of that fight. It simplifies the complexities of war into something easily digestible, and in doing so, it becomes a dangerously naive portrayal of the conflict.
The simplicity of Pope’s message was undoubtedly effective in its time. By presenting war as a clear-cut moral obligation, the poem contributed to the nationalistic fervor that drove many young men to enlist. Yet, in doing so, it also obscured the brutal realities of war and encouraged men to join without fully understanding what they were sacrificing. This idealized view of war was later challenged by poets like Wilfred Owen, who wrote with the visceral knowledge of what war truly entailed. Owen’s “Dulce et Decorum Est” stands in stark contrast to Pope’s glorification of war, exposing the brutality of battle and condemning the idea that it is sweet and fitting to die for one’s country.
Ultimately, “Play The Game” is a masterclass in propaganda, using the familiar and beloved imagery of sport to make war seem both exciting and accessible. It simplifies the message of war, removing its complexities and dangers, and appeals to a nationalistic fervor that demands active participation. However, it also serves as a biting critique of a public that enjoys the benefits of war without engaging in the fight itself. By urging the public to recognize their moral duty, Pope challenges them to stop hiding behind their distractions and take part in the real struggle. The poem presents war as a collective responsibility—one that cannot be avoided, and one that demands every citizen’s contribution. While “Play The Game” succeeded in rallying men to enlist, it also reveals the dangers of simplifying war into a “game” and ignoring its brutal consequences.
Photo by Library of Congress on Unsplash
