Arthur Conan Doyle's The Guards Came Through, and Other Poems (1919) opens with a title poem that plunges the reader into the voice of a soldier from the Twenty-first—'Men of the Twenty-first, / Up by the Chalk Pit Wood'—whose exhausted, first-person account of being 'beaten and broke in the fight' is punctuated by the repeated refrain 'sticking it, sticking it yet.' The poem's diction is deliberately plain and physical: 'Weak from our wounds and our thirst, / Wanting our sleep and our food.' The arrival of the Guards—'Irish, Welsh and Scot, / Coldstream and Grenadier'—is rendered as a moment of near-relief, with the speaker noting 'We, we were down on our knees, / Praying for us and for them.'

Diction of Exhaustion and Relief

The title poem builds its effect through a narrow, repetitive lexicon. Words like 'sticking,' 'always,' and 'never' recur to create a sense of unrelenting pressure: 'Always the thud and the whine, / Always the yell of the Hun.' The speaker's physical state is given in short, blunt phrases—'Fainting and spent and done'—and the only variation comes with the shouted command 'Stand to!' and the cry 'Clear the front for the Guards!' The relief is understated: the men are 'Praying with tea' in the next line, a deliberately mundane detail that contrasts with the preceding 'tortures of Hell.' Doyle avoids heroic rhetoric; the Guards simply 'came through,' and the poem ends on that flat, factual note.

Satirical Voice in 'The Bigot'

In 'The Bigot,' Doyle shifts to a sharply different register: the voice of a rationalist attacking religious hypocrisy. The poem uses rhetorical questions and ironic juxtaposition—'What Pagan ever dreamed a sight / So holy and sublime as this!'—to mock the idea of a God who condemns sinners to eternal torment. The diction is deliberately anachronistic and colloquial: 'Poor foolish folk! Had they begun / To weigh the myths that they professed.' Doyle lists biblical miracles ('Balaam's ass, or Samson's might, / Or prophet Jonah and his whale') alongside classical myths ('Theseus or of Hercules') to argue that both are equally implausible. The poem's final stanza turns to direct address: 'O Bigotry, you crowning sin!'—a shift from argument to exclamation that reveals the author's own moral stance.

Nostalgia and Landscape in 'The Athabasca Trail'

'The Athabasca Trail' adopts a lyrical, almost ballad-like voice, with a regular meter and refrain: 'With the packer and the packhorse on the Athabasca Trail.' The speaker's nostalgia is built through sensory details—'the roar of rivers where the rapids foam and tear,' 'the balsam-laden air'—and a catalog of Canadian geography: 'the gorge of Erie,' 'the Inland Ocean,' 'the little prairie hamlets.' The poem's structure moves from personal memory ('My life is gliding downwards') to a broader celebration of Canada as 'Mother of a mighty manhood, land of glamour and of hope.' The repeated refrain anchors the poem in a specific, physical journey, contrasting with the static horror of the war poems.

Ragtime as Defiance

'Ragtime!' takes its cue from a newspaper report that the Titanic's band played ragtime until the end. Doyle transforms this anecdote into a command: 'Ragtime! Ragtime! Keep it going still! / Let them hear the ragtime! Play it with a will!' The poem's short, imperative lines mimic the rhythm of the music—'Now the “Darkey Dandy,” now “The Yellow Coon!”'—while the setting is stark: 'There's glowing hell beneath us where the shattered boilers roar.' The band's persistence is framed as a kind of stoic duty: 'There's nothing more that you can do, and nothing you can mend, / Only keep the ragtime playing to the end.' The poem ends with a shift to a hymn, but the emphasis remains on the act of playing itself.

Doyle's collection moves between the immediate, colloquial voice of the trenches and more formal, meditative or satirical modes. Readers may note how the same poet who wrote the Sherlock Holmes stories applies a similar eye for concrete detail—the 'tea' after battle, the 'packer and packhorse'—to verse that often resists easy patriotism. The poems reward attention to their shifts in register and their use of repetition, refrain, and direct address.