The stage notes throughout the play show the simple, atmospheric style the Sherriff uses in describing the aspects of the play. The very start of the play which describes the set, and the situation for the whole play, tunes the audience into the tone of the scene.
“Warm yellow candle flames light the other corner from the necks of two bottles on the table. Through the doorway can be seen the misty grey parapet of the trench, and a narrow slit of starlit sky.”
This is typical of R.C. Sherriff’s style. The notes are simple, explanatory but have the aura of the scene in mind. The characterised aspects of the scene such as the “Warm yellow candle flames” and the “misty grey parapet” contrast to emit the homeliness in the trench, but with the sinister, stony atmosphere outside. Sherriff also focuses greatly on the actions and movements of each character. He does this to portray the character in the scene exactly as he wants them to be perceived by the audience. This is shown in Act One where Raleigh arrives in the trench for the first time and his uneasy disposition as a newcomer to the dugout is clearly apparent. Sherriff explains:
“An officer comes groping down the steps and stands in the candle-light. He looks round, a bit bewildered. He is a well built, healthy looking boy of about eighteen, with the new uniform of a 2nd lieutenant.”
This is typical of Sherriff’s descriptive technique. Whenever an action or character arrives for the first time in the play, we are always informed first of his appearance, then of his expression and manner.
R.C. Sherriff has given each character a dialect that suits their personality. Trotter has a less educated or refined dialect that that of Osbourne or Raleigh. We can see this every time he makes an appearance in the play:
“Oh Lord no. (He pauses) I’m sorry ‘e’s got to go. E’s a nice young feller-”
Trotter clearly has less need for articulated speech as this emphasises his simple mind and lack of depth. This is also shown in Mason’s character.
The character’s have varied forms of language, from Raleigh’s deviating but enthusiastic speech, to the confident, condescending tone of Stanhope. Stanhope has the most intriguing styles of language in the play. Rather than have the same constancy that either mason or Trotter has, his speech patterns waver with his mood. When in a rare, assured state, Stanhope’s sentences are broader and more fluent. This is shown when he is discussing the details of that forthcoming attack with Osbourne in Act Two.
“I’ve arranged two wiring parties to begin at eight O’ clock tonight- Corporal Burt with two, and Sergeant Smith with two. I want to strengthen the wire all along the front.”
This shows Stanhope to be confident in his tone and uninfluenced by any doubts, whereas when in a state of anxiety, he loses this ability, as shown in the same act, only a few lines later:
“Osbourne: Lets talk about something else, croquet or the war.
Stanhope: (laughing) Sorry! It’s a habit that’s grown on me lately- to look right through things, and on and on- till I get frightened and stop.”
Stanhope’s language takes on another, completely different form when in anger. All composure and fluency is lost on these occasions and instead his language becomes aggressive and scathing and loses any rationality whatsoever. This is displayed most notably against Hibbert in Act Two and against Raleigh in Act Three.
“Stanhope: So you know more about my men then I do?
Raleigh: I’m sorry then- if I was wrong.
Stanhope: Sit down.
Raleigh: It’s all right thanks.
Stanhope: (shouting) Sit down!
The features and personalities of all the characters are described, at least implicitly, and each character ha unique styles of language to complement their personalities.
