This dissertation is a close look at poems written during the Great War by Thomas Hardy, Edward Thomas, and Wilfred Owen. I describe how each deploys poetry's formal resources to engage the affective, cognitive, spiritual, and political problems the war produces for them. I argue that strategies of poetic doubling allow them to address-if not quite assuage-the effects of the war that trouble them the most. Each poem manifests this doubling in different ways, but the tactic of doubling is pervasive. Ultimately, I argue that this doubling is equally an effect of the war's incessant production of antagonistic cultural forms, and of lyric poetry's fundamental ability to accommodate internal opposition at the formal level. The intrinsic ambivalence of poetic form makes it a particularly effective discourse for examining war's social and political contradictions.