The use of the tenor and vehicle bring about the cruelties of the war This may be true, but soldiers are fighting to protect the people they care about. In World War I, Siegfried Sassoon wrote the poem “Trench Duty” and in the poem, the soldiers “raid[ed] the Boche; men waiting stiff and chilled, or crawling on their bellies through the wire” (9-10). Sassoon uses the allusion of the “Boche” which are the Germans. The word “Boche” is an offensive word to describe the Germans and in this poem, the Germans are seen as the enemies that the soldiers have to defeat in order to defend their
In the poem, “The Man He Killed,” by Thomas Hardy, he illustrates the theme of inhumanity and disgust that is consequential of war, by comparing two men, who could be grown together and are now fighting against each other for someone else’s cause. Feelings towards other people can also take a negative or positive role in real life whether it is a war or a normal life crime; people hurt each other in the way that can cause them to make a certain decision. Throughout the poem, Hardy uses the techniques of tone and word choice to get his ideas across the poem and focuses on the senselessness and futility of war, where a man has killed another because they were fighting on the opposite side of the war. In the beginning, there are many references to different ways that the speaker could have met his
I intend to discuss this topic in two separate parts, beginning with the history, origin and development of the Nazi flag, and then on its effect on the people of Germany, and its subsequent associations and stigmatization. As a result of the atrocities committed during World War II, the Nazi Flag has become a universally recognised symbol of hate and oppression. However, its origin and history were the complete antithesis of the modern day perception of the Nazi Flag and its anti-Semitic associations. In his 1925 autobiography, Mein Kampf, Adolf Hitler wrote: “I myself, meanwhile, after innumerable attempts, had laid down a final form; a flag with a red background, a white disk, and a black swastika in the middle. After long trials I also
In Ernst Jünger’s book, Storm of Steel¸ this passage captured his attitude about war: confusion caused by inexperience. This confusion surrounding war comes from the fact that he is an experienced soldier. He and his fellow inexperienced soldiers had shown up to fight with a yearning “for the experience of the extraordinary” and on their first day of the war, they got that experience (Jünger, p. 5). A violent shelling caused Jünger to rethink his initial thoughts of war. He had been sure war would supply him with “the great, the overwhelming, and the hallowed experience” (Jünger, p. 5).
Owen through his poetry was able to captivate his reader and create visual imagery to heighten the messages he wanted to convey, allowing us comprehend and understand the true horrors occurring on the front. Wilfred Owens ‘Anthem for Doomed youth’, and ‘Dulce Et Decorum Est’, are both anti-war poems, conveying similar messages about how ridiculous and meaningless war is, only bringing suffering and anguish to those involved. With direct experiences in the war himself, and first-hand contact with the traumas and horrific violence, Owen felt a sense of duty to inform people of the bloodshed and terrible conditions hidden by propaganda and lies. This is why he states, “Above all, I am not concerned with poetry”, because he believes the truths of war are more important than art, whilst he still is using his poetry to express his feelings, it is not the art of poetry which is his concern but the effectiveness of
Wilfred Owen vividly and acutely portrays the harsh reality of war straight up from a firsthand experience. ‘Dulce et Decorum Est’ the title, literally translates into ‘It is sweet and noble’, but this title brings out the ironic aspect of the poem, as the readers are aware that the poem is anything but ‘sweet and noble’. Owen seeks to convince the readers that the horrors of war far outweigh the efforts by the patriots to glamorize war. His main goal is to completely destroy the lies instilled by propaganda and to make sure the readers are aware of what ‘war’ really is about. Through the topics of the poem, his dialect decisions, and differentiating the charming title going before the aggravating substance of the poem, he conveys regard for his perspectives on war while amid in the middle of one himself.
A heroic couplet structure within the poem provides a degree of clarity while still asserting the chaos and cruelness of war. Once again, it can be inferred that Owen himself serves as the speaker. However, this time his audience is more focused on young soldiers and families rather than plainly the public in general. In contrast to the previous work, this poem is set primarily in a World War I training camp, signifying the process young soldiers go through prior to deployment to the front line. The tone of this poem is more foreboding and condemnatory, not only describing the training soldiers but outright degrading their forced involvement as morally wrong.
Reflection for DULCE ET DECORUM EST Vedanshi Patel 10E DULCE ET DECORUM EST is a poem written by Wilfred Owen describing the horrors of war. In the poem Owen questions the old saying, “It is sweet and honourable to die for one’s country” and contemplates whether facing the horrors of war is worth the risk for achieving fame and glory for their country. Through the uses of a variety of poetic devices and figurative language, Owen successfully communicates his message about the gruesomeness of war. The theme of the poem is that war is a tragedy and one that all the soldiers of the war have been scarred with. The poet conveys this theme by describing the point of view of a soldier who witnessed the death of a comrade, killed by poisoned gas.
“Every war is ironic because every war is worse than expected,” Paul Fussell wrote in “The Great War and Modern Memory,” his classic study of the English literature of the First World War. “But the Great War was more ironic than any before or since.” The ancient verities of honor and glory were still standing in 1914 when England’s soldier-poets marched off to fight in France. Those young men became modern through the experience of trench warfare, if not in the forms they used to describe it. It was Yeats, Pound, Eliot, Joyce, and Lawrence who invented literary modernism while sitting out the war. Robert Graves, Siegfried Sassoon, Edmund Blunden, Isaac Rosenberg, and Wilfred Owen—who all fought in the trenches and, in the last two cases, died there—remained tied to the conventions of the nineteenth century while trying to convey the unprecedented horror of industrial warfare, a condition of existence so murderous and absurd that a romantic or heroic attitude became impossible.