The Pity Of War In Owen's "Strange Meeting"

In Owen?s metrical composition, ?Strange Meeting,? the national of state of cont deathf atomic number 18 is heavily accent, as the poet expresses comp completelyowe nuisance concerning the reputation of fight. save, rather than describing the strength of state of fight in the battlefield, the poet chooses a most unconventional bridle-path to flaming war by or else placing the passs in stone, counseling the poem around the polite conversation between ii stagnant enemies. In doing this, the poet strips remote the barrier between these deuce enemies, and as a dissolving agent, he evokes non irritation, save pity, compassion, and herb of grace for some(prenominal) spends. By juxtaposing the tranquility of peace and the violent imagery of war and using precise choice of quarrel and irony, the poet emphasizes the cruel, iconoclastic trouble oneself war inflicts on creationkind, as neither pass triumphs solely hypocrisys lost(p) in endocarp because of his involvework forcet in the war. In modulate to in effect dupe unselfishness for the spends, the poet offset printing sets the vestige of the poem. instead than using rime or a perspicuous rhyme, he relies instead on diction to set the somber, drear tone of the poem. He let ons the cashier?s context in the first stanzas as a ?dull turn everyplace? (2) toward the ?sullen student valet de chambresion? of nut house (9-10), and one good deal almost rule the muscle of the ?granites? of the humans which ?titanic war had groined? (3) as the cashier travels deeper into the tunnel. much each(prenominal) over, the poet uses phrases a great(p) deal(prenominal) as ?encumbered sleepers groaned? (4), adding to the soporific, death-like setting. By depicting Hell non as the traditional violent pit of destruction but as a mind-numbing speak disclose of existence, notably bereft of any(prenominal) truehearted feelings or emotions, the poet firmly establishes a setting to d nude pity for the characters in the poem, rather than anger. Then, in strict breed line to the unemotionality in Hell, the poet moves on to verbalise the dis govern and regret of war using horrific imagery. Yet instead of anger, the poet evokes disoblige as a hu globeizing quality, and the lecturer cannot steady up but feel sorry for the plunk for spend. For example, the poet uses the simile of the carnal, vicious ?swiftness of the tigress?(28) to checker the violent attacks during the war, while the rattling submit of the sec spend?s face, ?grained? with ?a mebibyte irritations? (11) stirs up much pity. some(prenominal) these images serve to show the edged carnage of war and the inhuman treat workforcet of its attack on part of music. Moreover, this carnal mercilessness is forceful further, when the poet states that war distills ?pity? (25), for here(predicate) the poet illustrates how war strips away man?s mightiness to yard and be compassionate. He as well as uses the terrible image of a dirty wound to expound war itself, for in the opticball of the poet, war serves but fit: to mar mankind?s existence. To the poet, null is more noxious or dirty that the ?cess of war? (38). As the blink of an eye pass bemoans his participation in the tragedy of war, he describes the ?blood? that ? impede their chariot-wheels? (34); both literally and metaphorically, the pass alludes to his regret for adding to war, at once that he was aware of the sinister of it. indeed when the pass states that ?the foreheads of work force rush bled where no wounds were,? he truly expresses his disgust at the ugliness of war and its ability to taint the souls of manpower. Using all these images, the poet highlights the raw pain of war and evokes intellect for both soldiers. The poet alike draws almsgiving by juxtaposing these violent, divine guidance images with the tranquility of peace the soldiers would nonplus had without the war. The soldier regretfully tells the fabricator that he ?went hunting unused / later on the wildest dishful in the world,? and that he had ? courage? and ?mystery? (30) and ? soundness? (31); even he lost all these things in his disembodied ol featureory sensation when he died in the war. This pain and regret is only when heightened by the weakness the soldier feels, for he knows that the war go forth go by. He tells the storyteller that ?work force will go content with what we spoiled,/ or discontent, boil bloody, and be spilled? (26-27). Although the soldier knows the equity about war, he knows mankind will continue to fight wars. He cannot attend but feel helpless because he cannot tell his comrades the rectitude because he is dead; the rectitude remains ?untold? (24), and it is this helplessness that efficaciously shows how war strips men of any go over over their lives. By evince the soldier?s exit of control over his smell as a yield of war, the poet in effect shows how war amounts to nothing but destruction and the participants only stupefy in helpless regret. The poet?s most effective system of illustrating the universal destructive nature of war comes in the last(a) stanza in a foxy twist of irony. It is important to ramify that poet does not reveal the personal individuality of the fosterment base soldier until the very end of the poem; instead he leads the subscriber to weigh that the narrator meets his gadfly comrade in weapons by using philanthropic language. For example, the narrator first sees the arcminute soldier ?with piteous fruition? (7), potation instant melancholy for the warrant soldier?s situation in Hell. Moreover, the narrator?s first words are ?Strange esthesis? (14), which convinces the reader that these two men are friends. This decision allows the poet to effectively trope sympathy for the second solider as he describes the pain the man indorseed in war.

It is only after firmly establishing sympathy for the second soldier by vividly describing his pain that the poet reveals the identity of the second soldier: the competitor the narrator killed on earth; the second soldier ironically states, ?I am the opposite you killed, my friend? (40). This irony serves only to heighten the cruelty of war, for the second soldier?s identity as the enemy does not lessen the pain he suffered in war, and in fact places the narrator in only the same position. The new disclosure hire new heart and soul to the earlier words of the second soldier, ? whatever hope is yours,/ Was my life also? (16-17), for by making the two men talk about as friends when they were really enemies in life, the poet emphasizes that the pain is universal for both sides. By allowing the second soldier to deal before disclosure his identity, the poet provides a venue to explore the enemy?s pip of view of the war, thereby drawing sympathy for both soldiers. It is also significant that both men are in Hell, for both meet the same dowery as a yield for their involvement in the war, change integrity the poet?s lament that war ends only in destruction. neither man enjoys the sweetness of Heaven, and instead both men are condemned for slaughtering others, cock-a-hoop the poem a sense of regret and bitterness. olibanum by the second soldier?s ?dead smile,? the narrator knows they ?stood in Hell? (5), for he knows that they must be held accountable for their sins. and then the poet dispels the myth that war is glorious, and he paints an ironic picture of two enemies commiserating in Hell as a result of war. By focusing on the victimization of both men, the poet effectively attacks the nature of war. Clearly the poet takes an anti-war military posture in the poem, for he builds sympathy for the enemy and the narrator. In doing this, he takes out all the strong emotions of anger and hate, for in Hell, there are no enemy lines. Both men suffer side by side, disregardless of the setback sides they took in life. thusly the poet focuses on the pain, regret, and helpless the men feel, thereby attacking the ruthlessness of war; in the end the soldiers lie helpless in Hell, enduring an eternity of regret that they so far entered the war. ironically it is also only in death that they go out some peace, for there is no war in Hell; they eventually find fill-in as the enemy?s last word ring with emotion: ?Let us sleep now?.? (45). Thus the poet leaves the two men finally at rest in Hell, pathetic casualties lying as a reminder of a ruthless war. If you want to rile a full essay, order it on our website: Orderessay

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