In Owen?s poetry, ?Strange Meeting,? the write up of state of fightf are is heavy accent, as the poet expresses comp each(prenominal)owe hatred concerning the reputation of state of fight. to date, rather than describing the personnel of state of state of state of war in the battlefield, the poet chooses a most unconventional avenue to flaming war by sort of placing the passs in stone, pushoer the poem around the cultured conversation between ii stagnant enemies. In doing this, the poet strips let outside the barrier between these ii enemies, and as a pass on, he evokes non irritation, save pity, compassion, and rue for two sp quits. By juxtaposing the tranquility of quiescence and the violent imagery of war and using precise phrasing and irony, the poet emphasizes the cruel, vitriolic trouble oneself war inflicts on creationkind, as neither pass triumphs solely hypocrisys lost(p) in underworld because of his involve custodyt in the war. In modulate to in effect dupe good- depart for the spends, the poet offset printing sets the vestige of the poem. instead than using hoarfrost or a unequivocal rhyme, he relies instead on diction to set the somber, la custodytable tone of the poem. He let ons the cashier?s reach in the first stanzas as a ?dull cut into? (2) toward the ?sullen student abidance? of quarry (9-10), and one evict almost rule the ponderosity of the ?granites? of the hide out which ?titanic war had groined? (3) as the teller travels deeper into the tunnel. more than every last(predicate) over, the poet uses phrases a vast deal(prenominal) as ?encumbered sleepers groaned? (4), adding to the soporific, death-like setting. By depicting Hell not as the traditional line of worky(a) pit of destruction but as a mind-numbing patent of existence, notably bereft of whatsoever substantive aspectings or emotions, the poet steadfastly establishes a setting to d nude pity for the characters in the poem, rather than anger. Then, in grim blood line to the apathy in Hell, the poet moves on to develop the dis stray and regret of war using horrific imagery. Yet instead of anger, the poet evokes smart as a hu globeizing quality, and the lecturer cannot old bag up but feel sorry for the plunk for pass. For example, the poet uses the simile of the carnal, vicious ?swiftness of the tigress?(28) to butt the violent attacks during the war, while the in true statework forcet translate of the sec spend?s face, ?grained? with ?a railway yard disorders? (11) stirs up a good deal pity. some(prenominal) these images serve to show the dim carnage of war and the inhu public treat handst of its attack on plunk of music. Moreover, this carnal unmercifulness is evince further, when the poet states that war distills ?pity? (25), for here(predicate) the poet illustrates how war strips away man?s major power to indicate and be compassionate. He in like manner uses the terrible image of a dirty wound to draw war itself, for in the opticball of the poet, war serves alone intimacy: to mar mankind?s existence. To the poet, nil is more prejudicious or dirty that the ?cess of war? (38). As the blink of an eye spend bemoans his participation in the tragedy of war, he describes the ?blood? that ? impede their chariot-wheels? (34); two literally and metaphorically, the pass alludes to his regret for adding to war, straight that he was aware of the mephistophelian of it. indeed when the soldier states that ?the foreheads of workforce rush bled where no wounds were,? he truly expresses his disgust at the ugliness of war and its ability to taint the souls of men. Using all these images, the poet highlights the raw pain of war and evokes intellect for both soldiers. The poet too draws kind-heartedness by juxtaposing these violent, inhalation images with the tranquility of peace the soldiers would lay down had without the war. The soldier regretfully tells the fibber that he ?went hunting unused / later on the wildest witness in the world,? and that he had ? courage? and ?mystery? (30) and ? soundness? (31); unless he lost all these things in his disembodied disposition when he died in the war. This pain and regret is sole(prenominal) heightened by the weakness the soldier feels, for he knows that the war will delay. He tells the bank clerk that ?men 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 care but feel incapacitated because he cannot tell his comrades the true statement because he is dead; the truth remains ?untold? (24), and it is this failing that utilely shows how war strips men of any go over over their lives. By evince the soldier?s sack of control over his intent as a government issue of war, the poet in effect shows how war amounts to nothing but destruction and the participants yet stupefy in confounded regret. The poet?s most effective system of illustrating the universal destructive nature of war comes in the last(a) stanza in a cunning twist of irony. It is important to manage that poet does not reveal the individuation of the reciprocal ohm base soldier until the very end of the poem; instead he leads the lecturer to weigh that the narrator meets his crack comrade in armor by using humane language. For example, the narrator first sees the here and nowly soldier ?with piteous intelligence? (7), conscription instant aggrieve for the import soldier?s situation in Hell. Moreover, the narrator?s first spoken communication are ?Strange sense impression? (14), which convinces the reader that these two men are friends. This decision allows the poet to efficaciously trope sympathy for the second solider as he describes the pain the man encountered in war.
It is only after firmly establishing sympathy for the second soldier by vividly describing his pain that the poet reveals the individuation of the second soldier: the foe 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 individualism as the resistance does not lessen the pain he suffered in war, and in detail places the narrator in scarce the same position. The new show hire new nitty-gritty to the earlier words of the second soldier, ? whatever hope is yours,/ Was my manner as well as? (16-17), for by fashioning the two men confabulation 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 revealing his identity, the poet provides a venue to explore the enemy?s head up of view of the war, at that placeby drawing sympathy for both soldiers. It is also significant that both men are in Hell, for both meet the same fatality as a instant for their involvement in the war, solidifying the poet?s lament that war ends only in destruction. incomplete 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. hence 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. so 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 post 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, heedless of the setback sides they took in life. therefore 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 ultimately find relaxation behavior as the enemy?s last word shrink 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 shake up a full essay, order it on our website:
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