In contrast Tennyson’s Charge depicts a disastrous battle during the Crimean War and therefore shows the disbelief and horror of conflict. Tennyson uses the poem to show the admiration and bravery of the solders in their determination to obey orders even though the orders were foolish. Futility could be considered as an elegy for the unnamed solider and opens with a tender and sad tone shifting to pointlessness in the second stanza. The use of the pronoun ‘him’ in the opening line suggests this could be any soldier from World War I demonstrating the number of men who would remain unnamed and unclaimed during this conflict. On the contrary Charge is patriotic with Tennyson celebrating the courage and obedience of the soldiers – this can be seen in his use of ‘glory, honour/noble’.
This use of language is scene again when Brown is killed by the sniper. Harrison describes the scene where the men sit in the presence of Brown’s dead body and divide up what was his share of the rations. Through their lack of shock, horror or despair we see that death, no matter how abhorrent or disturbing no longer fazes these men as it has simply become a staple part of their lives. Due to the absence of shock at times of terrifying death and misery the reader is able to clearly discover that these occurrences were in no war rare. The creation of these emotionally vacant individuals emphasises what is just another horrible reality of
Charles Gryder October 10, 2012 Period 3 Essay Final Draft All Quiet on the Western Front by Erich Maria Remarque, Pro-war poetry, and the World Studies Textbook are all very alike but at the same time very different. All Quiet on the Western Front is strictly anti-war, and describes it as a horrible, disgusting, and terrifying thing and is very slightly biased towards the Germans. Pro-war poetry glorifies war and makes it sound like an honorable, fun, and happy activity, and is biased towards the Allied Forces. The World Studies Textbook seems completely factual, but it shows bias at times towards the Allied Forces. All Quiet on the Western Front, pro-war poetry, and the World Studies Textbook, all contain bias, whether it is apparent or hidden, against the Central Powers, or for the Central powers, and they all are very different in the way that they portray war.
His aim is not poetry, but to describe the full horrors of war. In this essay I have firstly decided to analyze two poems by the war poet Wilfred Owen, taken from his writings on the First World War. Both 'Dulce et Decorum est' and 'Disabled" portray Owen's bitter angst towards the war, but do so in different ways. Then I will analyze a very different poem 'Who's for the Game?' written by Jessie Pope, and finally contrast this with the poems by Owen.
Asian 300 October 24, 2011 Shigemori and Takakura: Active and Passive Benevolence in The Tale of the Heike The Tale of the Heike certainly does not hold back the images of war through its graphic depiction of the violent clash between the Taira and Minamoto clans. These horrific images are shown through hateful executions, numerous exiles, and malicious acts of arson. Although this epic tale is filled with war-like actions, there are some acts of benevolence, mainly shown through the characters Shigemori and Emperor Takakura. These two certainly contrast many of the other characters in the tale that seem to only show the negative characteristics of human nature. Without a doubt, Shigemori and Takakura represent perhaps the most benevolent and virtuous characters in The Tale of the Heike; however, Shigemori shows active benevolence while Takakura is more passive.
This unspecified and detached account of this action and the death in general, shows the way in which the members of the platoon deal with the complexity of the war experience. So much so that O’Brien is able to turn the story of Curt Lemon to a love story. Many go into a war story expecting to hear about triumph, pride, courage, and sacrifice. However, O’Brien claims that a true war story will shatter all previous expectations of a war story and instead be about evil and more obscene things. O’Brien says, “A true war
The author narrates the story from a first-person point of view, keeping a distant attitude although slightly touched by the horrors he describes. Borowski sticks to his habits as a journalist attempting to be an impartial observer without losing his poetic side in the description of the events and his usage of words. As a narrator, the author sees the irony in the habits which the prisoners must obey and that are completely devoid of purpose, such as working. All prisoners know they must work, nevertheless, they know they’ll die eventually in the same way other prisoners have. His sarcasm is accompanied by a strong sensitivity that is reflected in the richness of detail and description of his surroundings.
This notion is further emphasised through the use of jargon in the lines, “The Japs used to weigh us, to see how thin our bodies could get before we started dying”. This statement implies the nature of the camp to be brutal and unforgivable. Misto has incorporated both visual images and jargon to create an effective sense of authority to therefore relive their experience of war through memory. Likewise, the poem Dulce et decorum est by Wilfred Owen is how the post himself saw war with no knowledge, imagination or training which prepared Owen for the shock and suffering of front line experience. Its horrifying imagery has made it one of the most popular condemnations of war ever written.
Clemenceau resented Wilson’s generous attitude towards Germany and Lloyd George’s desire to not treat Germany too harshly. He said “if they British are so anxious to appease Germany they should look overseas and make colonial, naval or commercial concessions”. These disagreements left the big three unsatisfied and ultimately left them with a weak mere shadow of a perhaps great treaty due to their own arrogance and. It contained many faults and weaknesses. The treaty of Versailles greatly humiliated Germany forcing it to accept soul responsibility for the war.
The dogma in his literature has great influence from his experience in the Napoleonic wars and the French Revolution. Throughout his book, Clausewitz makes use of politics as the principal factor of war. In regards to his discourse, we understand war and politics as being interrelated which is dominant in his statement that military actions override political ends. To Clausewitz (2008) war is only a branch of political activity, and it is no sense autonomous since it does not suspend political intercourse or change it into something entirely different. This means that politics places itself above war and modify it to suit its needs, with Clausewitz arguments, it is difficult to think of war as something apart from politics.