It is as much of an ignorant comment as an untrue one, which becomes increasingly evident as the film progresses. The Japanese Army targets the most vulnerable, a ship containing women and children. It is a cowardly attack yet it strikes loudly to the men back at home who belittled the Japanese’s ability to fight in the War. Conflict of any scale is usually caused by an individual’s blindness, lack of knowledge or lack of understanding towards a situation or individual. As evident in “Paradise roads”, such ignorance can have dramatic negative effects.
This is shown in the statements “lice and lack of rum,” and “bullet through his brain”. This makes it obvious of the poets point on war as he would have most likely witnessed this first hand and seen the losses due to mental breakdown. Whereas in another poem of Sassoon’s “Glory of women” he uses Irony and Alliteration as well as Personification to display women’s Misguided and hypocritical beliefs of war with it easily being visible in the last two lines and the beginning lines of the poem. This poem is more of a n angry statement about women’s bragging rights about their lovers being “wounded in a mentionable place” or “worship decorations” and use of personification in “war’s disgrace” with plenty of lines of alliteration such as “heroes, home on leave,” and “hell’s last horror” shows how much Sassoon feels the public and women are misguided towards war. However in a poem by Issac Rosenburg “Break of Day in the Trenches” the title make you feel as if the poem shall be positive, but after the first line you are to be mistaken.
Such techniques include personification, metaphors, epigraphs, sibilance, dramatic irony, imagery, simile and symbolism. At first you might think, “what the... I am not even going to bother with this one”, but give it a chance because I promise you, your life will suddenly feel a lot more pleasant once you dig deep and understand T.S. Eliots genius exhibition of dramatic monologue. A common element that is within his many poems is alienation, loneliness and shallowness and these can be found within the cryptic mastermind lines, verses and stanzas.
Primarily the poet explores family conflict whereby the tense relationships, which will never heal in which the writer concludes by using the graphic comparison to veins severed by swords, reinforcing this idea. The clash games also refers The clash games : The narrator is angry at people who judge her because of her class and the way she speaks. The poem is a humorous look at class stereotyping. The narrator is proud of her class. Proud of her identity and class “proud of the class that I come from” she is not very well off.
How has T. S. Eliot utilised specific elements of his form to engage varying audiences intellectually and emotionally? T.S. Eliot’s ‘Preludes’ and ‘The Love Song of J. Alfred Prufrock’ explore the self-consciousness caused by the intense pessimism of a toxic urban world, which leads to passivity and a lack of agency. Eliot uses varying elements of the form of poetry to present the major concepts of his modernist context, the conflict between the individual and society, disempowerment and time and the ritualistic nature of life, which also allow him to intellectually and emotionally engage a present day audience. Eliot portrays life as tarnished through urban decay, which is typical of the modernist era.
The passions of Ozymandias that are described in lines 4 and 5 “frown, wrinkled lip and sneer” show the type of leader he was that put fear into those he ruled and looked at his subjects as if they were unworthy. And then the use of the phase “stamped on these lifeless things” is saying that those passions is all that is left behind on the statue. The juxtaposition here is that passions suggests life and lifeless suggests death. What the poet is suggesting about human ambition is that Ozymandias ruled with fear and now that that fear is gone the ruler is forgotten. It suggests that the legacy you leave behind should be more than those “passions”.
The whites feared but despised the foreigners due to the mutter of the war. Disher shows that the tension of the war affects a society in the way we view
Kowalski’s beast-like traits and inhuman strength are opposed to Blanche’s language capabilities right from the meeting between the two. Within this section the playwright portrays Blanche to have poor people skills as well as a desperate defiance and an intellectual ability. Williams also contrasts these traits with Stanley’s rough and compact nature that are part of the modern era of America that is going to crush and get rid of the older, weaker America that Blanche symbolises. Firstly, Williams uses personification to emphasise the immense force and effect that the family deaths have had on Blanche. This emotional turmoil is portrayed as powerful “blows in (her) face and (her) body” showing how painful that these deaths were for her and how influential they were in the loss of Belle Reve.
Mental Cases illustrate the disconnection many soldiers face in society. The rhetorical question opening the first stanza “who are these?” labels these soldiers as unearthly all the while dehumanising them by accumulating their animalistic features. Descriptions like “drooping tongues” and “baring teeth” emphasises the plight of soldiers who have experienced trauma and are unable to overcome their shock. Owen’s use of inclusive language in “surely we have perished” creates a distance between these men and the rest of society as Owen refers to them as “hellish”. Depictions of warfare and accumulated images of death in the second stanza answer the rhetorical questions in the first stanza about the origin of these creatures.
The character of Smasher Sullivan is effectively used by Grenville to demonstrate how such prejudice allowed settlers to ‘dehumanise’ the ‘savages’. Sullivan uses the females as sex slaves, offering one to Thornhill for his ‘use’, bragging that ‘she done it with me and Saggity…like a couple of spoons’. While we, the modern reader, recoil in disgust at this blatantly hideous treatment, declaring such heinous behaviour to be the province of years gone by, it is Thornville’s reluctant refusal of Sullivan’s offer, coupled with his belated guilt that ‘(h)e did nothing to help her’, that asks us to question whether we would indeed help. Indigenous people have been subjected to the same lack of help, the same guilty indifference, in modern times. This type of prejudice is not always manifestly obvious; rather, it is subtle and systemic, the kind that allows people queuing at a bus station to step over an Aboriginal woman lying on the ground, assuming that she is intoxicated when in fact she has suffered a stroke.