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War poetry WW1 developing war narrative
War poetry pre 1900
War poetry WW1 developing war narrative
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In the poem “Who’s for the game?”, the author Jessie Pope uses an extended metaphor to toy with prideful behaviour to insinuate a challenge for men, in order to convince them to enlist for the Great war. The metaphor “Who’s for the game”, compares the great war to a enjoyable activity. Most games are usually fun and an exciting pass time that many people are eager to partake in. The comparison of a thrilling activity makes the war sound more appealing to the men who are considering to join the war effort. In the quote “Who’ll grip and tackle the job unafraid.”, Pope uses vocabulary that is associated with sports to bring an uplifting and an exciting tone to the poem. This is a crucial poetic device in the poem that assists to convince men to
begin their turn in the war. Once Pope has caught the reader’s attention she poses a challenge for them. In the quote “And she’s looking and calling for you.”, she is asking the men, who is the strongest one that will hear the call of his country. Pope is suggesting that fearful men do not have the courage to pick up a gun. She uses a person’s pride against them. The poem implies that only the unworthy and weaker men stay home to avoid signing up. She uses the poem to mock the weak men to play on their insecurities, and challenges the stronger and prideful men to prove their worth. This lure of a challenge, plays on the pride of men and their eagerness to prove themselves worthy of honour and being left out of the fun that everyone should participate in.
The Grapes of Wrath explicates on the Dust Bowl era as the reader follows the story of the Joads in the narrative chapters, and the migrants in expository chapters. Steinbeck creates an urgent tone by using repetition many times throughout the book. He also tries to focus readers on how the Dust Bowl threatened migrant dreams using powerful imagery. As well as that, he creates symbols to teach the upper class how the Dust Bowl crushed the people’s goals. In The Grapes of Wrath, John Steinbeck utilizes imagery, symbolism, and repetition to demonstrate how the Dust Bowl threatened the “American Dream.”
Shakespeare uses metaphors, allusions to the bible, and a bitter tone to convey Cardinal Wolsey’s response to his dismissal from the court and the loss of his pride.
“Pi Ying said that this fight against death was no different, philosophically, from what all of them...had known in battle. In a cold way, it was true--no different, philosophically” (Vonnegut 91). Pi Ying has proposed a chess game that would risk the lives of all of those involved in it. The King makes every move, each could hold hidden dangers that only the King can see. The emotional weight of that decision is a burden that a civilian cannot understand until they are exposed to that process. In “All the King’s Horses” by Kurt Vonnegut, Colonel Kelly and 15 others are trapped in a pseudo-chess game with a powerful Asian warlord, Pi Ying. He requests for the game to be played with the prisoners of war as chess pieces. The idea contrasts with expendability as Colonel Kelly is able to justify sacrificing his son for the greater good of the game by forcing himself to deny his own humanity. He must become machine-like in order to make these mechanical, logical decisions. However, the women involved in the game have violent emotional reactions to this incident because the human cost of war is not truly understood unless it is personal. Pi Ying has attended this game with a woman who, when told of the events about to occur, stabs him and then herself. That action is quickly forgotten when Major Barzov takes over the game, but he cannot take the same risk of killing American citizens. Since he cannot kill anyone, when he loses the game, he allows the remaining prisoners to escape. The idea of a woman’s role in politics and her power in that society as weaker than a man’s is clear in this circumstance. Colonel Kelly is seen as the foremost authority on any decision making as the man. His risks are allowed and celebrated finally. Pi Ying’...
Comparing Jessie Owens's Who's for the Game and Wilfred Owens Dulce Est Decorum Est In Jessie Pope's 'Who's for the Game?' the presentation of war is quite different to what you might expect. This poem is a recruiting poem with the aim of encouraging men to volunteer to join the forces. It was written at the beginning of the First World War and therefore the true disastrous effects of the war had not been experienced.
Paul Baumer is a 19-year-old volunteer to the German army during World War I. He and his classmates charge fresh out of high school into military service, hounded by the nationalist ranting of a feverish schoolmaster, Kantorek. Though not all of them want to enlist, they do so in order to save face. Their first stop is boot camp, where life is still laughter and games. “Where are all the medals?” asks one. “Just wait a month and I’ll have them,” comes the boisterous response. This is their last vestige of boyhood.
War is a brutal, bloody battlefield from which no one returns unscathed. Nonetheless, there are those who believe war to be a glorious honor, a bedtime story filled with gallant heroes, a scuffle fought an ocean and several countries away. In “An Occurrence at Owl Creek Bridge” by Ambrose Bierce and “August 2026: There Will Come Soft Rains” by Ray Bradbury, the authors seek to convey the devastation that comes from romanticizing war by using impersonal and ironic diction.
Also it is comparing the war to a game, which is a euphemism as well as a metaphor. It is a euphemism because war is a very serious, dangerous matter; whereas a game is something that people enjoy and never get seriously injured in. By using this euphemism, Jessie Pope - the poet – lessens the severity of war, and makes her readers’ think of it as enjoyable, and something that they want to do.
Connell, Richard. “The Most Dangerous Game.” The Language of Literature. Arthur N. Applebee et al. Evanston, IL: McDougal Littell, 2000. 39-57. Print.
“Get ready for the Jubilee, Hurrah! Hurrah! We 'll give the hero three times three, Hurrah! Hurrah,”! Many British citizens seemed to bellow this song “When Johnny Comes Marching Home” when their young soldiers heroically marched off to battle in their camouflaged trousers, tunics, and trench caps. When Johnny came marching home, joy and peace would permeate the atmosphere. There would be no more tears, fears, or hardships when Johnny comes marching, clothed in a raiment of dignity and strength. However, many of them did not realize that Johnny might march home with mental disorders and crippled legs. Johnny might come home with a missing ear or nose. In the worst case scenario, Johnny might not march home at all. Many of the poets from World War I blazoned the macabre details of war, and unveiled the horrific truth of war. They did not shield the truth from the British eyes, but instead exposed them to the lucid, grisly details. Many British poets, such as Wilfred Owens and Seigfreid Sasoon, displayed
In this chapter Tim O’Brien effectively explores the conflict between society's perception of war versus a true war story. O'Brien challenges society's perception of war as a glorified piece of art, and those who go off to war are men with great morals, true brave-hearts, to lay their life on the line to protect their family and friends from the enemy, however he labels their perception instead a great misconception. According to Tim O'Brien, a true war story does not contain glory, morals, or the divine truth because "A true war story is never moral. it does not instruct, nor encourage virtue, nor suggest models of proper human behavior, nor restrain men from doing the things men have always done" (The Things They Carried 68). Tim O'Brien effectively manipulates narrative structure in order to appeal to our emotions. O'Brien gives us the twisted truth in order for us to realize the ultimate truth about war; and once we are conscious of the ultimate truth we can begin to fully understand why morals do not exist in true war stories. O'Brien makes us realize that we need to remove the rose colored glasses we wear so that we can realize, that we can not generalize the truth that war has an "uncompromising allegiance
Most classes (even those who were rich) had more or less of an idea on
The simple definition of war is a state of armed competition, conflict, or hostility between different nations or groups; however war differs drastically in the eyes of naive children or experienced soldiers. Whether one is a young boy or a soldier, war is never as easy to understand as the definition. comprehend. There will inevitably be an event or circumstance where one is befuddled by the horror of war. For a young boy, it may occur when war first breaks out in his country, such as in “Song of Becoming.” Yet, in “Dulce et Decorum Est” it took a man dying in front of a soldier's face for the soldier to realize how awful war truly is. Both “Song of Becoming” and “Dulce et Decorum Est” are poems about people experiencing the monstrosity of war for the first time. One is told from the perspective of young boys who were stripped of their joyful innocence and forced to experience war first hand. The other is from the perspective of a soldier, reflecting on the death of one of his fellow soldiers and realizing that there is nothing he can do to save him. While “Song of Becoming” and “Dulce et Decorum Est” both focus on the theme of the loss of innocence, “Song of Becoming” illustrates how war affects the lives of young boys, whereas “Dulce et Decorum Est” depicts the affect on an experienced soldier.
The men are a vital role in the poem, as the general, uses his military background to help guide and train the “privates” he also distinguishes the role that the men will have to play later on with after the war is done and over with. To help realize this idea it is developed through the speaker, imagery and irony
The poem introduces a dark and raw view of war by allowing readers to witness the thoughts of a soldier moments before and after his death inside a ball turret. The phrasing used in the poem and its lack of emotion paints the reality of the emotional effects of war on soldiers. The indifferent word choice ties in with the description of the ball turret as a womb of a mother to reveal the innocence of the soldiers fighting in the war. Randall Jarrell reveals the stark reality that war can dehumanize soldiers and expose the fragility of life through the use of strong diction and an extended metaphor.
Wilson, Jonathan. "The Glory Game." New Statesman 142.5156 (2013): 25-26. Literary Reference Center. Web. 15 Feb. 2014.