In Owen?s poem, ? hostile Meeting,? the theme of state of contendf atomic number 18 is heavily accent, as the poet expresses complete disgust concerning the reputation of struggle. Yet, instead than describing the violence of war in the battlefield, the poet chooses a near wrong route to flaming war by instead placing the passs in st i, centering the poem around the civil conversation amongst ii stagnant enemies. In doing this, the poet strips away the barrier amid these two enemies, and as a result, he evokes non irritation, save pardon, compassion, and distress for two spends. By juxtaposing the tranquility of peace and the violent manpowertal watchry of war and using precise diction and irony, the poet emphasizes the cruel, destructive smother oneself war inflicts on creationkind, as neither pass triumphs but hypocrisys lost(p) in underworld because of his involvement in the war. In spiel to in effect dupe philanthropy for the spends, the poet off rectify produce sets the vestige of the poem. instead than using rhyme or a distinct rhyme, he relies instead on diction to set the somber, sorrowfulnessful tone of the poem. He let ons the cashier?s conniption in the start stanzas as a ? delaying tunnel? (2) toward the ?sullen student residence? of Hell (9-10), and one can almost rule the massiveness of the ?granites? of the earth which ? big war had groined? (3) as the narrator travels deeper into the tunnel. More tout ensemble over, the poet uses phrases a great deal(prenominal) as ?encumbered sleepers groaned? (4), adding to the soporific, death-like setting. By depicting Hell not as the traditional fiery pit of ending but as a mind-numbing plain of existence, notably unloved of any strong feelings or emotions, the poet hard establishes a setting to d nude pity for the characters in the poem, rather than anger. Then, in stark blood line to the numbness in Hell, the poet moves on to convey the dis order and regret of war using steep imagery! . Yet instead of anger, the poet evokes throe as a hu globeizing quality, and the proofreader cannot dish up but feel sorry for the plunk for soldier. For example, the poet uses the metaphor of the carnal, vicious ?swiftness of the tigress?(28) to mark the violent attacks during the war, era the very picture of the sec soldier?s face, ?grained? with ?a thousand wounds? (11) stirs up much pity. some(prenominal) these images serve to taper the raw carnage of war and the ruthlessness of its attack on piece of music. Moreover, this carnal ruthlessness is emphasized further, when the poet states that war distills ?pity? (25), for here the poet illustrates how war strips away man?s mogul to reason and be compassionate. He too uses the terrible image of a sloughy wound to describe war itself, for in the eyes of the poet, war serves and function: to mar universe?s existence. To the poet, nothing is more harmful or dirty that the ?cess of war? (38). As the blink of an eye soldier bemoans his involution in the tragedy of war, he describes the ?blood? that ? impede their chariot-wheels? (34); both(prenominal) literally and metaphorically, the soldier alludes to his regret for adding to war, outright that he was assured of the evil of it. indeed when the soldier states that ?the foreheads of men 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 in expressect for both soldiers. The poet also draws sympathy by juxtaposing these violent, stirring images with the tranquility of peace the soldiers would have had without the war. The soldier regret repletey tells the narrator that he ?went hunting wild / later on the wildest beauty in the world,? and that he had ?courage? and ?mystery? (30) and ? firmness? (31); yet he lost all these things in his discorporate spirit when he died in the wa r. This pain and regret is single heightened by the ! weakness the soldier feels, for he knows that the war volition continue. He tells the narrator that ?men will go centre with what we spoiled,/ or discontent, boil bloody, and be spilled? (26-27). Although the soldier knows the equity some war, he knows mankind will continue to fight wars. He cannot help but feel befuddled because he cannot tell his comrades the truth because he is unfounded; the truth remains ? much(prenominal)? (24), and it is this helplessness that effectively shows how war strips men of any go over over their lives. By emphasizing the soldier?s loss of control over his life as a result of war, the poet effectively shows how war amounts to nothing but oddment 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 clever twist of irony. It is classical to distinguish that poet does not reveal the identity of the split second shew soldier until the very end of the poem; instead he leads the reader to weigh that the narrator meets his fellow comrade in arms by using sympathetic language. For example, the narrator first sees the second soldier ?with piteous recognition? (7), drawing repetitive sorrow for the second soldier?s situation in Hell. Moreover, the narrator?s first nomenclature are ?Strange mavin? (14), which convinces the reader that these two men are friends. This close allows the poet to effectively trope sympathy for the second solider as he describes the pain the man suffered in war.
It is only after firmly establishing sympathy for the second soldier by vividly describing his pain that the p oet reveals the identity of the second soldier: the ! foe the narrator killed on earth; the second soldier juicelessally states, ?I am the opposition you killed, my friend? (40). This irony serves only to heighten the abrasiveness of war, for the second soldier?s identity as the resistance does not lessen the pain he suffered in war, and in fact places the narrator in exactly the aforementioned(prenominal) position. The mod revelation hire new meaning to the earlier paroles of the second soldier, ? whatever hope is yours,/ Was my life also? (16-17), for by making the two men converse as friends when they were real 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 locale to explore the enemy?s point of view of the war, in that locationby drawing sympathy for both soldiers. It is also significant that both men are in Hell, for both meet the same fate as a consequence for their involvement in the war, solidi fying 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. Thus 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. Thus 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 stance 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, regardless of the setback sides they took in life. Thus 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 finally remember fill-in as the enemy?s last word reverberate with emotion: ?Let us sleep now?.? (45). Thus the poet leaves the two men finally at rest in Hell, pathetic casualties lying as a monitor lizard of a ruthless war. If you want to amaze a full essay, order it on our website:
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