'Dulce Et Decorum Est Essay\r'

' universe War One was a time of divisions, non only between countries precisely between the incompatible people within unrivalled country. In umpteen western countries the professionalpaganda convinced young men to employ to portraying contend as a long adventure and the Ger piece of music’s as an threatening enemy †The Huns. But as news came support from the Western Front and G altogetheripoli, there was a whiz that the fight was not glorious, the dirtiness, the sheer loss of disembodied spirit was beginning to be revealed through metrical compositions such as Dulce et decorousness Est.\r\nHowever, with enlistment numbers dropping, the image of a portentous, adventurous fight needed to be reaffirmed and this earth-closet be comprise in Who’s for the Game, by Jessie pope. In this poem, Pope, affirms messages of jingoism as righteous and entirelyified. She let outs England as â€Å"up to her neck in a engagement” and that the right cou rse of action is to â€Å"grip and assume the job unafraid” using debauched allusions to run the struggle ensurem like a impale. For example, this â€Å" game” is â€Å"played”, the enemy is â€Å" admitd” as a rugby player would attack an opponent, and the entire war is just a â€Å"show”.\r\nOne could take a â€Å"seat in the wrack” and â€Å"be expose of the fun” or â€Å"toe the crease”. This sporting imagery, suddenly removes the appraisal of war as a bloody, dirty, nightmarish suffering and transforms it into an exciting prospect. It attacks the commentator’s sense of worldliness, affirming Edwardian notions that men prove themselves to a lower place fire in war and also the intrepid notion of dowery your country, personified as a char stuck in a fight and also the mentation of leaving fellow soldiers behind by not joining in the fun.\r\nOn the other hand, Dulce et decorum Est, uses veridicalism and hellish imagery to portray the war the trend it is. The first line immediately strips the soldiers of all dignity, likening them to â€Å"old beggars” who had â€Å"turned… stands” to the enemy trenches. They were â€Å" knack double” and â€Å"cursing through sludge” and â€Å" drunkard with fatigue”. The image of defeat, is portrayed through the soldiers creation â€Å"deaf even to the hoots of gas shells dropping softly behind. ” These men no longer see both(prenominal) true value in living, their hellish nightmare of â€Å"haunting flares”, â€Å"thick green light” and the intimate of â€Å"the devil’s sick of sin”.\r\nShows war to be an atrocity not fit for servicemanity. thither is no sense of a â€Å"red crashing game” or whatever sense of â€Å"fun”. Suddenly, the reader wishes they did have a â€Å"seat in the stand”. Apart from the depiction of warfare, the idea of a noble death or death in war is conflicting in these two poems. Whereas, Jessie Pope omits each mention of death or suffering, Owen goes into immensely graphic, bare(a) gratuitous detail of the gassing of a man. He describes the man â€Å"flound’ring like a man in fire or lime” who was â€Å"drowning” in a â€Å"green sea”.\r\nThe unceremonious condition â€Å"flung” describes the way a corpse is disposed. The individual human has been reduced to an object, a corpse that has no real value, and is a burden. Pope, creates an image of injury in war as honourable and respectable. The idea of returning â€Å"back with a crutch” as a heroic sentiment. Of the man who took a bullet and survived. She makes it seem as though there is no real risk of loss to war, there is no graphic imagery and any mention of the bad aspects of war is referred to in opposites.\r\nIt win’t be a picnic” but from this the reader cannot conjure the image of war as a nightmare, as a hell the way that Owen does with his description of the â€Å"hanging face” engaging the optic senses of the reader, the sound of â€Å"blood come gargling from the froth-corrupted lungs’ the smell â€Å" execrable as cancer” and one can or so taste the â€Å"vile incurable sores”, â€Å"bitter as cud” on their own â€Å"innocent tongues”. This activation of four major sense immerses the reader in the almost unbelievable scene of war. Even the soldiers in there half trance sate, march â€Å" unawakened”, unable to comprehend their situation.\r\nThus, the audience of Jessie Pope’s poem is most likely the â€Å"children ardent for well-nigh desperate glory” described in Dulce et Decorum est. Desperately glorious. Perhaps that is the best way to describe how Pope conceives war. Furthermore, the poems contrast with this idea of patriotism. The quote found on war memorials and that ends Dulce et Decorum est, is attacked in Owen’s poem whereas it is affirmed in Jessie Pope’s inspirational call to action and invocation. Wilfred Owen describes the idea of â€Å"pro patria mori” as an old lie. As untenable to anyone who has had any experience of real war.\r\nWe must consider that Jessie Pope probably never visited the front line and never experience a man dying on her â€Å"guttering, choking, drowning” on his own fluids. The title of Owen’s poem is ironic, as the entirety of the poem seeks to disprove this notion. If we date what Jessie Pope uses to make her poem such an effectual example of propaganda, of fashioning the idea of â€Å"pro patrai mori” noble, we see the anaphoric repetition of the who question. Of engaging the reader directly, of making the reader feel ashamed for not helping their â€Å"mother country”.\r\nShe uses ctive verbs such as â€Å"tackle” and â€Å"grip” to add to this idea of exci tement which is inattentive in the soldier’s poem. Which is absent in honor. In conclusion, we see the whereas Jessie Pope attempts to obscure the truth about the futility and atrocities of war, Owen, a soldier gives us a confrongtingly realistic portrayal of the death of just one man in a retreat on the western front. Whereas Jessie Pope affirms ideas of jingoism, Owen shows how the soldiers on the front line couldn’t care less. Whereas Jessie Pope inherently affirms the idea of dying in war as manful and noble, Owen shows us how unceremoniously and graphic real deaths in war are.\r\n'