With specific focus on Anthem for Doomed Youth evaluate the methods the poet uses to bring across his convictions, feelings and ideas

Who longs to charge and shoot,Do you my lad crack.This ultranationalistic wartime poem by Jessie Pope ignites Owens anger at these false whims of war. This is straightforward in such poems as Dulce et Decorum est, originally penned towards Pope, hence the sign title, To a Certain Poetess. Owens senses were charred at the sight of the suffering of the troops, such accusations ab turn out the nature of warfargon fuelling the malice of his work. Owen never openly retaliates, or else opting to include his resentwork forcet towards writers like Pope in his poems. Owen frequently conveys his assents of alienated youth in hymn For Doomed offspring by referring to the custody of boys, evidently refusing to acknowledge the maturity of the hands.Owens numerous references to religious symbols heightens the effects of his poems. In Anthem, we hear the de mented choirs of squall shells. Angelic choirs are ironically reverse as Owen negates Christian ritual as beingness unfitting for those who die amid screaming shells. In Mental Cases, we to a fault bear witness to scriptural images, asking if we areSleeping, and walk hellBut who these mephistophelean?Owen oftentimes compares war to Hell, analyse soldiers to creatures undergoing eternal torment, Wherefore rock they, purgatorial shadows. This adds to the created impression of those driven mad by war, as he asks if the multitudinous murders these men hold in committed has doomed them to Hell. Owen insists these soldiers are not to blame, for we dealt them this tormented fate. Anthem is a equal reversal, where Owen utilizes heavenly elements, orisons. Yet, these spiritual references are used negatively the only authentic regret is the holy glimmers of goodbyes in the dying soldiers eyes. The gloriousness of enlightenment and God is ignored, ext culture the distressing impact of the poem on the subscriber, as similar accessish resource is used in other(a) poems, such as the gas victims devil sick of sun face in Dulce. This resourcefulness is so contorted it is unearthly, and determinemingly impossible sound as the devil becoming tired of sinning is impossible. Owens verbal images are parallel to artistic production of the time, in particular Otto Dixs Assault Under blow out, sh soak up got below.In this art piece, Dix mirrors the tortured, hellish scenes of Dulce, with the cries of Gas almost audible. The ocular imagery counsels the mental effects of the attacks on the soldiers, highlighted by the colour grey as if intent had been drained from them. Owen would have been aware of this, as he was treated at Craiglockhart Hospital for shellshock, amongst men whose slumbers were morbid and terrifying.In Futility, the image of the Sun is frequently used. It is often associated with life and its joys, however, Owen is very sarcastic in his reversal of the sun, first writingIf anything capability rouse him nowThe kind old sun will know.Owen thence goes on to criticise the Sun, labelling it as useless. He asks why we are created and wedded warm life, when war destroys everything of valueO what made fatuous sunbeams labor movementTo break earths sleep at all?Owen overly adopts animal imagery to his poems to further the displayed messages. In Anthem, Owens opening line contains the powerful simile compare soldiers as those, who die as cattle? referring to the high numbers of utter soldiers, especially young soldiers, being cut cut back in their prime, just as cattle would. Owen suggests they were grown for a specific reason (to fight), and killed one time they had met their purpose (being slaughtered on the battlefield). In Owens first draft of Anthem, written, with guidance from Siegfried Sassoon, in Craiglockhart, he stressed the cattle reference as an emotional rag at the overly ambitious generals who used the men as cannon fodder.The parallel to animals is used to great effect. In Dulce et Decorum est, Owen details the men who had lost their bo ots, limped on, blood-shod. Boots and shod remind us of the horses used in the war, who had iron-shod berth portraying men as if they were beasts of burden, slumbering forward with heavy loads on their back the worry and terror of what would face them weighing the men down. We see the effects of such an affliction in Mental Cases, where the jaws that slob their impulse disparage us who dealt them war and madness by pawing. Such quotes strain the dehumanisation of these men that once sang their way, signalling the end of their handing over into rocking wrecks.Owen recreates the horrors of war through his gruesome graphic imagery, particularly in Dulces commonalty sea, where the floundring of the victim smothers his dreams. The reliableisation of such a sight is f undecomposedful to the proofreader. Even in Owens time, such a description would shock the reader into picturing the sick of sin hanging face. Owens passion displays the real effects of such a grim and monstrous wa r, trying urgently to erase the false screen created by such jingoistic writers as Pope.One of Owens tendencies is to incorporate intense sounds to support the potent imageryWe were caught in a tornado of shellsThis extract, from one of Owens letters, provides insight into his writing of AnthemThe shrill, queasy choirs of wailing shellsOwen uses his submerged memories of warfare to great effect, frequently applying onomatopoeia to his poems the stuttering rifles rapid rattle in Anthem, and the batter of guns in Mental Cases. The powerful resonance of the weapons intensifies the empathy the reader has for the sacrificed men, as the hellish scene recreates the rattling in our own ears, as if we, the reader, were in that respect. In Futility, a direct contrast is apparent, as the verbalize of fields at home signifies the sharp difference between the frontline action, and the apathy of Blighty.This is a stark reminder from Owen that, whilst everythings fine and calm in Britain, the re are full-nerved men dying in France. The continuation of Anthems onomatopoeic clatters is reflect most notably by Mental Cases batter of guns and shatter of ready muscles. The rhyming extends Owens vivid ideas by suggesting that, as well as fight and seeing the misery of comrades falling, the sounds of the multitudinous murders they once witnessed replay constantly in their minds, reminding them of the torment they met.In Dulce, we can hear the guttering choking and gargling of the hanging face, as well as visualize the grotesque scene, subjecting the reader to view the true nature of war further. As well as applying haunting adjectives to his work, Owen utilizes measure to maintain his high level of passion. This is most evident in Dulce, where distributively verse is different in speed. The opening verse is drawn out -very slow with long, elongated vowels and verbs completing the stanza, lame, lost and coughing. This mirrors the degenerate of the soldiers, who would be d eprived of sleep and be very slow in their speech. As the poem progresses into the gas attack, a pacy, urgent tone is adopted, with the cries of Gas Gas Quick, boys As Owen describes the gas victims painful end, the solemnly spoken linguistic process are slower, reverting back to the lingering sounds of the first verse, writhing. In Anthem, the passing bells of the funeral suggests a slow, sombre tone, as is the case with funerals. However, with the bugles calling and the wailing, the mournful mood is lost, just like the youth of Britain.Owen often ends his poems with an objective conviction, a controversial one that projects his innermost feelings, chosen to express the much(prenominal) truths almost war, and how the patriotic campaigns to conscript men are disgraceful. In Anthem, Owen ends withTheir flowers the essence of patient minds,And each slow dusk a drawing down of blindsThis is a direct contrast to the whole poem, where Owen suggests the monstrous anger of the guns ac companies them in death. Instead of his habitual ending of a Lie, Owens ending is astonishingly peaceful, displaying a compassion for the dead previously unseen in his other poems. Mental Cases, Futility and Dulce, however, all oppose the somewhat upbeat ending. Dulce ends withThe old Lie Dulce et decorum estPro patria mori.Owen flat out accuses the old saying, and the certain poetess, that to die for your acres is not sweet and meet. Owen even goes as far as ironically rhyming glory and mori, as to satirically jeer at Jesse Pope, completely contradicting her. Owen asks if my friend, you would not tellthe old Lie, passionately speeching the reader, but also the frank direction at Pope not to print her jingoes, ironically donning her friend. This mirrors the ending to Mental Cases, where a sharp change of address sees the blame of the extrication shift to us who dealt them war and madness. Owen deliberately develops the poem to the startling climax, enveloping the blame around s ociety as a whole, and not just certain poetesses.Dulce and Mental Cases match in descriptions, where the futile attempts to pick and snatch combine to provide the reader with an enkindle sense of grief, at having sent these men off to war. Owens ideas mean that we, the advanced(a) reader, feel this guilt at having sent innocent youths to their untimely deaths, when we had through with(p) nothing. However, contextually, the reader would have read this, and known that they had done wrong, becoming guilty at their mistake. This is similar to Futility, where Owen accuses the fatuous sunbeams of wasting human life, agreeing with the Doomed Youth title, but opposing its final lines. Futility describes how men are killing others, ending life, when we should not be ordering the termination of it undoing Gods work, when it is not our right to.Owens feelings towards death, and the ending of life, are the fundamental issues in his poems. In Dulce, Owen is constantly comparing young with old, bent double, like old beggars and knock-kneed, coughing like hags. Dulce also details how the men marcheddrunk with fatigue, explaining the exhausted state of the men. These third quotes are shocking, as these men are young, energetic men, but theyre being reduced to quivering wrecks suggesting men age quicker in the trenches, collectable to the horrors they see, and what they have to experience. This is a direct juxtaposition, where the young are dying earlier the old (A role reversal), but are seen as being old themselves. Owens visual ideas on death are nothing short of morbid, describingat every jolt, the bloodCome gargling from the froth-corrupted lungsIn Dulce and Mental Cases, Owen adopts a macabre progression to extend the demons of these men. In Dulce, the white eyes of the hanging face suggest death is upon the man, and that he is looking at the men to choose his contiguous victim. This idea is carried into Mental Cases, where there are men whose minds the Dead have ravished. Owen suggests, through a conviction of anxiety, that death is omnipresent, and that the worst fear is to suffer a purgatorial shadow.Owen writes to display one main conviction that the false pretences of war are just that false. By writing about such shocking and disturbing issues, Owen breaks the fabricated lies and makes his feelings known by adding perplexing sentences to his poems, marching asleep fatigue of war, or asleep to the glorious propaganda that recruited them? Owens poems are full of truths, however controversial they seem, and he projects his convictions and feelings any way he can, regardless of consequences.