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 laddie.This jingoistic wartime numbers by Jessie Pope ignites Owens ire at these false clinical depressions of war. This is evident in such poems as Dulce et Decorum est, origin eithery 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 about the nature of state of war fuelling the malice of his work. Owen never openly retaliates, instead opting to include his resent custodyt towards writers like Pope in his poems. Owen oft conveys his convictions of scattered youth in Anthem For Doomed Youth by referring to the hands of boys, evidently refusing to acknowledge the maturity of the men.Owens numerous references to religious symbols heightens the effect of his poems. In Anthem, we hear the demented choirs of wailing s blazings. Angelic choirs argon ironically re verse lined as Owen negates Christian ritual as organismness unfitting for those who die amid let loose shells. In rational Cases, we also bear witness to Biblical images, asking if we arSleeping, and walk hellBut who these unhallowed?Owen lots compares war to Hell, study 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 have committed has damned them to Hell. Owen insists these soldiers are not to blame, for we dealt them this tormented fate. Anthem is a similar reversal, where Owen utilizes heavenly elements, orisons. Yet, these spiritual references are use negatively the only true regret is the holy glimmers of goodbyes in the dying soldiers eyes. The splendidness of Heaven and God is ignored, ext conclusioning the execrable impact of the poem on the reader, as similar devilish imagery is used in another(prenominal) poems, such as the gas dupes devil sick of sunshine face in Dulce. This im agery is so contorted it is unearthly, and catch up withmingly impossible just as the devil bonnie tired of sinning is impossible. Owens verbal images are parallel to artwork of the time, in particular Otto Dixs Assault Under Gas, shown below.In this art piece, Dix mirrors the tortured, hellish scenes of Dulce, with the cries of Gas almost audible. The visual imagery suggests the mental effects of the attacks on the soldiers, mettlesomelighted by the colour white-haired(a) as if life had been drained from them. Owen would have been aware of this, as he was treated at Craiglockhart infirmary 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 nipping in his reversal of the sun, first writingIf anything might rouse him nowThe kind old sun will know.Owen then goes on to criticise the Sun, labelling it as useless. He asks why we are created and given fond life, when war destroys everything of valueO what made fatuous sunbeams toilTo break earths sleep at all?Owen also adopts animal imagery to his poems to further the displayed messages. In Anthem, Owens opening line contains the powerful simile comparing soldiers as those, who die as cattle? referring to the high numbers of dead soldiers, especially unexampled soldiers, organism cut down in their prime, just as cattle would. Owen suggests they were grown for a specific grounds (to fight), and killed once 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 evince the cattle reference as an emotional jeer at the overly ambitious generals who used the men as ordurenon fodder.The parallel to animals is used to great effect. In Dulce et Decorum est, Owen details the men who had lost their boots, limped on, blood-shod. Boots and shod remind us of the horses used in the war, who had iron-shod shoes portraying men as if they were beasts of burden, slumbering forrad 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 relish disparage us who dealt them war and madness by pawing. Such quotes accentuate the dehumanisation of these men that once sang their way, signalling the end of their transition into rocking wrecks.Owen recreates the horrors of war through his gruesome graphic imagery, particularly in Dulces green sea, where the floundring of the victim smothers his dreams. The realisation of such a sight is alarming to the reader. Even in Owens time, such a interpretation would shock the reader into picturing the sick of sin intermission face. Owens passion displays the real effects of such a grim and monstrous war, trying desperately 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, demented choirs of wailing shellsOwen uses his submerged memories of war 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 plangency 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 there. In Futility, a reign over contrast is apparent, as the whispering of fields at home signifies the penetrative remnant between the frontline action, and the calmness of Blighty.This is a stark reminder from Owen that, whilst everythings fine and calm in Britain, there are full-nerved men dying in France. The continuation of Anthems onomatopoeic cla tters is mirrored most notably by Mental Cases batter of guns and shatter of flying muscles. The rhyming extends Owens vivid stems by suggesting that, as well as combat 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 determine the true nature of war further. As well as applying haunting adjectives to his work, Owen utilizes pace to maintain his high level of passion. This is most evident in Dulce, where each 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 fall apart of the soldiers, who would be deprived of sleep and be very slow in their speech. As the poem progresses into the gas atta ck, 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 lyric poem are slower, reverting back to the lingering sounds of the first verse, writhing. In Anthem, the passing bells of the funeral suggests a slow, colourless 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 accusatory conviction, a controversial one that projects his innermost feelings, chosen to express the untold truths about war, and how the fast(a) campaigns to conscript men are disgraceful. In Anthem, Owen ends withTheir flowers the tenderness 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 accompanies them in death. kind of of his habitual ending of a Lie, Owens ending is surprisingly peaceful, displaying a compassion for the dead antecedently 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 trusted poetess, that to die for your country is not sweet and meet. Owen make up 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 addressing the reader, but also the frank bearing 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 society 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 overwhelming sense of grief, at having sent these men off to war. Owens ideas mean that we, the modern reader, feel this guilt at having sent innocent youths to their untimely deaths, when we had done nothing. However, contextually, the reader would have read this, and known that they had done wrong, becoming guilt-ridden 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 unfastening 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 mar cheddrunk with fatigue, explaining the exhausted state of the men. These three quotes are shocking, as these men are young, energetic men, but theyre being reduced to quivering wrecks suggesting men age quicker in the trenches, due to the horrors they see, and what they have to experience. This is a direct juxtaposition, where the young are dying before 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 blood go on gargling from the froth-corrupted lungsIn Dulce and Mental Cases, Owen adopts a macabre approach 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 next 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 become 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 affect issues, Owen breaks the fabricated lies and makes his feelings known by adding ambiguous 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.