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For my Advertisements I have chosen two adverts selling cars to two very different target audiences. My first is an advert for the Toyota Corolla; this advert is in the "S:2" Sunday express supplement, this magazine is stereotypically read by middle class couples. This advert is laid out on a double page spread to make readers focus on the product and not be drawn to other visible adverts from other companies. It focuses on visual humour with surprisingly little text and no pseudo science, which is the strategy typically used by car manufacturers to sell their products. It...
an image to take with them. This causes the ad to stick in their minds and be recalled at a completely unconnected moment.

Unlike the first advert this one does contain a price within the copy although it is still very small and not easily noticed.

The Volvo slogan "for life" is included in the bottom left hand corner along with a rpm gauge, which creates the impression of high performance. In conclusion these ads are more similar than they first appear and yet the different target audiences cause subtle differences which cannot be ignored.

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In this essay I will attempt...In this essay I will attempt to compare and contrast the poem "Meeting at Night" by Robert Browning with "Resolution and Independence" by William Wordsworth. I shall begin by analysing the poems and looking for three similarities and differences, which will make me decide my final conclusion. The simplest similarity that links these two poems is that they are both about nature. Meeting at Night gives the impression of secrecy and darkness that goes together with the night and the morning suggests the revelation which light brings that prevents them getting together. In Resolution and Independence Wordsworth describes the nature more briefly and accurately. The language Wordsworth has used has a great effect on our senses. For example, in the first line 'There was a roaring in the wind all night' Here the use of metaphor 'roaring in the wind' used by Wordsworth relies on our sense of hearing to enable us to experience this image fully. An image however is not necessarily only a visual image; the image can be created by the poet"s use of different senses and qualities. Both of the poems also change from negative to positive. In the first verse of Meeting at Night, Browning emphasizes a man's desperate and brave quest for romantic pleasure, which is prevented with obstacles and doubt. Also in the poem "Meeting At Night," a powerfully romantic mood is built almost entirely by the use of images, which practically involve all of our senses. Only in the language of the third and fourth lines there is a hint of a metaphor used, which describes similarities between waves and living creatures: 'And startled little waves that leap In fiery ringlets from their sleep,' The use of personification that gives personal qualities to the waves builds on the emotional description of nature and makes us more involved in the poem. It also helps us to relate to the description very easily. In Resolution and Independence, we are given a scene of the countryside that was stormy the previous night, but has cleared up through the morning and now proves to be a cheerful day. Both poems use traditional poetic techniques well. In Meeting at Night, Browning uses alliteration in the line, 'Then a mile of warm, sea "“ scented beach;' The use of alliteration is used to create specific sound effects. For example, the repetition of the 's' sound echoes as being read which will improve the emotional effect the poet is trying to achieve. By describing it to us using alliteration, the poet helps us hear as well as picture the scene he wishes to create. Personally this technique made me draw more attention to particular words. In Resolution and Independence in the language of the fifth line there is a hint of assonance used, 'Over his own sweet voice the Stock "“ dove broods;' The assonance is in the repetition of the "o" sound it is long and lasting and it also creates a brilliant effect by occurring in the slow and deliberate part of the poem. Resolution and Independence also uses iambic pentameter which is an unstressed syllable followed by a stressed one more thoughtfully than Meeting at Night e.g. 'There was a roaring in the wind all night' The underlined words are all stressed syllables, which make the poem easy to understand and it also results in a clear structure. On the other hand these two poems have variety of differences. Meeting at Night has detailed narrative structure with a beginning, middle and end, but Resolution and Independence has little narrative structure but is more descriptive and accurate. The structure of Meeting at Night is clear and an important contributor to the overall effect it has on us. The way Browning slowly builds up the tension throughout the poem helps us create a feeling of real excitement and mystery. In the poem the narrative structure is revealed through a series of images and ideas, which gradually develop the feeling and the meaning. Personally Meeting at Night has engaged me to read on to find out what happens next. It also creates suspense and tension by moving from negative to positive. The metre gives us meaning far more clearly and thoughtfully in Resolution and Independence. For example, in line 1, 'There was a roaring in the wind all night' The image is wild, rough and casual. But as the story gradually develops the image starts to appear normal. Usually syllables that rhyme are stressed e.g. night"“bright, floods"“ woods. Boring or common syllables are rarely stressed e.g. was, a, in etc. The thoughtful use of Iambic pentameter in Resolution and Independence makes the poem for us as readers far easier and straightforward. Wordsworth's use of imagery makes us relate this poem to the environment we are living in, which makes this poem more realistic and true. Resolution and Independence also involves animals, unlike Meeting at Night, which is more about human beings and their struggles. Personally, I believe Wordsworth highlights the needs and struggles of animals and not just humans. Also there is the use of onomatopoeia in Resolution and Independence; 'roaring' a word that imitates natural sound, so that sound reflects sense making the poem more exciting. In Meeting at Night Browning takes advantage of poetic techniques such as onomatopoeia and repeats this technique repeatedly throughout the poem which creates a desired effect. I personally believe the two poets are using different approaches to express the same emotion, which are the passion, feeling and love of nature. They also use similar ideas and images but far more differently. Both of these poets have chosen their words carefully, each word is there for a purpose. Both of these poems contain words that have their own special pleasant sounds for example 'slushy' and 'roaring'. I think the easiest way a poet can create a brilliant image is through the use of metaphor, simile and personification. Effective imagery almost etches itself on our mind as readers and can be a very persuasive, acting to engage us strongly in the writing.   

In this essay I will attempt to compare and contrast the poem "Meeting at Night" by Robert Browning with "Resolution and Independence" by William Wordsworth. I shall begin by analysing the poems and looking for three similarities and differences, which will make me decide my final conclusion. The simplest...

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The Crucible is a play based...The Crucible is a play based on a true story set in the 17th century, about a closely-knit community in Salem, Massachusetts which from the accusations of girl "“ Abigail Williams "“ led to a witch hunt all over the town which ended up having over half of the town hung and the other half set free because they agreed when they were called witches but 'wanted to repent their sins'. Arthur Miller wrote Crucible in the mid 20th century as a parallel to the 'witch hunt' against communists and people with left wing views led by senator McCarthy in the 1950s. This involved making anyone with anything near to communist views made unemployable so that America wasn't 'taken over' by communism. Because this play very strongly conveyed Miller's views about McCarthyism at that time it was not able to be performed in theatres in America when it was first ready as any educated member of the audience could unravel the parallels that Miller made. In any play there are three things that can be determined by the play write apart from the script: the stage directions, the set, and the lighting. Miller has given directions very specifically on all three of these so that the play looks near to exactly as he first envisioned it to be and to keep the tension in the play working as it should. Throughout the play there are times where there is a lot of tension, uncertainty and drama. This helps to "suspend the belief" of the audience and keep them interested in the play. The main contributor to this build up is John Proctor whose quirky remarks and strange choices lead to the whole play becoming a bigger drama than any audience might have first thought. From even before the play has started John Proctor made a choice that was thought of to be very taboo "“ having an affair with Abigail. In the play, Abigail is 16. Although quite a young age to be running off with a middle-aged man was not as young as the real documents told: she was really 12, but in the 1950's the audience, no matter how educated would not have been able to cope with the story line of a 12 year old girl going and sleeping with a middle aged man so the dramatist changed the age to 16. After this early and disgraceful choice he continues to push the boundaries by choosing not to go to church. Since this was a Puritan and Quaker community the thought of not going to church would make many people cry blasphemy. But Proctor had a good reason, which was that he hated the way the Reverend Parris ran the ceremony. Not going set him aside as rouge and because of this conflict Proctor had with religion he increased the tension, as this is how the majority of tension is created in a play. He next makes a big decision to end his relationship with Abigail so to try to patch up his marriage and to try to start over. But Abigail doesn't take to this very well and accuses Proctor's wife of being a witch. Being his wife, the drama can thrive on the conflict within John and the conflicts he has focusing on this topic with both Abigail and Elizabeth. The conflict due to the now unrequited love of Abigail towards John led her to be more cunning and in her determination, comes a greater factor of tension and uncertainty into what she will do next. The decision that really increases the uncertainty is the decision Elizabeth "“ John's wife "“ makes to protect her husband over telling the truth. John previously said to the Danforth "she have never lied". Therefore when asked whether John had an affair with Abigail "“ earlier making it obvious that she knew of it "“ the audience expects her to say yes because she had never lied in her life, but to make the tension climax Miller makes her say no, which to an audience that had never seen the play before would shock, and enthral them at the same time. The main tension and drama building decision made by John Proctor is in Act 4: after being put in jail for not admitting to being a witch when accused, Danforth comes to see John, to supposedly set him free. All John has to do to be freed and not go to be hung on that very same day is to sign a piece of paper that says he admits to being a witch. Despite being advised by the comforting and wise Reverend Hail, he will not give Danforth the signed document. "But it's my name!" He makes a conscious decision to keep his self-respect, which is what a 'hero' in most stories and plays tries to achieve. By giving them the sheet of paper he would have signed his life away to a lie, this was something he could not do. Even after his wife forgave him for everything he did and apologised for everything she did to make him feel bad and then told him "whatever you will do it is a good man that does it" which would mean to her that she wouldn't care if he gave in to them. Despite all of this he puts all he can into maintaining his dignity and not giving in. He only told the truth and because he kept his name, even though he was hung he leaves the play having the audience on his side. Along with the choices there are some very subtle things that Miller uses to add to the atmosphere of the play. Firstly the language used predominantly in the play is colloquial language of the 17th century Quakers. This makes the characters much more realistic as the language they use is common with where they are and of the time. It also helps to show just how familiar everyone is with everyone living in Salem and that because of this anyone could be accused next. All Abigail needed to do was figuratively pull a name out of a hat, and accuse that person. But this type of language is not used in all parts. In the courtroom scene 3 the language changes to a much more formal version of this same dialect, mainly because of the presence of the judges who lived in another town and were unknown by the majority of people. Therefore the tension can build up more easily but since it is in a courtroom the people are unable to take the step onwards to climax this tension and so it just increases throughout the scene. Using the technique of conflict, Miller successfully created a drama with unexpected plot twists and betrayal that needed a basis of a true story to help it along with making believable characters and a believable witch hunt. Being a great contributor to the excitement that the play bring John Proctor is an essential character who drives the tension, drama and uncertainty in the play and when doing what is the right thing, he shows the audience that any person can change. He is just one example of a great character changing his morals.   

The Crucible is a play based on a true story set in the 17th century, about a closely-knit community in Salem, Massachusetts which from the accusations of girl – Abigail Williams – led to a witch hunt all over the town which ended up having over half of the town...

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We are analysing a number of...We are analysing a number of different sonnets. We will be analysing sonnet 18, 130, 55 by William Shakespeare and 'Strugnells sonnet' by Wendy Cope. Imagery is the 'picture' that is created in a readers mind when reading a piece of writing. In both of the sonnets 18/130 the imagery deployed is Nature. The writer uses nature imagery to define his subject to the reader. For example in 18, the imagery is very positive towards the lover. He uses words such as 'Thou art more lovely and more temperate'. He aims to flatter the lover through creating a very positive impression. But in 130 it is the total opposite. Negative comments are made towards the mistress from the very first line e.g. 'My mistress' eyes are nothing like the sun'. This is parallelism because in both of the opening lines of 18 and 130 the imagery of sun is deployed. In 18 it is deployed to flatter the lover. But in 130 it is used to show the real person the mistress is. In the opening of 130 it says 'My Mistress' eyes are nothing like the sun'. The imagery in 18 is based around a summer's day which is used in the opening line, unlike in 130 which is disparate. The thematic connections in 130 are much looser, but the majority is connected as natural objects. But something unusual is used in 130. 'wires' is used towards the end of the first quatrain. This is a man-made object and is unusually used in a sonnet deploying imagery of nature. The word 'wires' is now an archaic term that has changed meaning since the 1600's. It used to mean a strand of gold to form a necklace. Some of the imagery used in 130 was thought to be unfashionable in the 1600's. For example in the sonnet his mistress has dark skin instead of pale which was fashionable in the 1600's. It is as if the mistress' looks are unfashionable "“ e.g. 'But no such roses see I in her cheeks'. Nowadays most people prefer tanned skin over pale skin. 130 is very negative throughout the sonnet. He implies that his mistress has very dull eyes and also uses the possessive word 'my' when talking about his mistress implying that he owns her. In the opening line of 18 a rhetorical question is used 'Shall I compare thee to a summers day?' and in the opening line of 130, a simile is used 'My mistress' eyes are nothing like the sun'. These are two different rhetorical devices used in the Sonnets. 18 and 130 are two very different poems. 18 uses positive lexis to 'compare thee to a summer's day'. In the second line Shakespeare writes 'more lovely' and 'more temperate'. This is further use of parallelism. Then in the first line of the second quatrain an extremity 'too' is used. The use of all these words, shows how positive this poem is, Unlike 130 which uses negative terms to describe the mistress. In the last two lines of the opening quatrain parallelism is used. A unique sentence structure, in only two lines throughout the sonnet, is used. The lines both start with 'If' conditionals and the things it says are still negative linking in with the rest of the sonnet. Towards the end of 130, there is a change in the sonnet. The writer says 'I love to hear her speak'. This line may change the whole meaning of the sonnet. If the mistress' eyes are nothing like the sun it doesn't mean that they are black does it? In most sonnets, the features iambic pentameter and alternate end-rhyme are used. The end rhyme pattern is also used in both of the sonnets. A B A B C D C D E G E G F F In both 18/130 alternate end-rhyme is used. But in 130 the end-rhyme is used to show the negative features of the Mistress. For example 'My Mistress' eyes are nothing like the sun"¦' 'If snow be white, why then her breasts are dun'. It comes as a surprise to the reader because they usually stereotype sonnets as being love poems. So this would come as a shock because it goes against the expectations of sonnets. Both the poems use iambic pentameter, but something unusual is used in one line of 130. In line 13 of 130 11 syllables are used. The reader may not notice this, but it is used for a reason. It is used to emphasise an idea that the 'voice' has that the Mistress may not be like all the other women but she is 'rare'. She is not ugly but is unique and special. Towards the end of 18 monosyllables are used to emphasize the importance of the couplet. The couplet means that as long as people read 18 it will 'live' forever. 'So long lives this and this gives life to thee'. The conclusion I give is that 18 uses the Sonnet tradition to show the pure qualities of his lover through hyperbole. But when this concept is used in 130 the mistress seems unattractive. The sonnet tradition as a whole can be summed up in two points. 1. The main theme is love, but they all have different ways of expressing this love. 2. The sonnet will be immortalised All of the sonnets we are analysing show signs of the first point, but in 18 and 55 they are expressed more clearly. Also in sonnets 18 and 55 the second point is emphasised throughout. But in 130 and Strugnells, it is suggested that a traditional sonnet is an ineffective love poem. In sonnet 130, when Shakespeare writes using the sonnet tradition, the Mistress seems hideous. 'My Mistress' eyes are nothing like the sun;' Sonnets 18 and 55 are said to be the archetypal sonnets. This is because they both express the one of the two points very clearly. another concept is used to say that the poem will last so long it will immortalize the lover. Sonnet 55 shows the second point throughout the poem with very strong imagery. 'Not marble nor the gilded monuments / Of princes shall outlive this powr'ful rhyme,' 'That wear this world out to the ending doom/So, till the judgment that yourself arise'. Stone was said to be everlasting. The voice is saying that the Sonnet will last longer than stone and will even last till judgement day- the end of the world. Strugnells sonnet is a parody of sonnet 55. This can be proven by direct echoes of sonnet 55 in the first 3 words of Strugnells sonnet. SS'Not only marble'/55'Not marble nor'. Strugnells sonnet is saying that sonnets don't last forever. In fact they don't even last longer than 'the plastic toys/From cornflake packets,' 'I cannot immortalise you"¦' Although this is the point of view of the imaginary writer Wendy Cope has invented Strugnell it seems ironic because he has wrote a sonnet based on a 400 year old sonnet. In a way it is true because modern day we don't accept hyperbole. If a man was trying to impress a woman he wouldn't go up to her and recite sonnet 18 because she would probably laugh in his face. Nowadays love is feelings are expressed differently than the era of courtly love in which Shakespeare's sonnets were wrote.   

We are analysing a number of different sonnets. We will be analysing sonnet 18, 130, 55 by William Shakespeare and 'Strugnells sonnet' by Wendy Cope. Imagery is the 'picture' that is created in a readers mind when reading a piece of writing. In both of the sonnets 18/130 the imagery...

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When World War One broke... When World War One broke out in 1914 Britain had only a small professional army. It needed a large one very quickly. In order to solve this problem the government would introduce conscription in 1916. However, before the introduction of conscription the government would put a tremendous amount of social pressure onto the young men of Britain to volunteer to join the army. The government began a massive recruitment drive, with posters, leaflets, recruitment offices in every town and stirring speeches by government ministers. Not only this many newspapers would include poems written as a means of shaming men into joining the army. For example, the poem "Fall In" by Harold Begbie would make those who did not join the army feel ashamed. Also, the women would put further pressure on men to join the army. The idea that the women would want the men after they came back from war was common. During this time young the young men of Britain were put under a lot of pressure to join the army. The recruitment campaign was highly successful as by 1916 over 2 million had enlisted. At this time the people of Britain were ignorant and inexperienced about war. To most the war seemed like an adventure or almost like a "game". The use of propaganda only served to increase this impression. Government produced propaganda would make people dismiss reality and the truth, instead opting to believe what the government wanted them to believe. Whilst in reality World War One was a highly dangerous and horrific experience. As well as this many young men thought the war would be over by Christmas and that they would be seen as heroes when they defeated the enemy and came home. In hindsight we can see how delusional people were, manipulated into dismissing the truth. Wilfred Owen was one of the most recognised war poets during the war. Owen's poems would illustrate the true dangers of war with the focus being on the young men who had been almost forced to join the army. Owen's style of writing was in contrast with those of Harold Begbie and Jessie Pope. Begbie and Pope would write poems playing upon the concerns of young men and glorifying the war. It was partially Owen's dislike for Pope and Begbie that drove his poems as well as his need to record his first-hand experiences. The poem "Fall In" by Harold Begbie immediately tries to convince the reader to join the army. The title "Fall In" seems threatening and acts as a command almost telling the reader to join the army. Furthermore, the opening line of the poem immediately shows the main topic that runs through the poem: "What will you lack, sonny, what will you lack" Here we learn through the use of the word "sonny" that the implied reader is a young man, most likely still unsure about signing up. Not only this the repetition of the word "sonny" throughout creates a sense of threatening insistency. As a rhetorical question the poetic voice manages to make the reader think whilst the repetition of "what will you lack" further emphasises the question. After the initial rhetorical question managing to grab the reader's attention Begbie goes on to prey upon one of their immediate concerns: "When the girls line up the street, Shouting their love to the lads come back" Here Begbie straight away focuses on one of the main concerns of the implied reader: appearing unmanly in front of women. Begbie is suggesting that by joining the army the implied reader would be instantly recognised as a hero. Not only this the girls would show their love and appreciation for them, revelling in their glory. This image of girls "shouting their love" would powerfully encourage the implied reader to consider going to war. We can also see Begbie's lack of knowledge and ignorance about the true horrors of war as he seems to believe that it would be an advantageous opportunity for young men. Begbie later preys upon different concerns that the implied reader might have: "And England's call is God's!" Here Begbie plays upon the idea of patriotism with his reference to "England". With many men joining their respective countries' armies Begbie could be suggesting that it would be your duty as a citizen of England to sign up. To further convince the implied reader Begbie mentions that "England's call is God's". This would indicate that God is with England and therefore by signing up you would be siding with God. Also, the implied reader could interpret this as suggesting that God would be with them throughout the war serving as a protector. Begbie later changes tactics as he tries to connect with the implied reader choosing to use more colloquial language: "The pub and the betting odds" With the implied reader being a young, inexperienced, somewhat immature young men this use of colloquial language here would relate to them on a personal level. With the mention of a "pub" and "betting odds" the implied reader might relate to these socially specific details, consequently making them warm to Begbie. With the introduction of the second stanza in "Fall in" Begbie adopts a more serious voice: "Will you say it was naught to you if France Stood up to her foe or bunked? But where will you look when they give you the glance That tells you they know you funked?" The indication here is that those who do not join the army will be betraying their country and fellow citizens. Moreover, the further use of rhetorical questions serves to make the reader ask themselves the question as well as making them feel more involved in the poem. In the penultimate stanza Begbie suggests that there is still time for the implied reader to redeem himself with the announcement: "Or say- I was not with the first to go, but I went, thank god, I went? Here it seems that Begbie is assuming the role of the implied reader to further connect with them whilst simultaneously bolstering the impression that they should volunteer. Also, Begbie is communicating the idea that there is still time to prove yourself and volunteer. Moreover, the mention of "god" again indicates the religious aspect of the war, maybe suggesting that by volunteering you will be siding with God. Finally, in the last stanza Begbie, possibly to serve his own ends, asks the rhetorical question: "It is nought to you if your country fall, and right is smashed by wrong?" With the use of this rhetorical question Begbie hopes to arouse the reader's emotions and immediately rush to volunteer. Begbie was not the only poet who wrote poems encouraging young men to volunteer. Jessie Pope is another poet who wrote poems of this nature. Pope's poem "Who's for the game?" is very similar to "Fall in" as they both communicate the same message in an attempt to encourage young men to volunteer. The title "Who's for the game?" gives us a good indication of how Pope views the war. By suggesting that war is little more than a contest we can conclude that Pope lacks knowledge about war and is unaware of the true horrors that occur. It is this thinking that enraged Owen and would influence his later work. "Who's for the game?" and "Fall in" are similar in many ways. For instance, like in "Fall in "there are many rhetorical questions found in "Who's for the game?": "Who's for the game, the biggest that's played, The red crashing game of a fight," Here Pope uses many references alluding to war as a game. It could be that Pope is attempting to make the war sound more welcoming to further convince the implied reader to volunteer. As well as this the tone throughout "Who's for the game?" is very upbeat and energised serving to make the reader feel more enthusiastic about the idea of volunteering. Also, the vocabulary and lexis seen here is very brash and confident to increase the impression that war is an adventure. Throughout this poem there are many direct rhetorical questions asked which would create a dialogue between the reader and the poetic voice. Consequently this makes it a lot more stirring and effective at influencing the intended audience whilst simultaneously almost forcing the reader to ask himself whether or not he should go to war. Moreover, Pope continues to show her ignorance to the true nature of war, presenting it as little more than a play: "Who'll give his country a hand? Who wants a turn to himself in the show?" Here Pope preys upon the implied reader's fears of being ostracised. The suggestion is that if you do not go to war then you will be letting your country and your peers down. This is very similar to Fall in where Begbie preyed upon the implied readers fears of appearing unmanly to women. In continuation of this, Pope goes on to focus on the sense of patriotism one would have if they were to volunteer: "Who knows it won't be a picnic-not much- "¦Who would much rather come back with a crutch" Here Pope is recognising that one could get injured in war. However, Pope then suggests that it would be a sign of honour to "come back with a crutch". As well as this Pope compares war to a "picnic". This idea that war is fun shows Popes ignorance to the dangers of war. Furthermore, in a more disturbing aspect, it could be that Pope is trying to manipulate these young men into going to war. In the last stanza Pope again focuses on the patriotic aspect of war: "Your country is up to her neck in a fight, And she's looking and calling for you." The suggestion here to the implied reader is that their country is "looking" and "calling" for them. Writings like this would have put a tremendous amount of pressure on young men. Also, with all the other methods of persuasion that they would have been subjected to these men would have been almost forced into volunteering. In conclusion, it is clear to see that the poets Begbie and Pope were unaware of the true horrors of war as they attempted to manipulate young men into volunteering and consequently signing their lives away. It is these views expressed by Begbie and Pope that would have influenced the work of Wilfred Owen. Wilfred Owen was one of the most recognised war poets during the war. Influenced by the poems of propagandists such as Begbie and Pope, Owen would write about the true dangers of war with the focus being on the young men who had been almost forced to join the army. One of Owen's most recognised poems is "Disabled: a victim of war". In this poem Owen communicates the effects of war as he assumes the role of a young man who has just returned from war after being severely injured. Whilst in other poems the life of a soldier is generalised here we are given access to an individual sole person. Consequently we are able to sympathise more as we are presented with one man's experience. Furthermore, as this poem is written in the free indirect style it allows the reader a unique access to the young man's thoughts and memories. For instance, we are given a sense of his pain: "He sat in a wheeled chair, waiting for dark, And shivering in his ghastly suit of grey." Here we are presented with a grim indication of this young man's current situation. The mention that he "sat in a wheeled chair" augments his sense of pain and disability. However, a real sense of sympathy is experienced when we realise that it was the work of propagandists such as Begbie and Pope that manipulated men like him into volunteering. It is very likely that this man signed up to prove his potency but now he has ended up totally dependant and rendered impotent. Also, the suggestion that he was "waiting for dark" could show that the night is his only source of comfort as when it's dark he can sleep and experience no pain. Another way of looking at this is that night is a metaphorical symbol of death. He is now at a point where he views death as his only escape from this pain and therefore finds himself ultimately just waiting to die. This stresses the horrors of war by giving us a individual example to help us to sympathize and empathise. Furthermore, the description of him "shivering" shows how all energy has been drained from him, making him seem more vulnerable. Also, the mention of him as a "ghastly suit of grey" suggests that he is barely alive; he is only left with a conscience. Not only this the alliteration present here creates a sense of a desperate sigh almost as if he is disgusted with himself. The sense of pain the man is experiencing is continued: "Legless, sewn short at elbow." The syntax of the sentence here is designed to deliberately delay the detail of "legless", thus highlighting its graphic horror on the reader. As well as this the mention that he was "sewn short at elbow" indicates how he has been dehumanised as now he is made to sound like a piece of clothing. Whilst at the start we were an observer we are now given full access to his feelings and emotions making it far more evocative. This sense of pathos experienced by the reader is further increases with a reminder of what he used to have: "Voices of boys rang suddenly like a hymn, Voices of play and pleasure after day." The "voices of boys" only serve to remind him what he will never be able to experience again: joy, pleasure and energy. The mention of a "hymn" arouses the sense of religion. It could be that he feels he has been forsaken by God and now he doesn't even have his religion to give him hope. In the second stanza it seems as if we are going into his positive memories: "When glow-lamps budded in the light blue trees, And girls glanced lovelier as the air grew dim." Each stanza is separated by asterisks creating the impression that the man is drifting in and out of consciousness. With the introduction of the second stanza it seems that we are drifting into positive memories with of "light blue trees" creating a peaceful mood. Moreover, the mention of "girls" indicates a sense of lost romance. However, this sense of calm is immediately lost with a sudden volta: "In the old times, before he threw away his knees." There is a visceral sense of shock here as the mood dramatically changes. Whilst he was at peace reminiscing on his past memories of joy, he is now suddenly reminded of his current situation. He has now become aware that he will never be able to experience joy again: "Now he will never feel again how slim Girl's waists are, or how warm their subtle hands;" It seems he is aware that he will never know the joy of love and friendship again. His desire for physical love makes the reader sympathise even more. As the poem moves into the third stanza it segues into another positive memory. However, these constant reminders of what he used to have ultimately only pain him more. Yet he still looks desperately from some memory to salve his pain: "He's lost his colour very far from here, Poured it down shell-holes till the veins ran dry." This phantasmagorical image of "shell holes" shows how he has lost all of his dreams and hopes bolstering his sense of pain. Not only this it intensifies the sense of regret and anger at himself for being influenced by propaganda. It is almost as if war has drained him of everything. In the fourth stanza there seems to be an indirect attack on Pope: "After the matches, carried shoulder high. It was after football, when he'd drunk a peg." This could be interpreted as an attack on Pope. Here Owen is indicating that this man will never be able to play football again due to his injuries suffered at war. Whereas in "Who's for the game?" Pope, in an attempt to convince young men to volunteer, compared war to a team game. Furthermore, in "Fall in" and "who's for the game?" there was an indication that those you did volunteer would experience a heroic welcome when they returned. However, in "Disabled" the returning soldier does not receive this response: "Some cheered him home, but not as crowds cheer Goal. Only a solemn man who brought him fruits." Owen is again satirizing Pope and her poem "Who's for the game?" with the suggestion that he would have been given more praise for scoring a goal than going to war. This is highly ironic since Pope compared war to a game in "Who's for the game?" As the poem ends Owen gives one final indication of this man's pain: "How cold and late it is! Why don't they come And put him into bed? Why don't they come?" The repetition here of the question "Why don't they come" augments his sense of pain and suffering whilst indicating his longing for an end to his nightmarish existence. Owen has cleverly focused on an individual person rather than a faceless mass to make it easier for the audience to sympathise and empathise. Thus, Owen stresses the horrors of war through his description of one man's life after the war. Another of Owen's most recognized poems is "Dulce et Decorum est" which translated means sweet and fitting it is. This title is not meant to be taken seriously as in the poem Owen adopts an angry, bitter tone to talk about the horrors of war. Straight away Owen stresses the horrors of war with his description of these young men: "Bent double, like old beggars under sacks, Knock-kneed, coughing like hags, we cursed through Sludge." Here we learn about the soldier's wretched condition as they return to the Front. The use of similes comparing these soldiers to "beggars" and "hags" is very powerful considering they were young men. There is a suggestion that they have been reduced to old weak women. This shows the appalling conditions that soldiers experienced in the war. Owen is trying to communicate to the reader the true effect that war can have on people through his vivid description of these men returning to the front. In continuation of this, Owen carries on to bolster this impression of their hardships: "But limped on, blood-shod. All went lame; all blind; Drunk with fatigue; deaf even to the hoots." Here we can see how mentally and physically drained they are as they "limped on". Furthermore, they seem to have lost their senses as they are now "lame", "blind", and "deaf". This powerfully communicates their distress and wretched condition. As well as this they are dehumanised with the mention that they are "blood-shod". They have now reached a state of pain and suffering that they are no longer recognized as humans. With the introduction of the second stanza Owen focuses on one man who could not get his gas helmet on in time: "Gas! Gas! Quickly, boys! "“ An ecstasy of fumbling "¦And flound'ring like a man in fire or lime"¦ Dim, through the misty panes and thick green light, As under a green sea, I saw him drowning." Here Owen allows the reader to see through the eyes of a soldier. Consequently we are able to empathise with this soldier on a personal level as we can experience what is happening from the first person. We are seeing the true horrors of war through this one soldier's perspective rather than the ideas presented by such propagandists as Begbie and Pope. The description is very surreal and chaotic due to the powerful visual and aural imagery present. Owen uses a powerful underwater metaphor to compare the soldier succumbing to poison gas with drowning. This metaphor helps the reader to vividly picture the scene consequently making it far more effective. Also, the mention of a "green sea" suggests the soldier's helplessness and pain as he dies. Moreover, the unforgiving horrors of war can be seen with the mention that he was "flound'ring like a man in fire". This simile indicates the pain he was experiencing as he died and further stresses the horrors of war. In the third stanza Owen looks back from a new perspective at what has just happened to his friend: "In all my dreams, before my helpless sight, He plunges at me, guttering, choking, drowning." The commas used here serve as a pause prolonging the sentence making it seem more saddening. Another way of looking at this is that the pauses are meant to be sighs, expressed by Owen as he watches in horrors as his friend dies before him, knowing there is nothing he can do save him. In the fourth stanza Owen attacks those people at home who uphold the war's continuance unaware of its realities: "If in some smothering dreams you too could pace "¦ And watch the white eyes writhing in his face, His hanging face, like a devil's sick of sin; Owen is suggesting here that if those people who are ignorant to the horror of war could experience his own "smothering dreams", which replicate in small measure the victim's sufferings, then maybe they would change their perceptions. The "you" whom Owen addresses could imply people in general but it more likely it applies to the propagandist poets who influenced his work. The sufferings that are experienced at war are described in sickening detail by Owen to shock the reader. The verbs "writhing" and "hanging" denote an especially virulent kind of pain. Whilst the simile comparing his face to a "devils sick of sin" indicates that he has somewhat experienced hell on earth in the form of war. Thus we can see how Owen stresses the horrors of war through his vivid description of one man's sufferings at war. Owen ends this poem with a somewhat angered bitter line that represents his attitude to the propagandists: "The old Lie: Dulce et decorum est Pro Patria mori." This translates to "the old lie: sweet and fitting it is to die for one's country". We can see just how disgusted Owen was by the propagandists in this poem. Therefore, we can see just how Owen stresses the horrors of war through his vivid and descriptive writing about soldiers in the war. The main purpose of "Dulce et Decorum Est" was to make people aware of the true nature of war. Similarly, "Disabled" also attempts to communicate the horrors of war. Both these poems were influenced by the works of propagandists such as Begbie and Pope who wrote poems unaware of what war was really like with the intention of manipulating young men into volunteering.   

When World War One broke out in 1914 Britain had only a small professional army. It needed a large one very quickly. In order to solve this problem the government would introduce conscription in 1916. However, before the introduction of conscription the government would put a tremendous amount of...

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