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Dulce Et Decorum Est Commentary

Keywords: dulce et decorum est wilfred owen wilfred owen analysis

Dulce et decorum est is a famous anti-war poet compiled by Wilfred Owen in 1917, during the WWI. It portrays warfare as a brutal and dehumanizing experience by utilizing a number of horrific, gruesome imageries effectively. This poem is based on a quotation from a Latin poem, "Dulce et decorum est - pro patria mori", this means "It really is sugary and proper to perish for one's country". However, there is absolutely nothing in the actual poem that is sweet, nor is there any information that associates right to its subject. The poem is ironically focused on Jessie Pope, a children's e book copy writer and a poet known to write poems that deliver patriotic emails. It also objurgates the mass media that propagated the innocent military for attempting ignoble political maneuvers, and also those who glorify war without the just purpose. The poem can be divided roughly into three sections: the troops leaving the battlefield; a landscape of the soldiers suffering from an urgent gas episode; and a blistering criticism against those who glorifies these troops.

The first stanza identifies how the soldiers are mentally and bodily distressed from the brutal and horrifying activities of battle. It mainly focuses on the discomforts and grieves of the soldiers who are in desperate need of medical items and attention. Wilfred Owen attracts a sharp distinction between these old war-stricken troops referred to as "Old beggars under sacks" and the glorious and virile images people generally have against troops. This stanza clearly highlights the actual fact they are NOT marching towards battlefield with patriotic soul, but instead trudging exhaustingly like "Hags" who are completely exhausted and mutated. They march by putting forth all the little strength remaining in them and walking "Knock-kneed" so that they can at least continue moving forward. Many have lost their boots from cursing "through sludge", and in retreat from warfare, many move their ft, shod in their own bloodstream with eager need of restoration from the accumulated fatigue.

The poem are made up lots of 28 lines, and has a convectional rhyming structure. It uses full rhymes such as "sack" and "back", "sludge" and "trudge", "boots" and "hoots", etc. The rhyme system is in alternative sets of four, ABAB CDCD EFEF GHGH IJIJ KLKL MNMN. However, the stanzas are split up irregularly into 8, 6, 2, 12 lines, and aren't offered as quatrains. In the first section, with a stanza of 8 lines, an octave which essentially explains environmentally friendly conditions and the deplorable situations the military are in, and one of six, a sestet, , it can be assumed to be an Petrarchan sonnet, though it is not tenacious to the classical form since Wilfred Owen will not seem to firmly abide by the actual rhyme structure.

The poem starts off with an gradual pace, creating an atmosphere of dismay and dejection by utilizing words such as "Sludge" and "Trudge". Owen's illustrative use of imagery here allows us to picture and understand the poor environmental and physical conditions they are in. It shows how the soldiers aren't merely exhausted, but they are coming near sacrificing all the expectations they may had for their dazzling future. A very good use of simile can be seen in the first verse where in fact the soldiers are defined to be old, crippled reprobates, who are "Bent double, like old beggars under sacks / knock need, coughing like hags", even though many will need to have been very young. By saying so, Owen effectively breaks the greatly accepted image of military being brave, patriotic and highly encouraged. Another intriguing term that deserves a point out here's "Distant break" which is often interpreted in two ways: one interpretation may simply indicate to have a long-awaited rest to recover from exhaustion, but it also implicitly identifies "Rest In Calmness" as a destiny for many employed in battle.

The second stanza prompts the visitors for an abrupt alarm of risk. "Gas, GAS! Quick, children!" Equally as the young boys were heading for a peace of mind by retreating from the front brand, gas shells drop beside them. When they hear the caution, the soldiers start to hastily wear their "Clumsy helmets" to save their own lives in "ecstasy of fumbling". Terrible and stunning images of the gas invasion are outlined by concentrating on the unfortunate one who does not get to wear the face mask in time and it is gradually poisoned to loss of life. The notion of lung burning "And floundering like a man burning or lime" creates a terrifying image of the person writhing and experiencing the symptoms of intoxication.

The poem comprise lots of 28 lines, and has a convectional rhyming structure. It uses full rhymes such as "sack" and "back", "sludge" and "trudge", "boots" and "hoots", and so on. The rhyme plan is in alternative sets of four, ABAB CDCD EFEF GHGH IJIJ KLKL MNMN. However, the stanzas are split up irregularly into 8, 6, 2, 12 lines, and aren't offered as quatrains. In the first section, with a stanza of 8 lines, an octave which essentially explains environmentally friendly conditions and the deplorable situations the troops are in, and one of six, a sestet, , it can be assumed to be an Petrarchan sonnet, though it is not tenacious to the classical form since Wilfred Owen will not seem to totally abide by the actual rhyme structure.

Owen again makes uses of similes to spell it out the have an impact on the gas episode is making to the person. "And floundering just like a man n fireplace or lime". Also capital letters and exclamation markings are utilized as accents to stress the sense of urgency and worry, also to make the image even more graphical. "GAS! Gas! Quick, children! -- An ecstasy of fumbling". He intentionally uses the term "ecstasy", which usually means to be rapturous, to dramatize the overflowing sense of worry and fear the soldiers are in. Owen applies words such as "floundering", "clumsy" and "stumbling" not and then pace in the poem, but to talk the sense of emergency, and the chaotic turmoil the troops end up in. However, then there's a sudden slowing down of tempo led by the challenging imagery of fatal silence prevailing within the soldiers "drowningunder the renewable sea" of poisonous gas. Also, there is a use of dual entente seen here "Dim, through the misty panes and thick inexperienced light / As under a green sea, I observed him drowning". Not only does the imagery of the green sea imply the luminous gas misting in the air, but it also portrays the view the soldiers see through the dim lenses with their gas masks. The ones who are protectively accoutered in mask passively observe the life of the unprotected relentlessly fading away

The two lines "In every my dreams before my helpless sight" and "He plunges at me, guttering, chocking, drowning" are thoughtfully separated to show those who consider blindly that war in reality is not about brevity or earning or for anyone's country but is simply about survival and an anxious get away from from an overpowering fear of becoming crippled both literally and psychologically. Owen continues to utilize metaphors linked to sleep walking, dreams and nightmares, to say how horrendous, and relentless the coming back image given is. The "helpless look" indicated here's talking about the guilt feeling of the way the speaker "I" is unable to help the gas-poisoned comrade. He enumerates consistently lots of verbs to highlight the immediacy of the section, also to reiterate the unimaginable anguish of the comrade as he drowns deep in the "green sea".

And at last, going back stanza, Owen explains the soldier's death mask as a "devil's sick of sin", to implicate that an once innocent children has fallen in to the pitfall of hell. The last four lines here are very ironic and cynical, as if they can be Wilfred Owen's own words. The poem ends with an asseveration that "Dulce et decorum est pro patria mori, " is an entire lie, Within the last verse, Owen, for the first time, employs the next person "you" to straight address us viewers so that they can wake us up to see the ugly fact of warfare that he unveils. In the key phrase "Of vile, incurable sores on innocent tongues", Owen reminds the viewers that these military in the battlefield were also once the "children ardent for some desperate glory", who were brainwashed to sacrifice their lives in that pitifully poor environment. Within the last lines, his anger, unwell feeling and strong sense of denunciation towards absurdity of battle are vividly expressed in a fashion that is highly convincing to the viewers not to let the "old" rest be passed on unnoticed to another generation. "My friend, you would not tell with such high zest / To children ardent for some desperate glory"

In the last phrase, Wilfred Owen purposely does not apply the utilization of iambic meter, as though there is no meaning, or no point in making an effort to place the words within the correct metrical composition, to stress his anger and sense of distrust towards "old lay" in the most straightforward manner.

Although the pace is still rapid, the word options here become forthright and incredibly striking, as though to emulate a conflict reporter with a doomed vision uttering whatever arises in his mind's eye out of desperation. Within this stanza, he graphically pictures the dreadful images of a man tormented by the gas strike, giving revolting information related to areas of the body, which can be horrifying and aesthetically disturbing. "And watch the white eye writhing in his face / blood vessels gargling from the froth-corrupted lungs". I assume the phrase is supposed to mix the visitors' feelings as powerfully and shockingly as possible, by meaningfully talking about the cosmetic appearance of a soldier, who is normally stereotyped as a good-looking and virile junior, deform into an gruesomely dehumanized face, therefore of the poisonous gas he could not help inhaling.

What we see from the poem is the fact that Wilfred Owen has prevailed in using various literary devices, to set-up the ghastly and horrifying images of the warfare. He implicates that battle is brutal and vile, and completely contradicts the thought of how "sweet and proper it is to pass away for one's country". He overall provides very steady development in the poem, in despite of the frightful imageries of the soldier suffering from the plaguing gas assault. In addition, Wilfred Owen employs irony to criticize not only Jessie Pope, but to all those people who consider "warfare" to be honoring and splendiferous traditions.

 

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