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War poetry comparison

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By comparing the following three extracts, and by referring to your wider reading, examine how typical in both style and treatment of subject matter these writings are of literature form the First World War. - A - Paul Nash extract - B- Glory of women - Siegfried Sassoon - C- Perhaps - Vera Brittain It seems that extract B is written as a bitter response to the experience of women during the war and C is written as a lamentation by a woman about her dead fianc�. Effectively, both extracts deal with women's points of view regarding the war. Extract A focuses on the reality of war as seen by a painter. However, it is important to distinguish that it is only extract A which deals with the reality of war where the others are somewhat opinionated towards reactions to it. In addition, all three extracts were written at the peak of WW1, therefore their attitudes would have been regarded as somewhat realistic and immediate to their time. Being a male artist, Paul Nash is more likely to have first-hand experience of the war. It seems that his intention, like Sassoon's is to call emphasis on the reality and truth of war. Arguably, this misunderstanding about war was most experienced by those at the home front - primarily women. ...read more.


Written during the war, the artist looks to the "horror" that he had observed that contrasts with how Brittain deals with coming to terms with the news of her fianc�'s death as do many of the other female poets. Sassoon interprets their reaction to the soldiers' struggle with war as ignorance. In his poem, he directly aims his opinions towards the women, evident through the repetitive use of "You". In addition, the use of such a word conveys the solidarity between the women, effective as they took a pro-active role in war-time. This is dealt with in other forms of literature, such as in Mary Gabrielle Collins Women at munition making. Though like Sassoon, she attacks the unnatural role of women in this time. In addition, like Owen's Anthem for Doomed Youth, Sassoon chooses to subvert the traditional sonnet structure in favour of using it to express his anger. Interestingly, he almost divides the male and female genders through his effective method of contrasting the reality of war with the perceived response of the women: "You love us when we're heroes... Or wounded in a mentionable place" Arguably, the women believed that they were doing the right thing when they were to "worship decorations". Sassoon also highlights at the end that the warm and cosy atmosphere where the "German mother" sits is representative of her unawareness. ...read more.


He also emphasises that there is no "glimmer of God's hand" which draws across this idea of the loss of God and religion in amongst the carnage of war, effectively portrayed in other poetry such as Housman's Epitaph on an army... where God has "abandon'd" a world full of such "unspeakable" horror. This is effectively used as a technique to highlight the inhumane nature of war. Nash's description gives the war a bleak outlook which could be further emphasised by other poetry such as Frederic Manning's The Trenches. To him, the "dying trees ooze" and the "rain drives on". This effectively paints a picture of the loss of nature in war of which Nesbit suggests that we are responsible. In addition, like Sassoon, he uses effective alliteration and repetition of 'ing' and 's' sounds to inform his meaning. However, his intentions are somewhat different. Nash rather, desires to highlight the relentless nature of war. His description of the "green-white water" and the "rotting" atmosphere also express the destruction of nature. Upon reading it, it becomes clear that he has underlined that annihilation of the world - and that we are at fault. All three extracts differ in the forms they are written in. Brittain explores a very personal range of themes and emotions, whereas, Sassoon attacks the position of women at the home front. As a letter, Nash deals with his own personalised visual experience and reaction to the war. ?? ?? ?? ?? ...read more.

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