Raleigh is new to the line - he hasn't seen his friends killed yet. When he does, he naturally finds the experience traumatic.
Raleigh is new from school, just as Stanhope was when he first came into the line. This seems to be a perfect example of the corruption of youth and loss of innocence caused by war. It is brought out and magnified by the relationship between Raleigh and Stanhope in a way that would not otherwise be possible. In this context it is far easier to see a representation of one man at different stages of experience.
The relationship is also very important because it shows the way that relationships interfered with professional conduct in the trenches. Stanhope is the archetypical professional - his handling of Raleigh at first is completely by the book, sending him out onto the line the first couple of times with an experienced officer. But Stanhope's obvious paranoia about the war interfering with his life at home is enough that he can decide to use the censoring rules in a corrupt manner to stop Raleigh from reporting that he is, in fact, a nervous wreck.
Osborne opposes him, since this is plainly a perversion of the system. Fortunately Stanhope's fears were unfounded, but this behavior is still unacceptable. The exchange between Stanhope and the Colonel also appears to be an example of Stanhope's relationship with Raleigh affecting his normal conduct. Stanhope tries not to let Raleigh be sent out on such an apparently suicidal daylight raid, when he has only been in the war a couple of days. He suggests sending a sergeant instead of an officer before the Colonel suggests Raleigh, and then tries to persuade the Colonel not to send him.
It seems as if Stanhope is subconsciously putting the protection of his friend as more important than the mission, which would be unprofessional, but perhaps justified. However, it is possible that this was Stanhope's normal behavior, protecting the new officer from hazard, although, in this case, Raleigh does appear to be the only sensible choice. Once again, nothing comes of these apparent fears, but this could be a very good example of how relationships affected life in the front line. Certainly this is a very interesting feature of the play that is introduced by the relationship in question.
The relationship also serves well as a vehicle to demonstrate how emotions were amplified in the cramped and almost claustrophobic conditions of the trenches. Stanhope's reactions to Raleigh's arrival in his company are much more intense than might be expected in normal life. His fear that what he feels to be his inadequacies might be revealed to Raleigh's sister appears to be his major worry through the rest of the play, and marrs what should be a good friendship.
Not only that, but being seen as a hero should not be enough to provoke a reaction bordering on hatred.
Stanhope's feelings throughout the play are definitely in the extreme, from his shouting at Raleigh about not coming to the post-raid meal, to his treatment of Hibbert, but his most emotional moments are when he talks of his love for Raleigh's sister.
His feelings for her interfere in his relationship with Raleigh hugely at the beginning of the play, but at the bitter end Stanhope shows how he really cares for Raleigh. They call each other by their first names, "Dennis" and "Jimmy", and Stanhope does his best to reassure the boy, even though he knows that it is a mortal wound.
Even though Stanhope knows that Raleigh's inability to feel his legs is due to severance of the spinal cord, he never lets Raleigh think that things are not going to be all right. He shows that he really cares for Raleigh, especially in his "listless" behavior after Raleigh's death.
Without the relationship between Raleigh and Stanhope the play would be robbed of much of its depth and life. It is the vehicle for much of the play's most emotional moments, especially in the tragic close of the work, when their true deep friendship is really revealed. Without it, the play would be much less interesting, absorbing and involving.
