Compare The Hyaenas(TM) with War(TM). What shoc

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Compare ‘The Hyaenas’ with ‘War’. What shock tactics are used to get across a message about war and why did the poet use them?

Both poems, ‘The Hyaenas’ and ‘War’ use shock tactics to get the message across about war. Kipling and Wallace have used some similar shock tactics in both of these poems, the most obvious being the different topics and focuses of them. Secondly, the imagery in the two poems has a shocking effect on the reader.  Both poems also use the word ‘it’ referring to the dead soldiers. The tense in which the poems are written also effect the reader, but in different ways. The behaviour of the hyaenas in ‘The Hyaenas’, is shocking as the reader is not expecting bodies of recently buried soldiers to be dug up for food. Similarly, in ‘War’, the surgeon’s behaviour comes across as a shock to the reader as he seems to be quite disrespectful towards the dying soldier showing how war can affect people.

In the ‘Hyaenas’, Kipling describes how these scavengers would dig up and eat newly buried soldiers. This topic alone is a very strong shock tactic as it seems almost unreal. As readers, we are not usually used to such things happening and are therefore horrified at the reality of the poem.

 In ‘War’, Wallace illustrates the horrible effects of war by describing a surgeon’s attempt to heal a severely wounded and dying soldier. This effects the reader as it portrays the cruel reality of war and sadness it creates for the soldiers’ families.

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The imagery in both of the poems has a very strong effect on the reader, although it is arguable that ‘War’ has more imagery. In ‘The Hyaenas’, the dead soldiers are described as not being able to lift a hand to defend themselves from being eaten. This gives a sad and pathetic image, making the reader feel sorry for the helpless bodies being treated as food. The imagery used to illustrate how the hyaenas pull the soldiers out of the grave is effective as it shows how these dogs see the bodies – not as people, but as food. ...

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