Poetry and War Essay Example for Free

Poetry and War Essay How does Owen explore the themes of war through the power of his poetry? Written by: vdg How does Owen explore the themes of war through the power of his poetry? Answer Q Owen expresses the themes of war through the unique power of poetry. Both the mental and physical brutality of war is emphasised in the poems, â€Å"The Send off,† â€Å"Anthem for doomed youth† and â€Å"Spring Offensive,† furthering the responder’s understanding of a soldier’s life on the western front. Owen employs various poetic devices such as imagery, symbolism and sound techniques, and powerful language features, together helping to convey the different aspects of war, such as the themes of ___ (maybe 4 main themes). 100 words on extract, linking to q Wilfred Owen’s, â€Å"The send-off,† illustrates the consequences of war and reveals its cynical, secretive nature through the use of poetic devices. The title, â€Å"The Send-off,† depicts two different images about the nature of war. â€Å"Send-off† could be interpreted as a farewell to soldiers, in the hope of their return, or metaphorically could convey their literal fighting till death. The composer’s use of symbolism, â€Å"darkening lane,† portrays the sinister side of war, while the alliteration, â€Å"grimly gay,† creates irony. This depicts the soldiers’ hidden fear of going into battlefield, compared with their initial excitement at â€Å"send-off. † The composer also emphasises the fact that the â€Å"typical† send-off is an emotionless, mechanical procedure for many military personal, rather than a cheerful experience. Owen’s choice of diction is used to convey the horrors and themes of war. The metaphor, â€Å"Their breasts were stuck all white with wreath and spray. As men’s are, dead,† reinforces the concept of doom and sacrifice during war, through the onomatopoeia of â€Å"stuck† and the negative connotations associated with the word â€Å"dead†. Diction is used, â€Å"Dull porters watched them, and a casual tramp†¦staring hard, sorry to miss them†¦,† to demonstrate that most onlookers have a lack of emotion towards war. The rhetorical question, â€Å"Shall they return to beatings of great bells in wild train-loads? ,† conveys the uncertainty of war, where a soldier’s fate is unknown to many. The composer’s use of repetition â€Å"A few, a few, too few for drums and yells†, conveys a sense of loneliness, as there are only a handful of soldiers who have returned home, depicting the horrors of the aftermath of war. The composer’s use of imagery, â€Å"May creep back, silent†¦up half-known roads†, portrays the returned soldiers’ disillusioned state of mind, effectively giving the responder an insight into the consequences of war. The composer’s successful use of personification in this poem, â€Å"Then, unmoved, signals nodded† and â€Å"a lamp winked to the guard†, illustrates the secretive and cynical nature of war, and presents the mental assumptions about a typical war. Personification is also used, â€Å"So secretly, like wrongs hushed-up, they went,† to communicate the soldier’s unfair treatment at the hands of the government, while the phrase â€Å"they were not ours†, alludes to the soldier’s lack of belongingness. LINK TO Q Another poem, in which Owen uses the power of poetry to convey the themes of war, is â€Å"Anthem for doomed youth. † The title, â€Å"Anthem for doomed youth,† acts as an extended metaphor for the sacrificial and improvident consequences of war. Owen uses religious imagery, â€Å"candles† and â€Å"choirs†, alluding to the funeral ceremonies associated with such religious symbols, while also depicting the inhumane nature of killing during the war. â€Å"Doomed,† conveys a pessimistic tone and creates an image of entrapment. The opening rhetorical question, â€Å"What passing-bells for these who die as cattle? †, illustrates the dehumanisation of war through the use of animal imagery. Moreover, the composer’s repetition, â€Å"only,† highlights the insufficient homage paid to death. Owen also employs alliteration and symbolism to convey the themes related with war. Alliteration, â€Å"rapid-rattle†¦,† is used to assist the responder’s knowledge of the nature of death, and heightens our aural and visual senses to these disorientating images. Another example of alliteration, â€Å"sad shires†¦,† conveys the after effects of war and its devastating consequences. Owen also tries to convey the horrifying nature of war through his vivid use of symbolism. Religious and church symbols such as â€Å"bells† and â€Å"choirs,† denote religion as a sanctuary from the horrors and evils of war. Imagery, â€Å"What candles maybe held†¦shall shine in the holy glimmers of good-byes†¦Ã¢â‚¬ , transforms the mourner’s candlelight into tears and the â€Å"pallor† of mourners faces are compared to a â€Å"pall†, contrasting the different funeral images in war and peace. Also, the connotation of â€Å"each slow dusk†¦Ã¢â‚¬ , reinforces the cycle of life and death. It is evident that through the composer’s power of poetry, various themes been conveyed about war, thus heightening the responder’s understanding of the war experience. SUM UP THEMES In the final two lines of the poem, the composer makes successful use of imagery together with alliteration to convey the horrors of war, â€Å"Each slow dusk a drawing-down of blinds,† revealing the end for many soldiers’ lives. LINK TO Q Through the poem, â€Å"Spring offensive†, the composer conveys the various themes about war, through contrast, imagery and simile. The positive connotation, â€Å"Spring,† reinforces the idea of rebirth and renewal, which is juxtaposed with the destructive connotations associated with â€Å"offensive†. Owen awakens the audience through the harshness of the sound â€Å"f† in the alliteration, â€Å"fearfully flashed†. In so doing, the composer provides an ominous warning on the battlefield. Owen’s vivid use of death imagery, â€Å"Knowing their feet had come to the end of the world†, portrays a rather chilling and detrimental perspective of the battlefield. Owen continues to mix the ideas of war and nature in the third stanza. Here the composer effectively juxtaposes the beauty of â€Å"buttercups† with the men’s â€Å"boots,† to emphasise war’s unnatural repulsiveness. Owen’s use of simile, â€Å"clutched to them and to them like sorrowing hands†¦,† conveys mother nature’s unwillingness to relinquish the soldier’s lives. Simile is also used, â€Å"like a cold gust†, to depict the lack of warmth and quiet beginnings of confrontation, as war commences in the fourth stanza. Owen also successfully uses vivid war imagery to convey the various concepts of war in â€Å"Spring-offensive† and thus portraying the horrors present in war. The imagery, â€Å"So soon they topped the hill, and raced together†¦instantly the whole sky burned with fury†¦,† illustrates the dark and frightening nature of war amongst this peaceful physical environment, while the unity, â€Å"together,† highlights that the men go into battlefield as a group. Finally, the composer’s use of the rhetorical question â€Å"Why speak not they of comrades that went under? †, conveys the ghastly and silent nature of the battlefield, as the battle nears to an end. LINK TO Q Consequently, it is evident Owen has been able to integrate various poetic devices and language features into his poems, to reveal numerous ideas within war. Owen has been able to successfully convey the horrors of war through his power of poetry and his influential words. ANSWER THE Q Where ever possible, LINK TO Q!!! MEMORISE â€Å"The Send-Off† is a poem written about WW1 soldiers leaving their homes to go off to war. It is set in a train station where a soldier is watching the new recruits boarding the train. You can tell it is written by an on looking soldier because in line 12 he says, â€Å"They were not ours†; where as previously he had been referring to them as â€Å"them†. In â€Å"The Send-Off†, Owen conveys his feelings about the war and the young soldiers going off to die. You can tell he has a very pessimistic attitude to the likelihood of the soldiers surviving. You can see this from his continual references to death, â€Å"Their breasts were stuck all stuck with wreath and spray/As men’s are, dead†. To convey his emotions and foretelling further he uses a range of language. The actual words that he uses are quite simple, but he uses many effects to create imagery. In line 3, Owen uses the oxymoron, â€Å"grimly gay†, this gives the impression that the soldiers know what is going to happen to them and they are scared, but they put on a brave face anyway so as not to upset their families, each-other and also, if they don’t admit their fear to themselves, then maybe it will go away. In the poem there is often para-rhym, for example, â€Å"They were not ours†¦who gave them flowers†. There is more often though just a normal rhyme. This rhyme scheme seems to have no particular pattern; it will start a pattern, and then change it. It starts off A, B, A, A, B, C, B, C, and carries on in the same sort of irregular patterns. Maybe Owen is trying to convey the mixed, uncertain feelings and lives that can change so quickly, with a mixed, uncertain rhyme scheme. This is the same with the rhythm; I think this is to represent, instead of the regular, ordered marching step that the army is renowned for, there is disorder and chaos. I think that he is trying to convey the truth of war. Analysis of The send off 2006-09-10 Added by: John Terry This poem actually conveys a message to the readers. That war is not as glorious and honourable as it is always portrayed as. The pun in the title also shows this. The send-off could mean two things. Firstly, it could mean that the soldiers were being sent off to war. However, it could also mean that the soldiers were being sent off to their deaths. This emphasizes the fact that war actually is not what it is portrayed to be. It is not glorious and honourable to fight in war but the people and soldiers going through it are actually filled with grieve and most soldiers do not survive in war. The pun has brought across this message to the reader. WAR IS not an honourable and glorious thing to be in.

Geosynchronous Orbits :: essays research papers

Geosynchronous Orbits + Geostationary Orbits<a href="http://click.linksynergy.com/fs-bin/stat?id=pcZ8g7DjAzA&offerid=6424&type=2&subid=0&url=http%253A//search.borders.com/fcgi-bin/db2www/search/search.d2w/Details%253F%2526mediaType%253DBook%2526prodID%253D3805147" >Webster's Dictionary<IMG border=0 alt=icon width=1 height=1 src="http://ad.linksynergy.com/fs-bin/show?id=pcZ8g7DjAzA&bids=6424&type=2&subid=0" > defines a Geostationary orbit as of, relating to, or being a satellite that travels above Earth's equator from west to east at an altitude of approximately 35,900 kilometers (22,300 miles) and at a speed matching that of Earth's rotation, thus remaining stationary in relation to Earth. 2. Of, relating to, or being the orbit of such a satellite. In plain English, a satellite matches the earth's rotation making it seemingly hover over one spot of the globe enabling coverage of half the earth's surface. Three such satellit es, appropriately spaced longitudinally, have worldwide coverage except for relatively small areas over the poles. Three main classes are typically placed into a GSO: Communications, missile early warning, and navigational satellites. The uses are unlimited ranging from commercial use to weather forecasts! The GSO originated in the mid-1970's. The U.S. Air Force designed a two-stage interim upper stage (later renamed inertial upper stage, or IUS) to carry satellites weighing as much as 5,000 pounds (2,300 kg) from the shuttle to Geostationary orbit, and a three-stage version for boosting NASA' s space probes from the shuttle into interplanetary trajectories. IUS development problems, however, prompted NASA in the early 1980' s to design a widebody version of the Centaur upper stage to replace the three-stage IUS.In its first use (1983) aboard the shuttle, the IUS's second-stage nozzle burned through and left the first Tracking and Data Relay Satellite (TDRS-1) in a useless orbit. Gr ound controllers were able to use the satellite's onboard thrusters to put it in the proper Geostationary orbit over a period of weeks, but the IUS was grounded until the nozzle problem was resolved.

Groups graphs and surfaces

Graphs, Groups and Surfaces Introduction In this paper, we will discuss the interactions among graphs, groups and surfaces. For any given graph, we know that there is an automorphism group associated with it. On the other hand, for any group, we could associate with it a graph representation, namely a Cayley graph of presentations of the group. We will first describe such a correspondence. Also, a graph is always embeddable in some surface. So we will then focus on properties of graphs in terms of their relation to surfaces. Thus, by using the Cayley graphs to describe a group, we can talk about the embeddability of a group.In this way, we see that we can talk about the geometries of a group by looking at their Cayley graphs. Another useful geometric tool to analyze groups is the Dehn diagram. Therefore, in the last section, we will give some comments on how graph theory may be helpful to Dehn diagrams of Coxeter groups. 2 Cayley Graph of Group Presentations In this section we will s ee how Cayley graphs correspond to a particular presentation of a group and how the properties of a group are reflected in the Cayley graphs. Definition 2. 1. Let G be a group

The Success Of Henry Ford - 1451 Words

â€Å"Coming together is a beginning; keeping together is progress; working together is success.† -Henry Ford. This quote was one of the key ideas that led him to success. Henry Ford went from working on his family s farm to mass manufacturing cars. Early on Henry Ford realized his goal in life, he has countless achievements, and has a forever lasting legacy. To begin, Ford had an interesting childhood. On July 30, 1863, on the Ford family farm, an innovator was born. He got his education in a one room schoolhouse, there he showed early signs of mechanical engineering. In the schoolhouse, he learned how to read, write, spell, and simple arithmetics. However, outside of school, he taught himself to take apart and put together again every†¦show more content†¦He was part of two car companies before the Ford Motor Company. He left both companies, even his own Henry Ford Company, because he was always micromanaged. A great quote from Henry Ford to prove this is â€Å"qua lity means doing it right when no one is looking† This explains that he needed to focus more on innovating the car, and less on pleasing other people during this process. All of these values and traits helped Ford up the path to success. Furthermore, Henry Ford had a lot of achievements and failures while on his way to success. He participated in numerous affairs including: racing cars, creating companies, and innovating cars. While at the Edison Illuminating Company, Ford had a nice home for his family which included a shed. In his shed, he created his first car called the quadricycle. It was simply two bikes with an engine and it could go 60 miles without breaking down. However Henry had a new dream, to make and drive race cars. He wanted to focus on this so he sold the quadricycle and he quit his job. Some time later, he finally entered a race, but as a rookie nobody took him seriously. 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