To Lucasta

Wilfred Owen’s "Anthem for Doomed Youth" and Rupert Brooke's "The Soldier" express opposing views towards war in general. In "The Soldier" Brooke represents the dream of war, and in "Anthem for doomed youth" Owen reveals the reality of war. Both the poems were written during the era of the Great War but they do not share the same ideas about death in war. Brooke glorifies war in a nationalistic way through his poem while Owen opposes war by portraying the horrors of it. The two poets also have two different agendas. The purpose of Owens poem is to discourage youth to choose war, while Brooke tries to persuade youth to go to war by sharing a superficial, jingoistic idealism over war which was common at the time. His poem can even be seen as war propaganda. “Anthem for Doomed Youth”, originally called “Anthem for Dead Youth”, is a wartime sonnet by Wilfred Owen written on the battlefield as he was fighting for England in WWI, making an attempt to savor the language of Shakespeare. He therefore has an experience of war. Owen sets the poem up in sonnet form. Him calling it an “anthem” suggests a rousing or uplifting song for a specific cause. However, in this case it is the opposite. Perhaps he does this in order to contradict many of the “anthems” which were being played at the time. It is a poem that criticizes war and exposes its true gore and terror. “Doomed youth” stands for the lost generation in the war; the millions of young men that lost their lives. Therefore, the…

In conclusion, the different literary works show all different types of struggles teaching one lesson to overcome it. Beginning with social struggle: Beowulf, "The wife's Lament”, "A Valediction: Forbidding Mourning" and Sir Gawain and the Green Night. Each one faces a social struggle to play their role in society. Everyone role in society is crucial, if not taken seriously it impacts the whole community. Gawain and Beowulf as great warrior, teach one to follow their duty as to defend the…

He in the long run advanced toward the ANT stage, filling in for Harry Belafonte in their creation of Days of Our Youth. In 1946, Poitier showed up in a Broadway creation of Lysistrata to incredible praise. His achievement in that part landed him another in the play Anna Lucasta, and for the following couple of years Poitier visited the nation performing in the all-dark generation. Moving past the stage, in 1950 Poitier made his Hollywood debut in the element film No Way Out. The next year he…

the concept of this love in so many different aspects of the speaker’s life supports the fact that this is what gives his mind the strength and capability to get through the imprisonment he is faced with. He then furthers this love towards what it is exactly that he is writing (Duncan 135). He talks about the loud singing of caged birds, singing about his majesty, and about speaking when he pleases as he pleases (24-32). This suggests that politics and imprisonment does possibly have to do with…