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compare men who march away and all the hills and vales along
Compare ‘Men who march away’ and ‘All the Hills and Vales along’

Both poets present a differing attitude to war through literary techniques. Hardy presents a very jingoistic, patriotic attitude to war through his use of language and repetition. Whereas, Charles Sorely uses a less patriotic tone and focuses more on war being very negative through his use of language, biblical imagery and structure.

Firstly, both poems are similar in that they both have a strict rhythm. In ‘Men who march away’, the poem has five seven line stanzas which each stick to the same rhyme scheme: ABBBAAB. He also uses alliteration often to create a steady rhythm (e.g ‘men who march’). Arguably, the obvious reason for this would be to create the rhythm of soldiers marching. In doing this, he creates the stereotypical patriotic image of soldiers marching to war in the early days, crowds cheering them along. It would’ve almost called out to the men, for them to be a part of it. As well as this, marching songs were not only to keep men in time but they were also to raise the spirits of soldiers. This poem has that effect. It presents a more positive outlook on war, disregarding any fears men may have had about going away. Moreover, it might suggest that a life in the army was a very structured and conventional profession for men, it was expected of you. This highlights Hardy’s very positive outlook on war. This was due to the fact that he was part of a group of world war one propaganda poets who wanted to give a positive image of war. Moreover, it was written at the start of the war. People genuinely thought it would be quick, the war would be over by Christmas and it would cause less destruction. The poem reflects this.

Similarly, Sorely creates a similarly regular structure through the use of rhyming couplets and 7 syllable lines. This also recreates the rhythm of soldiers marching and that stereotypical patriotic image which would be inspirational and evocative to men who hadn’t

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