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Critical Commentary of ‘Anthem for Doomed Youth’ by Wilfred Owen

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Critical Commentary of ‘Anthem for Doomed Youth’ by Wilfred Owen
Critical Commentary of ‘Anthem for Doomed Youth’ by Wilfred Owen

‘Anthem for Doomed Youth’ written in 1917 by Wilfred Owen, is one of numerous pieces of war poetry inspired by the writer’s own personal four month war experience[1]. Through this background, we can appreciate the great historical significance of the piece, leading to the recognition of its lack of nationalism, and evident immorality, thus it’s variation to the expected ‘soldier’ attitude of ‘honour, glory and patriotic duty’[2] of this time period. Wilfred Owens’s open and tragic account of war
Largely focuses on the theme of death, using emotive language in order to shock, and cause the reader to emphasize with the situation. This idea is mirrored through the poem’s extensive imagery and structure, which presents a thought provoking view of war, which we can appreciate today. During World War One, Soldiers knew their king and country expected them to fight to the death, and it was depicted as a noble act that should be faced up to as a man[3]. A striking difference is presented in the poem ‘Anthem for Doomed Youth’ in which the reader is exposed to the true horrors of war, and we can see the real difference in the expectations and opinions of the soldiers. This can be seen through the sonnets powerful negative connotation particularly in the rhetorical question ‘What passing bells for these who die as cattle?’ which depicts a scene the nation should mourn for and not support. This simile is particularly dramatic as it suggests inhumanity, the fact men are being regarded as equal to cattle that are slaughtered without emotion as a necessary act. Strong Anti-war feelings such as these would have been thought to be disloyal, and the need for morale amongst soldiers was considered essential[4]. This honest viewpoint goes against the propagandist display of patriotism, displaying bravery by the poet, thus creating a feeling of suppression, which is lifted and comes alive in the poem. Therefore

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