THE IMAGE OF THE SOLDIER IN SELECTED POEMS OF WILFRED OWEN...

AL-USTATH No 702 Volume Two 2013 AD, 1435 AH

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THE IMAGE OF THE SOLDIER

IN SELECTED POEMS OF WILFRED OWEN

A PAPER

WIDAD ALLAWI SADDAM

UNEVIRSITY OF BAGHDAD

COLLEGE OF EDUCATION (IBN-RUSHED)

Abstract

No area of human experience has generated a wider range of powerful feelings

than war. In war, people can face many contradictions like hope and fear; exhilaration

and humiliation; hatred-not only for the enemy but also for generals, politician, and

war-profiteers; love for fellow soldiers, for women and children left behind.

During the eighteenth century, soldiering reached the low place in British society,

that it was to hold until the Great War, on occupation despised by the middle and

working classes as a disgrace hardly less than prison. The Great War was the First

World War. It was the global war centred in Europe that began on July 28, 1914 and

lasted until November 11, 1918. With its conflict, the war inspired writers of all

generations and classes. Being soldiers and poets at the same time, those groups of

volunteers express their ideas upon war and uncovered its fake glory. They were groups

like Robert Brooke (1887-1915), Isaac Rosenberg (- 1918) , Siegfried Sassoon (1886-

1867), Edward Thomas (1878-1917), Ivor Gurney (1890-1937) and Wilfred Owen

(1893-1918) .They wrote about soldiers and war in such pettiness, because they had

developed increasingly angry feelings concerning the conduct of war. About one of

these soldiers poet, this paper will be devoted.

In many of his poems, Owen expressed his deep sorrow towards the war and

soldiers. In this paper, selected groups of Wilfred Owen will be discussed and analyzed.

These selected poems are: “Dulce et Decorum est,” “Futility,” “Arms and the boy” ,

“Strange Meeting “and “Insensibility.” The soldier is no longer called a hero, he

becomes a man who deserves pity!

Wilfred Edward Salter Owen

He is an English poet, born on March 18, 1893 and died on

November 4, 1918. Being a soldier and poet, he was regarded by many

as the leading poet of the First War. His parents were probably both

Welsh in origin, and he was conscious of his Celtic ancestry; he wrote

in one of his early poems that Celtic blood. He shared with the family a


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delight in music and a rather less enthusiastic allegiance to evangelical

religion. Owen came from a sternly religious background and was

pious and frequent churchgoer.1

He wrote the realistic war poetry on

the horrors of French and gas warfare heavily influenced by his friend

Siegfried Sassoon and stood in contrast to the public perception of war

and the confidently patriotic verse written earlier by war poets such as

Rupert Brooke.2 Owen wrote out of his intense personal experience as

a soldier and wrote with unrivalled power of the physical, moral and

psychological trauma of the First World War.3

Filled with compassion and seared conscience, he composed

poems to show what the war was like and to attack the safe patriots at

home who tolerated its continuation. His poems presented vivid and

often grisly, realistic details, but his strong pity for the common

soldiers and idealization of them expressed a Romantic strain in his

character, which also manifested itself in his poetic imagery and

diction. his subject was war and the pity of war.

In Owen‟s poem “Dulce et Decorum est” the reader will

acknowledge that the glory of war is a myth. Instead of facing their

enemy, the soldiers try to escape from their enemy so they are not

heroes. Owen uses his ability to create effective imagery and provides

the reader with a feeling of pity for the soldiers. Soldiers are exhausted

from their unhealthy lifestyle; Ronald Bartel states about Owen‟s and

soldiers “The soldiers according to Owen, are making a mockery of

civilian concepts of love and beauty and sacrifice.” 4

Bent double, like old beggars under sacks,

Knock-kneed, coughing like hags, we cursed through

sludge,

Till on the haunting flares we turned our backs,

And towards our distant rest began to trudge,

Men marched asleep. Many had lost their boots,

But limped on, blood-shod. All went lame, all blind;

Drunk with fatigue; deaf even to the hoots


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Of gas-shells dropping softly behind. 5

In order to convey the unalleviated and inescapable conditions of

life of a soldier, Owen uses images of physical deprivation and

deterioration usually associated with old age and poverty. The soldiers

are “Bent double, like old beggars under sacks,” “coughing like hags.”

They go lame, deaf, and yet continue to march, not in the hope of

achieving some noble aim, but rather simply towards some brief

respite from physical exhaustion.6

Owen provides his reader with

unexpected view and appearance of soldiers, as the army cadets are

usually pictures as strong, healthy and brawny looking men. By giving

the reader such a description like “beggar” and “hag” the poet erases

the false image of antithetic soldier. He replaces this false image by a

realistic ones, “beggars‟ and “hag.” This means that the war had

caused the soldier to age prematurely. The final onomatopoeia of a

trudge is a description of the soldiers walking through the sludge. They

trudge which suggest their slow pace and difficulty of movement. This

means, that they limped and dragged themselves through these terrible

conditions towards conditions of „distant‟ rest that was still far away,

nowhere to be seen. The poet conveys the horrors of war by showing

the reader the soldiers who suffer. This made the reader feel awful and

they doubled their sympathy towards the unfair fate of soldiers.

My friend, you would not tell with such high zest

To children ardent for some desperate glory,

The old Lie; Dulceet decorum est

Pro patria mori. (L.25-28)

Wilfred Owen knew very much about his fellow soldiers,

including their age and experiences. And despite their difference in

age, they shared their feeling with one another. That is why the poet

uses sarcasm and sorrow in this quotation. It is easy to detect the

poet‟s opinion from the study of this quotation. In her essay “Dulce et

Decorum est” Luna Aphoebe writes this explanation :


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The poet being ironic, when he uses the address:

“My friend.” By this, he is addressing the “higher

upsa” and the governments who were the reason for the

death of so many, while they could prevent it.

The word “zest represents engagement and vigour with which

the soldiers had been persuaded into the army. The word

“children” explains the age of the soldiers, roughly: these boys

had been desperate for the „false‟ glory-ardent for it! But they

had not been informed that there was no glory in war.7

Another poem “Futility” reflects Owen‟s ideas about soldier sand

how he impacts the images of soldiers. It opens with the present reality

the dead soldier in the snow of France and in a mood of what sounds

like controlled hope, with the speaker‟s command, “Move him into the

sun.” the sun, a universal symbol, has always awakened the youth to

his task of sowing the seeds of cold earth to life, mothering all things

born:8

Move him into the sun –

Gently its touch awoke him once,

At home, whispering of fields unsown.

Always it woke him, even in France,

Until this morning and this snow.

If anything might rouse him now

The kind old sun will know.(ll,1-7)

For the soldier, woken by the sun “even in France, “it was

indeed “the kind old sun.” The sun wakes the seeds and “woke once

the clays of a -cold star” but we know that there is one clay, one seed,

that it cannot wake. We realize now that the soldier‟s relationship with

the sun has been stressed precisely because he too is clay.9 Instead of

glorifying the death in the battlefield, Owen expresses it as uselessness.

He gives a story of his dead friend in the quarrel, whose body has been

put in the shadow. According to the poet the sun is a symbol of life and


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it gives life for everything in the earth, therefore, the poet asks

someone to bring his dead friend to the sun, in order to give him the

ability for life again, but this attempt is useless, because the sun does

not have the power to give him life again, so, he could not see him

again. To bring life and death, between peace and war, to bring the

soldier back to life again, all these things are out of the ability of the

sun. 10

While long before the soldier‟s death, Gerrude M. White

pointed out the following:

The sun summoned the cold earth to life, mothering all

things born. Only yesterday the youth himself was

“dear-achieved,” wakened to life by the creative love of

man and woman, the crown and justification of whole

long process of evolution. 11

In the second part of the poem, the language becomes more

complex, by giving a horrible picture of war and bad situations in

which the soldiers are put:

Think how it wakes the seeds-

Woke, once, the clays of a cold star.

Are limbs so dear-achieved, are sides

Full-nerved -still warm- too hard

Was it for this the clay grew tall?

O what made fatuous sunbeams toil

To break earth‟s sleep at all? (ll.8-14)

In his poem “Arms and the Boy” Owen stresses the innocent and

pure men who go to war contaminated and corrupted after killing and

murdering. These men are like young boys in a war; they do not know

what to do and are just , "given cartridges of fine zinc teeth". Owen

writes "let the boy try\" as if a parent is giving his child a gun to play


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with like a toy. The result? The boy is corrupted and thus, "hungers of

blood”

The first stanza introduces a child to a bayonet, which

symbolizes war, cruelty, blood and death. This means the beginning of

the conflict when the child‟s innocence is introduced to the experience

of adulthood:

Let the boy try along this bayonet-blade

How cold steel is, and keen with hunger of blood;

Blue with all malice, like a madman's flash;

And thinly drawn with famishing for flesh.(l.4)

The second stanza consists a personification. The bullets are

represented as heads, which long to be affectionate with a boy's heart.

Therefore, the bullets made by humans are to corrupt the innocence of

children and thus making them experienced. To further the

personification, Owen, personified the cartridges, which hold the bullet

or the powder, as teeth. The teeth are "sharp with the sharpness of

grief and death." Death and grief are two human traits and he depicts

how the teeth are sharp because death is a decisive action and grief is

grievance caused by a death.

Lend him to stroke these blind, blunt bullet-heads

Which long to muzzle in the hearts of lads.

Or give him cartridges of fine zinc teeth,

Sharp with the sharpness of grief and death.(ll.5-8)

Owen points out that the innocence is taken away from the boys'

childhood. Instead of playing with toys they are trained to use guns

and weapons. The boys do not experience their childhood, they are

simply trained to be soldiers from a very young age:12

For his teeth seem for laughing round an apple.

There lurk no claws behind his fingers supple;

And God will grow no talons at his heels,

Nor antlers through the thickness of his curls. (ll.8-11)


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Another miserable story about the soldiers is told in Owen‟s

“Strange Meeting.” It is told from the point of view of the narrator

who attempts to escape the death and thumping guns by going down

into the trenches. Once there however, he finds that he has descended

into Hell, where he is confronted with a man he himself has killed.

Unlike the hatred and violence exploding above ground, this

underground encounter between the two soldiers from opposing

armies and nations is infused with an elegiac sense of reconciliation

and regret.13

Elliot B. Gose Jr., says :

“Strange Meeting” is the product of such digging in thought.

It demonstrate Owen‟s realization that what was of

transcendent

importance to the fighting man should not be his physical

suffering contrasted with the confront of civilian, but first the

dehumanization of war, its ability to turn men into spiritual

automatons, and second the paradoxical alternative it offered

him of learning pity through involvement with suffering. This

one emotion could keep alive . 14

Youthful idealistic views of war and the myth of the soldier‟s

sacrificial regeneration of his country are replaced by cynical

recognition that no amount of blood will suffice to end the fighting. 15

The main idea of “Strange Meeting” is that war turns human beings

not only against each other, but also against themselves. Through his

experience in the war, the soldier losses his ability to empathize and

identify with all men; the physical death represents the spiritual death

of both person and society. 16

It seemed that out of the battle I escaped

Down some profound dull tunnel, long since scooped

Through granites which Titanic wars had groined.

Yet also there encumbered sleepers groaned,

Too fast in thought or death to be bestirred.


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Then, as I probed them, one sprang up, and stared

With piteous recognition in fixed eyes,

Lifting distressful hands as if to bless.(L.1-8)

The "sleepers" in the tunnel are most likely other soldiers that

have died in battle. They are encumbered by not only their uniforms

and kits, but also by their emotional sufferings; they were not able to

rest in peace, because they feel guilty about the things that they had

done to their fellow human beings. These men were too caught-up in

their own thoughts to rouse to action. It is almost like they are in

purgatory. The narrator went along studying the men in the tunnel

until he came upon one soldier that sprang up and stared at him. The

other soldier recognized the piteous confusion on the narrator's face.

The soldier lifted his hands to the narrator in a desperate need to bless

him, which makes us think that the soldier is thanking the narrator for

some reason. The soldier smiles, which is an example of irony; the two

men are in hell, which is supposed to be a dreadful place, but the

soldier smiles, which indicates happiness. "Sullen hall" means that the

tunnel is gloomily silent: morose; the tunnel is like a lobby or waiting

room to hell. "Dead smile" is an oxymoron; if one is dead then that

person can not smile, but the narrator uses it to describe how empty

the soldier's soul is. The war had caused his emotions to flip much like

a soldier's morality is flipped; in a civilized world killing is wrong and

punishable, but in war it is accepted, so a smile that once meant

happiness now means sadness.17

“Then, as I probed them, one sprang up, and stared”

This line shows the imagery of the lifeless soldiers. To probe something

this normally gives the sense of someone exploring and discovering,

and the word probe can also be referred to as an instrument to check

the temperature of food. Wilfred Owen may have used this to portray

the image of soldiers being like dead meat. The line may show a sense

of death and a metaphor to explain the soldiers body as cold dead meat

being checked to see if it is warm or still alive


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And by his smile, I knew that sullen hall;

By his dead smile I knew we stood in Hell.

With a thousand fears that vision's face was grained;

Yet no blood reached there from the upper ground,

And no guns thumped, or down the flues made moan. (ll.9-13)

The "thousand pains" that the narrator is referring to are the

number of bad things that the soldier had done or were done to him.

The narrator equates the soldier's face with a "vision;" a vision is

defined as something seen otherwise than by ordinary sight (as in a

dream or trance), which is further evidence that the narrator is

dreaming all of this. The soldier's face is described as being "grained"

with wrinkles or worry lines much like the tunnel has been "groined"

by the "titanic wars." The upper ground refers to the battlefield,

which usually has wounded or dead bodies of soldiers. This "hall" is a

sort of ironic haven from the war; they were free from the sounds and

bloodiness of the war. "Flues" are passages (as in a chimney) for

directing a current (as of smoke or gases).

Owen recognises the soldier's shared humanity with the enemy.

He calls him "friend"; in death they are both victims and no longer

enemies. The poem shows the futility of war. So many talented men

dying on both sides. Owen despairs of the men killed before they have

given the world what they had to offer. Here the poem relates to him

personally as he mourns the death of a fellow poet who died before he

could deliver his message, "the truth untold". He uses a conventional

form but the par rhymes, such as "groined" and "groaned" give a

haunting, chilling quality to the poem:

"Strange friend," I said, "Here is no cause to mourn."

"None," said the other, "Save the undone years,

The hopelessness. Whatever hope is yours,

Was my life also; I went hunting wild

After the wildest beauty in the world,


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Which lies not calm in eyes, or braided hair,

But mocks the steady running of the hour,

And if it grieves, grieves richlier than here.

For by my glee might many men have laughed,

And of my weeping something has been left,

Which must die now. I mean the truth untold,

The pity of war, the pity war distilled. (ll.17-28)

Soldiers are the ones who fight for their country's freedom, and

those at home do not really think too hard about how their freedom is

achieved; instead they are "content" with what the soldiers have

"spoiled” for them, namely their freedom. The men that the soldier is

referring to could also be his fellow soldiers, who were proud of what

they had done to their enemies, and for their country. Or these men

could be unsatisfied by what they had accomplished. Their blood boils,

which is an indication that they are very angry, and blood would be

spilled whether it was theirs or their enemies. They are killing

machines, natural predators like the tigress hunting her prey. The

soldiers will stick together, even though they are far from home, and

the modern world; all they have to rely on is their fellow soldiers, they

need each other to survive:

Now men will go content with what we spoiled.

Or, discontent, boil bloody, and be spilled.

They will be swift with swiftness of the tigress,

None will break ranks, though nations trek from progress.

Courage was mine, and I had mystery;

Wisdom was mine, and I had mastery;

To miss the march of this retreating world

Into vain citadels that are not walled.

Then, when much blood had clogged their chariot-wheels

I would go up and wash them from sweet wells,


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Even with truths that lie too deep for taint.

I would have poured my spirit without stint

But not through wounds; not on the cess of war.

Foreheads of men have bled where no wounds were. (ll.25-38)

This last stanza solidifies the narrator and the soldier's bond.

There is a change of tone; and the language is mostly monosyllabic.

The two enemies become friends, and forgiveness is evident. The dark

tunnel becomes light, and they can see each other. The narrator killed

the soldier the day before. "Parried" means to ward off a weapon or

blow; the soldier tried to avoid being stabbed, but his hands were

reluctant to do the deed. The final line is further evidence that this

poem is describing a dream, because one dreams when one sleeps.

Some could also interpret this line as these men joining together in

death, but the ellipses indicate that there is more to come and if they

died that would be the end:

I am the enemy you killed, my friend.

I knew you in this dark; for so you frowned

Yesterday through me as you jabbed and killed.

I parried; but my hands were loath and cold.

Let us sleep now ...(ll.39-43)

“Strange Meeting” is a poem about a soldier in the First World War

who makes contact with the spirit of a dead soldier's soul. After

reading this poem, you know that the poet is against the war, and that

war is somewhat worse than hell. The poem begins with the relief of a

soldier as he escapes the war. Later on in the poem, the soldier meets

the spirit of a dead soldier, when he realises where he is. The spirit tells

the soldier that if he goes into war he is simply wasting your life. It also

mentions the cruelty and harshness of war, and what it is like to be

there. Although the poem is almost completely a monologue, there is

some dialogue and narration too. Narration is to be found at the

beginning, as the soldier leaves.


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“Insensibility” is said to have been written as a response to William

Wordsworth who once claimed that "Who is the happy warrior/ Who

is he/ That every man in arms should wish to be” 18

The fact that the poem is written in the form of an ode adds to the

cynicism of the poem as an ode is mainly used to eulogize a person or

an aspect. By using this form, Owen has made use of the Romantic

poet's medium to make his statement to add to its effects. The poem

conveys that the soldiers of First world war one had to become ruthless

and transform into brutes in order to survive, namely a soldier has to

dull the senses, numb the heart and “let his veins run cold”to stay

alive. The title suggests a certain ambiguity. 'Insensibility' is perhaps

attacking the home front of the period and how it offered little support

to men who have participated in war.

The poem seems to be a sarcastic reply to the Romantic poet as

most of the stanzas begin with the tone "'Happy are these…" The poet

claims that -- Happy are those soldiers who have made themselves

resistant to suffering by becoming coldblooded, who are not affected

by compassion and sympathy for others. They dwell in the alleys, and

are put together (cobbled) with their companions.

Happy are men who yet before they are killed

Can let their veins run cold.

Whom no compassion fleers

Or makes their feet

Sore on the alleys cobbled with their brothers.

The front line withers,

But they are troops who fade, not fowers

For poets‟ tearful fooling:

Men, gaps for filling

Losses who might have fought

Longer; but no one bothers.(ll.1-11)


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The word 'cobble' may also show that their value is regarded as

unimportant as shoes. But they are real human beings and not flowers

that the poet can use to create beautiful images and to rant about. The

soldiers come across only as numbers and figures: they are defined

only in terms of their ability to fight more, and are seen as instruments

that are taken into account only for the purposes they serve. Their

human and individual worth is negated:

The lines show a dehumanizing progressive on accepts

That the troops are men, not flower; but then they are less

That men, “gaps” and “loses,” until the last stage is one of

Complete indifference; “no one bothers.”19

Soldiers are willingly trained to be resistant to feeling conditioned

by unavoidable suffering. They are immune to themselves and for

themselves. They neither think of themselves subjectively not

objectively. The militia are no longer vulnerable to the taste of

uncertainty that the shell poses. No check is kept on the armies' deaths

as they are treated in terms statistics. So those who are robbed of

their most human aspect -'imagination'- are happy. The lack of this

factor will allow them to function as machines without any scope for

free-play of the imagination. They, no longer, will paint a rosy picture

of life. They are so used to wounding themselves that their hurt no

longer aches. The colour of blood has changed their vision so much

that, it has become a' default' color such as white, and can no longer be

distinguished from the rest of the colors. Now, their senses rule over

their heart that terror's first constriction is over. These senses are

cauterized: that the already abnormal tissue is scarred in the battle. It

is damaged, and long since ironed (revived to its senses) and can

therefore be no longer in a state of sanity:

Can laugh among the dying, unconcerned.

Happy is the soldier home, with not a notion.

How somewhere, every dawn, some men attack,


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And many sighs are drained.(ll.30-34)

In such a situation, even the simple human expression of emotion is

worn out. The one who was not trained to take part in war to witness

these harsh realities of life must feel happy. He still has the resolution

to sing fearlessly along the march. Even though they are marching

towards the final chapter of their life.”The long, forlorn, relentless

trend" where days are larger, and nights huger…never-ending.

Men seem to be world-wise. However, the thought of killing and

attacking has stained their soul. What makes it easier to perform our

mission is to consider it as 'blunt' with 'lashless eyes." The poet implies

“lack of insight” as suggested by the word 'blunt."

Alive, he is not vital overmuch;

Dying, not mortal overmuch;

Nor sad, nor proud,

Nor curious at all.

He cannot tell

Old men's placidity from his.(ll.45-50)

The soldier has become numb to feelings in a way that he cannot

distinguish the old man's serenity from his. To the audience, they may

be cursed dullards, "whom no cannon stuns." They are hard-hearted

as stones, miserable and mean. They are sensational in their practice

that they seem to have lacked simplicity. Nevertheless, they have made

themselves resistant to sympathy and empathy by choice. "The last

sea" and "hapless stars" are typical imagery the poet uses to make a

statement on mourning. They have become insensitive to anybody who

leaves the shores of Life and: “ Whatever share /The eternal

reciprocity of tears.”

The title "Insensibility" is important. It refers to the soldiers

themselves who have become accustomed to the 'insensibility‟ of this

all; and who have grown a kind of immunity against experience. On

the other hand, it may also refer to the insensibility of the audience

looking at the dilemma of soldiers.


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CONCLUSION

Owen was inspired by his experiences on the front lines in France

to write about the morbid absurdity of war. Owen‟s message for his

generation must be one of warning rather than of consolation. He

wrote out of his intense personal experience as a soldier and wrote with

unrivalled power of the physical, moral and psychological trauma of

the First World War. All of his great war poems on which his

reputation rests were written in a mere fifteen months.

In his poetry even if he had not consciously acknowledged it in his

time at the front line he was now expressing the soldier's loss of moral

feeling as he mentions in “Insensibility.” Most importantly, he wants to

shatter the romantic concept of war still held in people‟s minds. The

image of chivalrous soldier no longer fits the reality. Owen believed

that the subject of war or killing is not something to rant about.

The war is no longer glorified and soldiers are not being heroes

with modern ideas about war. War turns to be horrible and soldier is

no longer heroes , instead the are the men who deserve pity. They die

in foreign lands and these lands and their people do not give them

anything, except forgetting and “Insensibility.” Also they will have

“Strange Meeting” with their enemy and that meeting will be in Hell.

NOTES

1. Ian Scott-Kilvert, ed. British Writers: Thomas Hardy to Wilfred Owen,vol. vi (New York: Semon&Schuster Macmilian,1983), p.44.

2. Jon Stallworthy, Wilfred Owen: The Complete Poems and Fragments,vol. ii (London: Chatta&Windus, Hogarth Press and Oxford University Press ,1983) p.2

3. “Introduction to Wilfred Owen” (David Roberts and Saxon Books 1998 and 1999).Cited at :http:/ /www. warpoetry. co.uk /owena .html. April 4, 2013.

4. Roland Bartel, “Teaching Wilfred Owen's War Poems and the Bible”, The English Journal, Vol. 61, No. 1. (Jan., 1972), pp. 36-42.

5. Wilfred Owen, Collected Works(1893-1918). Cited at: http:// classiclit. about.com /library/ bl-etexts/ wowen/ bl-wowen-collected. htm Henceforth all the references from Owen‟s poetry are taken from this source.

6. Blomm, Wilfred Owen & Isaac Rosenberg: Poets of World War I(Chelsea: Chelsea House Press ,2002) p.17

7. Luna A. Phoebe, “ „Dulce et Decorum est‟ by Wilfred Owen” Published on booksie.com.April 2013 .p.3

8. Harold Bloom , p.53

9. Tim Kendall ,Modern English War Poetry (Oxford: Oxford Press,2006) p.43.

http://www.warpoetry.co.uk/owena.html


214

10. Anthony Mortimer, Modern English Poet (New York: SorumHouse, 1968), p. 40.

11.Gertrude M. White, Wilfred Owen( New York: Twayn Publisher, 1969), pp 61-62.

12. “Arms And The Boy Analysis”. April, 2013. Cited at: (http://www.eliteskills.com/analysis_poetry/Arms_and_the_Boy_by_Wilfred_Owen_analysis.php )

13. Bloom, p.23

14. Elliott B. Gose, Jr., Digging in: An Interpretation of Wilfred Owen's "Strange Meeting", Vol. 22, No. 6 (National Council of Teachers of English, 1961), pp. 417-419. Anthony Mortimer, Modern EnglishPoets ( New York: SorumHouse, 1968), p. 40.

15. Bloom, p.23

16.Ibid

17. Sophia Brookshire.“Analysis of Wilfred Owen's "Strange Meeting"cited at:http://voices.yahoo.com/analysis-wilfred-owens-strange-meeting-8915997.html.

18.http://voices.yahoo.com/poetry-analysis-wilfred-owens-insensibility-11309796.html?cat=9

19.Anthony Mortimer, p.40

91919191

91119191918191189111

9191

91119191(1893-1918)

http://www.eliteskills.com/analysis_poetry/Arms_and_the_Boy_by_Wilfred_Owen_analysis.php

http://www.eliteskills.com/analysis_poetry/Arms_and_the_Boy_by_Wilfred_Owen_analysis.php

http://voices.yahoo.com/analysis-wilfred-owens-strange-meeting-8915997.html

http://voices.yahoo.com/analysis-wilfred-owens-strange-meeting-8915997.html

http://voices.yahoo.com/poetry-analysis-wilfred-owens-insensibility-11309796.html?cat=9

http://voices.yahoo.com/poetry-analysis-wilfred-owens-insensibility-11309796.html?cat=9

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