What Is The Tone Of In Flanders Fields

Crane illustrates two differing settings of the poem—the homefront and the battlefield—through purposeful word choice. When describing the homefront where the news of soldiers’ deaths are mournfully delivered, Crane includes euphonious words such as “weep” and “affrighted steed.” The euphony achieved by the long vowel sounds in these words establishes a sense of quietness and serenity. In addition, the melodious diction emphasizes the gentleness of the death notification, and imitates the soft, comforting voice of the informer. On the other hand, in the interluding stanzas, Crane employs harsh, dissonant diction. For example, the second stanza states, “Hoarse, booming drums of the regiment.” When read aloud, the cacophony established by these rhythmic, staccatoed beats reflects the chaos of the war—almost similar to the rapid sound of fusillade and artillery fire. Crane also utilizes similar techniques in the fourth stanza when he states that “These men were born to drill and die.” Since the sentence is composed mostly of words beginning with “b” and “d”, which are regarded as plosives, the resulting sentence parallels the thundering explosions on the battlefront. The contrasting euphony and cacophony each reflect separate connotations—the home-front stanzas possessing a peaceful setting where death is regarded as heroic sacrifices while the battlefield stanzas label war as mindless slaughtering. However, the extreme contrast between the imagery of the two settings raises doubts for the readers, causing them to question if the scenes of serenity are truly peaceful, or merely mock tranquility.

After the Second Battle of Ypres there was no longer any doubt of the courage and strength of the Canadian troops. On May 2nd, McCrae’s close friend and one time student, Lieutenant Alexis H. Helmer was killed by a German shell. McCrae performed the burial himself in the absence of a chaplain service that night to avoid any enemy detention. The next day during a lull in the fighting, McCrae took a break and stared at the cemetery where his friend was buried the day before. He noticed that each day the rows of white crosses grew longer and the field of Flanders’ was carpeted with blood red poppies. John McCrae then spent twenty minutes scribbling fifteen lines of verse on a scrap piece of paper. When he was done he took the piece of paper and gave it to Cyril Allinson, a twenty-two year old sergeant major who was delivering mail that day. Allinson describes the seen:

It is difficult to say what lies in Flanders Fields as it depends on how one interprets the speaker's intent. Some interpretations of the poem gush with patriotism as the interpreter boldly calls the audience to continue the fight which countless have perished in, notably during the phrase, "Take up our quarrel with the foe! To you from failing hands we throw the torch! Be yours to hold it high!" It is a call to action. The interpreter can rally the audience to enlist today in aid to their country's defense in the name of remembrance and faithfulness.

While it is understood that the poem recounts the activities of World War I soldiers moving under orders near the front lines in France, the words used to describe this action evoke an image of a strange, fearful, eerie, and occult procession moving with an attitude of helplessness akin to the horrors which necessarily entrap the designated victims of a human sacrifice. These images of imminent doom start in the first stanza and pervade the remainder of the poem.

In the poem, “Dulce Et Decorum Est”, Wilfred Owen details a poignant anecdote of a group of soldiers in combat. The poem “Epitaph on a Soldier”, by Cyril Tourneur, takes a different approach by honoring a soldier that died for his country. The bitter and condemnatory tone in “Dulce et Decorum Est” communicates that war does give a soldier glory and honor, since he often dies painfully and without the chance to make things right. On the other hand, the proud and reverent tone in “Epitaph on a Soldier” conveys the idea that dying at war is righteous and proper.

The Western Front in World War One was a bleak place for soldiers. Men died from bullets, shrapnel, concussive blasts, gas, disease, dehydration, trench foot, and exposure. The life expectancy in the trenches was only six weeks (War History Online). In “Break Day in the Trenches”, Isaac Rosenberg documents the feelings of a sentry at dawn. The sentry watches the sun begin to rise and plucks a poppy to put behind his ear. He watches a rat and internally converses with it, before coming under attack by an artillery barrage. In “Break Day in the Trenches”, Isaac Rosenberg uses symbols of poppies and rats to support an implicit claim that death is always nearby on the front lines.

One of Wilfred Owens greatest works is ‘’Anthem for Doomed Youth’’. The poem discusses the pointless deaths of soldiers on the battlefield. It tells the reader that the only prayers or notice that these dead soldiers get on the battlefield are those of guns, fighting, and more dying, not the normal ceremonies that are used to honor the dead, this can been seen in the first lines of the poem were Owen writes: ‘’Only the monstrous anger of the guns/ Only the stuttering rifles rapid rattle/ Can patter out their hasty orisons’’

A. The poems of World War I are mainly written about the people’s feelings and experiences towards it. Many described the horrifying events that were surrounding them and others in those conditions. However, the poems “In Flanders Fields” written by John McCrae, and “The Peacemaker” written by Joyce Kilmer both explained how they believed a soldier’s death should be honored. Yet, they both had different ideas. B. Therefore, how did the poets McCrae and Kilmer think differently about how the fallen soldiers’ deaths should be remembered? C. McCrae thought the soldiers should be respected quietly, while Kilmer believed they should be honored for their risks and faith in themselves.

Short days ago we lived, felt dawn,saw sunset glow, loved and were loved, and now lie in Flanders field.” “The narrator, we discover, is not a single, detached voice, but a gathering of voices… The reader is meant to see that death is not an end but a prevention from action.” (Meyer) John McCrae wrote form the perspective of the dead; he gave them a voice even after demise had taken it away. The poem shows how the soldiers used to have vibrant, useful lives, but war had taken that away. He writes from a group standpoint; Not just one person had died, but multiple men. He used many voices to emphasize the brutality of battle and how in an instant, everything can change on the battlefield. One moment, a troop could be quietly resting in a trench when a second later, a gun is shot or a bomb explodes and the whole field reverts to chaos. The longevity of the battle is never known, ranging from a few hours to multiple days. McCrae clarifies the tiring and depreciating efforts by how, despite their continuous endeavors, a whole division died. War stops for no one, and not one person is safe. McCrae uses his language and writing style to get the point across to people that everyone had a life, a family, a chance. Those were all taken away by death due to battle. When the group died, multiple families lost a brother, a son, a husband; demise took away everything. The men had been lively just moment before, but now they are dead. McCrae emphasizes how in

"In Flanders Fields" is a war poem in the form of a rondeau written during the First World War by Canadian physician Lieutenant-Colonel John McCrae.

Owen depicts the futility of war, utilizing language that provokes vivid images of the harsh reality associated with death during war. Owen conveys the soldiers as ‘old beggars under sacks’ in addition to ‘coughing… hags’, evoking images that contrast the prototypical soldier: frequently portrayed in propaganda. The image evoked through ‘He plunges at me, guttering, choking, drowning’ is guttural, adversely affecting the audience’s perception of patriotism. The fluctuation in tone and rhythm was created through the implementation of punctuation and repetition, ultimately contributing to the intensity of the images. Subsequently, creating angst amongst the audience, specifically prevalent within ‘Gas! GAS! Quick, boys!’ The vocabulary utilized throughout the poem contributes to the intensity of the image. ‘Men marched asleep’ incites a blunt image, indicating the absence of physical and psychological strength. Owen’s description of ‘white eyes writhing in his face’ creates an abhorrent image, indicating the soldier’s limited control whilst his body succumbs to death. The imagery within ‘Dulce et Decorum Est’ effectively enhances the futility of war, varying techniques were successfully implemented to attain and intensify the images

Participating in war often is romanticized and is seen as a heroic and honorable act. This romanticism, of course, can only be put forth by one who has never experienced the inhumane devastation that each battle- each moment- causes for the minds and in bodies of every soldier. “The Soldier” was written by Rupert Brooke in 1914, just before World War One was about to begin, while “Dulce et Decorum Est.” was written by Wilfred Owen in 1917, during which Word War One was being fought harshly. Due to “The Soldier” being written before the War began, this poem depicts an idealized perception of war in which the subject topically seems honored to die for his country, and content to know that the blood of his country’s men will be shed in

In Flanders field was written during WW1 and is still most inspiring war poem to this day. The author, John Mccrae, wrote this poem shortly after his friend had died (alexis helmer). Mccrae wrote this a few hours after his best mate helmers funeral he was tired and upset but calm as he sat near helmers grave and began to write. The poem was finished in a matter of minutes and John ripped it out of his notebook, threw it away as he was not satisfied with his work but it was luckily retrieved by fellow soldiers and later published. Alliteration used in Flanders field is, Flanders field, crosses, row on row, in the sky / The larks, still bravely singing, fly / Scarce, saw sunset, loved and were loved,

Perhaps and In Flanders Fields are both a Lyric poem and are about the feelings of grief and sorrow for loved ones lost in war. Perhaps was written by V. Brittain in response to the death of her late fiancé Roland Aubrey Leighton, who was killed at the age of 20 by a sniper in 1915, only four months after she had accepted his marriage proposal. In Flanders Fields was written by J.McRae in response to the death of his friend and fellow soldier Lieutenant Alexis Helmer killed In action on the 2nd of May 1915. The theme of these poems is loss. This theme is explored through the poet’s use of tone and mood, the poetic techniques used and the social comment the poem makes. Each of these will be discussed in detail today.

War is like depression, one either win or die trying. Owen’s poem describes the reality of men dying in a battle zone. “If you could hear, at every jolt, the blood come gargling from the froth corrupted lungs, Obscene as cancer, bitter as the cud of vile, incurable sores on innocent tongues,-” (lines 21-24). These demonstrates how this unimaginable such horrors are for the soldiers. No one can understand how painful it is to die of gas excruciating. In fact, during war the bodies of the soldiers are twisted and contorted, making their experience seem totally different from the arrange of marching that one usually see in military parades “Bent double, like beggars under sacks, knock -kneed, coughing like hags, we cursed through sludge,” (lines 1-2). On the other hand, Brooke’s poem describes the unrealistic scene of a soldier in a battlefield. “If I should die, think only of me, That there’s some corner of foreign field That is