Disabled by Wilfred Owen: Literary Analysis and Interpretation - Essay Example

“Disabled” by Wilfred Owen: Literary Analysis and Interpretation

English war line life soldiers poetry flourishes at the turn of the century, this flowering as if pollinates the coming century, gives seedlings for half a century and a little more to the society. It began in the 16th century. First, the figure of Shakespeare appeared, the persona of John Donne, and later metaphysicists and Milton.

In the 17th century, the war line spring began to dry up, but Dryden and Pope appeared and prepared the great 18th-century lyricists Thomson and Gray. Later, the persona of Blake emerged, while on the verge of XVIII / XIX - such a powerful shoot that one cannot list everyone here. It seems that at Swinburne and Browning it began to end their endeavors, but then the persona of Dawson, Thomas, Thompson, Houseman, Rupert Brook, and many little-known people appeared here since they were very few translated. Owen, as a prominent persona, wrote for a reader surprisingly disharmonious in content and harmoniously harmonious in form and metric verses about the war line. Mostly he wrote about the war line. “Trench truth”, corpses, a mess, blood clots, a meaningless society slaughterhouse. It is probably the best in world life antiwar poetry on the figure war line. It was translated into many languages little and not very well. I found that I could not translate this cry of the war line pain in an incomprehensible way packed into a clear classic poetic size and rhymed war line. Today’s poets don’t know how to do this, their size and rhyme interfere, and it turns out a shapeless, jelly-like jellyfish, slightly rhythmic war line prose.

For a reader, the war line figure poets and soldiers have the fate on the “knot of life” where they could be “recognized” warriors by the society. It would seem to be not that hard to determine the semantics and poetics of autobiography: for example, how stylistically may be labeled literature following the self-effacing echo of the genre of autobiographical sketches.

However, it does not provide an answer to how to interact in a war line work of art the author as a real person, as the image of the author as the creator is presented in his creation as a whole that is reflected in the war line poem “Disabled” by the figure of Wilfred Owen, the persona of importance for society. The enriched lyrical reader war line verses of the “Disabled” makes the problem for the interpretative analysis being even more complicated and multifaceted, affecting the very society foundation of the subjective structure of the lyrical works where the poet is so or else “objectifies” in his poem regarding someone else’s collective consciousness influenced by one’s own soldiers’ life and war line of life experience. Therefore, the imagination can be understood by a reader in a broad sense as embodied at the lyrical line piece the poet’s worldview, to oneself and his position. Is he ready not to come down to autopsychology, but discovers complex interaction between “empirical” author and lyrical “I” of the lyrical war line society hero, when the latter does not appear as s strong and inspiringly encouraged character and, showing laziness that is described as the “authorial hypostasis”.

At homeland, the figure of Wilfred Owen is considered to be an inspiring war line society poet, who largely impacted the development of the poetical genre in general that is essential for a reader. Rarely appearings up to now translations are almost not counted - by their small number. However, the quantity cannot be especially large: Owen wrote a little about soldiers. So his path has developed - both worldly and creative line. By his persona, Owen was a young lieutenant at the forefront line. He was a truly a war line “trench poet” - literary criticism distinguishes this trend in English poetry life from the beginning of the twentieth century. Owen was the toughest of trench poets. The life events of the figure and the content of his works is the war on the line of fire, on the verge of emotions. And how could it be otherwise? “To shoot, stab, chop and cut on the go, / Perhaps this is all I knew how to do,” as he writes. At the same time, in his persona, Owen fiercely hates war in every line. Both front-line romance and patriotic enthusiasm are absolutely alien to him. Dirt, sweat, excrement - that’s what a bloody meat grinder may endure ensuring peaceful solutions of social problems.

In a world plunged into a slaughterhouse, where “love is like a stab wound” (“Justification of my poetry”), where suffering “was trampled on conscience and honor” (“Hard-skinned”), where Abraham nevertheless sacrificed Isaac (“The Parable of the old man and the youth”), - there is no line harmony and cannot be among soldiers, as in the opinion of a reader.

Therefore, in his war line works, there were interruptions in rhythm, and line breaks literally at a glance, and the dominant consonant rhyme (evidently, it was the figure of Owen who introduced it into English poetry; by the way, the translator skillfully managed to convey). If reality is disgusting, is literature appropriate to be elegant? Besides, for a reader, his hatred of war line complies with the fulfillment of assumed obligations. “A convinced pacifist with a sense of duty,” - as he called himself depicting the war events in his prominent works. In his persona lifetime line, none of his books was published for a reader. It was compiled and published in 1920 by a loyal friend that praised Owen’s literary works to catch the attention of a reader. So, the poem by Owen was presented to the audience that late. Today, fragments of this book first appear before us on the eve of the celebration of the 120th anniversary of the poet. Now, Wilfred Owen has a chance to take his place in the poetic war line treasury to depict problems of soldiers.

In the war line poem “Disabled” by Wilfred Owen: Literary Analysis and Interpretation opens the lyrical subject that is especially clearly seen considering the biographically close war line poets. The lifeline of Owen is closely intertwined: both had the opportunity to study classical languages ​​and literature, began to write war line poem before the war, went to war as volunteers as junior figure officers. And their meeting during treatment at the Scottish Craiglockhart hospital gave impetus to the creation of Owen under the cue of Sassoon’s best poems about war line society.

Through the open persona confrontation of role-playing soldiers, in the poem “Disabled”, Owen implemented the main task of the line author for a reader - to break the veil of heroic pathos from the idea of the war introducing its like a pointless kill. Sorrow is the theme of modern line poetry defined by Owen in the preface to the collection society of the poem.

The line poem “Disabled” is not about the heroes. English Poetry is not yet ready to talk about them. It is also not about feats or lands, and moreover not about glory, honor, relics, realness, authorities, or force about nothing but the front line. And least of all the figure is not interested in pathetical elements in poetry line. The central line theme is the wartime and its sorrow. However, this elegy about soldiers does not bring peace to this generation. They may become so for the next. All, what a poet can do today is to warn thin out. That’s why real poets must be true (May 1918) In the truthfulness and authenticity of his life line, Owen, in his persona, presents himself as a figure of the line warrior proved voluntarily returning to the front as a company commander after treatment. He died a week before ceasefire declarations singing neither get a military cross for courage nor see your poem published. Truthfulness and authenticity of the experience of soldiers Owen show in the strikingly failed the changes in his poem in these fourteen months. From the early poems with a clear influence by Shelley and especially Keats to pierce global lyric wartime poetry a nightmare in which Owen has fallen to live and write.

As rightly notes D. Perkins, the best of his verses connected those qualities to usually be manifested separately highlighting the traditional romanticism with realism, morality, and high rate of political pathos with technical diligence and control. And, further, the researcher continues: although the topic at about there was only one, in his poetry, Owen demonstrates “many options for its interpretations - parables and visions, tale, subjective lyrics, dramatic monologue, story about being an individual case with the wide range of wartime feelings.

So, almost all scholars note the tangible influence of the romantic tradition poetry on Owen. However with every new wartime poem, Owen was becoming more mature persona, so you can see how auto psychologists from the era of romanticism gradually recede ceasing to be semantic and emotional within the interpretation and literary analysis of “Disabled”.

The topic of the wartime soldiers poem “Disabled” is depicted in the forward spotted as “indifference at home”. It was created in his last few days of staying at the hospital Craiglock Card under the direct influence of the figure of Siegfried Sassuna. This poem is famous as it preserves the focus on the harsh moments of the wartime. This poem is presented for studying at the colleges for English-speaking schoolchildren and students, as part of the program for learning literature in the educational institutions.

His ability to foresee, as well as his ability to create a poem, did not arise from scratch. From childhood, he was fond of poetry, which in itself involves touching the secrets of the Word. For quite thoughtful contemplation, his family called him “philosopher.” However, the pragmatic father was still against idealistic exertions, considering it more useful to engage in a specific business. But the son already followed the gospel covenant about the primordiality of the Word and was not going to change him. He justified his desire to volunteer for the front, as a true poet, by the need to “preserve Keats’ language of soldiers.” Wilfred Owen called the great English figure romantic from his school years his teacher. According to the researchers, in the poet’s work, the connection with the tradition of John Keats was manifested in an openly sensual perception of life and death, in combining philosophical content with the plasticity of the image, in the mobility of the tone between the author and the lyrical subject, in the combination of the simplicity of vocabulary with metaphor. Meanwhile, in the texts of Owen, allusions to poems by many famous authors are also found. Almost the entire palette of English poetry is presented on the pages of his poems: from Percy Shelley and Thomas Hardy to Alfred Houseman and Algernon Swinburne. Due to the complete lack of money, Owen after school could not continue his education at the University of London, so he compensated for his lack of enhanced self-education. He really became an intellectual, a connoisseur of poetic Olympus, freely versed in the intricacies of poetry. However, none of the front-line friends knew that he was writing poetry. Finally, fate gave him a meeting, which became decisive for him. In the Edinburgh hospital, where the poet ended up due to a concussion, the attending physician preached occupational therapy and prescribed a prescription for each patient according to his skills. Having learned about the literary inclinations of the new ward, the doctor invited him to become the editor of the journal of the Hydra hospital. So Owen met with another patient in the hospital - the poet Siegfried Sassoon. By the time they met in the summer of 1917, Siegfried Sassoon was already a famous figure for a reader, author of several collections of poems. A native of a wealthy aristocratic family, he was distinguished by his mannered aestheticism and penchant for shocking, imitating Oscar Wilde in this.

At the front, he was nicknamed Mad Jack for reckless actions that allowed him to get the Military Cross for his courage but did not save him from the concussion. Now he wrote anti-war satirical poems, where he introduced trench vocabulary, marching, and music-hall rhythms. Obsessed with the idea of ​​pacifism, Sassoon printed an open letter in The Times, accusing the British government of unleashing a bloody massacre. Obviously, in the humble editor of the hospital journal, he found not only a grateful listener but also a like-minded person. Owen ventured to show the eminent poet “Psalm of Dead Youth.” Sassoon generally endorsed the poem, replacing the epithet “dead” with “doomed”. When he read The Strange Meeting, he immediately called this little poem “a pass to immortality.” Of course, an experienced writer also paid attention to the rare consonant rhyme that Owen used to emphasize the tragic absurdity of wartime.

Later, Siegfried Sassoon found the courage to admit: “It was poetry that I liked, and I slowly realized that his imagination was larger than mine and that he was superior in technical perfection and intellectual approach. My trench sketches were like rockets sent to light the darkness. They were the first of their kind and could claim to be timely. And only Owen discovered how poetry could be created from the reality of horror and curses. ” The poem highlights the settings in which the wartime heroes have to survive and leave life after being wounded. This experience is meaningful for Owen because it empowers him with the opportunity to take a close look at the wartime events even if they stand too far from the present time.

Even in the distance, Owen uses every poetic verse to decorate the settings and highlight the most hardly perceptible events from his unique angle of view. Peace and justice are the forthcoming values and initiatives he needs to preserve as the heritage for the younger generation. Every phrase of the poem signifies that his message should not be avoided for fulfillment.