Glamorization of War in Crane's Do not weep, maiden, for war is kind, Le Guin's The Ones Who Walk Away from Omelas, Lovelace's To Lucasta, Going to the Wars and Owen's Dulce Et Decorum Est
I dream sometimes about war. And the fear that follows the war drums. I dreamt once of my junior high teacher, a stocky woman with a passion for the middle ages, whipping me and my friends into an army with swords and shields, and then screaming that if we retreat even one step, we'll lose. If we lose, we die. So I took the burning line of the sword and stood in the mud waiting for war. I feared death, though not so much the end of life as the violence that would precede it. I feared whatever was waiting in the darkness beyond me. And then my dream shifted and my friends and I were swinging broomsticks in our upstairs study, facing nothing more threatening than one another. I don't understand my dreams. And I don't understand war. My only link to the repeated blood-baths of the early twentieth century are books and dreams. I wish I could say they ended neatly; that the characters, when the books closed, folded up their lives and went away and that the phantoms dispersed when I woke up. They don't.
War doesn't end neatly either. The Imperial War Museum in London stands as an enormous monument to wars the British people can't forget. War has fed into what Jung would call their collective unconscious until it's as much apart of them as the lungs they draw breath with. I walked down a wide passageway in the basement of the Museum, a dim red light illuminating my way. Huge slabs of tan mat hung on the staggered walls. The spread of mat was broken only by the deafening silence of words: "Only the dead find an end to war." "War demands violence. Anything mediocre is foolhardy."
The violence caught me off-guard, bringing a surge of rage-filled bile to my mouth. War demands violence. Demands. Violence. A young man from my quiet neighborhood was killed in a New York subway station trying to protect his mother.
Everyone knows what war is. It's a nation taking all of its men, resources, weapons and most of its money and bearing all malignantly towards another nation. War is about death, destruction, disease, loss, pain, suffering and hate. I often think to myself why grown and intelligent individuals cannot resolve matters any better than to take up arms and crawl around, wrestle and fight like animals. In All Quiet on the Western Front, Erich Maria Remarque puts all of these aspects of war into a vivid story which tells the horrors of World War 1 through a soldier's eyes. The idea that he conveys most throughout this book is the idea of destruction, the destruction of bodies, minds and innocence.
Kurt Vonnegut's novel Slaughterhouse-Five; or The Children's Crusade: A Duty-Dance with Death is, as suggested by the title, a novel describing a crusade that stretches beyond the faint boundaries of fiction and crosses over into the depths of defogged reality. This satirical, anti-war piece of literature aims to expose, broadcast and even taunt human ideals that support war and challenge them in light of their folly. However, the reality of war, the destruction, affliction and trauma it encompasses, can only be humanly described by the word “war” itself. Furthermore, oftentimes this term can only be truly understood by those who have experienced it firsthand. Therefore, in order to explain the unexplainable and humanize one of the most inhumane acts, Vonnegut slants the hoarse truth about war by extrapolating it to a fantasy world. Through this mixture of history, reality and fantasy, Vonnegut is able to “more or less” describe what he believes truly happens in war yet, at the same time, reveal a greater truth about humanity's self-destructive war inertness. Vonnegut's use of fantasy in Slaughterhouse-Five unveils mundane war misconceptions as it rallies action against war through a comparison and contrast between the Tralfamadorian world and philosophy and Billy Pilgrim's existence and war experiences.
...as they dread wound and death. They have nothing to look forward to but years of rage. They have experienced the horrors of war but have not experienced the enjoyments of life. They will be pushed aside and forgotten and the years will pass, and in the end they will fall into ruin.
As is common in Nolan's films, the leading male characters are driven by their need to get the job done. If the audience has seen others of Nolan's works, they will begin to assume that this man will be more important to the film than just a guy who pulls off a bank heist. This idea evolves through the movie with this character, The Joker, as he is definitely motivated by his desire to finish what he started. This shows when he gets worried at the end of the film when the boat of citizens fails to blow up the boat of convicts and vice versa.
...tant to recognize this book is not “pro”- war for violence or killing, only “pro”-war in that this Great War had to be rationalized so that Jünger could survive. Jünger took pride in things that were appropriate for his time – the death of an enemy meant the potential survival of his Company and fighting alongside his brothers gave him a sense of fearlessness and purpose toward death. Jünger’s message seems to relate that it is sometimes necessary to fight in the name of family and to protect one’s nation. Jünger witnessed the brutality of the war and it shook him to a point of devastation (particularly after the Battle of Somme and toward the end), but he refused to allow it to overcome him and rejoiced in the short and simple moments of beauty in life.
War Is a Force That Gives Us Meaning, written by the talented author Chris Hedges, gives us provoking thoughts that are somewhat painful to read but at the same time are quite personal confessions. Chris Hedges, a talented journalist to say the least, brings nearly 15 years of being a foreign correspondent to this book and subjectively concludes how all of his world experiences tie together. Throughout his book, he unifies themes present in all wars he experienced first hand. The most important themes I was able to draw from this book were, war skews reality, dominates culture, seduces society with its heroic attributes, distorts memory, and supports a cause, and allures us by a constant battle between death and love.
What is war really like all together? What makes war so horrifying? The horror of war is throughout All Quiet on the Western Front. For example Albert says the war has ruined them as young people and Paul agrees. “Albert expresses it: "The war has ruined us for everything." He is right. We are not youth any longer. We don't want to take the world by storm. We are fleeing. We fly from ourselves. From our life. We were eighteen and had begun to love life and the world; and we had to shoot it to pieces. The first bomb, the first explosion, burst in our hearts. We are cut off from activity, from striving, from progress. We believe in such things no longer, we believe in the war.” (Remarque, Chapter 5). The way the war has affected each soldier has changed them forever. The boys who were once school boys will never be the same.
... that matures to manhood was he is to be before God put him into the womb!
Since the beginning of humans, some sort of conflict ahs arisen between them. Every culture has had a different take on war. There is however a general consensus that war is necessary. Those who question war are looked upon as deviants. It was hard and is still difficult to appose war now. Rise Against’s song Hero of War and Wilfred Owen’s Dulce et Decorum Est can be compared through the problems with war, the unnecessary glorification of war, and breaking from what society thinks of war. Through both works of art there is a general consensus on the terror of war.
James Holmes went to see the film The Dark Night Rises. He was in the theatre for twenty minutes, left, then came back with full tactical gear on and weapons in hand. He shot smoke and gas canisters on innocent bystanders in the theatre. He then shot into the crowd. He killed twelve people and wounded another seventy people. When he was taken the police station they asked for his name. He identified himself as “The Joker,” the main villain in the movie. James Holmes clearly saw the movie and imitated the
Jesus is Lord because he reunites all creation to God, but Jesus accomplished this mighty task by coming to be with us in our brokenness.16 I visited a woman in intensive care repeatedly over the entire summer. She had a chronic and likely terminal lung disease, and during every visit she would yell, plead, and bargain with God for healing. On one visit, I ask...
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The three narratives “Home Soil” by Irene Zabytko, “Song of Napalm” by Bruce Weigl, and “Dulce et Decorum Est” by Wilfred Owen all have the same feelings of war and memory, although not everyone experiences the same war. Zabytko, Weigl, and Owen used shifting beats, dramatic descriptions, and intense, painful images, to convince us that the horror of war far outweighs the devoted awareness of those who fantasize war and the memories that support it.
Why so serious? If I were to ask you that question six months ago, you wouldn’t understand the phrase. Now that The Dark Knight has been made though, most people will understand what I am talking about. Ever since The Dark Knight was created, the joker has been thrust back into the public eye. Most people only know the joker from the performances of Heath Ledger in The Dark Knight and Jack Nicholson in the 1989 film Batman. Most people forget that the Joker has been a villain since 1940 in Batman #1 (spring edition). The Joker has been reinvented every decade since his first appearance. He started off as a homicidal maniac, then a criminal that was just a harmless nuisance to becoming a mass murdering, schizophrenic clown that we know today. He has been named number one on the Wizard’s list for one hundred all-time villains. In this speech I will tell you how the joker was created, the criminal career of the joker, and trademark characteristics of the joker.
Crane, Stephen. “Do not weep, maiden, for war is kind.” The Modern Age Literature. Eds Leonard Lief and James F. Light. 4th Ed. Holt, Rhinehart and Winston; New York, 1981. p. 137