Insensibility
Insensibility by Wilfred
Owen is a caustic comment on the futility of war and its role in turning
soldiers into robots. What is interesting is the way in which the poet compares
the mindless soldiers to ‘happy men’. Hence, Owen effectively explores the
paradoxical nature of this concept through the extensive use of irony; half-
rhymes, changing narratives and figurative language.
Firstly, the reader is
introduced to the poet’s satire through the title and the structure of the poem
itself. The simplicity of the title ‘Insensibility’ is reflective of ambiguity
and a dual perspective. On the first look, the reader ponders whether the title
refers to the soldier’s forced insensibility in war or to the insensitivity of people
who have never been confronted with the idea of war. The juxtaposition of the
two ideas is further highlighted through the structure of the poem. The poem is
often seen as Owen’s response to the question “Who is the happy warrior/ Who is
he/ That every man in arms should wish to be?”[1] asked by William
Wordsworth in his poem ‘The Character of a Happy Warrior’. Whereas Wordsworth’s
poem is a glorification of the war, Owen’s response is bitter and cynical. This
is further accentuated as the poem is written in the form of an ode, divided in
to six different parts. Therefore, through the incongruous use of romanticism,
Owen effectively expresses his ill feeling towards war.
In the first stanza of the
poem, Owen presents his first ideal happy soldier. The irony in the poet’s
attitude is highlighted as he describes happy men as those whose “veins run
cold” and “whom no compassion fleers”. The paradox in this statement is
reflective of the soldier’s belief that the only way to survive the war is by destroying
all human emotion. Owen’s lament and bitterness in this belief is cleverly
highlighted in the stanza through abrupt change in perspectives. This is
indicated as the “alley cobbled with their brothers” left “gaps for filling”.
The juxtaposition of “brothers” with “gaps for filling” is reflective of the two
contrasting outlooks of the soldiers and the generals in London respectively,
towards their fellow men. The juxtaposition further puts emphasis on the
dehumanizing effect of war on soldiers, whose worth is measured in numbers
rather than emotions. In addition, the use of cacophonic diction such as
“cobbled” allows the readers to sympathise with the soldiers’ hostility. Hence,
through the use of paradox, Owen effectively highlights the desensitizing
effect of war on not only the soldiers but also on the general public.
As the poem progresses, the
portrayal of soldiers as mechanical beings becomes increasingly prominent. This
is reflected in the second stanza as Owen highlights that “dullness best
solves” the effects of war. This idea is again repeated as the poet describes
that the soldiers “who lose imagination” are also happy, as they have “enough
to carry”. Owen’s portrayal of ‘imagination’ as a physical burden emphasises
the need to be insensible in the war. However, the poet’s casualness often
comes across as shocking to the readers. This misplaced sense of casualness is
highlighted through the use of para-ryhmes such as “shelling’ and “shilling” or
“red” and rid”. The random use of half rhymes, which otherwise add to the
action and pace of Owen’s poems, however bring forth a sense of disturbance and
hostility to the mood of this poem. This hostile atmosphere is accentuated
through the last line of the third stanza: “can laugh among the dying, unconcerned”.
However, despite the cruelty of the statement, the hostile tone creates lament
in the readers towards the soldiers and helps them to realise the true horrors
of the war.
Despite the mechanical
breakdown of different scenarios, Owen’s multiple use of perspectives in each
stanza aids in forming a connection between the scenarios. For example in the
fourth stanza, the focus shifts from war to the use of propaganda at the
homeland. This is particularly reflected as the poet laments how “he (the happy lad) sings along the march/
Which we march taciturn”. Firstly, it is interesting to notice how the poet’s
use of personal pronouns “he” and “we” provides the reader with the double
meaning to the word ‘march’. Whereas, the first use of march, represents the
glory and pride of war that the naïve soldier associates with; in the second
‘march’, Owen involves himself in the poem, hence indicating towards a more
harsher but a less unbiased view of war. The harsh reality of war is further
accentuated as Owen comments how this march leads them “larger days to huger
night”. The particular use of quantitative diction provides the reader with a
sense of infinity, which is further accentuated by the symbolism of “huger
night” as the soldier’s death. Owen’s changing perspectives parallels with the
change in Owen’s tone being hopeful to hopeless and hence, helps in juxtaposing
the insensitivity of the soldiers with the insensitivity of the homeland.
Up until this point, the
poet presents the scenario of the war from an omniscient perspective. However,
as the reader is introduced to the fifth stanza, the tone of the poem becomes
more personal and pitiful rather than being distant. The reader is made ware of
Owen’s internal conflict as he question how can he be “wise” (hence, being a
poet?) and an insensible soldier? The reader is able to appreciate Owen’s
dilemma as in the first stanza he states that soldiers are “not flowers for
Poet’s tearful fooling”. The magnitude of his emotional conflict is reflected
as he juxtaposes his “soul” with the “blunt and lashless eyes” of the dead
soldier. The use of death and gruesome imagery reiterates the dehumanization of
soldiers, allowing the readers to sympathise with Owen.
In addition, this
mechanization also acts as a catalyst in understanding the abrupt change in
perspective. This is evident as through the immediate lines “Alive, he is not
vital overmuch. Dying, not mortal overmuch”. The impact of the line is cleverly
bought out through Owen’s ability to bring forth a clear disparity in the
perspectives of the fellow soldiers and the insensitive public despite the
subtle change. It becomes clear to reader that Owen is quoting the generals or
the public who are back in London. Furthermore, the use of anaphora enforces their
view of soldier as quantities that are weighed in terms of gains and losses.
Hence, the poet’s effectiveness in portraying a platitude of moods through
varying tone and perspectives helps the readers to understand the two
contrasting aspects highlighted in the title.
As Owen presents his last
reflection of insensible beings, the reader realises that the sixth stanza acts
as a climax to Owen’s final outburst at the ignorant and cruel authorities that
are present in London. Unlike the tone of the previous stanzas, which reflect a
certain bitterness and pity, Owen’s tone in the following paragraph is almost
angry. This is evident through his description of the authorities as “wretched”
and “dullards” who are “as stone”. Through the acerbic diction and metaphor
such as “stone”, the poet represents these authorities as cold and oblivious
personalities. The disparity between the two categories of insensibility: one
of the soldiers and that of the authorities is further made clear as Owen
states, “by choice they made themselves immune”. The use of word “choice”
clarifies that the soldiers were forced
to be immune in order to survive war. However, the ending lines of the poem
“whatever shares the eternal reprocity of tears” confronts the readers to
decide who the “whatever” is referring to: the poet, the authorities, or the
family, who mourns the dead soldiers.
In conclusion, the above
examples effectively highlight the different facets of insensibility presented
by Owen through the use of paradox and irony. However, the true impact of the
poem lies in its ambiguous and enigmatic nature. Throughout, the poem Owen
never directly exposes the two types of insensible people. Rather Owen’s
aptitude in allowing the reader understand and decide this disparity through the
course of poem is what makes it so powerful and effective.
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