In his recent study of the relationship between poetry and war, The Poetry of War, James Anderson Winn writes of the poet's ability to war to "convey, often in the same line or stanza, both the intensity of love between men-at-arms and the powers of the forces that limit the expression of that love, cultural taboos, personal embarrassment, and looming presence of death." for the poetry of Wilfred Owen, a soldier whose writings detail the extraordinarily harrowing experiences of front-line troops living and dying together in intense physical proximity. As a result, poems such as "Spring Offensive", "Apologia pro Poemate Meo" and "Strange". Meeting” uses stark realism and powerfully emotional imagery to explore the male bonds forged during combat. His depiction of male intimacy in the trenches has led some scholars to explore whether Owen's work simply reflects an extension of late Victorian values ​​of honor and nobility, or. if the depiction of camaraderie and brotherhood in his writings points towards something more subversive and unique. Therefore, it is useful to also consider Owen's sexuality when studying how his writings combine frontline homoeroticism and depictions of the macabre reality of trench warfare. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Witnessing first-hand human loss and destruction on an unprecedented scale, the soldiers of World War I were united in an alienating knowledge of the senseless horrors of war. Indeed, much of Owen's poetry addresses his comrades' moral detachment from the rest of society and, in particular, from the older generation who encouraged the young to fight in the name of "glory" and "honor." In his 1917 poem, “The Kind Ghosts,” Owen mocks the complacent ignorance of those left at home, suggesting that the young people on the front lines have been abandoned by a benighted attitude of complacency. Adopting stark crimson imagery, the poem chastises the perceived attitude of indifference and abandonment towards his fellow soldiers through the figure of a woman living in comfortable opulence, "Not wondering why her roses never fall / Nor what red mouths were torn to make blossom." . A similar depiction of the psychological isolation felt by his fellow "outsiders" can be identified in the final stanza of "Spring Offensive", where Owen questions the position of silence adopted by survivors of a military battle: "But what do they say as from 'the edge of existence I ventured but the race is too fast to sink. The few who rushed with the body to enter hell... Why don't they talk about the comrades who sank?' [138-46]Speaking for those unwilling or unable to speak for themselves, Owen demonstrates the strong bonds that bind men in battle, thus exuding a touching sense of loyalty and duty to the soldiers alongside whom he stands fought This display of loyalty and understanding is reminiscent of the words of fellow poet Seigfried Sassoon, who expressed how the brutal conditions of war led to an unyielding kinship felt between the men on the front lines: “The man who truly endured war in the. at his worst he was forever differentiated by all but his fellow soldiers.” As the voice of his broken comrades, Owen feels the need to testify on their behalf and awaken the “Nation at home” to the futile and destructive nature of war as such, theOwen's desperation to rejoin his comrades in battle after treatment for shock - despite the knowledge that he will almost certainly die - is a testament to the strength of the bonds formed during the war. The touching loyalty shown towards the fallen troops consequently illustrates how Owen uses poetry as an expression of devotion towards his comrades and as a means of honoring fellow soldiers through written verse. In this way it is possible to argue that the sense of brotherhood and camaraderie evident in Owen's poetry serves to humanise the unusual and hostile brutality of war, infusing the carnage with distinctively 'British' values ​​of loyalty, honor and community. This sense of moral elevation is strikingly demonstrated in “Strange Meeting,” a surreal poem that describes a confrontation between two dead soldiers: the English narrator and a German enemy whom he “stung and killed” in battle. Rather than engage with the dominant discourse of hostility and fear of the other, evident in much pro-war propaganda, Owen details the striking similarities between the two men (“Whatever hope is yours,/ It was my life too” ), and recognizes the sad reality of the “untold truth,” a phrase full of betrayal and remorse for the pity of war. The poem replaces the destructiveness and brutality of battle with an act of reconciliation, culminating in the union of the two soldiers in an eternal camaraderie: “Let us sleep now…”. It is significant that Owen adapts a line from "Strange Meeting" from Wordsworth's "Ode: Intimations of Immortality" ("Even with truths that lie too deep to be defiled"), as both lines imply a highly symbolic process of restoration and morality. rebirth. Therefore, through the act of camaraderie in Owen's poetry one can identify a certain wholesomeness and unity in the face of vast human destruction. The dignified solidarity between the two soldiers also recalls the poignant symbolism of the 1914 "Christmas Truce", which saw several British and German troops temporarily cease hostilities to exchange gifts and play football in no man's land over the festive period. Consequently, one can interpret Owen's touching portrayal of male camaraderie as a form of redemption and moral support, thus reflecting contemporary Christian principles of honor, nobility, and dedication. However, some have cited the themes addressed in Owen's war poetry as an example of how male camaraderie failed to function as intended by the dominant culture. Rather than serving as a testament to British values, for example, his accounts of the hellish realities of war might imply a harmful relationship between male friendship in the trenches and psychological distress. Indeed, if one follows Owen's writings throughout his life, it is evident that there is a stark contrast between the pre-war Christian traditionalist and the embittered, questioning individual of 1917. Literary critic Adrian Caesar developed the issue of growing disillusionment by Owen also highlighting a disturbing sense of misogyny in a selection of his poems. For example, the violent condemnation of women in “Le Christianisme” starkly illustrates his resentment towards wives and mothers at home and their apparent support for the war: “A Virgin still immaculate/ She smiles so that the war flatters her./ She is haloed with an old tin hat, / But a piece of hell will hit her.” Regardless, it is clear that Owen values ​​the love of fellow soldiers over the conventional, domesticated love shared between husband and wife. In the poem "Apologia pro Poemate Meo", he affirms the superiority of male intimacy and camaraderie: "For love is not the bond of beautiful lips.