Analyzing The Journeys End Of Regeneration British Literature Essay

In the two works that I will be analysing, 'Journey's End' and 'Regeneration', course refers to the social worth that distinguish between your lower, middle and top school men. The theme of class is central to both of the works and it is personified in two predominant personas, 'Trotter' in 'Journey's End' as well as 'Prior' in 'Regeneration', they will both be important subjects in my own essay; in which I'll discuss how 'Sheriff' and 'Barker' explore this theme of class, related to similarities and distinctions in the various methods hired.

Three palpable contrasts between your works should at the outset be mentioned. First of all 'Journey's End' was written by a man, 'Sheriff' who got firsthand experience of the battle, himself being truly a captain in the East Surrey Regiment. Therefore, we can believe that some incidents in 'Journey's End' and personas used are likely affected by genuine military. Thus themes or templates of class and the harshness of conflict are even more genuine and reasonable; "How awfully nice - if the brigadier's pleased" - is an average, if not sarcastic, response from a proverbial soldier; Stanhope, involving Osborne's death, exhibiting little value for those in higher command and also his repression of emotion. Sheriff explores the theme of category through the effects on the personas; how differing people manage the constant stress of warfare, for Stanhope, it is to "drink such as a fish", in contrast to Trotters circle drawing, perhaps showing too little imagination. On the other hand the writer of 'Regeneration', 'Barker' is a woman and more importantly a lot more youthful than 'Sheriff' with no direct experience of the war. 'Regeneration' seems to focus more on the aftermath, that allows a broader sense of topics such as roles of women and the altered mental areas of the category men. "You appear to have a very powerful anti-war neurosis", is Rivers' answer Sassoon, who asks if he is mad, it shows the effect of the battle, that it can make an informed and daring man question his own sanity. In addition, it explores the theme of category; Waterways and Sassoon immediately build a bond with one another, via similar backgrounds and viewpoints, instead of the perpetual antagonism between Prior and Streams.

Secondly 'Journey's End' is a play, as opposed to a book, and 'Sheriff' employs staging. This in conjunction with the need for a play to be enjoyable, will not give 'Sheriff' the luxury of including pages full of qualifications discussion which allow refined character progression. 'Barker's' work on the whole could be seen as symbolically inner with the individuals thoughts and profound thoughts shown through introspection, ". . . and thought oh God, it will likely be another one of the", this allows the audience to comprehend the character types in more detail, to relate with them predicated on our personal experience, perspective and category. Whereas 'Sheriff's' is powered by activities, and how many other personas say. "(He places the field on its side and sits onto it. It is too low for the stand, and he places it on its end. It really is then too high. . . )", When 'Trotter' is first created the stage actions show him to be always a comical figure, at chances with the more serious Stanhope or the "hard as fingernails or toenails" Osborne, however 'Trotter' is a much more deep person below the surface, which is shown by the finish of the play with his advertising to second in command; Similarly 'Prior' in 'Regeneration' is first released as a mute, with a case of 'dumbness', differing to the other character types, but throughout the novel he conveys himself to be highly wise and serious.

Another difference between your works is the length, 'Regeneration' is the first part of the trilogy and this represents the more extended and indefinite closing, on the other hand 'Journey's End' is a lot shorter and has a very sudden and evident surface finish, as implied by its subject. This may, in some sense epitomise the theme of course and stereotypes. In 'Regeneration', happenings beyond warfare, the battle for an end to bias predicated on discrimination is long ranking and more noticeable. In 'Journey's End' it is more ambiguous, and perhaps credited to close proximity, extreme incidents and the over shadowing doom, is triumphed through unity, the conflict eliminated school divides.

There are, however, important similarities between the works. They are both sensible, which is contrasted with 'Sheriffs' use of 'Raleigh' who symbolizes the loving, idealistic viewpoint; his "boyish speech" and hesitant conversation show him to be anxious and impressionable. 'Raleigh' is a young and inexperienced official. This leads to his dialog with 'Osborne', pages 9-17. The dialect that the two men use and their subject matter of dialogue - "rugger" and cricket - remind the audience of their public school record. 'Sheriff' explorers the theme of course through similarities and distinctions with character types. Lower class men tend to be employed as comic pain relief, which is evidenced by the type 'Mason' and his combined tinned fruit account. Osborne's mock great shock at this history, "Good Heavens! It must have given you a turn", really helps to lighten the waiting around game of trench life. These working category individuals, such as 'Trotter' and 'Prior', deter the audience away from the regular melancholy of warfare. Nonetheless they are definitely more than simplistic tools for humour, 'Mason' for example, provides as a reminder of the continuous duration of time; with his regular foods, and also that normal activities still have to keep despite the battle, forcing the audience never to base judgment on the top, but too look deeper-to sympathise.

They are also both from a United kingdom point of view, and the incidents mostly happen in one setting up, 'Criaglockhart' in 'Regeneration' and a dug out in 'Journey's End'. 'Sheriff' uses audio and lighting throughout to create a practical and theatrically effective image of battle. The warren-like characteristics of dugouts with the entrances and exits lend themselves to the level. Perhaps more importantly the dugout allows 'Sheriff' to present an traditional image of life in the trenches, what he telephone calls 'a nostalgic quest into the past' (No Leading Sweetheart). This pertains to category, in the sense that the dire conditions stripped discrimination, it simply a simple reminder of the horrible wreckage of their young lives and the futility of their deaths. This can't be said for 'Regeneration', in which class, whether it be get ranking or treatment, is ever before present.

The works were also written following the conflict; which is significant with regards to 'Journey's End' that was compiled by 'Sheriff' in the post-war time. During the war, people had gone to theatres to ignore their troubles and be amused, however in the 1920's there is a great deal of change in the way theatres monitored and, in 1926, conversing theatre, i. e. videos with audible dialogue, began. The course system was also undergoing massive changes and people who before could not have gone to the theatres began going. This may have resulted in the addition of 'Trotter' a character from less school who appealed to the new audience. Therefore the theme of category in 'Journey's End' symbolically signifies contemporary feelings, a time in which interpersonal classes and obstacles were being broken down and earlier stereotypical upper class values were being loved by the people.

'Trotter' is shown to be greater than a stereotype, this is evidenced by his dialogue with Osborne about gardening, "Oh, I used to do a bit of your evening. I'ad a good little grass story in front, with flower borders - geraniums, lobelia, and calceolaria", 'Sheriff' runs on the characters interaction to show that class obstacles should be non-existent as the low school can have similar passions and thought processes to the upper, everyone is not different. Similarly, 'Barker' makes use of the plot to show that 'Prior' is not different to the other personas, in fact he is vastly sharpened and has knowledge of Freudian ideas, "I see. A negative transference", Rivers' automated assumption a man from his background would be ignorant of might be found shows how misguided discrimination scheduled to course was, times were changing and a guy shouldn't be judged by his birth place. It really is ironic that continuing theme of prejudice is focalized through this accepting specific, portraying how profound the origins of discrimination were entrenched in this lost generation.

'Sheriff' and 'Barker' tackle the condition of category discrimination in similar ways. In 'Journey's End' the impartial figure of Osborne allows the audience to comprehend 'Trotter' deeper, much like Rivers in 'Regeneration'. Osborne in a few senses is the audience's tone of voice, and the very fact that Osborne can consider 'Trotter' an equal signifies that school barriers are needless, and people should assess in a far more meritocratic way, by actions. In 'Regeneration' the discrimination by category is handled through intellect. 'Barker' stresses 'prior's' cleverness throughout the narrative. Unlike Sassoon, he has understanding, which is symbolically suggested by his association with the image of the attention. When he finally recalls the distressing event that triggered his break down - picking up an eyeball and seeing it relaxing in the palm of his hand - 'Prior' not only regains his recollection, but also becomes associated with the concept of perspective generally. The continuing image of the attention in the palm of his palm presents not only his recovered hindsight, but also his capacity to move between types of different viewpoints and 'see' both attributes. Because of his difference from the other heroes, with regards to class track record, his ideas and his sexuality, 'Prior's' point of view on the battle is distinctive, and the source of his unique ability to subject matter even his own doctor to demanding and relentless interrogation. Just as, 'Trotter' also offers a different point of view, "I reckon 'e only wanted to keep cheerful", instead of Stanhope, "Doesn't his repulsive little brain make you ill?" 'Trotter' is benevolent, consistent and the words of reason. He's less emotional and doesn't jump to conclusions, in many ways the other men's faults, such as Hibbert's misogyny; help promote a less of your class run contemporary society as a lesser class man's actions are more advanced than that of several upper course men's. (Place relevant price - rivers protects his eyes (motif) refusing to see what he understands - conflict is not worth it)

Trotter is really the only officer that has obviously not gone to public school. He is middle aged and "homely looking". He is referred to as having red

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