W. B. Yeats poem

Thinking Activity on W. B. Yeats poem

Hello reader this blog is related to Two poems 'The Second Coming', 'On Being Asked For War Poem' i am trying to read The Second Coming as a pandemic poem and in both poem apply concept of Indian Poetics. 

Who is W. B.Yeats

William Butler Yeats is widely considered to be one of the greatest poets of the 20th century. He belonged to the Protestant, Anglo-Irish minority that had controlled the economic, political, social, and cultural life of Ireland since at least the end of the 17th century. Most members of this minority considered themselves English people who happened to have been born in Ireland, but Yeats staunchly affirmed his Irish nationality. Although he lived in London for 14 years of his childhood (and kept a permanent home there during the first half of his adult life), Yeats maintained his cultural roots, featuring Irish legends and heroes in many of his poems and plays. He was equally firm in adhering to his self-image as an artist. 

This conviction led many to accuse him of elitism, but it also unquestionably contributed to his greatness. As fellow poet W.H. Auden noted in a 1948 Kenyon Review essay entitled “Yeats as an Example,” Yeats accepted the modern necessity of having to make a lonely and deliberate “choice of the principles and presuppositions in terms of which [made] sense of his experience.” Auden assigned Yeats the high praise of having written “some of the most beautiful poetry” of modern times. Perhaps no other poet stood to represent a people and country as poignantly as Yeats, both during and after his life, and his poetry is widely read today across the English-speaking world.

The Second Coming 

BY WILLIAM BUTLER YEATS

Turning and turning in the widening gyre   

The falcon cannot hear the falconer;

Things fall apart; the centre cannot hold;

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere   

The ceremony of innocence is drowned;

The best lack all conviction, while the worst   

Are full of passionate intensity.

Surely some revelation is at hand;

Surely the Second Coming is at hand.   

The Second Coming! Hardly are those words out   

When a vast image out of Spiritus Mundi

Troubles my sight: somewhere in sands of the desert   

A shape with lion body and the head of a man,   

A gaze blank and pitiless as the sun,   

Is moving its slow thighs, while all about it   

Reel shadows of the indignant desert birds.   

The darkness drops again; but now I know   

That twenty centuries of stony sleep

Were vexed to nightmare by a rocking cradle,   

And what rough beast, its hour come round at last,   

Slouches towards Bethlehem to be born?

When Yeats wrote ‘The Second Coming’ the First World War had just ended, memories of the Easter Rising in Ireland were still vivid and revolution had broken out in Russia. The world appeared to be in a state of flux and chaos.

The ‘Second Coming’ refers to the idea that Jesus will return to Earth towards the end of time to bring justice and order. However, Yeats does not express a Christian interpretation of these final days. He believed in a complex set of ideas to do with ‘gyres’, intersecting cone‑shaped spirals representing various elemental historical and individual forces offering transitions into new worlds. The opening eight lines of the poem offer a complex vision of an apocalypse.

In the second section Yeats presents a disturbing image of a sphinx ‘out of Spiritus Mundi’, which, literally, means ‘spirit of the world’ but here refers to Yeats’s belief that every mind is linked to a single vast intelligence. This glimpse of the new order after two thousand years of Christianity is not a comforting one; Yeats concludes by wondering about the nature of this ‘rough beast’ that ‘Slouches towards Bethlehem to be born’.

In this poem I am going to try read this poem as a pandemic poem. 

Turning and turning in the widening gyre   

The falcon cannot hear the falconer;

Things fall apart; the centre cannot hold;

Mere anarchy is loosed upon the world,

The blood-dimmed tide is loosed, and everywhere   

The ceremony of innocence is drowned;

The best lack all conviction, while the worst   

Are full of passionate intensity.

Turning and turning in the widening gyre/ The falcon cannot hear the falconer”. The first line Turning and Turning like waves of pandemic if we connect with today corona situation The falcon cannot hear the falconer -rumor of wuhan create virus and then spread whole china and all over World. 

His wife caught the virus and was very close to death. The highest death rates of the 1918–19 pandemic were among pregnant women—in some areas, it was an up to 70 percent death rate for these women.So here we found this poem as pandemic.It was a very terrible situation as we are facing today because of CORONA pandemic

When you read it through the lens of the pandemic, this other poem begins to emerge. You could see the way such a poem could resonate with people who’ve experienced this pandemic. This atmosphere—things are falling apart; the center cannot hold—an atmosphere of “mere anarchy, loosed upon the world.”

Then specific imagery like the “blood-dimmed tide”—when one of the most frequent effects of this flu was bleeding from the nose, mouth, and ears. Just floods of blood. And then, the way people drowned in their beds, from their lungs filling up with fluid … and he has a line about the “ceremony of innocence being drowned,” when it’s his wife and unborn baby who were in the process of drowning like that.

Critical analysis poem by W. B. Yeats 

‘Death’ is not perhaps numbered among the most famous poems by W. B. Yeats (1865-1939), but it is probably the shortest of all his finest poems. In just a dozen lines, Yeats examines human attitudes to death, contrasting them with an animal’s ignorance of its own mortality. ‘Death’ was written in 1929 and included in Yeats’s 1933 volume The Winding Stair and Other Poems. Here is ‘Death’, followed by a few words by way of analysis.

Nor dread nor hope attend

A dying animal;

A man awaits his end

Dreading and hoping all;

Many times he died,

Many times rose again,

A great man in his pride

Confronting murderous men

Casts derision upon

Supersession of breath;

He knows death to the bone –

Man has created death.

We afraid to over death or we can say we travel over whole life to die. We afford to live long life on the other hand animal are not afraid to die we kill  number of small insect everyday. We can say that हम जनम ही मरने के लिए लेते हैं.

In summary, Yeats compares man’s awareness that he will die with an animal’s lack of awareness of this: an animal neither fears death (because it has no concept of dying) nor hopes for life after death (as man does, consoling himself through religion that death will not be the end). When Yeats writesMany times he died,

Many times rose again

He is probably echoing a sentiment put forward by Shakespeare in Julius Caesar: ‘Cowards die many times before W B Yeats their deaths. The brave experience death only once.’ We ‘die’ in the course of our lives many times, through failure of nerve or failing to live in some other sense; yet we get another chance to make our lives good; this reading of the lines is borne out by the next line, referring as it does to ‘A great man in his pride’.Indeed, a ‘great man’, one who has to deal with, and confront, men who commit murder, has learnt to ridicule man’s fixation upon death, which is described as mere ‘Supersession of breath’. ‘Supersession’ is an intriguing word here. It means ‘cessation’ or ‘discontinuance’, but this sense of the word is marked as ‘rare’ by the Oxford English Dictionary; the more usual meaning is ‘replacement’ (‘supersession’ being the complementary noun for the verb ‘supersede’, meaning to replace something). The poem, then, suggests an ambivalence: when we breathe our last breath on this earth, do we merely replace one kind of existence with another? What happens to us when we die?

Not that these questions trouble the ‘great man’ Yeats mentions: he ‘knows death to the bone’ and knows that ‘Man has created death’ – that is, death is a man-made concept. Of course, Yeats is not denying that men die; what he is rejecting here is the notion that death or mortality is something we should dwell too much upon. An animal dies, just like a man; but an animal does not live its life governed by questions of what happens when it shuffles off this mortal coil, or what might await it after it’s breathed its last on this earth.

The ‘great man’ Yeats refers to in ‘Death’ is Kevin O’Higgins, an Irish politician who had been assassinated in 1927 (O’Higgins has overseen the execution of several IRA men, which had made him very unpopular among the IRA). But Yeats’s poem is not, of course, rigidly wedded to its political context, and makes a general point about man’s attitude to his own mortality. How can we forget that one day we will die?

In my view animal not have language we don't know I think they speak about death or survive idea fear we go to near them they attack back. 

THINKING ACTIVITY ON INDIAN POETICS

 

Thinking Activity on Indian poetics

 

Hello! friends this is new blog given by Dr.Dilip Barad this is related expert lecture arrange in over department on the Indian poetics the guest lecture Dr .Vinod Joshi serve us his excellent knowledge on the Indian poetics.

 

Introduction of Dr.Vinod joshi

 

 READ ABOUT VINOD SIR

 

Poetic theory is very old and the most interesting literary as well as philosophical and cultural discussion of Indian or better to say Sanskrit Literature. Sanskrit is regarded as ‘Dev-Vani’ (the language of gods), not all folk can possess the ability to understand and read Sanskrit literature. Earlier, great Sanskrit scholars had expertise in describing things that are usually hard to observe in nature. The prosperous tradition of Indian aesthetics is said to have begun from Bharat Muni in and around 1st century.

 

As there is ‘Western Criticism’ and can be called ‘Poetics’ as a proper canon, similarly, in Sanskrit there is a particular canon of Sanskrit Criticism which is usually bannered as ‘Kavya Mimamsa’ and which acts like an umbrella for various schools developed by scholarly thinkers. The various schools or theories in Indian Aestheics are-

 

 

Rasa Sampradaay

 

Bharata is the first among all critics who pioneered in Indian aesthetics. Some of the noteworthy critics of Sanskrit literature are-

 

 

Bharata is pioneer of Rasa theory he was give idea of Nine Rasa in his book Naatyashashtra

Rasa Or Bhava is natural it is feel individual. Bharatamuni is the one who first gave Indian Mimansa.Acoording to him, language and voice are very different and just because of this it is impossible to settle everything in language as language is immortal while emotions/Bhavas are mortal. Rasa is spine of the poetry. Rasa theory is superior among all theories. What is RASA?

“A blending of various Bhavas arise certain emotion, accomplice by thrill and a sense of joy is Rasa.” In the sixth chapter of Natyashashtra he explains NATYARASA and RASA as the soul of poetry.  विभावानुभावव्याभिचारी संयोगात रसनिष्पत्ति ।

 

He has mentioned nine Rasas in Natysastra with its colour and god.

श्रृंगार-वीर-करुणाद्भुत-हास्‍य-भयानका: ।

बीभत्‍सरौद्रौ शान्‍तश्‍च रसा: नव प्रकीर्तिता: ।।

 

 

 

RASA	BHAVA	COLOUR	GOD
SRINGARA	PLEASURE	LIGHT GREEN	VISHNU
HASHYA	TO LAUGH	WHITE	SHIVA
RUDRA	ANGER	RED	SHIVA
KARUNYA	SORROW	GREY	YAMA
BHAYANAK	FEAR	BLACK	SHIVA
BIBHATSA	DISGUST	BLUE	SHIVA
VIRA	PERSEVERANCE	SAFFRRON	INDRA
ADBHUTAM	AMAZEMENT	YELLOE	BRAHMA

 

There are many sanskrit scollar define Rasa with various aspect.

1.Bhatt Lolatt

2.Shri Shankuk

3.Bhatt Nayak

4.Abhinavgupta

Four Critics of RASA theory
Bhatta Lollata	Creationism
Shree Shankuka	Permissiveism
Bhatta Nayaka	Nepotism
Abhinavagupta	Expressionism

 

Vibhav		Anubhav	Sancharibhav	Sthayibhav
	Emotions arises because of Vibhav	Reaction of Bhavaka	Comes and go	Mirth, love, sorrow etc.

 

Dhvani Sampradaay

Anandvardhana give Dhvani sampradaay it is about meaning and he says whole world is Prtiyamaan (meaning) 

विभातिलावणयमिवाङ्गनासू।

 

विभाति- Decorated

लावण्य- Beauty

इव- like or similar

अङ्गनानाम्-Lady

 

Meaning is like beauty of woman and thats create amazingness in literature Anandvardhana in his book धवनयालोक he gives statement ध्वनि काव्यस् आत्मा। there are three types of Dhvani 1.Vichar Dhvani 2.Alankar Dhvani 3.Rasa Dhvani. Dhvani means The suggestive quality of poetic language. Another regards to this sense of poetry next school of thinkers, known as SCHOOL OF DVANI headed by Anandbardhan. He points that it is not the literal, simple or direct and referential meaning that poetry properly expresses, but it suggests indirect and emotive meaning. Hence, through the words of a poem must be given their due importance and the same with regard to the literal sense the denote, yet both the words and their direct meaning to express itself. The theory proposed in Dhvnyaloka by Anabdvardhana is known as the name of “Dhvani”. ‘Dhvnyaloka’  is itself a huge compendium of poetry and poetics.

 

Mammat in his book Shabdashakti he gives the Dhvani is important for literary career also the meaning of the work and word he give three aspects

 

(1)Abhidha – Direct meaning

(2)Lakshna – We have direct meaning but we have to take another one.

(3)Vyanjana – There is the existence of direct meaning yet we have to use another meaning of word.

 

Vakrokti Sampradaay

 

वकौकितजिवीत- Book by Kuntaka best word in best order he give statement विशिष्टभंगीभणिति Kuntakawas a Sanskrit poetician and literary theorist of who is remembered for his work Vakroktijīvitam in which he postulates the Vakrokti Siddhānta or theory of Oblique Expression, which he considers as the hallmark of all creative literature.

 There are several type of Vakrokti

1.VARNVINYASA.

2.PADPURVADHA.

3.PADPARADHA.

4.VAKYAVAKRATA.

5.PAKRANVAKRATA.

6.PRABANDHAVAKRATA.

Alankaar Sampradaay

Bhamaha define Alankaar as teal ornament of language and this 

Alankaar is make Kavya poem beautiful and everything we speak is 

also in Alankaar.

T. S. Eliot also describe objective Correlative it helps to create beautiful literature.

Bhamaha is the first who introduced alankara poetics. Second and third chapter of KAVYALLAMKARA deals with 35 figures of speech.

Alankara
Arthalamkara	Shbdalamkara
Vastava (Realistic)	Swdt (Eluviation)
Anupamaya (Comparison)	Slesa (paronomasia)
Astisaya (Exaggeration)	Citra (Pectoris)
Slesa (Coalescence)	Yamaka (Repetition)
	Anuprasa (Alliteration)

Mammata enumerates sixty-one figures and groups them into seven types like…

1.Upma(simile)

2.Rupaka(Metaphor)

3.Aprastuta Prasmsa(Indirect decription)

4.Dipaka(Stringed figures)

5.Vyatreka(Dissimilitude)

6.Virodha(Contradiction)

7.Samuccaya(Concatenation)

 

Riti Sampradaay

 

Vaamana was the scollar of Riti he hiva the statement शिले भवा शैली। metter-method-all words. Matter is more important than method. Riti is belong to reaction every literature have different Riti Or style.

There are five Shelly or Riti in ancient time

1.Vaidarbhi

2.Panchali

3.Goadi

4.Laati

Riti is the way of presentation or the style of presentation. He is one who developed it into a theory of “Vishista Padrracana” . Riti is a formation of arrangement of marked inflected constructions.

 

 Auchitya Sampradaay

Ksemendra was pioneered of this sampradaay it is like resembles of language Kshemendra’s discussions of the principle of Aucitya is from the point of view of both the writer and the reader and is articulated in its given cultural and philosophical context. Kshemendra made aucitya spine elements of literarinmess. He defines aucitya as the property of an expression being an exact and appropriate analogue of the expressed.

THANK YOU :)

 

 

Thinking Activity on The War Poetry

Thinking Activity on War Poetry

*what is war poetry? 

During the Great War, poetry had a currency that it lacks in the early twenty-first century. Newspapers, magazines, pamphlets, anthologies, and individual collections featured poems by combatants and non-combatants, by men and by women, at "home" or near the front lines. Poetry seemed a natural outlet for the intense emotions generated by the war and its range challenges the concept that only those with direct experience of fighting, i.e. soldiers, were allowed to write about war. The Great War was a total war and no one was left untouched by it. Suffering, mourning, patriotism, pity, and love were universally, if not equally, experienced. Thus "war poetry" is as all-encompassing as total war itself.

Que 1) Note down the different of the all the war poets. 

Rupert Brooke

Rupert Brooke was already an established poet and literary figure before the outbreak of the First World War. When war broke out he joined a newly-formed unit, the 2nd Naval Brigade, Royal Naval Division.

In the last months of 1914 he wrote the five 'war sonnets' that were to make him famous, including 'Peace' and 'The Soldier'. Brooke was travelling to the Dardanelles with the Hood Battalion, in March 1915, when he was taken ill in Egypt. Although weak, he continued to the Greek island of Skyros. There, he suffered an insect bite which became infected and he died of blood poisoning on 23 April. He was buried in an olive grove on the island.

Ivor Gurney

Ivor Gurney was born in Gloucester and educated at the King's School and then at the Royal College of Music. He showed great talent as a composer, despite being troubled by mental illness. He was rejected by the army in 1914 because of poor eyesight, but he managed to enlist in 1915 and travelled to France in May 1916 with the 2nd/5th Gloucester Reserve Battalion. He was wounded in April 1917 but returned to duty as a machine-gunner on the Arras front. By then his reputation as a poet and composer was growing with the publication of his anthology Severn & Somme and the public performance of some of his song settings. 

After being exposed to gas during Third Battle of Ypres (Passchendaele) in September 1917, Gurney was sent back to Britain for treatment. He suffered a nervous breakdown and was discharged from the army in October 1918 with 'deferred shell-shock'. Following a period of immense creativity, his mental illness overwhelmed him and in 1922, he was committed to Barnwood House Asylum in Gloucester, and then the City of London Mental Hospital in Dartford, Kent. He stayed there for 15 years until his death from tuberculosis.

Wilfred Owen

When war was declared, Wilfred Owen was in France working as a private tutor. He returned to England and joined the Artists' Rifles in October 1915. He was subsequently commissioned into the Manchester Regiment and was sent to France in December 1916. In April 1917, after a traumatic period of action, he was diagnosed with what became known as shell-shock, and was sent back to Britain. While recovering in Craiglockhart War Hospital he met Siegfried Sassoon. There, with Sassoon's support, he found his poetic voice and wrote the famous poem, Anthem for Doomed Youth.

Owen returned to France in August 1918 and was awarded the Military Cross in October. He was killed in action on 4 November, just a few days before the Armistice.

Siegfried Sassoon

Sassoon enlisted in the Sussex Yeomanry the day before war was declared. In May 1915 he transferred to the infantry and was commissioned into the Royal Welch Fusiliers, where he later met fellow officer and poet, Robert Graves. In May 1915, Sassoon was awarded a Military Cross for his bravery during a trench raid on the Western Front . He was wounded and returned to England in April 1917. Twelve weeks later, he made a public 'act of willful defiance of military authority' by writing to his commanding officer protesting at the continuation of the war. A Medical Board dismissed his protest as a result of 'neurasthenia' ( what we now call shell-shock), and sent him to Craiglockhart War Hospital. Realising that his protest had failed and not wishing to abandon his men, Sassoon rejoined his regiment in November 1917 and returned to France in 1918.

Despite being accidentally shot by his own sergeant, Sassoon survived the war and went on to write several volumes based on his wartime experiences.

Wilfrid Wilson Gibson

Gibson’s poetry was greatly influenced by his experiences during World War I. Having been denied entry into the army for several years due to his poor eyesight, Gibson was finally allowed to become a soldier in 1917. Two years later he was injured, and left the battlegrounds. His wartime experience recognizably leaked into his poetry, and dominates whole editions of his work. A reviewer for the Boston Transcript commented on Gibson’s battle poems: “They are nothing more than etchings, vignettes, of moods and impressions, but they register with a burning solution on the spirit what the personal side of the war means to those in the trenches and at home.” A critic for the Survey, in a laudatory review of Gibson’s book Battle, stated: “Under the impact of the greatest crisis in history, he has been not stunned to silence or babbling song, but awakened to understanding and sober speech, and thereby has proved his genius.” Another collection, titled Fuel and published almost 20 years after Battle, contains poems on such subjects as industry, the city, and the sea. A Nation reviewer provided a mixed review of the volume, asserting that “Fuel has all the virtues and all the faults of the better grade of Georgian verse.”

 

Gibson has also been noted for his interest in bridging drama with verse. Though did not invent the form, the fact that Gibson attempted to write in this manner in the modern age reveals his willingness to experiment with form and style. Williams quoted Gibson in a letter to a fellow poet John Drinkwater: “‘I am not much drawn to theatre as a medium of expression... . I am intensely interested in poetic drama; and I feel confident that poetic drama is the art of the future—only I feel that whatever gift I have is more suited to make its appeal from the intimate pages of a book than from the boards of a theatre.”

Different between all War poet 

All the war poet are belong to different background and different field like Wilfred Owen was private tutor, Rupert Brooke was already established as a poet wrote Five Sonnet, Wilfrid Wilson Gibson experience of WW1 willingness of experiment with form and style, Siegfried Sassoon wrote several volume based on his war time experience, Ivor Gurney suffered a nervous breakdown and discharged from the army, death by tuberculosis. All writers have different background and different perspective but all writers have same influence or we can see one insident of their life is WW1 all writers wrote around this World War. 

Que 2) Compare any two poems with reference to the subject, style of writing and patriotism

 The Fear – Wilfrid Wilson Gibson

I do not fear to die

'Neath the open sky,

To meet death in the fight

Face to face, upright.

But when at last we creep

Into a hole to sleep,

I tremble, cold with dread,

Lest I wake up dead.

In the late 19th and early 20th century, English and American poetry completely broke new ground. With the advent of Modernism, writers such as T.S. Eliot, Ezra Pound, and William Carlos Williams advanced the possibilities of poetry in entirely new directions. Due to the dynamic breakthroughs and overwhelming public nature of the Moderns, certain poetic movements of this same time period have often been overlooked. And thus Eliot, Pound, and Williams are household names, while Wilfrid Wilson Gibson, a leader of the Georgian movement of poetry, is not.

 

Modernism, however, is a broad phenomenon to describe. In fact, Georgian poetry is at times included within the boundaries of Modernism. Yet Georgian poetry and, for example, Pound’s Cantos, could not be more disparate in style, content, and form. As Susan Millar Williams explained in Dictionary of Literary Biography: “The unifying thrust of the movement was toward realism and ‘sincerity,’ and against humanism, academicism, the romantic-Victorian tradition, and the decadence of the fin de siecle.” The movement was dubbed “Georgian” because George was the 

 

Gibson is often recognized as a leader of the Georgian movement. Born in 1878, he grew up in northern England and received his education privately. The Queen’s Vigil, and Other Song, Gibson’s first book of poems, was published when he was only 24. The poet produced a fairly prolific body of work over the next 40 years. Originally, his poetry was charged with much of the fanciful material found in the works of English poets Algernon Charles Swinburne and Alfred Lord Tennyson. However, Gibson abandoned extravagance for an honest, realistic approach to life in the modern age. This shift in literary ideology, traced to his 1907 volume The Stonefolds, marks him as one of the early heralds of a new way of writing. He was soon included in the anthology Georgian Poetry, which first appeared in 1912. As Georgian poetry caught on, so did Gibson, and he regularly contributed to poetry periodicals of his day.

The Target - Ivor Gurney

I shot him, and it had to be

One of us 'Twas him or me.

'Couln't be helped' and none can blame

Me, for you would do the same

My mother, she cant sleep for fear

Of what might be a-happening here

To me. Perhaps it might be best

To die, and set her fears at rest

For worst is worst, and worry's done.

Perhaps he was the only son. . .

Yet God keeps still, and does not say

A word of guidance anyway.

Well, if they get me, first I'll find

That boy, and tell him all my mind,

And see who felt the bullet worst,

And ask his pardon,if I durst.

All's a tangle. Here's my job.

A man might rave, or shout, or sob;

And God He takes takes no sort of heed.

This is a bloody mess indeed.

 

The Target:

-Written from the perspective of a soldier in the trenches He writes about how he shot a man and the thoughts he had after these events One theme of this poem is that death would be preferred to continuing in the war Another theme is that it seems like God has abandoned the war.

First Stanza:

The soldier wishes he didn't have to kill the other soldier Even though he is in the middle of battle, he still struggles to shoot someone.

Second Stanza:

He feels bad for the stress and worry he has caused his family.War is just as hard for the family members of those involved as it is for the soldiers

Third Stanza:

He worries about the family of the man he killed.Doubts that God is really there during the war.

Fourth Stanza:

Ponders what he would do if he died and met the man he killed. Says he would apologize, but would be nervous to do so.

Fifth Stanza:

He feels tangled and stuck in the war.

He thinks it is hopeless and that God doesn't care what happens.

This poem is written in iambic pentameter in five stanzas. The poem's rhyme scheme is AABBCC...JJ

Simple Language:-uses slang: "twas, a-happening, durst" There is a deeper meaning behind the simple statements:War turns men into killers God abandoned the soldiers Death isn't the worst part of war War is confusing and inescapable

Different between both poem :

Both are war poems but the difference is one: the fear poem is all about fear and pain of war, emotion between son and mother but the other one is a speaker who speaks as a soldier and sees a target and thinks to kill him.

The fear speaker speak they not fear to die but he meet death in the fight face to face as a soldier they death on the front of him they fight for nation they feel fear all time of their life because they don't know when they died in the last line he speak in his " Last creep into hole to sleep cold with dread and lest I wake up dead" He speak about last few minutes of his life. 

In The Fear by Wilfrid Wilson Gibson following the rhymes like ABABCC and the poem The Target following rhymes iambic pentameter AABBCC. 

The Target poem Soldier Or speaker speak he shoot others enemies and no one can blame because of the war but the interesting point or feeling soldiers mothers feeling or worriedness of their son this is the different point of poetry they protect us they have family they have feeling that is the fact. In last they speak God doesn't care what happens. 

Que 3) Do you find any such regional poem/movies/web series/songs which can be compared to any one of the poems given here. Also, give a proper explanation of the similarity.

हो हो हो.. हो हो हो.. 

संदेसे आते हैं, हमें तड़पाते हैं 

जो चिट्ठी आती है वो पूछे जाती है 

के घर कब आओगे, के घर कब आओगे 

लिखो कब आओगे 

के तुम बिन ये घर सूना, सूना है

संदेसे आते हैं, हमें तड़पाते हैं 

जो चिट्ठी आती है वो पूछे जाती है 

के घर कब आओगे, के घर कब आओगे 

लिखो कब आओगे 

के तुम बिन ये घर सूना, सूना है

किसी दिलवाली ने, किसी मतवाली ने 

हमें खत लिखा है, ये हमसे पूछा है 

किसी की साँसों ने, किसी की धड़कन ने 

किसी की चूड़ी ने, किसी के कंगन ने 

किसी के कजरे ने, किसी के गजरे ने 

महकती सुबहों ने, मचलती शामों ने 

अकेली रातों में, अधूरी बातों ने 

तरसती बाहों ने और पूछा है तरसी निगाहों ने 

के घर कब आओगे, के घर कब आओगे

लिखो कब आओगे 

के तुम बिन ये दिल सूना, सूना है 

संदेसे आते हैं हमें तड़पाते हैं 

जो चिट्ठी आती है वो पूछे जाती है 

के घर कब आओगे, के घर कब आओगे 

लिखो कब आओगे 

के तुम बिन ये घर सूना सूना है

मोहब्बत वालों ने, हमारे यारों ने 

हमें ये लिखा है, कि हमसे पूछा है 

हमारे गाँवों ने, आम की छांवों ने

पुराने पीपल ने, बरसते बादल ने

खेत खलियानों ने, हरे मैदानों ने 

बसंती बेलों ने, झूमती बेलों ने 

लचकते झूलों ने, दहकते फूलों ने 

चटकती कलियों ने, 

और पूछा है गाँव की गलियों ने 

के घर कब आओगे, के घर कब आओगे 

लिखो कब आओगे 

के तुम बिन गाँव सूना, सूना है 

संदेसे आते हैं हमें तड़पाते हैं 

जो चिट्ठी आती है, वो पूछे जाती है 

के घर कब आओगे, के घर कब आओगे 

लिखो कब आओगे 

के तुम बिन ये घर सूना, सूना है 

ओ ओ ओ.. ओ ओ ओ.. 

कभी एक ममता की, प्यार की गंगा की 

जो चिट्ठी आती है, साथ वो लाती है 

मेरे दिन बचपन के, खेल वो आंगन के 

वो साया आंचल का, वो टीका काजल का

वो लोरी रातों में, वो नरमी हाथों में 

वो चाहत आँखों में, वो चिंता बातों में 

बिगड़ना ऊपर से, मोहब्बत अंदर से, 

करे वो देवी माँ, यही हर खत में पूछे मेरी माँ

के घर कब आओगे, के घर कब आओगे 

लिखो कब आओगे 

के तुम बिन आँगन सूना, सूना है 

संदेसे आते हैं, हमें तड़पाते हैं 

जो चिट्ठी आती है, वो पूछे जाती है

चिट्ठी आती है, वो पूछे जाती है 

के घर कब आओगे, के घर कब आओगे 

लिखो कब आओगे 

के तुम बिन ये घर सूना, सूना है

ऐ गुजरने वाली हवा बता 

मेरा इतना काम करेगी क्या ?

मेरे गाँव जा, मेरे दोस्तों को सलाम दे 

मेरे गाँव में है जो वो गली 

जहा रेहती है मेरी दिलरुबा 

उसे मेरे प्यार का जाम दे, 

उसे मेरे प्यार का जाम दे 

वहीं थोड़ी दूर है घर मेरा, मेरे घर में है 

मेरी बूढ़ी माँ, मेरी माँ के पैरों को छू के तू 

उसे उसके बेटे का नाम दे 

ऐ गुजरने वाली हवा ज़रा मेरे दोस्तों, 

मेरी दिलरुबा, मेरी माँ को मेरा पयाम दे 

उन्हें जा के तू ये पयाम दे,

मैं वापस आऊंगा, मैं वापस आऊंगा 

घर अपने गाँव में, उसी की छांव में, 

कि माँ के आँचल से, गाँव की पीपल से, 

किसी के काजल से 

किया जो वादा था वो निभाऊंगा

 

This song is popular patriotic song in India This song movie name BORDER this movie based on real events war between India and Pakistan some soldier sing this song and remember their family, love, and friend in very emotional way in the end all soldier are die in the war. 

This song's two stanzas relate with poems. 

कभी एक ममता की, प्यार की गंगा की 

जो चिट्ठी आती है, साथ वो लाती है 

मेरे दिन बचपन के, खेल वो आंगन के 

वो साया आंचल का, वो टीका काजल का

वो लोरी रातों में, वो नरमी हाथों में 

वो चाहत आँखों में, वो चिंता बातों में 

बिगड़ना ऊपर से, मोहब्बत अंदर से, 

करे वो देवी माँ, यही हर खत में पूछे मेरी माँ

के घर कब आओगे, के घर कब आओगे 

लिखो कब आओगे 

के तुम बिन आँगन सूना, सूना है 

In this stanza the memories of mother and her love of her child we can see the touchwood of mother in her talks worried of her son and every letter she wrote she asked one this is when you come home? 

वहीं थोड़ी दूर है घर मेरा, मेरे घर में है 

मेरी बूढ़ी माँ, मेरी माँ के पैरों को छू के तू 

उसे उसके बेटे का नाम दे

In this stanza, a soldier makes a messenger air massage her mother by touching her foot 'I am alive' and give her my name. 

So, this is not more similar to war poetry but I can try to find it similarly. I found one similar in both and that is the feeling and love of mother Indian soldiers and war soldiers are similar in them.