Journey S End Essay Titles For The Great

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"I hope you get better luck than I did with my last officer. He got lumbago the first night and went home. Now he's got a job lecturing young officers on 'Life in the Front Line'."

Captain Hardy, Act I, pg. 10.

Speaking with Osborne, Hardy mocks all the various and common schemes that officers employ to leave the war and some of them even later claim to be "experts" in combat and war. This first dialogue foreshadows what will later be seen in the play with one officer in C Company in particular.

"Well, if you want to get the best pace out of an earwig, dip it in whiskey - makes 'em go like hell!"

Captain Hardy, Act I, pg. 15.

Hardy gives Osborne advice on the great, old, soldiers' pastime of betting and racing earwigs before they part ways. Since they had just been discussing the hard drinking habits of Stanhope, this dialogue is important as it exposes the nature of how many people mentally cope with war - Alcohol seems to be a universal answer for its horrors.

"You see, he's been out here a long time. It - it tells on a man - rather badly -"

Osborne, Act I, pg. 19.

Osborne having already defended the image of Stanhope in his dialogue with Hardy, is now explaining what the young Raleigh should be prepared to see. Keen to the notion that this young man looks up to and idolizes Stanhope, he aims to soften any blow to either. War utterly changes people, and nobodies hero, or their idol, is exempt.

Osborne: Small boys at school generally have their heroes.

Stanhope: Yes. Small boys at school do.

Osborne: Often it goes on as long as -

Stanhope: - as long as the hero's a hero.

Osborne: It often goes on all through life.

Dialogue between Osborne and Stanhope, Act I, pg. 30.

In a private conversation between the two on the subject of young Raleigh, the special nature of Osborne's character is evident in relation to Stanhope as well as to the development of the storyline. He has a familiar bond with Stanhope that goes beyond than just being a subordinate officer, he is part mentor and advisor, and part surrogate father-figure and caring friend. He shows he is wise and experienced enough to discern the qualities of either of the young men and their mental states.

"She doesn't know that if I went up those steps into the front line - without being doped up with whiskey - I'd go mad with fright."

Stanhope, Act I, pg. 31.

Stanhope confides this very personal truth to Osborne; we now know his specific reason for drinking abusively. He is aware of many of the subtleties of command and knows that a humanizing confession such as this would have negative effects on morale; commanders cannot be cowards. He demonstrates his command aptitude throughout the play and continues to hide this underlying cause for his drinking habits. Here, he shows his logic on just exactly why he's not fond of Raleigh joining his Company. Image is an important aspect of maintaining command, but also in maintaining distant relationships. If Raleigh finds that the image of him as his hero and idol is lacking in any regard, it may find its way elsewhere and will have consequences with his relationship to Raleigh's sister.

"I believe Raleigh'll go on liking you - and looking up to you - through everything. There's something very deep, and rather fine, about hero-worship."

Osborne, Act I, pg. 33.

Wise and experienced Osborne is clear that he supports Raleigh's admiration for Stanhope and that he has nothing to fear about losing his image or earning a tarnished reputation. It is often said that people too often ignore the bad in those that they take a liking or interest in, but rather maybe its better to say that a genuine person of this quality envisions the bigger picture and that the small negatives just don't hold much sway against the grand scheme.

'Tell me, mother, what is that

That looks like strawberry jam?'

'Hush, hush, my dear; 'tis only Pa

Run over by a tram -'

Trotter reciting impromptu poetry, Act II, Scene 2, pg. 62.

Many soldiers throughout time have almost always lived with an interesting acceptance of war and death. Perhaps numb and desensitized to all of it or maybe its a way to help one make sense out of it, morbid jokes are quite common among people who experience war directly.

"To forget, you little fool - to forget! D'you understand? To Forget! You think there's no limit to what a man can bear?"

Stanhope, Act III, Scene 2, pg. 85.

Raleigh does not feel like partaking in the good food and champagne that celebrates the successful raid in which he took part and captured a young German soldier because he is stricken by sadness that Osborne did not make it back alive with him. Stanhope rebukes him, clarifying that he isn't the only one with those feelings and that the drinking was not to celebrate the events that happened but a mechanism for coping with it; he finally admits his dangerous "weakness" to his hero-worshiper.

Raleigh: Hullo - Dennis -

Stanhope: Well, Jimmy - [he smiles] - you got one quickly.

Dialogue between Stanhope and Raleigh, Act III, Scene 3, pg. 93.

Stanhope orders that the Sergeant-Major bring Raleigh back to him in the dugout officers' quarters after he learns that Raleigh has just taking a piece of shrapnel through the back that likely severed his spine as he can no longer feel or move his legs. Laying in Osborne's former bed, Raleigh gains momentary consciousness and they great each other with this dialogue. Although Raleigh has used Stanhope's first name plenty, this is the first time in the play that Stanhope finally calls Raleigh by his first name. It's a tender moment between the two characters and is significant in showing their relationship and Stanhopes' character evolution; after maintaining a sort of cold, professional distance from Raleigh and trying to push the familiarity away, he finally softens up to him in his demeanor now that he is in a critical condition.

Essay on Fear in Journey's End by RC Sheriff

2191 Words9 Pages

Fear in Journey's End

The definition of ‘fear’ is a feeling of agitation and anxiety caused by the presence or imminence of danger. ‘Fear’ is reflected by the continual tension throughout the play. All the characters deal with fear in their own different ways. This reflects their personality and gives us an outline of how they really deal with the troubles, which arise during their experiences in a dangerous surrounding, and also, by dealing with the outcomes that they have to face in life. Stanhope deals with pain and fear through expressing his anger and also by his drinking habits. Hibbert deals with fear by trying to run away from it. Osborne talks about unnecessary topics, such as rugby, to hide his fears. Throughout the…show more content…

An example of Stanhope being in a situation like this, where he becomes very stressed out, is with the situation with Hibbert wanting to leave,

“No man of mine’s going sick before the attack. They’re going to take an equal chance- together.”

Due to Stanhope having to deal with this problem, he is put under a lot of stress, trying to persuade Hibbert to stay. Even the thought that one of his men want to leave, without achieving anything, disappoints him, therefore making him more fretful and therefore more vulnerable to drinking alcohol.

Stanhope deals with his fears by expressing indiscriminative anger towards the rest of the soldiers. He goes out of control. Such as in
Act 2 Scene 2, Stanhope releases his own aggression at Hibbert because of what he fears. All of this started when Hibbert tried to run away from the trenches. Hibbert complained that he was terribly ill,

“This neuralgia of mine. I’m awfully sorry. I’m afraid I cant stick it any longer,”

and forces himself to the doctors in order to run away from fighting at war. This makes Stanhope extremely angry; knowing that one of his soldiers is giving up instead of achieving anything. Stanhope has had to go through many hard times while at war, and knowing that Hibbert has had it easy, makes him furious. Therefore, he holds a gun to
Hibbert and threatens to shoot if he leaves,

“If you went, I’d have you shot- for deserting. It’s a hell of a

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