A poems meaning is as strong as a persons’ purpose in life

A poems meaning is as strong as a persons’ purpose in life. The meaning in poetry is literary work in which special intensity is given to the expression of feelings and ideas by the use of distinctive style and rhythm; poems collectively or as a genre of literature. The poems “Dulce et Decorum Est”, written by Wilfred Owen and “Invictus” written by William Ernest Henly share similarities in theme regarding taking control.
In “Invictus” the first stanza, Henley refers to the “night that covers me, black as the pit from pole to pole” (L 1 and 2) this night is a great metaphor towards trials and tribulation of the world. The line could definitely be understood at the wariness of the reader by giving the night of negative role or roles or any privation that may surround a person’s entire life, especially a handicap like Henley’s. The second line in “Invictus”, “the pit from pole to pole” is a simple way to bracket the darkness of the night. Henly in lines 3 and 4 states “I thank whatever gods may be/for my unconquerable soul,” has similarities to the title and introduce the poem’s main point. In The fourth stanza the poem “invictus” lines 16 and 17 are associated the churchs with plan and images. “It matters not how strait the gate” (line 16) , “Scroll,” in line 17, again suggest to heavenly imagery. The strong, fearless end to the poem confirms that, as the decision-makers in our lifetimes, we have authority over ourselves, and a strong line that seems to have a great variety of request for any situation. In context and also if misinterpreted wrong by any means in the poem, has deep implications of control (“master” and “captain”) in combination with it give the final stanza an inherit quality found in all commodity frequently refered to as words of power.
However, Owen introduces the poem with a slight description of a group of disheatened soldiers running from the front lines of the warzone. The men are obviously tired “Men marched asleep,” the Owen states, so worn down that they are “deaf even to the hoots/ Of gas-shells dropping softly behind” (lines 7–8). Suddenly, someone shouts out “Gas! GAS!” (line 9), and the men proceed into an “ecstasy of fumbling” (L 9) to place masks on before the deadly poison could take their lives away. The narrator takes a look out from behind his protective mask into the “green sea” (L 14) that the gas has created around him and his brothers, watching helplessly as one of his fellow soldiers dies in pain.
The sight of the dying soldier is one that can never drift away from the narrator. The reader learns in these two lines set away from the rest of the poem, the sight of that dying soldier bullies the narrator’s dreams, the soldier “plunges at me, guttering, choking, drowning” (L 16).
That memory prompts the narrator to offer in the final verse paragraph some bitter advice to readers about the nature of warfare and the outcome of blind patriotism. In the last twelve lines of the poem, Owen describes his experience of walking behind the wagon in which the dead man has been placed, seeing the corpse frozen in the twisted agony of its death throes. That sight, he says, would prevent any man from adopting glibly the notion that dying for one’s country is somehow noble