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this poem is about human destruction through the ages.

first stanza is jesus's crusifiction, 2nd is


with the whole thing about knights on horses with them rod things, 3rd is world war one, 4th world
war 2 and last, about through it all, man is itself, its greatest threat. -man made these weapons of
destruction, becoming morally and spiritually corrupt etc. -science for destruction or deelopment!
"cures to sickness etc#
Clearly Brock is referring to the death of Christ. There are many religious connotations
such as 'make him carry a plank of wood and nail him to it.' Brock shows no emotion
throughout so that he can create a dull feel toward humanity. The poem suggests that
today's society is cares nothing for the value of life itself; thus Brock shows no emotion
to promote the idea. The final stanza once again refers to the lack of care for life stating
that placing someone 'somewhere in the middle of the twentieth century' is a 'Simpler,
direct and much more neat' way to kill a man. Brock shows ust how inhumane society is
and has !een since the death of Christ while also displaying how heartless and horrifying
today's worl has !ecome.
this poem has a sarcastic tone to it. The poet shows no emotions or opinions in this poem,
and that sort of means that the poet think when people kill each other, they cannot gain
anything from it. so this poem shows the continuity and the meaningless of wars and
killing. "lso, it shows the desire in human to kill progresses as the first method only kills
one #an, the second a !it more, and the last two $orld $ars had millions of casualties.
The poet is pointing out that with the technical advance comes more weapons, and with
more weapons comes easier ways of killing people, and at last human are going to kill
themselves.
$he key to understanding this poem is to look at the setting of each
stanza. %rom there, the rest follows
%rom the perspectie of major historical eras the poet shows the
perfecting of the arts of warfare and the withdrawal of human contact
in killing of human beings, physically. $he keyword, cumbersome, is
almost forgotten as the killing becomes technologically easier and
imoersonal. &ut the last way is the most perfect and deadly because it
is the the spirit that is attacked. $he words '...and leae him there'
means certain death in our age, which has embraced self, instant and
constant pleasure, and greed.
(lludes to eents in history in chronological order
think it is a good poem that uses the ultimate sacrafice %!i!licaly& then they main parts
that men died from in order of happening starting with the middle ages then ww' then
ww( and lastly the time era that incorparated !oth ww' and ww(.
final stanza )n that stanza, *dwin is inferring to the reader that the middle of the twentieth
century %'+,,'s& was certainly the worst place in history to live. $orld $ar )) ocurred
then and lasted for over a decade.
)t is in the form of a !allad, meaning it tells a story and ) truely think that is the most
appropriete way to set this poem out
the ending was the best part in my point of iew. it is about one's
spirit dying and that, to me is worth than any physical death.
)t refers to our own personal inhumanity rather than our social
inhumanity - of all the weapons and technological adances that are
utilised as instruments of destruction, man itself remains mankinds'
greatest threat.
*ecipe method
+dwin &rock ",-2.-,--.# wrote two of the best-known poems of the last century, '%ie /ays to 0ill
a 1an' and '2ong of the &attery 3en', but his work deseres wider recognition beyond these
anthology faourites. &orn in 2outh 4ondon in ,-2., &rock grew up in a turbulent working class
family with no literary aspirations. 3e won a scholarship to a local grammar school but his formal
education ended after he gained his 2chool 5ertificate. &rock's interest in poetry was inspired by a
paperback anthology of modern erse which he picked up idly as a bored ,6-year old, waiting to be
de-mobbed from the *oyal 7ay at the end of the 2econd /orld /ar. $his chance encounter in
3ong 0ong was to proe reelatory and from then on &rock, completely self-taught, began to write
his own poems. 8radually he started to be published, firstly in the smaller magazines and
eentually in the Times Literary Supplement. 9uring this period, &rock sered as a police officer in
the 1etropolitan force, the unusual combination of policeman and poet giing rise to a brief period
of fame when a tabloid journalist published an interiew with &rock under the banner headline:
'$3+ $3)782 3+ $3)702 ;< (2 3+ <=;792 $3+ <+503(1 &+($'. &rock was embarrassed by the
sudden attention, but he continued to pursue his writing with serious intent. 3is efforts bore fruit
when his first collection was accepted by the small but prestigious 2corpion <ress in ,->-. )ts title,
An Attempt at Exorcism, touches on the essentially personal nature of &rock's work, the frankness
of which connects him to the 5onfessional 1oement which at that time was in the ascendancy in
the ;nited 2tates. )ndeed, &rock is one of the few &ritish poets of this period to be known in
(merica, with 7ew 9irections publishing seeral of his collections. ,->- was also the year of &rock's
first marriage, to <atricia /eller, with whom he had a son and daughter. $he marriage proed to be
an unhappy one and was dissoled in ,-?4. $he traumatic e@perience of marital conflict and diorce
permeated his poetry at the time, for instance in the bitter and powerful '(n (rrangement for
2eeing 5hildren'. &rock by now had left the police to become an adertising copywriter, a profession
which he claimed to despise, but in which he became ery successful. &rock resented the way work
distracted him from his real creatie life in poetry, but he continued to write alongside his career,
publishing oer a dozen collections and becoming increasingly prolific toward the end of his life. 3e
was also editor of the poetry magazine, Ambit, for almost four decades. )n ,-?? his status was
recognised by his inclusion in the influential <enguin 1odern <oets series together with 8eoffrey 3ill
and 2teie 2mith. 3e died in ,--. following a contented retirement alongside his second wife,
+lizabeth 2kilton, with whom he had shared thirty happy years.
&rock's two (rchie poems amply demonstrate the irtues of his 'intensely felt, supple, direct and
memorable work' "(nthony $hwaite#. '%ie /ays to 0ill a 1an' is chilling in its deliberately
emotionless tone as it uses the language of a practical manual to e@plore humanity's cruelty.
<rogress is reduced to the way in which mankind has 'improed' its methods of killing. )nspired by
a performance of &enjamin &ritten's War Requiem and written Auickly, the poem has an air of
authority which &rock's reading emphasises. '2ong of the &attery 3en' is similarly suited to being
spoken aloud. $hough written as a dramatic monologue, in his introduction &rock makes it clear the
poem has autobiographical resonance. (s such it is a good e@ample of his belief that 'most actiity
is an attempt to define oneself in one way or another: for me poetry, and only poetry, has proided
this self-defining act.'
Edwin Brock %!orn -cto!er '+, '+(. in /ulwich, #etropolitan Borough of Cam!erwell,
0ondon; died in '++.& was a British poet. 1ollowing two years that he spent in the 2oyal
3avy shortly after the end of the Second $orld $ar he wrote Five Ways to Kill a Man,
an emotionless poem highlighting stupid deaths, the harshness of war and the increasing
loss of humanity, as shown in the distance !etween the killer and the victim %needing to
touch him in the first stanza, and not needing to know who he is in stanzas 456&