Remarque's novel All Quiet on the Western Front portrays a non-fictionalized version of the war, differentiating itself from a context in which the war was celebrated in nationalistic ideals. In his exploration of the relentless physiological and physical strain that war places on soldiers, he alludes to the nationalistic and patriotic ideologies that surrounded the First World War at the time. He characterizes it as a tool, used by superior powers to seduce soldiers into a war that ethnically does not concern them, showing the true colors of nationalism in the harsh reality of war. Furthermore, in the constant personification and non-fictionalized revelation of death, Remarque portrays the brutality of war and the nostalgic effect it has on soldiers, where he highlights their condescending moral "bankruptcy." In their emotional disconnection and alienated from reality, he then explores the catastrophic impact this had on the soldier's well-being and humanity. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay In the novel, Remarque explores a context characterized by nationalistic and patriotic ideals, but provides an alternative reality through the "battle for life" of the soldiers who shatter this hypocritical instrument of simulated political doctrine. Kantorek in the novel is a symbolic representation of these nationalistic ideals that hid a false assessment of the war: "You will all go, won't you guys?" Its matter-of-fact tone and Remarque's transition from first to second person highlight the intensity of this scene where Kantorek, in his obsession and perspective of a "glorified and nationalistic war", actually encourages his students, in a "cage of death". Perversely, Remarque writes: “It was supposed to be they who would help us eighteen-year-olds make the transition, who would guide us into adult life, into a world of work, responsibility, civilized behavior and progress – into the future.” The sterile assessment Paul's "idealized" adult life, in contrast to Kantorek, shows a strong anaphoric and monotonous model with lack of positive connotations which highlights an unromantic and rudimentary representation of life that dehumanizes Paul and the soldiers as mere tools used by political figures of war Furthermore, Remarque explores the tensions between the bureaucratic forces on several occasions. In a touching scene on the "front", Baumer stabs and kills an innocent French soldier: "This is the first man I have ever killed with my own hands... an invisible dagger to stab me with: the dagger of time and my own thoughts. I would give much for it to live.” In this ironic scene, Remarque's use of a metaphor and the variation in the length of the sentence emphasize the killing of the "nationalistic ideals". It demonstrates the captivity of cross-bureaucratic relationships, where Paul stabbing the innocent soldier is symbolic of his stabbing and his escape from the imposed political doctrine that characterized the World War I context of the time. Likewise, Remarque's novel departs from a romanticized revelation of war, and instead provides a realistic interpretation, synonymous with the forceful reality of war through its constant personification of death and the degrading effect it has on soldiers. “Now the gas snakes across the ground… It insinuates itself into the cavity of our shell, wriggling like a large, soft jellyfish.” Baumer here personifies the gas, which becomes synonymous with death and was given the ability of "snake", describing it as a deceptive agency that reaps the lives of soldiers,