What are the differences and similarities between "The Death Bed" by Siegfried Sassoon and "The Call" by Jessie Pope in terms of literary analysis?

Jessie Pope's "The Call" has
an essentially iambic rhythm ( ^ / ) that is varied by trochees ( / ^ ). Trochees are
used for emphasis primarily in the stanzas’ first lines (e.g., Who's'  for^ / the^
trench' ) . It is built around diameter (two feet) but varied both by hypercatalectic
unfinished third feet and by full tetrameter:

Who'll^
fol' / -low^ French'—   
(diameter)
Will^ you', / my^
lad' / -die^?     (hypercatalexis: added unstressed
syllable)
Who's^ fret' / -ting^
to' / be^ -gin',    
(tetrameter)

In contrast Siegfried Sassoon's
"The Death Bed," though also essentially iambs varied with
trochees (Soar' -ing^ / and^
quive' / -ring^ in' / the^
wings' / of^ sleep'), is
written in pentameter (five feet): Through^ crim' / -son^ gloom' / to^ dark' / -ness^;
and' / for^ -got'.

"The Call" is a call to
arms of war that uses prodding and "egging on" (from Old Norse
eddja meaning to urge) to either inspire martial attitudes or to
shame someone into martial attitudes--the enthusiastic are inspired (Who longs to charge
and shoot— / ... / Who'll earn the Empire's thanks—) while the reluctant are shamed (And
who wants to save his skin—). The last stanza describes the victorious procession ending
the war. The second to last line adds some confusion, though. The phrase
"bite his thumbs" sounds like the action of a shamed man
gnawing on his nails out of guilt and humiliation. Yet, the English idiom "bite your
thumb" has historically been used to insult the recipient to a great degree. Despite the
confusion with this idiom, the context indicates that the "laddie" of the last stanza
should be understood as biting his thumbs in shame, not as an insult to the victorious
troops returning, as Pope was a noted war supporter.

In
contrast, the story of "The Death Bed" is a lament for the death of an
innocent young soldier (he is "young; he hated War") following the
receipt of some horrible and painful wound: "The opiate throb and ache that was his
wound." The lament takes the young soldier to the moment that, despite the plea to help
the soldier fight for his life,

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Light many lamps and gather round his
bed.
Lend him your eyes, warm blood, and will to live.
Speak to him;
rouse him; you may save him
yet.

“death” comes to choose
him and take him away to quietude:

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But death replied: 'I choose him.' So he
went,
And there was silence in the summer night;
Silence and safety;
and the veils of sleep.

The
tone of "The Call" is light and rousing (Who's keen on
getting fit,); Pope was a propagandist for the war effort. In contrast the
tone for "The Death Bed" is pained, ponderous and labored
(he could hear it rustling through the dark), like the experience of the dying young
man. The meters each poet chose and the variations to the rhythm contribute to these
differing tones. Pope emphasizes the verbs of choice for
war (earn, longs to charge and shoot, swell, begin, follow) while using little imagery.
Sassoon in contrast emphasizes imagery, metaphor and simile
(blowing the curtain to a glimmering curve; aware of silenced heaped; silence in the
summer night; like a prowling beast; etc). One significant and ancient
image Sassoon uses relates to the timeless ritual of providing the dying
or the dead with candles to light their souls from the present realm to the next: "Light
many lamps and gather round his bed."