“Strange Meeting” is a strongly end-stopped poem. For one thing, this means that enjambment feels like a disturbance when it pops up, a break in the poem’s order. It also creates a sense of deliberate pacing. Most of its lines are self-contained. This isn't a poem that rushes along with lines falling all over each other; instead, it seems controlled, slow, and methodical—which notably contrasts with the violence of its subject matter.
Perhaps this reflects the (rather ironic) peace and quiet that the speaker finds in Hell, where none of the above violence and chaos can reach. There is no need to rush headlong into battle here, and the poem's many end-stops thus support the dead soldier's calm, collected authority. The "truth" he has to tell the world isn't something derived from a fit of passion or rage, but rather an objective realization he has come to after leaving the violence of the battlefield behind.
More subtly, the poem’s heavy use on end-stop as part of its resistance to its own form. To understand why, it's important to note that “Strange Meeting” is written in heroic couplets—a form that uses rhyming lines of iambic pentameter. Poems written in heroic couplets often fall into a regular pattern of enjambment and end-stop: the first line of each couplet is enjambed, the second end-stopped. The first rhyme is incomplete, unfinished; the second rhyme closes off a sentence or grammatical unit.
But in “Strange Meeting” this isn't what happens. Instead, each line is often its own sentence, as in lines 11-12:
With a thousand fears that vision’s face was grained;
Yet no blood reached there from the upper ground.
Although the lines sort of rhyme with each other (in fact, they are pararhymes), they are each discrete, separate units: complete sentences that end with an end-stop. Where a rhyme would usually connect two things or ideas, here it emphasizes the separation between the two lines: though he has escaped from the battle, the enemy soldier’s face remains “grained”: he has not recovered. The strong feeling of separation that the end-stopped lines create underlines the poem’s argument: that violence isolates and divides people who might otherwise be friends.