This is a collection of poems (and pictures) which were published in 2014 (27 July) in The Daily Mirror.

Note: Wilfred Wilson Gibson was born in Hexham, Northumberland. Originally a social worker in the East End of London, he became a private on the Western Front. His poems are usually narrative in form even when short. During the war, he was one of the first poets to introduce savage realism into his writing. He had been a friend of Rupert Brooke.

Note: Brooke’s best-known poem, one of his War Sonnets, was first recited from the pulpit of St Paul’s Cathedral on Easter Sunday in 1915. It was then published the next day and quickly became renowned as one of the finest war poems. Later the same month Brooke died from an infected mosquito bite he got a month earlier serving with the British Mediterranean Expeditionary Force. Although serving in the Navy, Brooke had fought on land in the initial campaigns in Belgium. In the picture by teenage German gunner Walter Kleinfeldt, a crucifix survives the shelling while troops lie scattered.

Note: Probably Owen’s most famous poem, though possibly not his best, Dulce et Decorum Est was written in August 1917, though it may not have been fully edited until October 1917. When he wrote it, he was recovering from shell-shock at Craiglockhart War Hospital in Edinburgh. The quotation, from the Roman poet Horace, which Owen wishes to brand as a lie, means, It is sweet and proper to die for one’s country. In the poem, he dwells on the horrible details of deaths and terrible physical effects of wounds. Owen sets out to shock civilians with unrelenting details of a man’s death from gas, which was ‘obscene as cancer’:

Note: In the following poem, Sassoon mimics civilians who try to console wounded soldiers with silly arguments. By ‘the pit’ he is referring to the depth of despair:

Note: McCrae’s famous poem first appeared anonymously in Punch on 8 December 1915. In it, McCrae imagined how the dead lying beneath the poppies of Flanders would call on future generations to sustain the causes for which they died. He was appointed to take charge of a hospital at Boulogne but died of pneumonia in January 1918 before he could take up his appointment.

Note: In the picture above, thousands gather for Armistice Day at London’s temporary cenotaph in Whitehall in 1919.

Note: After she was appointed poet laureate in 2009, Carol Ann Duffy wrote this poem to mark the death of Harry Patch, the last surviving veteran of the Great War.

Note: Since Kipling had written imperialist poetry before 1914 he might have been expected to write crudely jingoistic poetry to support the war effort; instead he wrote surprisingly bitter poetry, especially after he wrote surprisingly bitter poetry, especially after the loss of his son, a lieutenant in the Irish Guards, killed in action at the Battle of Loos. As an act of remembrance of him, Kipling helped pay for many years for the endowment which made it possible for the Last Post to be sounded every night at the Menin Gate Memorial, Ypres. He died in 1936.

This selection of poems is extracted from The Penguin Book of First World War Poetry. Harmondsworth: Penguin Books. http://www.penguin.co.uk

 

The Trauma of the War in the Twenties and Thirties:

The traumatic effects of loss were also clearly visible on many inter-war politicians like Neville Chamberlain (seen here, on the right, in 1923, as the new Minister of Health and Local Government) and Anthony Eden, who on one occasion, had once sorted through a heap of dead bodies to identify them.

Like Chamberlain, Prime Minister in 1936-40, most Britons feared a repetition of the First World War, so the psychological trauma resulting from the sacrifices that it eventually involved was of a different order and type, including the fear of aerial bombing. As Arthur Marwick wrote on the fiftieth anniversary of the Armistice, all war is…

… a matter of loss and gain: loss of life and limb and capital; gain of territory, indemnities and trade concessions. War is the supreme challenge to, and test of, a country’s military institutions, and, in a war of any size, a challenge to its social, political and economic institutions as well. War needs someone to do the fighting, and someone to furnish the weapons and food: those who participate in the war effort have to be rewarded. … War is one of the most intense emotional experiences… in which human beings as members of a community can be involved.

Arthur Marwick referred to a cluster of ‘sociological factors’ among the causes of the First World War, and historians have identified a similar set of causes of the Second World War, resulting from the effects of the First. What they had in mind were the psychological effects of the First World War, firstly the universal detestation and horror of war, and secondly the breakdown of accepted liberal values, a process which J. M. Roberts described as the shaking of liberal society.  In western Europe in the 1920s, this was a very real and painful process, working itself out into identifiable social, cultural and political effects. T. S. Eliot’s The Waste Land (1922) was a lament on the decadence of Western civilisation in which society had become ‘a heap of broken images’, a stained-glass window shattered into countless pieces that his poem attempted to put back together. The powerful wave of patriotism which had propelled Britain and France into the War had gone, and there was nothing to replace it.

C. E. Montague, a noted leader writer and critic for the Manchester Guardian was forty-seven when he enlisted in 1914, dying his grey hair to persuade the recruiting sergeant. After his return to England, he became disillusioned with the war and, in 1922, published Disenchantment, which prefigured much later critical writing about the war. He wrote of how, on 7 December 1918, two British privates of 1914, now captains attached to the staff, crossed the cathedral square in Cologne and gained their first sight of the Rhine, which had been the physical goal of effort, the term of endurance, the symbol of attainment and rest. Although the cease-fire order on Armistice Day had forbidden all fraternising…

… any man who has fought with a sword, or its equivalent, knows more about that than the man who blows the trumpet. To men who for years have lived like foxes or badgers, dodging their way from each day of being alive to the next, there comes back more easily, after a war, a tacit league that must, in mere decency, bind all those who cling precariously to life … Not everybody, not even every non-combatant in the dress of a soldier, had caught that shabby epidemic of spite. But it was rife. 

At the end of the 1920s, there was a spate of publications on the First World War. For example, Erich Maria Remarque’s All Quiet on the Western Front (1929), Robert Graves’ Goodbye to All That (1929) and Edmund Blunden’s Undertones of War (1929) had an important impact, and it was perhaps only in this 1929-35 period that the experience of the war was for the first time fully realised and digested. Allied to this growing ‘pacifism’ was a deep dislike for the old pre-1914 balance of power and alliance system, which many believed had brought about the war in 1914. The resulting loss of identity left the two Western democracies extremely vulnerable to attacks from the extreme right and extreme left at home and abroad. Just as in the approach to 1914, the ‘will to war’, so well exemplified in the literature of the time, helped to mould a climate of opinion in favour of war, so in the 1920s and 1930s a ‘will to peace’ developed which marked opinion in Britain, France and the United States which prevented an effective response to the threats posed by Italy, Germany and Japan.

In the 1930s, too, the writer Arthur Mee identified thirty-two villages in England and Wales that had not lost a man in the First World War. They were known as the “Thankful Villages”. In every other parish, there were widows, orphans and grieving parents; it is not an exaggeration to say that every family in the British Isles was affected, if not by the loss of a husband, son or brother, then by the death, wounds or gassing of someone near to them. And most of this slaughter had taken place in Europe, the birthplace of the Renaissance and the Enlightenment and, in recent centuries at least, the world’s leading continent in science, medicine and philosophy. Something was still missing in the thirties, along with the lost generation of young men, who by then would have been husbands and fathers. Just as it took families years to assimilate their traumatic losses, so the nation took decades to do the same, as has been shown by America’s more recent struggle to come to terms with the Vietnam War. Then, at a moment when Europe might finally have comprehended the events of 1914-18, it found itself at war again.

The breakdown of accepted liberal values left Britain and France in a defensive, introspective state, ill-equipped to respond to the challenge of Fascism. But when the Nazis tried to bully and intimidate Europe into submission, it made people look at the war of 1914-18 in a new light. Somehow Hitler’s actions made the motives of the Germany of 1914 seem clearer and the First World War seem more justifiable. It also made the death of all those young men in the earlier war seem all the more tragic, since the Allied politicians of 1918-39 had thrown away what little the soldiers had gained. But the revulsion from war was so strong that although public opinion in Britain and France was changing after 1936, it took a series of German and Italian successes to bring about the fundamental shift in opinion which manifested itself after Hitler’s Prague coup on 14 March 1939.  Even then, the Manchester Guardian reported on 2 August that year, on the twenty-fifth anniversary of the outbreak of the First World War,  that a Nazi party newspaper had compared the economic situation then with the 1 August 1914, arriving at the conclusion that the western powers were not in as good a position as they had been twenty-five years previously.

Herbert Read (1893-1968) expressed some of these confused feelings in his poem, To a conscript of 1940, which he wrote soon after the beginning of the Second World War, as the title suggests. In an unusual mood he argues that the bravest soldier is the one who does not really expect to achieve anything:

TO A CONSCRIPT OF 1940

“Qui n’a pas une fois désepéré de l’honneur, ne sera jamais un heros” – Georges Bernanos (“He who has never once given up hope will never be a hero”).

 

A soldier passed me in the freshly-fallen snow,

His footsteps muffled, his face unearthly grey;

And my heart gave a sudden leap

As I gazed on a ghost of five-and-twenty years ago.

 

I shouted Halt! and my voice had the old accustomed ring

And he obeyed it as it was obeyed

In the shrouded days when I too was one

Of an army of young men marching

 

Into the unknown. He turned towards me and I said:

‘I am one of those who went before you

Five-and-twenty years ago: one of the many who never returned,

Of the many who returned and yet were dead.

 

We went where you are going, into the rain and mud;

We fought as you will fight

With death and darkness and despair;

We gave what you will give -our brains and our blood. 

 

We think we gave in vain. The world was not renewed.

There was hope in the homestead and anger in the streets

But the old world was restored and we returned

To the dreary field and workshop, and the immemorial feud

 

Of rich and poor. Our victory was our defeat.

Power was retained where powerhad been misused

And youth was left to sweep away

The ashes that the fires had strewn beneath our feet.

 

But one thing we learned: there is no glory in the deed

Until the soldier wears a badge of tarnish’d braid;

There are heroes who have heard the rally and have seen

The glitter of a garland round their head.

 

Theirs is the hollow victory. They are deceived. 

But you, my brother and my ghost. If you can go

Knowing that there is no reward, no certain use

In all your sacrifice, then honour is reprieved.

 

To fight without hope is to fight with grace,

The self reconstructed, the false heart repaired.’

Then I turned with a smile, and he answered my salute

As he stood against the fretted hedge, which was like white lace. 

A column from the East Yorkshire Regiment marches into battle.

Read was born at Kirbymoorside, in the remote eastern hills of the North Riding of Yorkshire in 1893. He earned his living for some years as a bank clerk in Leeds, before becoming a student of law at Leeds University. He joined the Yorkshire Regiment, the Green Howards, from the University Officers’ Training Corps. He fought in France for three years with the regiment and won the MC and the Distinguished Service Order (DSO). He wrote many important books on prose style, art appreciation and other cultural topics. As a poet, he was a consistent admirer of the Imagists, who revolted against what they saw as the unreal poetic language of the Georgians, making use of precise, vital images. He wrote most of his poetry in the 1930s by which time the Imagists had achieved wide acceptance.

In Memorium – Unknown & ‘Missing’ Warriors:

At the end of the war, the Empire’s death-roll had reached 900,000. More than two million were wounded. And it was only in January 1919 that another man died as the result of a bullet wound received in France in 1918, perhaps the last of the war dead. On Armistice Day, 1920, George V unveiled the Cenotaph, the “empty tomb”. It took the place of the temporary memorial that had been erected for the Peace celebrations in July 1919 (pictured above); Sir Edward Lutyens, who designed it, deliberately omitted any religious symbol because the men it commemorated were of all creeds and none. The concept of ‘ The Unknown Warrior’ was first suggested by J. B. Wilson, the News Editor of the Daily Express in the issue of 16 September 1919. He wrote:

Shall an unnamed British hero be brought from a battlefield in France and buried beneath the Cenotaph in Whitehall?  

The suggestion was adopted, but Westminster Abbey, not Whitehall, was chosen as the resting place. Early in November 1920, the bodies of six unknown men, killed in action at each of the four battles of Aisne, the Somme, Arras and Ypres were brought to a hut at St. Pol, near Arras. The Unknown Warrior who was to receive an Empire’s homage was chosen by an officer who, with closed eyes, rested his hand on one of the six coffins. This was the coffin which was brought to England and taken to Westminster Abbey where it was placed in the tomb of the Unknown Warrior on 11 November, in a service following the unveiling of the Cenotaph by King George V (shown above). The tomb was built as a permanent tribute to those soldiers who have no named gravestone. France, the USA and Italy also created similar memorials.

Just before midday on 10 November, HMS Verdun, with an escort of six destroyers, left Boulogne with the Unknown Warrior. The destroyer Vendetta met them half-way with its White Ensign astern at half-mast.

A Hundred sandbags filled with earth from France were sent over for the grave of the Unknown Warrior in Westminster Abbey. The porters pictured below (left) reloaded the earth at Victoria Station. George V placed a wreath on the coffin (pictured right below), which rested on the gun carriage that took it from the Cenotaph to Westminster Abbey.

Each evening at 8 p.m. traffic is stopped at the Menin Gate Memorial in Ypres for a ceremony where the Last Post is played. This bugle call was played at the end of each ‘normal’ day in the British Army but has taken on a deeper significance at remembrance services as a final farewell to the dead. The commemoration has taken place every evening (apart from during the Second World War) since 1928. The Memorial displays the names of 54,415 Commonwealth soldiers who died at Ypres and have no known grave. In 2018, a bugle found among the possessions of Wilfred Owen went on display at the Imperial War Museum. He removed it from the body of one of the men in his battalion who was killed in action before he was in 1918. British and South African soldiers numbering 72,203 who died at the Somme with no known grave are commemorated at the Thiepval Memorial within the site of the battlefield. A programme of building memorials and cemeteries had begun straight after the war, and there were soon over fifty-four thousand of them throughout the United Kingdom. Every sizeable village and town possesses one, at which wreaths of poppies are laid every Remembrance Sunday. The Newburgh War Memorial in Fife bears the names of seventy-six men from this small Scottish town who were killed. Their names are listed below:

Because of the way men were recruited in 1914, in “pals’ battalions” drawn from particular towns and villages, some of these lost almost their entire population of young men. In these places, there was also almost an entire generation of women of widows and ‘spinsters of this parish’ who never married.

The events of 1939-45 were commemorated more vigorously and immediately – in cinema and Boys’ Own narrative and, over a longer period and to a different end, by the persistence of Jewish community leaders and historians.

By the 1960s, a new generation began to look at the First World War in a new way. It was not the living memory of the First World War that had gone missing (there were, after all, plenty of not-very-old men alive to talk about it – as many did, to the BBC for its series in 1964); it was more that there did not seem to be a way of thinking clearly about it. The poetry of Ted Hughes expressed the spirit that also made books and plays and television programmes about the First World War fashionable in 1964. Hughes found in its soldiers’ admirable qualities a positive vitality and a violent power that he found lacking in modern urban life. At the same time, he believed in the essential goodness of our powerful instinctive impulses. It was in that sense that he found the war exciting, too different from the tragedies of nuclear warfare to be recognizable as the same thing. He once said that what excited his imagination was the war between vitality and death.

In the fifty years that had elapsed since Wilfred Owen’s death, his poems and those of Sassoon appealed to a smaller public than those of Brooke, but they did retain a degree of popularity. Then, in the sixties, their literary reputation grew steadily in the eyes of critics and scholars alongside their increasing popularity with the common reader. There were two reasons for this: firstly, in 1964 the fiftieth anniversary of the outbreak of war in 1914 triggered off a series of books, television programmes and stage shows that made the First World War a fashionable topic; secondly, the war in Vietnam seemed to repeat some of the features of the earlier war, such as its lack of military movement, and its static horrors for the private soldier.

The first performance of Joan Littlewood’s Theatre Workshop production of Oh! What a Lovely War took place just before the fiftieth anniversary, at The Theatre Royal, Stratford East, on 19 March 1963, and then transferred to Wyndham’s Theatre, London in June of that year. In 1964 it transferred to Broadway. The original idea for the musical came from Gerry Raffles, Littlewood’s partner. He had heard a BBC radio programme about the songs of the First World War and thought it would be a good idea to bring these songs to the stage to show the post-World War Two generation that war was not the thing of glory that it was being presented as, at that time. Over a period of time, four writers were commissioned to write a script, but Raffles and Littlewood were unhappy with all of them and decided to give the acting company the task of researching into aspects of the War and then working these into improvised sketches that referenced the findings of that research. Joan Littlewood’s original production was designed to resemble an ‘end of pier’ show,  the sort of seaside variety in the style of music hall entertainment which was popular in late Victorian and Edwardian times. To this end, all her cast members wore Pierrot costumes and none wore ‘khaki’ because, as Littlewood herself put it, war is only for clowns. She was an exponent of ‘agitprop’, a method of spreading political propaganda through popular media such as literature, plays and films.

A world war was not something that most of Littlewood’s younger audiences had experienced directly, except perhaps as very young children, though many were familiar with it through the experiences and stories of parents and grandparents, and would also have heard many of the songs used in the show. The ‘music hall’ or ‘variety show’ format was still familiar to many through the new medium of television, and the play was designed to emphasise that the war was about ordinary individuals who chose to wear the emblems of their country and make the ultimate sacrifice for it. From a historical standpoint, however, the play tended to recycle popular preconceptions and myths which all effective propaganda is based on. As a satirical ‘knees-up’ it seemed to acknowledge that the remembrance of the First World War had reached a cultural cul-de-sac. As a play which is designed to reflect the impact of the horror of modern warfare on the everyday life of the private soldier, it has its strengths as well as its limitations.

Joan Littlewood, one of the most radical voices in British theatre in the sixties.

The villains of the piece are, clearly, the non-combatant officer classes, including the generals and the myth of ‘lions led by donkeys’ is one of the key themes of the play, but this has now been widely debunked by historians. Nevertheless, the First World War was, for the most part, a war of attrition in which huge numbers of men had to pay the ultimate price for military mistakes and minimal gains. In this sense, the play still does a useful job in encouraging audiences to consider for themselves the human cost of war and its impact on individuals. In 1969, Richard Attenborough marked his debut as a film director with his version of the play and, although most of the songs and two scenes from the play remain, the film version bears very little resemblance to the original concept. Despite its stellar cast, many see the film as a travesty of the stage show.

The Last Casualty on the Western Front:

On 11 August 1998, almost eighty years after the armistice, Lieutenant Corporal Mike Watkins of the Royal Logistics Corps was killed when a tunnel he was investigating at Vimy Ridge collapsed.  Watkins had been a bomb disposal expert in Northern Ireland and the Falklands and had carried out work left under First World War battle sites. As far as we know, he was the last casualty of that great conflict.

The Verdict of Historians – Finding a Language of Understanding and Remembrance:

After a hundred years of commemorating the Great War, it may be that, belatedly, we have found a language and a way of understanding, or at least remembering in an informed and enlightened way, the real and diverse experiences of those lost legions. This has emerged from a dispute about what exactly, a hundred years on, we should actually be commemorating. The silence of the mid-twentieth century meant that, in the popular imagination, the witness of the poets loomed larger than some historians thought it warranted. One of Wilfred Owen’s best poems, by critical acclaim, was entitled Futility, but its use as a by-word for the First World War in popular culture has irked ‘revisionist’ historians. To put the debate at its simplest: on the one hand, there is a vein of literary writing that began with Owen and presents the experience of the War as so terrible, so unprecedented and so depressing that it stands outside the normal considerations of history. Professional historians disagree with this, and narratives influenced by this belief, including recent novels such as Pat Barker’s Regeneration Trilogy and Sebastian Faulks’ Birdsong, are viewed by some historians as having failed to do justice to the average soldier’s devotion to what he believed, wrongly or rightly, to be a just cause.

As Britain began to gear itself up for the centenary commemorations in about 2012, a group of historians, including Margaret MacMillan, Max Hastings, Gary Sheffield and Hew Strachan, who disagree on many points, agreed on one purpose: that Britain should be weaned from its dependence on the “poets’ view”. They argued that the fact is that the majority of the British public supported the war and that Wilfred Owen went to his grave a week before the armistice with an MC for conspicuous bravery in pursuit of the justice of the cause he signed up for. The historians of the First World War also argued that idea that great powers “sleepwalked” into war is a misinterpretation: German militarism and expansionism needed to be curbed, and a war between Britain and Germany over the control of the seas became inevitable after the German invasion of Belgium and its threat to the Channel ports.

Writing in the Sunday Times on 11 November 2018, Niall Ferguson (pictured above) seems to take issue with this view. He pointed out that to his generation (also mine) the First World War was ‘not quite history’. His grandfather, John Ferguson had joined up at the age of seventeen and fought on the western front as a private in the Seaforth Highlanders. He was one of the lucky ones who survived and returned, though not unscarred. He was shot through the shoulder by a German sniper. He also survived a gas attack, though his lungs suffered permanent damage. His most vivid recollection was of a German attack. As the enemy advanced towards them, he and his comrades were preparing for the order to go over the top, fixing bayonets, when at the last moment the command was given to another regiment instead. So heavy were that regiment’s casualties, that John Ferguson felt sure that he would have been killed if it had been the Seaforth’s turn. A fact that never fails to startle his grandson was that of the 722,785 men from the United Kingdom who did not come back alive, just under half were aged between sixteen and twenty-four.

Niall Ferguson has argued that the current generation of seventeen-year-olds is exposed to a different sort of enemy – ‘dangerous nonsense’ about the First World War. In the run-up to the Centenary Commemorations, he encountered four examples of this. The first of these he summarises as the view that… despite the enormous sacrifices of life … the war was worth fighting. Ferguson argues that an unprepared Britain would have been better off staying out or at least delaying its intervention. He counters with ten points that he would like all his children to understand in terms of what happened to their great-grandfather’s generation. First of all, the war was not “for civilisation”, as claimed on John Ferguson’s Victory Medal. It was a war for predominance between the six great European empires – the British, the French and the Russian against the German, the Austrian and the Ottoman. It broke out because all the leaders miscalculated that the costs of inaction would exceed the costs of war.

It was also a myth, he claims, that the war was fought mainly by infantrymen going ‘over the top’. It was fought mainly by artillery, shellfire causing 75% of casualties. The war-winning weapons were not poison gas or tanks so much as the improvements in artillery tactics, especially the ‘creeping barrage’ in the final offensive. Neither were the Germans doomed to lose. By mid-1917 the French were finished as an attacking force and German U-boats were sinking frightening numbers of the ships supplying Britain. With Russia consumed by Revolution, a German victory seemed possible as late as the spring of 1918. Certainly, their allies in the Triple Alliance were weak: Austria-Hungary, Turkey and Bulgaria. Their excessive use of submarine welfare in the Atlantic made American intervention likely. Fifthly, the Germans were at a massive disadvantage in economic terms. The Entente empires were bigger, the powers had bigger economies and budgets, and greater access to credit. However, the Germans were superior in killing or capturing their opponents. Overall, the Central Powers killed 35% more men than they lost, and their average cost of killing an enemy soldier was roughly a third of the other side’s.

According to Ferguson, the Germans ultimately lost because the British Army proved more resilient than theirs. Men such as John Ferguson simply would not give up, despite all the hardships they had to endure. Both patriotism and propaganda played a part in this, as did military discipline, but it also mattered that British officers were generally competent; that the average Tommy’s lot was made bearable by plentiful “plonk” and “fags”; that, despite high casualties, the bonds between “pals’ and “mates” endured. An eighth point he cites is that the German Army eventually fell apart during the summer and autumn of 1918 when it became clear that the resilience of Entente forces, bolstered by the arrival of the US troops made a German victory impossible. Beginning with the Battle of Amiens (8-11 August), the Germans lost the will to fight on and began to surrender in droves. Finally, the pandemonium with which the war ended with a series of revolutions and rebellions also brought about the disintegration of the great multi-ethnic empires, with only the Saxe-Coburgs surviving from among the royal dynasties of Europe. Communism seemed as unstoppable as the influenza pandemic which killed four times as many people as the war had.

In an article printed on the same day, Daniel Johnson echoes earlier historians in arguing that the Great War marked the moment when the nations of Europe first grasped the true meaning of total war. Every man, woman and child felt its effects. Johnson’s grandfather, an artist and teacher, never fully recovered from his service on the western front, where he was wounded three times and gassed twice. Most British families, he points out, had terrible stories to tell from the Great War. It afflicted not only those who fought and died, but also those who returned and those who remained behind. No-one who survived the slaughter could ever abide empty jingoistic slogans again. Conscription meant that one in four British men served in the forces, a far higher proportion than ever before. Almost everyone else was involved in the war effort in some way, and of the twenty million who died on both sides, there were as many civilians as soldiers. Women played a huge role everywhere, with the war finally settling the debate about women’s suffrage, although the vote was only granted to those with their own property, aged thirty and over.

Australian troops at the Battle of Passchendaele, 1917

Sebastian Faulks first visited the Somme battlefield some thirty years ago. He was walking in a wood on Thiepval Ridge when he came across a shell casing. This thing is still alive, he thought, if you care to look. He went over to the huge Lutyens stone memorial and looked at the names of the lost – not the dead, who are buried in the nearby cemeteries, but of the British and Empire men of whom no trace was ever found, their names reeling up overhead, like footnotes on the sky. He wondered what it had felt like to be a nineteen-year-old in a volunteer battalion on 30 June 1916, waiting and trusting that the seven-day artillery bombardment had cut the German wire; not knowing you were about to walk into a wall of machine gun fire, with almost sixty thousand casualties on 1 July alone. He wondered if one day the experience of these youngsters might be better understood and valued.

Gary Sheffield, Professor of War Studies at Wolverhampton University, believes that the Second World War was not an inevitable result of the ‘futile’ failures of the First. Rather, he thinks the two wars should be viewed as instalments of the same battle against German militarism, and that that struggle, in turn, should be seen in the longer perspective of European bloodshed going back through the Napoleonic campaigns to the Thirty Years’ War of 1618-48. The ‘poet’s view’ was epitomised by Henry James, who wrote that to see the static carnage of the Western Front as what the long years of European civilisation had all along been leading up to was “too sad for any words”. By contrast, the revisionist historian’s view is that the 1914-18 war was just another if egregious episode in Europe’s long-established and incurable bloodlust.

But the public appetite for commemoration has been spectacular, and diverse over the past four years, in non-poetic ways. The Heritage Lottery Fund (HLF) has awarded a hundred million to more than two thousand local community projects in which more than 9.4 million people have taken part. In addition, the efforts of 14-18 Now, which has commissioned work by contemporary artists during the four-year period, has led to the popular installations of the nationwide poppies tour, Blood Swept Lands and Seas of Red by Paul Cummins and Tom Piper, among other initiatives. Meanwhile, Philip Dolling, head of BBC events, reported that 82% of adult Britons had watched or heard some BBC Great War centenary programme, of whom 83% claimed to have learnt something. His colleague, Jane Ellison, thought the BBC’s greatest success had been with young audiences, helping them to see that the soldiers were not sepia figures from ‘history’, but young people just like them.

In researching for Birdsong, Faulks read thousands of letters, diaries and documents in the reading room of the Imperial War Museum. He remembered a buff file that came up from the basement, containing the papers of a private soldier on the Somme in June 1916. “There is going to be a big push,” one letter began, “and we are all excited. Don’t worry about me. Thumbs up and trusting to the best of luck.” Like most such letters, it was chiefly concerned with reassuring the people at home. But towards the end, the writer faltered.  “Please give my best love to Ma, Tom and the babies. You have been the best of brothers to me.” Then he gathered himself: “Here’s hoping it is au revoir and not goodbye!” But he had obviously not been able to let it go, and had written a PS diagonally across the bottom, “Don’t worry about me, I’ll be OK!” There was nothing after it in the file except a telegram of condolence from the king.

Ordinary men had been given a voice by the Education Act of 1870, providing them with an elementary schooling to the age of thirteen. Their witness was literate, poignant, but not ‘poetic’. It was authentic, unprecedented and, until recently, largely overlooked. But over the last forty years, they have been heard. Scholars of all kinds, editors, journalists and publishers have read, shared and reprinted their accounts; and the local activities funded through the HLF have uncovered innumerable different stories. They had not been missing; they were there all along, waiting to be discovered by ‘people’s remembrancers’. Faulks writes convincingly about their contribution:

The experience of the First World War was most valuably recorded not by historians or commanders, but by the butcher, the baker and candlestick maker. In what you can now discover in archives or online, there is no party line or school of thought. It was difficult to know how to value all this material, because what had been experienced for the first time by civilian-soldiers was not just any war… but the greatest bloodbath the world had ever seen. It was simply indigestible.

You cannot travel far in the history of war, especially 1914-18, before you stray into anthropology. What kind of creature could do these things? During the past hundred years, it is perhaps not only the events of 1914-18 but the nature of warfare and the human animal itself with which we have to grapple. That is the buried legacy of Kitchener’s citizen army.

Perhaps that is not just an anthropological question either, but a theological one, which is where the poets still make a valuable contribution. They also wrote letters, like those of Wilfred Owen as well as Roland Leighton and Vera Brittain, in which they questioned their hitherto-held beliefs in fundamental human goodness. Therefore the poets’ view is reconcilable with that of the ‘revisionist’ historians. Interestingly, in his ‘afterword’ to a recent new collection of war poetry in 2003, on the eve of the Iraq War, Andrew Motion wrote that Wilfred Owen had shown how it was still possible for war poets to celebrate individual acts of courage and to commemorate losses, but not to glorify conflict as such. Owen’s maxim, true poets must be truthful, Motion maintained, had held firm through the years, even in wars which are generally considered ‘just’, such as the Second World War. It also applied even more in the case of Holocaust commemoration poems and to Vietnam, or the Gulf War of 1990, or, we might add, to the wars in former Yugoslavia. ‘Pity’ and ‘truthfulness’ remain the crucial ingredients even – or especially – when the realities of war are blurred by euphemisms, such as ‘friendly fire’ or ‘collateral damage’. The best war poets, he argued…

… react to their experience of war, rather than simply acting in response to its pressures. They are mindful of the larger peace-time context even when dwelling on particular horrors; they engage with civilian as well as military life; they impose order and personality as these things are threatened; they insist on performing acts of the imagination when faced with barbarism. In this respect, and in spite of its variety, their work makes a common plea for humanity.   

The varied commemorations of the past five years have also made it substantially easier for young people, in particular, to form their own ideas of what happened and what its implications for their lives may be. But historians are not simply ‘people’s remembrancers’, as Niall Ferguson has pointed out. Reconciling historians’ expectations of the centenary and the feelings of the general public has been challenging. It has been suggesting that with the passing of the centenary of the armistice, it is time to review the way we remember the Great War. First of all, Faulks argues, there must always be a sense of grief. The War killed ten million men for reasons that are still disputed, and it was the first great trauma in the European century of genocide and the Holocaust.

According to the Sandhurst military historian John Keegan, the Battle of the Somme marked the end of an age of vital optimism in British life that has never been recovered. Professional historians have their eyes trained on the long view, but they can be drawn back to the moment and to the texture of authentic experience of the nineteen-year-old volunteer in Kitchener’s army. But historians do not have a monopoly of memorial acts (I always hated the assumption that history teachers like me should, automatically, be responsible for these ceremonies). Peter Jackson’s new film, They Shall Not Grow Old is the director’s attempt to stop the First World War from fading into history, placing interviews with servicemen who fought over footage from the Imperial War Museum’s archive. The colourised footage is remarkable, immediately bringing a new dimension to images of the living and the dead; combined with the emotional testimony of the veterans it is an immersive experience and a powerful new act of remembrance that keeps the conflict’s human face in sharp focus.

Sources:

The Sunday Times, 11 November 2018 (articles by Niall Ferguson, Sebastian Faulks & Daniel Johnson)

Alan Bishop & Mark Bostridge (1998), Letters from a Lost Generation. London: Little Brown (extracts published in The Sunday Times, November 1998 & The Guardian, November 2008).

The Guardian/ The Observer (2008), First World War: Day Seven – The Aftermath. (introductory article by Michael Burleigh; extract from C E Montague (1922), Disenchantment. London: Chatto & Windus).

E L Black (ed.) (1970), 1914-18 in Poetry. London: University of London Press.

Fiona Waters (ed.) (2010), A Corner of a Foreign Field: The Illustrated Poetry of the First World War. Croxley Green (Herts): Transatlantic Press.

Norman Ferguson (2014), The First World War: A Miscellany. Chichester (West Sussex): Summersdale.

John Buchan (1935), The King’s Grace, 1910-1935. London: Hodder & Stoughton.

Matthew Hollis & Paul Keegan (eds.) (2003), 101 Poems Against War. London: Faber & Faber.

Arthur Marwick (1970), Britain in the Century of Total War. Harmondsworth: Penguin.

Arthur Marwick & Anthony Adamthwaite (1973), Between Two Wars. Bletchley: The Open University.

Vera Brittain (1933), Testament of Youth. London: Gollancz (Virago-Fontana edn., 1970).

 

Introduction – Testaments of Torment:

British sailors march through Whitehall in July 1919 past the temporary cenotaph to commemorate the end of the war.

The main effect of the first world war was a loss on a scale that exceeded the Holocaust, together with the traumas that matched it. As many as nine million combatants from all warring nations were killed in action, at an average of over six thousand on every day of the war’s four-and-a-quarter years’ duration. It was a hell of mud, blood, barbed wire and broken bodies, as vast rows of artillery thundered tons of hot metal on to each already churned-up square metre of earth, tree and human remnant. Spectral memories of the lost men haunted the gleaming white cemeteries, memorials and shrines that sprang up, from Melbourne’s shrine of remembrance to Whitehall’s cenotaph to the battlefield graves and ossuaries at Douaumont and Thiepval. The founder of the Imperial War Graves Commission calculated that if Britain’s war dead were to have marched past Edwin Lutyens’ austere London monument, it would have taken three-and-a-half days before the rearguard trooped by. There were also fifteen million permanently blinded, crippled or maimed, as well as many others whose minds were so damaged they would never recover their equilibrium, and I have written about these survivors elsewhere.

Here I want to concentrate on the psychological torments of parents who lost sons during the conflict, wives who lost husbands, children who lost fathers and sisters who lost brothers. One of those who lost both brothers and lovers was Vera Brittain. Her first world war classic autobiography, Testament of Youth, told the story of the ‘lost generation’ wiped out in the trenches. It was first published in 1933 and remained influential in the late twentieth century, being made into an excellent BBC Television drama in the late seventies. She lost a number of her closest friends as well as her fiancé and brother in the conflict.

Testament of War – Letters of Vera Brittain & Roland Leighton:

At the heart of Testament of Youth was Vera Brittain’s own anguished love affair with Roland Leighton, the dashing best friend of her brother at Uppingham School. Their letters were published in 1998 and revealed the unbearable poignancy of their relationship. Roland’s first letter to Vera from Uppingham on 15 July 1914 demonstrates just how quickly the plans of young people changed that summer:

I cannot tell you how much I enjoyed the two days you were here… You will let me know how you have got on in your exams, won’t you? I suppose I shall not see you again until October at Oxford.

Roland Leighton

Vera replied from her parents’ home in Buxton (in Derbyshire) that she thought she had failed her Latin exam and so would not be able to go up to Oxford that autumn. On the 29th, Roland wrote back that he would not give up hoping to see her at Oxford that October unless he knew for certain that she had not passed when the results came out at the end of August. But less than a week after he wrote this letter, Britain declared war on Germany. Roland and Vera’s brother, Edward, who had been sent home early from their Officers’ Training Corps summer camp at Aldershot, attempted to find temporary commissions in the army. Roland then wrote to Vera from his mother’s home in Lowestoft on 21 August 1914:

I am feeling very chagrined and disappointed at present. I expected Edward has told you that I have been trying for a temporary commission in the Regulars. On Tuesday it only remained for me to go up for my Medical Exam. I got on very well until they stuck up a board at the end of the room and told me to read off the letters on it. . I had to be able to read at least half, but found I could not see more than the first line of large letters. The Medical Officer was extremely nice about it, … but it was of no use … PS: You may be amused to hear that I am engaged in cultivating a moustache – as an experiment.

Vera wrote back immediately to express her sympathy with him over this rejection, but felt it was for the best as he could now exercise his ‘intellectual qualities’ at Oxford; they would be of little use to him in gaining promotion in the Army. Two days later, on 27 August, she wrote again to inform him that she had, after all, passed her Latin. She was much relieved at this, as she didn’t know how she could have endured the thought of you and Edward enjoying Oxford life and myself cut out of it for another year. Roland confirmed that he was now expecting to go up so that all three of them would be at Oxford together. But on 28 September, with just ten days to go before the start of term, he wrote to tell Vera that he could no longer say confidently that he would be at Oxford after all. He stood a good chance of being accepted into the 4th Norfolks and would know definitely within the week. He wrote that:

Anyhow, I don’t think in the circumstances I could easily bring myself to endure a secluded life of scholastic vegetation. It would seem a somewhat cowardly shirking of my obvious duty. In fact if I do not get to Oxford at all, as seems possible, I shall not much regret it – except that perhaps in that I shall miss the incidental pleasure of seeing you there. Of course, all being well, I could go up after everything is over. I feel, that I am meant to take some active part in this war. It is to me a very fascinating thing – something, if often horrible, yet very enobling and very beautiful, something whose elemental reality raises it above the reach of all cold theorising. You will call me a militarist. You may be right.

Vera Brittain

Vera replied, on 1 October, that she never expected him to want to go to Oxford; conditions were now very different from those of a month previously. She didn’t know whether his feelings about war were those of a ‘militarist’ or not: She had always called herself a non-militarist, yet the raging of these elemental forces fascinated her, horribly but powerfully, as it did him. Her mixed feelings about war were complicated by her being a woman:

… whether it is noble or barbarous I am quite sure that had I been a boy I should have gone off to take part in it long ago; indeed I have wasted many moments regretting that I am a girl. Women get all the dreariness of war & none of its exhilaration.

A week later, Roland was informed that he had been approved for a commission. In her next letter to him in mid-October, Vera wrote from Somerville College that he had been right in thinking that life at Oxford would have been difficult for him as an undergraduate in war-time. She didn’t know how those there could endure not to be in khaki. Roland’s mother took rooms in London at Christmas and Vera was invited to visit before New Year. On 1 January 1915, he wrote to her, thanking her for her visit:

It has been such a delight to be with you these past two days. I think I shall  always remember them in their wonderful incompleteness and unreality. When I left you I stood by the fountain in the middle of Piccadilly circus to see the New Year in. It was a glorious night, with a full moon so brightly white as to seem blue slung like an arc-lamp directly overhead. I had the feeling of extreme loneliness one is so often conscious of in a large crowd. There was very little demonstration: two Frenchmen standing up in a cab singing the Marseillaise: a few women and some soldiers behind me holding hands and softly humming ‘Auld Lang Syne’. When twelve ‘o’ clock struck there was only a little shudder among the crowd and a distant muffled cheer, and then everyone seemed to melt away again leaving me standing there with tears in my eyes and feeling absolutely wretched.

At the ‘Ides of March’, Roland went to Buxton to say his farewells. Early on the wintry morning of 19 March, Vera said goodbye to him on Buxton Station as he left on the first stage of the journey, with his regiment, to France. After crossing the Channel on 1 April, the regiment’s only immediate sign of war was a sudden flare of light along the road at night and a glimpse of a French military car rushing past, together with an occasional patrol of blue-coated cavalry. Although they could hear the distant sound of heavy artillery fire, for the time being, they were out of the danger zone.

A Voluntary Aid Detachment nurse tends to a wounded soldier

On 5 April, Vera wrote from Buxton to tell Roland that she was volunteering to help in a large hospital nearby which had been extended to admit the wounded. The Matron said that they had more work than they could manage satisfactorily so that she was glad to accept Vera’s offer. She was to serve as a voluntary aid detachment (VAD) nurse for the rest of the war. By the 11th, she had heard that they were expecting a great many wounded in the summer and would probably want all the extra nurses they could get. They would be almost sure to need her, not merely to darn socks as she had been doing, but to do the usual probationer’s work. Joking, she wrote that if he ‘must get wounded’ he should try to postpone it ’till about August’ by which time she hoped to be efficient enough to be able to look after him. By 12 April, Roland was in the trenches but wrote that there was not really much to do, just that the officers…

…have to go round now and again to see that the men are in their right places and the sentries looking out (in the daytime through periscopes). They go round every three hours or so at night as well and so don’t get much sleep. No one is allowed to take his clothes off, and so you have to scrape as much mud as possible off your boots with a bayonet, tie up each foot in a small sack to keep the mud out of your sleeping bag, and get in boots and all. You rarely have much opportunity to shave or wash properly. It is just getting dusk and the ration parties will be coming in to take the letters back with them. This letter will have been carried under fire by the time it reaches you. Good night, dear, and do not worry on my account…

May 1915 in the trenches

On 19 April, the Norfolks’ trenches in the middle of a ‘vast wood’ were shelled for some time, and they had their first man killed, shot through the head. But sitting in the sunlight while writing, facing a bank of primroses, Roland was struck by the grim contrast between the danger of war and death and thoughts of the beauty of life and love. The previous morning he had gone up to his fire trench through the sunlit wood and found the body of a dead British soldier hidden in the undergrowth a few yards from the path:

He must have been shot there during the wood fighting in the early part of the war and lain forgotten all of this time … You do not mind my telling you these gruesome things, do you? You asked me to tell you everything. It is of such things that my new life is made.

Vera wrote back affirming that she did want to be told all the gruesome things since she knew that even war would not blunt his sensibilities. She wanted his ‘new life’ to be hers to as great an extent as possible. Her now more conscious ‘feminism’ is evident in the rationale she gave for this:

Women are no longer the sheltered and protected darlings of man’s playtime, fit only for the nursery and the drawing-room – at least, no woman that you are interested in could ever be just that. Somehow I feel it makes me stronger to realise what horrors there are … Now you are in the midst of it all, do you still feel you will come through to the end? 

On 29th, Roland wrote his letter just after dawn, when everything was very still. Again, he was struck by the contrast between his natural surroundings and the accompanying reminders, sometimes in dramatic interruptions, of the reality of war:

From where I am sitting I can see the sun on the clover field just behind the trenches and a stretch of white road beyond. There are birds singing in the wood on our left, and small curls of blue wood smoke from the men’s fires climbing up through the trees. One of our Machine Guns has been firing single shots every few minutes with a cold and lazy regularity that seems singularly in harmony. Everyone else except the sentries is asleep. … 7.30 am: A French biplane went up a few minutes ago and is circling round and round over the German lines. They have got two anti-aircraft guns and a Maxim trying to hit him. It is a marvellous sight. Every minute there is a rapid report like the pop of a drawn cork magnified, and a fluffy ball of cotton wool appears suddenly in the air beside him. He is turning again now, the white balls floating all around him. You think how pretty it all is – white bird, white puffs of smoke, and the brilliant blue of the sky. It is hard to realise that there is danger up there, and daring, and the calculated courage that is true heroism…

The ‘colour’ in this description also contrasts sharply with our popular images of a war fought in sepia or black-and-white. Meanwhile, on May Day morning in Oxford, Vera was up at dawn for the famous celebrations at the Magdalen tower, the choristers singing the traditional Latin hymn while turning slowly to the sun. Again, her feelings were a mixture of the appreciation of beauty and the pain of thinking how different their lives were now from what they had pictured the previous July, with both of them there enjoying the celebrations together. A week later, she wrote that her greatest object was to get this term over. She didn’t think that another term while the war was in its present condition (and you in yours) would be tolerable. 

Two days later, the first man in Roland’s battalion was killed. He described to Vera the way he had been taking things out of his pockets and tying them round in his handkerchief to be sent back somewhere to someone who would see more than a torn letter, and a pencil, and a knife and a piece of shell. Soon after, Vera received a letter from one of her school friends whose brother was wounded and was then in a hospital in London. Vera’s friend wrote that there were only three officers surviving, including her brother, out of his battalion, and 159 men out of five thousand. They had had to hold their trenches while under shell fire without a single gun to help them and had watched the Germans forming up to attack them without being able to do anything. Their trenches had been taken and as he had been lying wounded he saw the Germans bayoneting his men, including several of his friends, who had also been lying wounded. Vera wondered how he would be affected by this experience.

On 21 May, Vera wrote that she had never read anything quite so terrible as the official report of the German outrages in Belgium, especially their treatment of the women and children. As a signal of how her attitudes were hardening, like those of many others in response to what we now know was anti-German propaganda, she wrote that she didn’t know how any man could read it and then not enlist, and urged Roland and everyone at the front she knew, “Once you get hold of them, do your very worst.”  She also felt increasingly hostile towards some of the young men among the Whitsuntide trippers whom she witnessed ‘lounging down’ the streets of Oxford…

 … smoking cigarettes with a vacant expression … and a self-satisfied smile on their faces, twirling Japanese umbrellas… and poking them at the passers-by … I can scarcely bear to look at them and think that you and such as you are enduring toil and weariness and risking death that they may remain safe, and that your task is made is made all the harder and heavier because the hero of the Japanese umbrella refrains from relinquishing it for a bayonet. No one has the right to lounge these days, not even an American…

Above & below, Lord Kitchener, Secretary of State for War

A week later, at the end of May, Vera wrote to Roland of the more than usually heated conflict… going on in the papers about the war in general and conscription in particular. Lord Northcliffe’s papers seemed to be attacking everyone in authority, especially Lord Kitchener, and the rest of the press was attacking Lord Northcliffe. It seemed…

… a dreadful state of affairs that the authorities are quarrelling among themselves at home while men who are in their hands are dying for them abroad. One begins to doubt the advisability even of the freedom of the Press.

At the beginning of June, Roland wrote to Vera of his growing disillusionment with the war after two months at the front:

I wonder if I shall still be Somewhere in Flanders when July comes, and memories of Speech Day 1914, and all that I had hoped of Oxford … It all seems so very far away now, I sometimes think that I must have exchanged my life for someone else’s.

On 6 June, he wrote again of the possibility of his getting six days’ leave in the near future. Vera wrote back that sometimes she felt that she couldn’t bear to see him again until the war was over, that the only thing she could not endure living over again the morning of March 19th on Buxton railway station, when they had said goodbye. But she knew that even a short visit from him would be worthwhile and that she was willing to pay the bitterness of death for the sweetness of life. Roland, inexplicably, ‘fell silent’ during July, and at the end of the month, Vera heard that there was a ‘faint chance’ of her getting into a large London hospital as a VAD (auxiliary nurse). The hospital was an ‘immense place’ at Camberwell (No 1 London General), established at the beginning of the war but recently extended, containing over a thousand beds. The hospital administration needed to make an increase in nursing staff as a result and to recruit more VAD staff like Vera. She was keen to transfer there as the hospital got all the wounded straight from the trenches and the VADs were needed to do all the minor dressings.

Wounded soldiers recovering in an English hospital

On 29 July, she sent Roland a volume of the poems of Rupert Brooke, whom she had regarded as the most promising poet of the younger generation. Brooke was a well-known poet before 1914 who had had his poem The Old Vicarage included in a 1912 volume of Georgian Poetry. He had enlisted in the Navy when the war broke out and fought in the unsuccessful defence of Antwerp, where the naval brigade fought as if they were soldiers. He wrote his five famous war sonnets at Rugby School during the last months of 1914 when he was home on leave. He served in the fleet that was attacking the Turkish positions in the Dardanelles, but on 23 April  1915, he died of blood poisoning on a French hospital ship of the island of Lemnos in the Aegean Sea. He was buried on top of a high hill on the Greek island of Skyros; among the burial party was Arthur Asquith, son of the Prime Minister. Brooke had not been dead long, however, before the more clear-sighted of his fellow-poets saw the limitations of the poetry that he typified. Charles Sorley expressed in one of his letters his conviction that Brooke’s sonnets had been overpraised:

He is far too obsessed with his own sacrifice, regarding the going to war of himself (and others) as a highly intense, remarkable and sacrificial exploit, whereas it is merely the conduct demanded of him (and others) by the turn of circumstances.

Arthur Graeme West, who was killed in 1917, expressed his contempt of poets who wrote such lines as ‘O happy to have lived these epic days’ and ignored the revolting appearance of the dead and dying in actual warfare. One of his own poems began with a direct attack on Brooke and his imitators:

God! how I hate you, you young cheerful men,

Whose pious poetry blossoms on your graves

As soon as you are in them.

From a literary perspective, the critic F. R. Leavis wrote that Brooke’s verse exhibited a genuine sensuousness rather like Keats’s … and something… rather like Keats’s vulgarity with a Public School accent.  On the other hand, Robert Nichols, a leading Georgian poet and friend both of Brooke and Siegfried Sassoon from before 1914, was still insisting in 1943 that:

Rupert Brooke’s sonnets are full of that sensation of being gathered up. They are wonderful works of art and it is sad that they have come to be regarded by many with suspicion.

But the latter half of the war produced a second generation of young soldiers who produced very different kinds of war poetry from that of  Brooke or Nichols. At the time Vera sent them to Roland she thought he would love them all … not the War Sonnets only, though they are perhaps the most beautiful. She was right, as on receiving the volume, he read it straight through. He wrote of how it made him feel that he wanted to sit down and write things himself instead of doing what he had to do as an officer there, and of how…

It stirs up all the old forgotten things, and makes me so, so angry and impatient with most of the soulless nonentities one finds around one here. I used to talk of the Beauty of War; but it is only War in the abstract that is beautiful. Modern warfare is merely a trade, and it is only a matter of taste whether one is a soldier or a greengrocer, as far as I can see. Sometimes by dint of an opportunity a single man may rise from the sordidness to a deed of beauty; but that is all.

‘No road this way’: the Germans made access very difficult for the advancing Allies.

On 15 August, Roland wrote to let Vera know that he was coming home on leave in three days’ time. He then sent a telegram arranging to meet her at St Pancras’ first-class ladies’ waiting room as soon as he could get across there from Liverpool Street Station. Roland’s leave lasted for just under a week, during which he and Vera agreed to become unofficially engaged “for three years or the duration of the War”. After spending the first night at Buxton, they travelled to Lowestoft to be with his family. As they sat alone on a cliff path, the afternoon before their departure, Roland rested his head on Vera’s shoulder for a while, and then kissed her. As she had to return to report for nursing duty in Buxton and Roland was not returning to France until the end of the week, he saw her off at St Pancras on 23 August. He kissed her goodbye and then, almost furtively, wiped his eyes with his handkerchief. Later that day, Vera wrote in her diary, I hadn’t realised until then that this quiet & self-contained person was suffering so much.

Return of the dead officer’s kit:

As the train began to move she had time to kiss him and murmur “Goodbye”. She stood by the door and watched him walk back through the crowd, not turning around. What she could see of his face was ‘set and pale’. That was the last Vera saw of Roland. His next leave was due to be at Christmas 1915, but he died on 23 December of wounds received during a night-time wire inspection a day earlier. Instead of receiving him home in person, his family were sent his ‘personal effects’ in the New Year. What follows here is are extracts from a letter written by Vera to her brother Edward on 14 January 1916 from the London hospital where she was working as a nurse. She had travelled to Brighton to visit Roland’s family:

I arrived at a very opportune, though very awful, moment. All Roland’s things had just been sent back from the front through Cox’s; they had just opened them  and they were all lying on the floor. I had no idea before of the results of an officer’s death, or what the returned kit, of which so much has been written in the papers, really meant. It was terrible. Mrs Leighton and Clare were both crying as bitterly as on the day we heard of the his death, and Mr Leighton with his usual instinct was taking all the things everybody else wanted and putting them where nobody could ever find them…

These were his clothes – the clothes in which he came home from the front last time. Everything was damp and worn and simply raked with mud. And I was glad that neither of you, nor Victor, nor anyone else who may some day go to the front was there to see. If you had been you would have been overwhelmed by the horror of war without its glory. For though he had only worn those things when he was living, the smell of those clothes was the smell of graveyards and the dead. The mud of France which covered them was not ordinary mud; it had not the usual clean pure smell of earth, but it was as though it were saturated with dead bodies – dead that had been dead a long, long time. All the sepulchres and catacombs of Rome could not make me realise mortality and decay and corruption as vividly as did the smell of those clothes. I know now what he meant when he used to write of “this refuse heap of a country’ or “a trench that is nothing but a charnel-house’. 

And the wonder is, not that he temporarily lost the extremest refinements of his personality as Mrs Leighton says he did, but that he ever kept any of it at all – let alone nearly the whole. He was more marvellous than even I dreamed. There was his cap, bent in and shapeless out of recognition – the soft cap he wore rakishly on the back of his head – with the badge coated thickly with mud. He must have fallen on top of it, or perhaps one of the people who fetched him trampled on it …

We discovered that the bullet was an expanding one. The hole where it went in in front – well below where the belt would have been, just below the right-hand bottom pocket of the tunic – was almost microscopic, but at the back almost exactly where his back bone would have been, there was quite a large rent. The under things he was wearing at the time have evidently had to be destroyed, but they sent back a khaki waistcoat or vest … which was dark and stiff with blood, and a pair of khaki breeches also in the same state, which had been slit open at the top by someone in a great hurry – probably the doctor in haste to get at the wound, or perhaps even by one of the men. Even the tabs of his braces were blood-stained. He must have fallen on his back, as in every case the back of his clothes was much more stained and muddy than the front.

The charnel-house smell seemed to grow stronger and stronger till it pervaded the room and obliterated everything else. Mrs Leighton said,

“Robert, take those clothes away into the kitchen, and don’t let me see them again; I must either burn or bury them. They smell of death; they are not Roland, they seem to detract from his memory and spoil his glamour”.

And indeed one could never imagine those things the same as those in which he had lived and walked. One couldn’t believe anyone alive had been in them at all. No, they were not him. After the clothes had gone we opened the window wide and felt better, but it was a long time before the smell and even the taste of them went away.

 

On 1 July 1916, Vera also lost her brother Edward to whom she wrote a poem in 1918 (right). In Testament of Youth, published in 1933, Vera wrote of how she felt on Armistice Day in 1918, having lost Roland, Edward and two other friends. She felt that she was already living in a different world from the one that she had known during the past four years. This new world was one in which people would be light-hearted and forgetful, their amusements would blot out political ideals and great national issues. She would have no part in that alien world because she had no-one to share it with; all those with whom she had been intimate had gone. For the first time, she realised how completely everything that had hitherto made up her life had vanished with Edward and Roland, with Victor and Geoffrey:

The War was over; a new age was beginning; but the dead were dead and would never return.

Testament of the Disillusioned Peace:

The First World War was a deep shock to every individual who experienced it personally, from poets to politicians, either directly or indirectly. It often left a lasting sense of loss with them. The war poets, like Wilfred Owen, who was killed just a week before the Armistice was signed, and Siegfried Sassoon, who survived, produced brilliant, often pathetic or vituperative, but always compelling pieces of literature on the nature of trench warfare on the western front. I have written extensively about Owen’s life, tragic death and his poetry elsewhere on this site. Sassoon (1886-1967) began the war as a patriot. Already enlisted in the Sussex Yeomanry, he broke his arm when falling from his horse; consequently, he did not go to the Front till November 1915 and until then his poetry showed much the same attitude as Brooke’s did. He joined the Royal Welch Fusiliers as a commissioned officer, and early in 1916 was sent to the First Battalion in France. He showed remarkable and rather eccentric courage. His heroic episodes in bringing back wounded from no man’s land and in capturing a trench full of Germans single-handed won him the Military Cross; these episodes were described by Robert Graves, an officer in the same regiment, in Goodbye to All That.

The war radically changed Sassoon’s approach to poetry, the romanticism of his early works replaced by muddy death, blood, cowardice and suicide. In July 1916 he was invalided home; on leave, he became a virtual pacifist. He had lost faith in the ethical cause for which the Allies were fighting, and in the strategy and tactics used by Allied generals on the Western Front. He was, therefore, the first poet to publish poetry that was openly critical of the Allies’ motives and methods in waging the war. By the spring of 1917, he was back in the front line at the Battle of Arras and was wounded in the neck. Invalided home again he adopted more dramatic methods of showing his opposition to the war. Graves persuaded Sassoon to appear before an army medical board, which sent him to a hospital for neurasthenia at Craiglockart in Scotland, where he was treated by a well-known psychiatrist, Dr W. H. R. Rivers, and where he encouraged his fellow-patient, Wilfred Owen, in writing poetry.

As the historian Henry Pelling pointed out, in 1914 the country had not been psychologically prepared for the trials it had to undergo, the appalling suffering of the trenches and the rate of casualties never previously experienced. Britain and its Empire had lost almost a million men, with twice as many wounded; this placed them fifth behind Russia, Germany, France and Austria-Hungary in a war that claimed more than thirty-five million civilian and military casualties around the world. Technology had given these powers the artillery gun and the machine-gun, and their leaders elected to kill more than sixteen million people with these weapons. In the immediate aftermath, there was a reluctance to get to grips with what had happened. In some ways, this was surprising because, for the first time ever, the ranks were filled with natural reporters. The troops who went into action at the Battle of the Somme on 1 July 1916 were mostly volunteers who had answered the appeal of Lord Kitchener. They came from every stratum of society, from the unemployed to factory hands, clerks and office workers, and on through to lawyers, doctors and landed gentry.

As John Buchan wrote in 1935, a war solves no problem but the one – which side is the stronger. In November 1918 the Allies felt that they had overthrown a great menace and arrogance. But what was to come next? It was an old assumption that some spiritual profit was assured by material loss and bodily suffering, but it was certain that the moral disorder was at least as conspicuous as the moral gain. He went on:

The passions of many millions cannot be stirred for years without leaving a hideous legacy. Human life has been shorn of its sacredness; death and misery and torture have become too familiar, the old decorums and sanctions have lost something of their power. The crust of civilisation has worn thin, and beneath can be heard the muttering of the primordial fires. … Principles, which seemed fundamental, are… weakened, and men are inclined to question the cardinal articles of their faith. …

But the chief consequence of so great a war as this was the mental and moral fatigue. Minds were relaxed and surfeited, when they were not disillusioned. They had had enough of the heroic. After the strain of the distant vision they were apt to seek the immediate advantage; after so much altruism they asked leave to attend to private interests; after their unremitting labours they claimed the right of apathy. The conundrums of peace had to be faced not only by jaded statesmen, but by listless, confused peoples. Mr Lloyd George found the right word for the malady when he described it as a “fever of anaemia.”

The situation was the more dangerous for the Allies, because the intricate business of peace should have been the work of the peoples, as they had been the architects of victory. The war was not won by the genius of the few but by the faithfulness of the many. It had been a vindication of the essential greatness of our common nature. … But the peoples seemed to stand aside, and cast the whole burden of settlement on statesmen whose shoulders were already weary. Nothing was more striking than the popular apathy about the business of peacemaking. …

Britain caught the same infection as the rest of the world. … As for youth, it shut its ears for a little to every call except the piping of pleasure. … The War was a memory to be buried. Young men back from the trenches tried to make up for the four years of natural amusement of which they had been cheated; girls, starved for years of their rights, came from dull war-work and shadowed schoolrooms determined to win back something. …

The soldiers had returned, both male and female, as the picture above of them sitting on Brighton beach in 1919 reveals. The well-known blue uniform was seen about the streets. The wounded looked cheerful in the second picture below, presumably, simply because they were alive.

The newspaper reporting of the time was factual but restrained and relatively free of ‘comment’ apart from the editorials; “morale” was all-important. The poetry of Siegfried Sassoon supplied a tiny audience what was missing from the reportage. He continued to show his distrust of England’s ‘ruling classes’ in several ways, writing Aftermath in 1920:

Have you forgotten yet? …

For the world’s events have rumbled on since those gagged days,

Like traffic checked while at the crossing of city ways:

And the haunted gap in your mind has filled with thoughts that flow

Like clouds in the lit heaven of life; and you’re a man reprieved to go,

Taking your peaceful share of Time, with joy to spare.

But the past is just the same – and war’s a bloody game …

Have you forgotten yet? …

Look down , and swear by the dead of the slain of the War that you’ll never forget.

Do you remember the dark months you held the sector at Mametz –

The nights you watched and wired and dug and piled sandbags on parapets?

Do you remember the rats; and the stench

Of corpses rotting in front of the front-line trench –

And dawn coming, dirty-white, and chill with a hopeless rain?

Do you ever stop and ask, “Is it all going to happen again?”

Do you remember that hour of din before the attack

And the anger, the blind compassion that seized and shook you then

As you peered at the doomed and haggard faces of your men?

Do you remember the stretcher-cases lurching back

With dying eyes and lolling heads – those ashen-grey

Masks of the lads who once were keen and kind and gay?

Have you forgotten yet? …

Look up, and swear by the green of the spring that you’ll never forget.

There were some undistinguished novels in the 1920s, but it was ten years before Robert Graves and Sassoon felt able to release their officer-class memoirs and before R. C. Sherriff’s Journey’s End was first performed. Sassoon became the first literary editor of the Daily Herald, the new Socialist newspaper, and his prose books such as Memoirs of an Infantry Officer implied considerable criticism of the class system. The experience scarred many, on all fronts, including the home front, in deep psychological ways.

(to be continued…)

The Battle of Amiens, 8-12 August:

British troops watch as German prisoners are escorted away.

The Allied attacks of July 1918 had shown the effectiveness of ‘all arms’ battle tactics: troops and tanks advancing behind a ‘creeping barrage’ of artillery fire as ground-attack aircraft swept overhead. Local counter-attacks were so successful that they quickly developed into a general offensive. Every day the Germans had to withdraw somewhere along the line; every day the Allies completed the preparations for another local push. The tactical situation seems to have loosened up slightly; the attacks were expensive but not prohibitively so and, as the Allies ground steadily forward, week in, week out, the morale of the German army finally began to fray.

At Amiens in August, these new tactics were put into operation to even greater effect. It was the most brilliantly conceived and perfectly executed of any British-led action on the Western Front. If this never quite matched the pace Ludendorff had set in March, it was better sustained and so, in the long run, more effective. The success of the advance was due to the profound secrecy in which the forces of the attack had been assembled. The offensive began with British, Australian, Canadian and French troops attacking to the east of the city. On the first day, the Australians met their objectives by early afternoon, taking eight thousand prisoners. But it was the Canadian troops who advanced the furthest, eight miles, taking five thousand prisoners. The Canadian Corps, supplied with ten million rounds of small-arms ammunition, were regarded by the Germans as ‘storm-troops’ and their attack from the north was cunningly concealed by the absence of a preliminary artillery bombardment. Instead, a swarm of 456 tanks were deployed alongside the troops, under the cover of the early morning ground mist. Haig himself attacked in the Somme area. As the troops left their trenches to advance, the artillery barrage began firing two hundred yards in front of their starting line. The guns then began to ‘lift’, increasing in range at timed intervals in their ‘creeping barrage’. The barrage included forty adjustments of a hundred yards every three minutes in this phase of the attack.

The advance slowed by the 12th, as the Allies over-reached their heavy artillery support and ran up against German troops determined to defend their 1917 trench positions, aided by the tangled wastes of the old Somme battlefield. On paper, the material gains by Allies did not appear extensive, for both in ground won and prisoners taken, Germany had frequently exceeded such gains, though it had failed to consolidate its offensives. By contrast, the Allied advance had not only given an indication of how the war could be won, but it had also achieved its essential purpose of striking a deadly blow at the spirit of an already weakening enemy. Ludendorff later confessed that…

August 8th was the black day of the German army in the history of the war. … It put the decline of our fighting force beyond all doubt.

After 8th August, the Kaiser concluded that…

We are at the end of our resources; the war must be ended.

At a conference held at Spa, the German generals informed him and the Imperial Chancellor that there was no chance of victory and that peace negotiations should be opened as soon as possible. The most that could be hoped for was an orderly retirement to the prepared defences of the Hindenburg Line, a strategic defensive action which would win reasonable terms from the Allies. Ludendorff himself offered his resignation, which was not accepted. He had lost hope of any gains, and his one remaining aim was to avoid an abject surrender. This was a far from the optimistic mood required to enter upon the most difficult operations which were still ahead.

The Hundred Days Offensive:

When the initial momentum of the assault at Amiens died away, Haig was no longer willing to batter against stiffening opposition. Instead, he set the Third Army in motion farther north. This proved a more economical method of attack and from this point onwards a series of short, closely related offensives kept the Germans retiring until they reached the Hindenburg Line, from which they had started their offensive in the Spring. Foch was determined to hustle Ludendorff out of all his positions before he could entrench himself along the Hindenburg Line, driving the whole vast German army back to the narrow gut which led to Germany. But, at this time, he anticipated a gradual advance which would see the war continuing into 1919. As soon as serious resistance developed, Foch would, therefore, call a halt to the advance in that sector, only to renew it in another one. Tanks permitted him to mount a new offensive rapidly and frequently, so that his strategy became one of conducting a perpetual arpeggio along the whole of the Front, wearing down the enemy’s line and his reserves. Of this great plan,  to which Haig had undoubtedly contributed, the latter was also to be its chief executant. But, being closer to the field of battle, Haig was steadily coming to believe that, this year, it really would be all over before Christmas.

The ‘Hundred Days Offensive’ was a series of Allied engagements, that put continuous pressure on the retreating Germans. It began at Amiens and finished on 11th November. In all, there were a further twenty-two battles. Although the Germans realised they were to be denied victory they fought tenaciously, inflicting heavy casualties. The advance to victory, like the Somme retreat, cannot be painted in broad lines since it was composed of a multitude of interlinked actions. The first stage, completed by the first week in September, was the forcing of the enemy back to the Hindenburg Line, an achievement made certain by the breaking by the Canadians on 2nd September of the famous Drocourt-Quéant switch. Meanwhile, in the south, the Americans under Pershing had found immediate success at Saint-Mihiel on 12th August, flattening out the Saint-Mihiel salient, cutting it off, and advancing northwards towards Sedan. The next stage was the breaching of the Hindenburg defences, and while Pershing attacked towards Meziéres, the Belgians and the British attacked in the north towards Ghent, movements which took place towards the end of August. Between these movements, the Hindenburg Line was breached at many points, and the Germans were compelled to make extensive evacuations.

The Allied advance was slower than had been expected, however, and the German army was able to retain its cohesion. Nevertheless, it was sadly pressed, and its fighting spirit was broken. The German soldiers had been led to believe that the Allies were as exhausted and as short of supplies as they themselves were. During their spring offensives, however, they had captured stores of allied clothing, food and metals which had opened their eyes to the deception being practised on them. Their casualties had been enormous, and the Allied reserves seemed unlimited. Their letters from home told of their families’ distress, making further resistance seem both hopeless and pointless.

Yet the news of this turn of the tide at Amiens and in its aftermath did not immediately change the popular mood on the home front in Britain. Everybody was over-tired and underfed, and an influenza epidemic was claiming hundreds of victims each week. My grandfather’s battalion, training at Catterick barracks to go to France, was almost wiped out. He was one of few survivors since he was an underage recruit, his mother presenting his birth certificate at the camp gates.   All over the country, there were strikes among munition-workers, followed by trouble with transport services and in the coal mines. Even the London police joined in. These difficulties were overcome very simply by increasing wages. Those in authority, perhaps more aware than most that the last stage of the ghastly shooting-match was finally coming to an end, and knowing something of the state of the German people, were anxiously questioning themselves as to whether a rot might set in.

At this juncture, it was the turn of the British War Cabinet to have doubts, and, as it would have put the brake on Allenby in Palestine, so it would also have held back Haig. But, as John Buchan wrote in 1935, the British commander had reached the point which great soldiers come to sooner or later when he could trust his instinct. On 9th September he told Lord Milner that the war would not drag on till next July, as was the view at home, but was on the eve of a decision. Buchan continued:

He had the supreme moral courage to take upon himself the full responsibility for a step which, if it failed, would blast his repute and lead to dreadful losses, but which, if it succeeded, would in his belief mean the end of the War, and prevent civilisation from crumbling through sheer fatigue.

Haig was justified in his fortitude. With the order, “Tout le monde à la Bataille,” Foch began the final converging battles of the war. One of the most major battles was that of Meuse-Argonne, which began on 26th September and was the American Expeditionary Force’s largest offensive, featuring over one and a quarter million troops by the time it ended on 11th November. This attack proved to be more difficult than the one at Saint-Mihiel on 12th August, as they faced strong German defences in the dense Argonne forest. The weather did not help; it rained on forty of the battle’s forty-seven. On the 26th September, two British and two American divisions faced fifty-seven weak German divisions behind the strongest entrenchment in history. It took the British troops just one day to cross the battlefield at Passchendaele. Brigadier General J. Harington of the 46th (North Midland) Division commented on his troops’ breaching of the Hindenburg Line on 29th September by telling them, You boys have made history. They had been given the difficult task of crossing the heavily defended St Quentin Canal, a feat which they had accomplished using rafts and pulled lines, with troops wearing cork lifebelts taken from cross-Channel steamships. Prisoners were captured at the Bellenglise Tunnel, which had been dug under the canal by the Germans after Allied soldiers fired a German ‘howitzer’ into it.

By the 29th, the combined British and American troops had crossed the Canal du Nord and the Scheldt Canal, and within a week they were through the whole defence system and in open country. Despite their adherence to outdated tactics that brought about heavy casualties, the Americans prevailed and continued their assault right up to the end of the war. By 8th October the last remnants of the Hindenburg zone had disappeared in a cataclysm. Foch’s conception had not been fully realised, however; Pershing had been set too hard a task and was not far enough forward when the Hindenburg system gave, pinning the enemy into the trap which had been set. Nevertheless, by 10th October Germany had been beaten by the US Army in a battle which Foch described as a classic example of the military art.

The Collapse of Germany’s Allies:

The day of doom was only postponed, and Ludendorff no longer had any refuge from the storm. Long before his broken divisions could reach the Meuse Germany would be on its knees.  The signs of Germany’s military decline were quickly read by her partners. It was now losing all its allies. They had been the guardians of Germany’s flanks and rear, and if they fell the country would be defenceless. On 15th September, the much-ridiculed Allied armies comprising British, French, Greek, Italian and Serbian troops, attacked the German-led but mainly Bulgar forces in Macedonia, moving forward into Salonica, and within a fortnight Bulgaria’s front had collapsed and its government sought an armistice. This was concluded on 29th September at Thessalonica. British forces were moving across the country towards the Turkish frontier. French columns had reached the Danube and the Serbs had made a good start on the liberation of their homeland.

The Turks held out for a further month, during which the British conquered Syria, then they too surrendered. On 19th September, General Allenby in Palestine had opened up an action which provided a perfect instance of how, by surprise and mobility, a decisive victory may be won almost without fighting. Algerians, Indian Muslims and Hindus, Arab tribesmen, Africans and Jewish battalions came together to liberate the Holy Land from Ottoman rule. Breaking the Turkish defence in the plain of Sharon, Allenby sent his fifteen thousand cavalry in a wide sweep to cut the enemy’s line of communications and block his retreat, while Prince Faisal and T. E. Lawrence (a young British officer who had attained an amazing ascendancy over the Arab tribes) created a diversion east of the Jordan. This played an important role in Allenby’s victory at Megiddo. In two days, the Turkish armies to the west of Jordan had been destroyed, its right-wing being shattered, while its army on the east bank was being shepherded north by the merciless Arabs to its destruction. By 1st October Damascus was in British hands, and Aleppo surrendered on 26th October. The elimination of Bulgaria exposed both the Danube and Constantinople to attack and the French and British forces diverged on these two objectives. A Franco-British force sailed in triumph past Gallipoli and took possession of Constantinople. With her armies in the east shattered, Turkey made peace on 30th September by the Armistice of Mudros.

The Allied armies in the Balkans still had a fair way to travel before they could bring Austria-Hungary under attack, but it was a journey they never had to make.: the Habsburg Empire was falling to pieces of its own accord. October saw Czech nationalists take over in Prague and proclaim it the capital of an independent Czechoslovak state, while the Poles of Galicia announced their intention of taking the province into the new Polish state – a programme disputed by the Ruthenians of Eastern Galicia, who looked towards the Ukrainian Republic for support and integration. At the same time representatives of the various south-Slav peoples of the empire – Slovenes, Croats and Bosnians, repudiated Austro-Hungarian rule and expressed, with surprising unanimity, their desire to fuse with Serbia and Montenegro to form a single Yugoslav state. All that was left was for revolutions in Vienna and Budapest to declare in favour of separate Austrian and Hungarian republics and the Habsburg Empire had ceased to exist.

Meanwhile, on the anniversary of Caporetto, Italy had made her last advance and the Austrian forces, which had suffered desperately for four years and were now at the end of their endurance, melted away. So did the Austro-Hungarian Empire.  On 3rd-4th November an Armistice was signed at Villa Giusti with Austria-Hungary, and the Dual Monarchy immediately broke up into fragments. The Emperor was left alone and without friends in the vast echoing corridors of the Palace of Schönbrunn. Thus, even as it resisted Allied pressure on the Western Front, Germany saw all its chief allies fall away, collapse and disintegrate.

The Internal Collapse of Germany:

These blows broke the nerve of the German High Command. Ludendorff told the political leaders that an armistice was imperative, and Prince Max of Baden was appointed Chancellor to use his international reputation for moderation in the negotiations. Ludendorff stuck to his idea of a strategic defence to compel better terms, till his physical health failed and with it his nerve; but the civilian statesmen believed that the army was beyond hope and that there must be no delay in making peace. From the meeting at Spa on 29th September till the early days of November there was a frenzied effort by the German statesmen to win something by negotiation which their armies were incapable of enforcing. While Foch continued to play his deadly arpeggio in the West, Germany strove by diplomacy to arrest the inevitable. They knew what the soldiers had not realised, that the splendid fortitude of the German people was breaking, disturbed by Allied propaganda and weakened with suffering. The condition of their country was too desperate to wait for an honourable truce at the front since the home front was dissolving more quickly than the battlefront. The virus of revolution, which Germany had fostered in Russia, was also stealing into her own veins. Popular feeling was on the side of Scheidemann’s view, …

“Better a terrible end than terror without end.”

On 3rd October, the new German Chancellor made a request to Woodrow Wilson, the President of the United States, to take in hand the restoration of peace on the basis of his Fourteen Points, published in January as a way of justifying the USA’s involvement in the war and ensuring future peace. In particular, they were interested in securing a general disarmament, open diplomacy (no secret treaties) and the right of Germany to self-determination. Wilson replied that the armistice now sought by Germany was a matter for the Allied leaders in the field. In the exchange of notes which followed, it became clear that the Allies demanded little short of unconditional surrender. Wilson’s points were, however, used as the basis for the negotiation of the peace treaty at Versailles the following year. Georges Clemenceau, the French prime minister, remained sceptical about them:

“God was satisfied with Ten Commandments. Wilson gave us fourteen.”

Faced with the certainty of being faced with a demand for an unconditional surrender from the Allies, Ludendorff now wished to fight on, but neither the new government nor the people supported him. Short of proper clothing and fuel, weakened by semi-starvation and racked by the influenza epidemic which killed 1,722 in Berlin on one day, 15th October, they demanded peace and turned on the leaders who had promised victory but brought defeat.  Ludendorff resigned on the 26th, and the High Command was superseded by the proselytes of democracy. Everywhere in Germany kings and courts were tumbling down, and various brands of socialists were assuming power. Steps were taken to transfer the real power to the Reichstag. President Wilson had refused to enter negotiations with military and “monarchical autocrats” and therefore required “not negotiation but surrender.” But the height of the storm is not the moment to recast a constitution, and for the old Germany, the only way was not reform but downfall.

With political unrest in Germany, it was thought the removal of the Kaiser would placate the popular mood. Civil War was threatened since the Kaiser, despite relentless pressure, was unwilling to abdicate. On 29th October, he left Berlin for Spa, the army headquarters, where Hindenburg had to tell him that the army would not support him against the people. Some army officers proposed that he go to the front and die an honourable death in battle. It was now early November. On the 3rd, the sailors of the German fleet mutinied rather than sail out into a death-or-glory mission against the British. By 4th November, the mutiny was general, and Kiel was in the hands of the mutineers.

The same day, the army fell into confusion in Flanders, and the Austrian armistice exposed the Bavarian front to hostile attack. The temper of many army divisions was reported to be equally uncertain as the navy. An armistice had now become a matter of life or death, and on 6th November the German delegates left Berlin to sue for one. President Wilson had indicated that an armistice was on offer to the civilian leaders of Germany, but not to the military or the monarchy. Any hopes that this armistice would take the form of a truce between equals were quickly dispelled by an examination of its terms. Haig and Milner were in favour of moderation in its demands, but Foch was implacable, arguing that it must be such as to leave the enemy no power of resistance, and be a pledge both for reparations and security.

A few days later the mutineers had occupied the principal cities of North-west, and an insurrection had broken out in Munich. On 9th November revolutionaries occupied the streets of Berlin. A Republic was proclaimed from the steps of the Reichstag and, at last bowing to the inevitable, the Kaiser abdicated and fled to the Netherlands, where he lived out his life in the Netherlands. Already, on 7th November, the German delegates had passed through the Allied lines to receive the terms drawn up by the Allied Commanders. They had no choice but to accept Foch’s terms for what was an unconditional surrender, but it also became clear that the Armistice could not have been refused by the Allies, both on grounds of common humanity and in view of the exhaustion of their own troops, yet it was negotiated before the hands of fighting Germans were formally held up in the field, leading to the accusation that the politicians who signed it had stabbed the German army in the back. In Buchan’s view, …

… It provided the victors with all that they desired and all the conquered could give. Its terms meant precisely what they said, so much and no more. Wilson’s Fourteen Points were not a part of them; the Armistice had no connection with any later peace treaties. It may be argued with justice that the negotiations by the various Governments between October 5th and November 5th involved a declaration of principle by the Allies which they were morally bound to observe in the ultimate settlement. But such a declaration bore no relation to the Armistice. That was an affair between soldiers, a thing sought by Germany under the pressure of dire necessity to avoid the utter destruction of her armed manhood. It would have come about though Mr. Wilson had never indited a single note.  

There was only one mitigating circumstance. President Wilson had declared that the frontiers of post-war Europe would be decided by its people, not its politicians. Self-determination was to be the guiding principle in this process; plebiscites would take place and make clear the people’s will. On this basis, Germany would not do too badly. This was why the Germans had chosen to negotiate with Woodrow Wilson and not his European allies. True, the President had indicated that there would be exceptions to this general rule: Alsace-Lorraine would have to go back to France and the new Polish state, whose existence all parties had agreed upon, must be given access to the sea. But, if Wilson stuck to his Fourteen Points, Germany should emerge from the war clipped rather than shorn.

The Armistice and its Terms:

With no other option available to them, the German representatives met their Allied counterparts in railway carriage 2419D in a forest near Compiegne on 8th November. In 1940, Hitler symbolically used the same railway carriage to accept the French surrender. The location was chosen to ensure secrecy and no one in the German delegation was a senior military figure. The German Army High Command were keen to remain distant from the proceedings to preserve their reputations. There was little in the way of negotiation, and the Allies presented the Germans with the terms and if they did not sign, the war would continue. The Germans had three days to decide. Early in the morning of 11th November, at 5.20 a.m. to be precise, they concluded that they had no alternative but to agree to the stringent Allied terms and they signed the Armistice document. It detailed what Germany was required to do to secure the peace. Thirty-four sections laid out reparations and territory that had to be given up. Material to be surrendered included:

1,700 aircraft

2,500 field guns

2,500 heavy guns

3,000 Minenwerfer (German trench mortars, nicknamed ‘Moaning Minnies’ by British soldiers)

5,000 locomotives

5,000 motor lorries

25,000 machine guns

150,000 wagons

All submarines

The most important section of the document as far as most of the troops were concerned was the very first:

Cessation of hostilities by land and in the air six hours after the signing of the Armistice (Naval hostilities were also to cease).

It was agreed that at 11 o’ clock on that morning the Great War would come to an end. At two minutes to eleven, a machine-gun opened up at about two hundred metres from the leading British Commonwealth troops at Grandrieu. John Buchan described that last morning’s action:

In the fog and chill of Monday morning, November 11th, the minutes passed slowly along the front. An occasional shot, an occasional burst of firing, told that peace was not yet. Officers had their watches in their hands, and the troops waited with the same grave composure with which they had fought. At two minutes to eleven, opposite the South African brigade, which represented the eastern-most point reached by the British armies, a German machine-gunner, after firing off a belt without pause, was seen to stand up beside his weapon, take off his helmet, bow, and then walk slowly to the rear. Suddenly, as the watch-hands touched eleven, there came a second of expectant silence, and then a curious rippling sound, which observers far behind the front likened to the noise of a light wind. It was the sound of men cheering from the Vosges to the sea.

In fact, some US Army artillery guns continued to fire until 4 p.m., believing the sound of nearby engineering work to be enemy gunfire. But it was soon confirmed that this was indeed the last day of a First World War that had lasted 1,568 days. In the field since 15th July, Germany had lost to the British armies 188,700 prisoners and 2,840 guns; to the French 139,000 prisoners and 1,880 guns; to the Americans 44,000 and 1,421 guns; to the Belgians 14,500 prisoners and 474 guns. In the field, because she could not do otherwise, she made a full and absolute surrender. The number of Commonwealth personnel who died on 11th November was 863, and almost eleven thousand were killed, wounded or recorded as missing on 11th November. The following are the records of the last of the combatants’ countrymen to die in battle in the Great War:

The last Australians to be killed in action on the Western Front were Sappers Charles Barrett and Arthur Johnson and Second Corporal Albert Davey, who had been killed at Sambre-Oise Canal on 4th November. Private Henry Gunther’s death, recorded above, is described in the US Army’s 79th Divisional history:

Almost as he fell, the gunfire died away and an appalling silence prevailed.

Private Gunther’s death was the last of 53,402 losses sustained by the US Army during its sixth-month participation in the war. In the same period, there were 360,000 casualties out of the 1.2 million men in the British Army.  Sixty years later, in eight years of fighting in Vietnam, 58,220 Americans were killed. While the loss of so many young men in Vietnam had a significant impact on American society and culture in the late twentieth century, the losses of World War One had, arguably, an even more profound effect on the USA from 1918 to 1943, when the country finally got over these costs of getting involved in European conflicts and agreed to send its soldiers back to the continent. Another important social effect, though a secondary one, was that resulting from the participation of two hundred thousand African-American troops who served in France. Having been integrated into the fighting forces in western Europe, many of them returned to continuing poverty and segregation in their home states and counties.

Poetry & Pity:

In Shrewsbury, as the bells were ringing to celebrate the armistice on the 11th November, the parents of Wilfred Owen received a telegram informing them of their son’s death. Although like his friend and fellow soldier-poet, Siegfried Sassoon, Owen had come very close to becoming a pacifist during his convalescence at Craiglockart War Hospital in Scotland, where he had met Sassoon in August 1917, he had insisted on being sent back to the front in September 1918. He had felt that he had to return to France in order remain a spokesman, in his poetry, for the men in the front line, through sharing their experiences and their suffering. on 4th October, after most of his company had been killed, he and a corporal captured a German machine gun and scores of prisoners; for this feat, he was awarded the Military Cross. But a month later, and just a week before the Armistice, on 4th November 1918, he was trying to construct a make-shift bridge so as to lead his company over the Sambre Canal, in the face of heavy machine-gun fire, when he himself was killed. Just before he left England for the last time on 31st August 1918, Owen was planning a volume of poetry that he never lived to publish, but which he thought of as a kind of propaganda. He scribbled a preface for it, which began:

This book is not about heroes. English poetry is not yet fit to speak of them.

Nor is it about deeds, or lands, nor anything about glory, honour, might, majesty, dominion, or power, except War.

Above all I am not concerned with Poetry.

My subject is War, and the pity of War.

The Poetry is in the pity.

Yet these elegies are to this generation in no sense consolatory. All a poet can do today is warn. That is why the true Poets must be truthful.

Owen’s best and most typical poetry, written earlier in the war, is in harmony with this Preface. As Andrew Motion has written more recently (2003), Owen believed that it was still possible to celebrate individual acts of courage and to commemorate losses, but not to glorify conflict as such. He stressed the tragic waste of war, and so his characteristic attitude is of compassion rather than anger. He fills us with a sense of pity for the dead who died such agonising and undignified deaths. He makes us painfully aware of all the good that these young men, British and German, could have achieved if only they had lived. Two types of tension give a cutting edge to Owen’s best poetry. He cannot quite make up his mind about whether God exists and whether pacifism is the only answer to the problem of war. So he carries on an internal debate on these two problems just below the surface of his meaning: the consequent tension gives a terrible intensity to his poetry. Two of his later poems reject Christianity more openly: Futility arraigns God in the most direct way for ever allowing Creation to take place:

Was it for this the clay grew tall?

O what made fatuous sunbeams toil

To break earth’s sleep at all?

A less well-known poem, The End, expresses the most serious doubts that Owen ever put into poetry. He asks what will happen on the Last Day:

Shall life renew these bodies? Of a truth

All earth will He annul, all tears assuage?

His pious mother removed the second despairing question mark from these lines when she chose them for his tombstone, but her more pessimistic son ended his poem with a speech by Earth who says:

It is death.

Mine ancient scars shall not be glorified,

Nor my titanic tears, the seas, be dried.

His finest poetry, however, is not that in which he despairs; it is that in which his faith and his doubts quiver in the balance. But in his letters Owen sometimes puts the case for Christian pacifism with passionate intensity:

Already I have comprehended a light which will never filter into the dogma of any national church: namely that one of Christ’s essential commands was, Passivity at any price! Suffer dishonour and disgrace, but never resort to arms. Be bullied, be outraged, be killed, but do not kill… pure Christianity will not fit in with pure patriotism.

Arguments such as this are made explicitly in his letters but are only hinted at below the surface of his poems. Sassoon was more negative in tone, better at rousing indignation against warmongers than at raising pity for dead soldiers. But in some of his poems he managed to do both:

He’s young, he hated war! How should he die

When cruel old campaigners win safe through!

Such tragedies impelled Sassoon to his desperate protest, O Jesus, make it stop! Owen and Sassoon impelled other poets, both civilians (like Edith Wharton, below) and soldiers, to similar expressions of pity or protest. Kipling, so often unfairly dismissed for his earlier jingoism, compares the modern soldier’s agony to Christ’s agony in Gethsemane, 1914-18, and Edward Thomas’ As The Team’s Head-Brass tells of a Gloucestershire farm labourer who cannot move a fallen tree because his mate has been killed in France. This simple example typifies all that the men might have accomplished whose lives were wasted in war. If Owen had lived, it is generally agreed among literary critics that he would have gone on to be at least as great as his inspiration, John Keats. Perhaps more importantly, his maxim has held firm through the years, even in wars which have generally been considered to be ‘just’. ‘Pity’ and ‘truthfulness’ remain the crucial ingredients, especially when the realities of war are blurred by euphemism, propaganda and ‘fake news’.

Sources:

Colin McEvedy (1982), The Penguin Atlas of Recent History (Europe since 1815). Harmondsworth: Penguin.

Fiona Waters (ed.) (2007), A Corner of a Foreign Field: The Illustrated Poetry of the First World War. Croxley Green: Transatlantic Press.

Norman Ferguson (2014), The First World War: A Miscellany.  Chichester: Summersdale Publishers.

E. L. Black (ed.) (1970), 1914-18 in Poetry. London: University of London Press.

Matthew Hollis & Paul Keegan (eds.) (2003), 101 Poems Against War. London: Faber & Faber.

Irene Richards, J.B. Goodson & J. A. Morris (1938), A Sketch-Map  History of the Great War and After, 1914-35. London: Harrap.

John Buchan (1935), The King’s Grace, 1910-35. London: Hodder & Stoughton.

‘Aces High’ downed – Red Baron & Prancing Horse:

The Royal Air Force, formed on 1st April, celebrated by shooting down German ace Manfred von Richthofen three weeks later. He was the ‘ace of aces’, the fighter pilot who brought down the most enemy aircraft. He had begun the war as a cavalry officer before transferring to the German air force. He led a fighter wing known as the ‘Flying Circus’ because of their brightly painted aircraft.  Von Richthofen’s own personal machines were painted bright red, giving rise to his nickname, the Red Baron. Between September 1916 and April 1918 he brought down eighty allied aircraft before he was finally brought down. One RAF fighter pilot, Mick Mannock, refused to toast von Richthofen on his demise, saying “I hope the bastard roasted on the way down.” Later, in the summer, British novelist D H Lawrence was married to Frieda von Richthofen, a distant cousin of Manfred.

In June, Italy’s highest-scoring fighter ace, Francesco Baracca, was killed. His aircraft featured a prancing horse symbol painted on the side. Years later Francesco’s mother suggested to a young racing driver called Enzo Ferrari that he adopt the symbol for his racing cars.

The Australian Corps go fishing:

Above: An Australian Imperial Guard keeps watch.

The renowned Australian Corps came under the command of the British Army’s General Rawlinson early in 1918. He was pleased with the men and wrote in his diary about their unusual pastimes in the trenches:

They are certainly original fighters and up to all sorts of dodges, some of which would shock a strict disciplinarian. Some of the German shells were falling short into the pools of the Somme river and exploded under water. Two Australians spent the day in a boat rowing about and watching for a shell to explode and then picked up the stunned fish. They wore their gas masks to prevent recognition!

Third Battle of the Aisne, 27th May – 9th June:

Aiming to tie the Allies down to allow a main attack in the north, the Germans launched their third large-scale attack at Chemin des Dames and the River Aisne with a new storm breaking on the Aisne heights, a ferocious artillery barrage that shattered French units massed on the front line. It was estimated that two million shells were fired in the four-and-a-half-hour-long preliminary bombardment. By the evening, the French gains in the three great actions had vanished like smoke, and the Germans had crossed the river, advancing fourteen miles on the first day, an unprecedented success on the Western Front. Operation Blücher-Yorck was a great success for the German commander, Erich Ludendorff. On the second day, he was beyond the Vesle, and on the third, his vanguard was looking down from the heights of the Tardenois on the waters of the Marne. It was the swiftest advance made in the West since the beginning of trench warfare.

Pleased with his success, Ludendorff then changed his plans and took forces reserved for a northern attack to support a drive westwards to Paris. The message painted on Germans trucks read, On to Paris! But the advance ran out of supplies and momentum as American troops, fighting their first engagement of the war at Cantigny, together with French forces, stood in the way. Captain Lloyd Williams of the US Marines in Belleau Wood summed up the Americans’ mood; Retreat? Hell, we only just got here! Williams was killed in the ensuing battle that followed on 6th June. The Marines began a counter-attack to take the wood. On the first day, they lost 1,087 men, more than had been lost in the whole of the Marines’ history to that date. Nevertheless, after three weeks of brutal fighting, they eventually took the wood. Meanwhile, on 9th June, Ludendorff had tried to cut off the Allied salient between the two great dents he had made but failed again. His position was hopeless; he was the victim of his own early successes.

Above: New British troops arrive at a port in France.

Battle of Matz, 9th – 13th June; Advent of the Americans:

Operation Gneisenau, a further German attack, was intended to straighten their forward line. Despite inadequate planning, they pushed the French back, gaining six miles of territory and inflicting heavier casualties than they suffered. However, the offensive floundered and French counter-attacks forced the Germans to halt proceedings after only a few days. In the course of this Spring Offensive, as it became known, they had lost 963,000 men. By this time their surviving soldiers had become so disheartened and disillusioned by their failure to break through the Allied defences that they began shouting abuse at their own reinforcements, calling them, War prolongers! At the same time, ten thousand Americans were arriving each day in France. By the summer of 1918 half a million ‘doughboys’ were on the front line. The British Army was also reinforced, having suffered a 36% casualty rate during the Spring Offensive, with 540,000 new recruits being sent to the Front between March and August. But the Germans facing them still had 207 divisions in all, compared with 203 Allied divisions. Britain also employed manual workers from several nationalities to work in France:

Chinese               96,000

Indians                48,000

South Africans     21,000

Egyptians            15,000

West Indians        8,000

On 19 July, Honduras became the last country to join the war, declaring war on Germany.

Heroines at Home and at the Front:

Above: Women filling shells.

Back in ‘Blighty’, after an explosion at the Chilwell National Shell Filling Factory in Nottingham killed 134 employees, it was suggested that the Victoria Cross be awarded to staff for their subsequent bravery in going about their own work. Sadly this was not done, as the medal could only be given to individuals in uniform. The number of women in non-domestic employment in April 1918 had risen to 4,808,000, 1.5 million more than four years earlier.

At the Front, two British women who had earned themselves the nickname from Belgian troops, the two Madonnas of Pervyse, Mairi Chisholm and Elsie Knocker, were injured in a gas attack in 1918. They had travelled to Ypres in 1914, setting up an independent first aid station. They were awarded seventeen medals for bravery.

The Second Battle of the Marne, 15 July – 5 August:

The May and June attacks by the Germans had driven the French back from the Aisne to the Marne. There are two explanations for the surprising extent of the German advance, shown on the map below. First, instead of attacking in ‘waves’ of men, they advanced in small groups pressing forward where the opposition was weak and keeping their reserves close at hand to exploit any gap created. Secondly, the British Fifth Army was unusually weak: the line recently taken over from the French had not been put into a proper state of defence; Haig had massed his reserves in the north, where he expected an attack; and after Passchendaele, Lloyd George had retained many reserves in England to prevent unprofitable squandering of life. However, by early July, the German successes had failed to bring outright victory.

The advances had so exceeded Ludendorff’s expectations that he was unprepared to exploit them. The British troops offered magnificent resistance in response to Haig’s famous order, With our backs to the wall and believing in the justice of our cause, each one of us must fight on to the end. Finally, the arrival of Allied reserves, in fresh condition from Palestine and Italy, turned the tide.

Ludendorff still hoped to create a diversion that would allow a decisive attack in Flanders. His last offensive began on 15th July, east and west of Rheims. Divisions drove forwards, crossing the River Marne in several places, but then they were held. The advance achieved nothing and instead the Germans had fallen into the Allied trap. Hitherto Foch had stood patiently on the defensive, hoarding his assets. He had tried almost too highly the fortitude of the British soldier. Now he had got his reserve, and Haig, to augment it, had dangerously thinned his own front in the north, to the consternation of the War Cabinet. The moment had come to use it. On 18th July Foch counter-attacked on the right flank of the new German salient and drove it in. This attack was led by masses of light tanks which forced the Germans to retire. It was not a great counterstroke, but it forced Ludendorff to pause and consider. He halted and then began to withdraw from the Marne pocket.

Foch now had freedom of movement, for with him, at last, was the full American army. By July, there were already a million Americans in France. The German command had long been aware of how great this menace was, but the German press had told the people that it was only a force in buckram. Even up to July this newspaper belittlement continued. But at Chateau-Thierry in June an American contingent had fought with furious gallantry, and on 15th July in the same area, one American division and elements from another had rolled back the German assault. These were the troops who, according to the German press, would not land in Europe unless they could swim like fishes or fly like birds. They had proved their worth in pushing the Germans back to their March starting positions.

Preparations for the Peace Offensive:

But the true counter-attack was not to come until August, at Amiens. In July, the Allied attacks showed the effectiveness of ‘all-arms’ battle tactics, with troops and tanks advancing behind an artillery ‘creeping barrage’ while ground-attack aircraft swept overhead. At Amiens, these were to be put into operation to great effect. The plan for the Peace Offensive, which aimed at compelling a German surrender, was wholly British. Haig had now come to the height of his powers and was a different man from the cautious, orthodox soldier of the earlier days of the war. He had not always been happy with his French colleagues; in some ways, he had been too similar to Pétain, and in every other way too dissimilar to Foch, to be quite at ease with either of them. But now his mind and Foch’s seemed to be on the same ‘wavelength’. The Chief of Allied forces was now elevated enough to take advice, and from Haig, he drew not only his chief weapon – the tank – but also many of his tactics, as well as certain key points in his strategy. The British Army had suffered far more than the French in terms of casualties, but they were still ready to take the chief role, one which they retained until the last day of the war. This was a measure of the reverence in which Foch held his ally. The British ‘Tommy’ was, by now, well-disciplined, as the following notice, pasted into their pay-books, suggests:

Keep your mouths shut! The success of any operation we carry out depends chiefly on surprise. Do not talk – when you know that your unit is making preparations for an attack, don’t talk about them to men in other units, or to stangers, and keep your mouth shut, especially in public places.

British troops at Verneuil, 19 May 1918.

This secrecy was essential to success at Amiens since many previous battles had shown the Germans fully aware of Allied plans. The tables were now turned, with British intelligence also far more effective than it had been previously. Detailed preparations could be made on the basis of information obtained which identified 95% of German artillery positions. In particular, Lt Ernest Rollings MC of the 17th Armoured Car Battalion (pictured left) went ‘behind enemy lines’ to recover detailed plans of the Hindenberg Line. On his return, he commented that it was by far the best fighting day I have ever had. In 1931, a newspaper report described the Welshman as ‘The Man Who Ended the War’. Perhaps the journalist who wrote of it thought that he deserved a ‘niche in the pantheon’ alongside that other iconic Welshman, and PM, David Lloyd George (below), the Man who won the War.

Above: David Lloyd George at the height of his power.

The Temper and Temperature of Britain:

For now, however, the temper of Britain through the spring and summer was heavy and apathetic, but it revealed by little spurts of violence how near men and women were living to the outer edges of their nerves. The crisis of March and April had produced a new resolution, but it was a resolution which had no exhilaration in it and little hope. People had begun to doubt if the War would ever end. The night was still so black that they had forgotten that the darkest hour might presage the dawn. But as the months of ‘darkness’ dragged on, and the word from the battle-fields was only of still further retreats and losses, the popular mood sank again into a dull listlessness. To make matters worse, in June there was an outbreak of ‘Spanish ‘flu’. Thirty people died in Lancashire, but no one had any idea how many millions more it was about to kill.

For Siegfried Sassoon and Wilfred Owen, the soldier-poets, the satire they wrote was partly the product of the feeling that they belonged to a different race from the civilians they found themselves among while convalescing at Craiglockart Hospital near Edinburgh. Sassoon published his satirical poems in Counter-Attack (1918). Many of them were protest poems indignantly implying that the war was being needlessly prolonged by politicians and generals who could have stopped it. While Owen was on invalid leave in England, if he met civilians who talked too glibly about the war, he would thrust in front of their eyes photographs of horribly mutilated soldiers. But he, together with Sassoon and Osbert Sitwell, reserved his satirical condemnation for the rich, old men who were making a profit out of the war and did not share the soldiers’ terrible discomforts and dangers, yet concealed their selfishness behind a front of self-righteous flag-waving and jingoism. In his poem, The Parable of the Old Men and the Young, Owen envisages Abraham killing Isaac despite God’s command to sacrifice a ram instead:

But the old man would not so, but slew his son,

And half the seed of Europe, one by one.

This indignant mood that led these soldier-poets to satirise civilians is revealed in a letter which Owen wrote to his mother from Scarborough in July 1918:

This morning at 8.20 we heard a boat torpedoed in the bay, about a mile out. I wish the Boche would have the pluck to come right in and make a clean sweep of the pleasure boats, and the promenaders on the Spa, and all the stinking Leeds and Bradford war-profiteers now reading ‘John Bull’ on Scarborough Sands.

The Return of the War Horse & the Fall of the Virgin:

The morale of the soldiers at the Front throughout the spring and early summer matched the cynical protests of people and poets on the home front, for the war to be brought to an end. It was perhaps best summed up in the following song:   

Meanwhile, preparations for the offensive continued throughout the summer. Fifteen thousand cavalry horses prepared for action. Cavalrymen had operated as unmounted infantry for most of the war since there were few opportunities for horse-mounted soldiers to fight effectively on the typical Western Front battlefield. As the fighting became more open again, cavalry began to be utilised once more.

Earlier in the war, in the town of Albert, near to the Somme, a statue of the Virgin Mary outside a church was hit. It didn’t fall completely and remained, leaning over. It was reckoned that when it finally fell the war would end. At the beginning of August, the statue toppled. Trench warfare on both sides was certainly coming to an end, thanks to the tanks. But as the Germans left their trenches in the summer of 1918, they left notices for the British to warn them that the war was far from won and lost:

Dear Tommy,

You are quite welcome to what we are leaving. When we stop we shall stop, and stop you in a manner you won’t appreciate.

Fritz 

Sources:

Norman Ferguson (2014), The First World War: A Miscellany. Chichester: Summersdale.

Fiona Waters (2007), A Corner of a Foreign Field: The Illustrated Poetry of the First World War. Croxley Green: Transatlantic Press.

John Buchan (1935), The King’s Grace, 1910-35. London: Hodder & Stoughton.

Irene Richards, J. B. Goodson & J. A. Morris (1938), A Sketch-Map of the Great War and After, 1914-1935. London: Harrap.

E. L. Black (1970), 1914-18 in Poetry. London: University of London Press.

Soldier-Poets, Philosophers,Treaties and Retreats:

We must strike at the earliest moment… before the Americans can throw strong forces into the scale. We must beat the British.

General Erich Ludendorff, November 1917.

The following letter appeared in The Scotsman newspaper on 14 January 1918:

Sir,

Might I suggest that you would be doing a public service if you could induce the authorities to relieve the peaceful inhabitants of the city from the diurnal shock of the One O’clock Castle Gun? At the present time it is all the more an intrusion in that there are so many convalescent soldiers within range of the concussion. Two of these from Craiglockhart, suffering from shell shock, had to be carried home from Princes Street the other day after the shot was fired. We abolish police whistles in the vicinity of hospitals, why keep up this more violent reminder of their sufferings?

I am, etc, Citizen.

Shell-shock was the common name given to a range of emotional and mental disorders suffered by troops. The symptoms included hysteria, anxiety, physical tremors, sensitivity to noise, and nightmares. Edinburgh’s Craiglockhart War Hospital treated soldiers suffering from shell shock; it was where Siegfried Sassoon met Wilfred Owen and encouraged him in his writing of poetry. At Craiglockhart, Sassoon wrote or completed the poems that were to be published in Counter-Attack (1918). Many of them were protest poems indignantly implying that the war was being needlessly prolonged by politicians and generals who could have stopped it.  Sassoon also directed his indignation against the old and the rich who were making a handsome profit out of the war and who did not share the young soldiers’ terrible discomforts and dangers, yet had the effrontery to conceal their selfishness behind a front of self-righteous flag-waving. In Blighters, he aims his anger at the vulgar jingoism of a music-hall show and the shallow applause of the civilian audience:

The House is crammed: tier beyond tier they grin

And cackle at the Show, while prancing ranks

Of harlots shrill the chorus, drunk with din;

‘We’re sure the Kaiser loves our dear old Tanks!’

 

I’d like to see a Tanks come down the stalls,

Lurching to rag-time tunes or ‘Home, sweet Home’,

And there’d be no more jokes in music-halls

To mock the riddled corpses round Bapaume.

In certain of his poems Owen imitates Sassoon’s irony; for instance, in ‘The Dead-Beat’, he tells how a soldier suddenly drops unconscious and is taken to casualty clearing-station. The stretcher-bearers label him a ‘malingerer’, but the poem ends with Owen mockingly mimicking anyone who talks callously about another’s death:

Next day I heard the Doc’s well-whiskied laugh:

‘That scum you sent last night soon died. Hooray!’

Another special target for satire was the hypocrisy, self-righteousness and insincerity of the Church. Sassoon’s poem, They, satirises the Bishop who is delighted with the way in which war ennobles soldiers:

‘We’re none of us the same’, the boys reply.

‘For George lost both his legs, and Bill’s stone-blind;

‘Poor Jim’s shot through the lungs and like to die…’

In At a Calvary near the Ancre Owen also attacks the military chaplains:

Near Golgotha strolls many a priest,

And in their faces there is pride

That they were flesh-marked by the Beast

By whom thegentle Christ’s denied.

Owen, who as a patient at Craiglockhart had seen Sassoon’s angriest poems before they were published, is here imitating Sassoon’s mood and techniques. He also condemns the old when in The Parable of the Old Men and the Young he envisages Abraham killing Isaac despite God’s command to sacrifice a ram instead:

But the old man would not so, but slew his son,

And half the seed of Europe, one by one.

Despite their anger, both men returned to the western front to be with their men within a few months of writing these lines. The firing of ‘Mons Meg’ at Edinburgh Castle at one o’clock, an age-old tradition, was halted in April 1918 and it remained silent for over a year.

 

 

With the coming of 1918, the initiative passed to Germany. For three years every attempt to decide the issue on the western front had proved a costly failure, but in 1918 Ludendorff decided to risk his entire reserves in a final effort to break the Allied line. The collapse of Russia enabled them to put larger forces on the front than the Allies could muster. They had resigned themselves to a defensive campaign until the USA could send her armies; it was Germany’s purpose before that date to reach a decision in the field. It was their last chance. The submarine had failed; Britain could not be starved into submission. On the contrary, the Allied blockade was undermining the health and morale of the German people. They were weak with privations and sick with hope deferred. A little longer and their wonderful fortitude would break. With all the strength they could muster, with their new tactics to aid them, and with a desperate necessity to goad them, they undertook the last great sally, staking everything on victory. Germany’s allies were giving way under the strain of prolonged war: the Turkish armies were in retreat; the Bulgarians, having already got all they wanted, were anxious for peace; the subject peoples of the Austrian Empire naturally faced privations with less fortitude than the Germans. It was ‘now or never’; the American troops were not yet in the field, but would be very shortly.

Ludendorff’s general plan was to isolate the British Army, roll it up from its right, and drive it into the sea, or pin it down to an entrenched camp between the Somme and the Channel – a ‘Torres Vedras’ from which it would only on the signature of peace. This done, he could hold it with a few troops, swing around on the French, and put them out of action. He must, therefore, strike with all his might at the point of junction of Haig and Pétain, on the western face of the great salient, where the Allies were weakest and the ground easiest. His position on interior lines gave him the chance of surprise, for until the actual attack the Allies would not know on which side of the salient the blow was to fall. His admirable communications would enable him to obtain a great local predominance. For the first stage of the great battle, he had sixty-three divisions in line or in immediate reserve.

The Versailles Council, formed by the Entente towards the end of 1917, miscalculated both the place and the date of the attack. Haig’s Intelligence service informed him of the exact hour, but he had neither the time nor the resources to prepare an adequate defence. He held 130 miles of line, and these were the most critical in the West, with approximately the same numbers as he had had two years before when his front was only eighty miles long and Russia was still in the fold. An initial German success was almost inevitable. Nineteen divisions in line and thirteen in reserve could scarcely stand against a first attacking wave of thirty-seven divisions, which was soon to grow to sixty-three.

Meanwhile, back at home, the historian and philosopher Bertrand Russell was jailed for six months in February for writing an article criticising the US Army. His action was described by the judge as being ‘a very despicable offence’ and in contravention of the Defence of the Realm Act, as it was likely ‘to prejudice His Majesty’s relations with the USA’. Also in February, William MacCaw MP was found guilty of hoarding foodstuffs (listed below). For this contravention of the 1917 Food Hoarding Order he was fined four hundred pounds:

During the build-up of Germany’s forces on the western front, it also consolidated the territory it had gained in the east as a result of the Treaty of Brest-Litovsk and actually occupied considerably more Russian territory than they were entitled to by the treaty. Russia’s withdrawal from the First World War after the Bolshevik takeover was formalised by the settlement between Lenin’s Russia and Germany and her allies on 3 March 1918 at Brest-Litovsk. The treaty, deeply unfavourable to Russia, revealed the in part the Europe Berlin hoped would be the outcome of the war. Russia lost all of its western provinces: Finland, the Baltic States, Poland and Ukraine (as well as Georgia under the Treaty of Berlin of August 1918).

They took Belorussia simply to shorten their line, but in the Black Sea region, where they advanced to the lower Don and crossed from the Crimea to the Taman Peninsula, they were clearly aiming at taking over permanently. In due course, they would doubtless have imposed a third round of concessions on the Revolutionary Russian government. Bolshevik power in this area was at a very low ebb. The Don Cossacks were refusing to accept the authority of Moscow, which became the seat of government in March when Lenin decided that the Germans were getting too close to Petrograd. Anti-Bolshevik forces rallying to the white flag of General Denikin were proving more than a match for the local Bolsheviks. In Caucasia, in the far south, the Turks had occupied not only the town they had lost in 1878, which they were entitled to as a result of Brest-Litovsk but everything else that wasn’t already in the hands of their German allies.

The Romanians also badly needed some compensation. After the completion of the initial Brest-Litovsk negotiations in March, it was their turn to sign on the dotted line. When they eventually did so (in May), they lost the southern half of Dobruja to the Bulgarians and the northern half to the Germans (another area to be included in the Black Sea Province) besides having to make major frontier adjustments in favour of Austria-Hungary. Hindenburg and Ludendorff had brought the war in the east to a successful conclusion, they now had to try to do the same in the west.

They had until the summer to do so, before the Americans appeared in France in strength. For the moment, after the transfer of the eastern armies to the west, the German Army had superiority: 192 divisions facing 165 Allied divisions on the Western Front, but this would not last long. The critical blows would have to be struck during March and April, a Spring Offensive, of which ‘Operation Michael’ was the first part. It eventually became known as the Second Battle of the Somme, which continued until 5th April. It wasn’t just a case of overall numerical superiority; Ludendorff also had seventy specially trained ‘assault divisions’ facing just thirty-five similar British units on the Somme battlefront.

This most perilous stage for the British Army – and, except for the First Marne, the most perilous for the Allied cause – opened in the fog of the early morning of 21st March, when at a quarter to five four thousand German guns were released against the British front, firing more than a million shells over the following five hours, while all the back areas were drenched with gas, which hung like a pall in the moist air. When the guns crashed out and the attack went in, the British line simply disintegrated: whole battalions vanished, never to be heard of again. Reinforced with half a million troops from the Eastern Front, the German Infantry made strong breakthroughs using airpower and shock troops to bypass defensive positions in foggy conditions that hampered the defenders. By the end of the first day, twenty-one thousand prisoners were taken as the Germans overran the British positions. Lieutenant Ernst Jünger of the 73rd Hanoverian Regiment commented; We had but no doubt that the great plan would succeed. 

The narrative of the Somme retreat, however, was a tale of confused operations, improvised plans, chances, mischances, and incredible heroism. On the first day, a fifty-mile gap had opened in the Allied line, forty miles of the British line were submerged, and, in a week, forty miles off, the enemy tide was lapping the walls of Amiens. In the face of the German advance, General Carey was given the task of organising a last-ditch defensive unit to be positioned at Hamel, to protect Amiens. As well as infantry stragglers, ‘Carey’s Force’ was composed of an assorted collection of 3,500 soldiers, including kitchen staff and storemen, most of whom were not well versed in infantry tactics. ‘The Péronne Handicap’ was the name given to the ‘race’ by the 17th Battalion of the King’s Royal Rifle Corps, in their bid to reach the French town before being caught by pursuing German forces. Forty-six out of the British Expeditionary Force’s fifty-six divisions took part in the battle.

Within the first week, the leading German formations had advanced forty miles, a penetration ten times better than anything the Allies had ever achieved. The attack had broken the British Fifth Army and nearly severed the British communications link with the French. German schools were closed to allow celebrations but they were premature. The advance was magnificent, but it was not enough. Allied reinforcements were rushed in while rushed in while hungry German troops slowed, gorging on appropriated food and drink. After a fortnight, the impetus had gone out of the attack and German losses were beginning to exceed Allied casualties. In their advance, the Germans had outstretched their supply lines and losses of over a quarter of a million men couldn’t be sustained, so the offensive was halted and closed down.  The Germans sent forward large Krupp cannons, capable of long-range firing, their shells able to hit Paris from a distance of seventy-five miles. The huge shells were in the air for three and a half minutes. The French capital was hit by 183 of them, which killed over 250 Parisians.

Ludendorff achieved much, but he did not achieve his main purpose. By 5th April, though, the main battle had died down, Amiens had not been taken, the front had been restored, and the French were not separated from the British. The ultimate failure was due to many factors; Ludendorff was false to the spirit of his own tactics and, instead of exploiting a weakness when he found it, wasted his strength on the steadfast bastion of Arras; half-way through he fumbled, forgot his true aim, and became a hasty improviser.

Perhaps Ludendorff sought to achieve the impossible, for his troops outmarched their supplies and their stamina, and, accustomed to short commons, lost discipline often when they found Allied stores to plunder. Yet he won a notable victory, and, to the ultimate advantage of the Allies, was encouraged to continue, for, had his blow been parried at the outset, he might have relapsed on the defensive, and thereby protracted the war. For his role in the success, commander Paul von Hindenburg was awarded the ‘Iron Cross with Golden Rays’, the highest medal of honour available. The only previous recipient was the Prussian Field Marshal von Blücher, honoured for his part in defeating Napoleon in 1815 at Waterloo.

For its part, the British Army had written a shining page in its history, for a retreat may be as glorious as an advance. By the end of March seventy-three German divisions had engaged thirty-seven British. The disparity was, in reality, far greater than two to one, owing to the German power of local concentration, in many parts of the field the numbers had been three-to-one. Added to this, after the second day, the British had no prepared lines on which to retire, and the rivers parallel to their front were useless from the drought. It was a marvel, war correspondent John Buchan noted, that our gossamer front wavered and blew in the wind but never wholly disappeared. He went on:

Again and again complete disaster was miraculously averted. Scratch forces held up storm troops; cavalry did work that no cavalry had ever done in the history of war; gunners broke every rule of the textbooks. The retreat was in flat defiance of all precedent and law, and it succeeded only because of the stubborn value of the British soldier.

The moment was too solemn for half-measures. A divided command could not defend the long, lean front of the Allies against Germany’s organised might, directed by a single brain towards a single purpose, one strong hand only must be on the helm. On 23rd March, General Haig, after seeing Pétain, telegraphed to London for the Chief of the Imperial General Staff. At the request of Lloyd George, Lord Milner also crossed the Channel on the 24th, and on the 26th he and Sir Henry Wilson met Clemenceau and Poincaré, Haig, Foch and Pétain at Doullens. This conference, held amid the backwash of ‘the great retreat’, was, in a sense, the turning point of the war. The proposal for a supreme commander-in-chief, urged by Milner and supported by Clemenceau, was accepted and Pétain and welcomed by Haig, and for the post, Foch was chosen unanimously. The Allies in their extremity turned with one accord to the slight, grizzled, deep-eyed man of sixty-six, who during a life of labour had made himself into a master of warfare.

The ordeal of the Second Battle of the Somme was the source of other blessings, though some of them were somewhat mixed. The renowned Australian Corps had come under the command of the British Army’s General Rawlinson in early 1918. He was pleased, if bemused by the troops, as he wrote in his diary:

They are certainly original fighters and up to all sorts of dodges, some of which would shock a strict disciplinarian. Some of the German shells were falling short into the pools of the Somme river and exploded under water. Two Australians spent the day in a boat rowing about and watching for a shell to explode and then picked up the stunned fish. They wore their gas masks to prevent recognition!

The US increased its recruiting and strained every nerve to quicken the dispatch of troops, so that it might soon stand in line with the Allies. Lloyd George and Clemenceau appealed to President Wilson and their appeal was generously met. General Pershing postponed his plan of a separate American section of operations and offered Foch every man, gun and lorry which they had in Europe. France was showing that quiet and stoic resolution to win or perish which two years before had inspired her troops at Verdun. In Britain, the threat of industrial strikes disappeared and of their own accord the workers gave up their Easter holiday in order to make up by an increased output for lost guns and stores.

Nonetheless, when King George visited his armies in France in the last days of March, the situation was still on a razor’s edge. He had gone there for a week during the flood-tide of the first Battle of the Somme and again, accompanied by the Queen, on the eve of Passchendaele. Now he went to them in the throes of their sternest trial. He saw remnants of battalions which had been through the retreat, and he saw units which in a week or two were to be engaged in the no less desperate Battle of the Lys. Already his armies had lost more men in the German offensive than in the whole thirty-four week Dardanelles campaign. His appeal to his troops now was to “take counsel from the valour of their hearts”, an appeal which, two weeks later, Haig put into his own grave and memorable words.

In the meantime, divisions were being transferred from Palestine and Salonica to France and the old precautions against invasion were dropped. On 10th April, the House of Commons had passed a Bill raising the limit of the military age to fifty, and giving the Government power to abolish the ordinary exemptions. These mobilisations meant that within a month from 21st March, 355,000 extra men were sent across the Channel.

However, few of these reinforcements arrived in time to soften Ludendorff’s second blow, which came on 1st April. Originally designed as a mere diversion, Operation Georgette, it grew by its startling success into a major effort, the Battle of the Lys, and thereby further compromised his main strategy. His aim was to drive for Ypres, pushing through between La Bassée and Armentiéres and then, pressing north-west, to capture Hazelbrouck and the hills beyond Bailleul. This would, he hoped, result in a British retirement and a direct threat to Calais and Boulogne, eating up the Allied reserves. That it achieved, but it also ate up his own reserves.

Depleted British units which had been involved in the great retreat across the Somme of the previous month were now stationed on what was known as a ‘quiet sector’. Portuguese troops were also in the line here, but were under strength and lacking motivation; a third became casualties as the Germans broke through. In three days they had advanced eleven miles,  and Allied troops were moved in hastily to stem the tide. For a week or more he met stern resistance from the British, against all the odds, in what became known as the Fourth Battle of Ypres (9-29 April). Haig’s patience was sorely tried by Foch’s delay in sending help, but on 11th April, with the Allies under severe threat by the onslaught, Haig issued his famous order:

There is no other course open to us but to fight it out. Every position must be held to the last man; there must be no retirement. With our backs to the wall, and believing in the justice of our cause, each one of us must fight on to the end. The safety of our homes and the freedom of mankind depend alike on the conduct of each one of us at this critical moment. 

The British front sagged and bent, but held, and by the end of April Ludendorff realised that he must try elsewhere, and called off the offensive at the end of the month. His second blow had proved yet another tactical success, but a strategic failure. He was now becoming desperate; his original strategic scheme had gone, and his remaining efforts were now in the nature of a gambler’s throw. The Fourth Battle of Ypres also became known for the first combat between two tanks, or ‘armed tortoises’ as they were first described by Lieutenant Frank Mitchell of the British Tank Corps. Three British Mark IV’s faced three German A7Vs. The British were the victors in this first historic engagement, which took place on 24 April at Villers-Bretonneux. Overall, the April attack had forced the Allies to abandon all the territory they had so dearly bought in the Passchendaele campaign and, for a while, had seriously threatened the Channel ports.

 

Sources:

Norman Ferguson (2014), The First World War: A Miscellany. Chichester: Summersdale.

András Bereznay (2001), The Times Atlas of European History. London: HarperCollins.

Colin McEvedy (1982), The Penguin Atlas of Recent History. Harmondsworth: Penguin Books.

E. L. Black (1970), 1914-18 in Poetry. London: University of London Press.

Irene Richards (1937), A Sketch-Map History of the Great War and After, 1914-35. London: Harrap.

John Buchan (1935), The King’s Grace, 1910-1935. London: Hodder and Stoughton.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

ARMISTICE DAY: Christ in No Man‘s Land

Now that the last of the veterans of the First World War have died, we are left with black-and-white movies, sepia photos, and a wide variety of art-work. Then we have the literature, especially the poetry, and this remains perhaps the most poignant testimony both to the nature and the impact of the conflict on the western front, if not elsewhere. And yet, it wasn’t until the era of the Cold War and Vietnam that the work of the soldier-poets of the trenches was fully recognised. Fifty years after a premature death in Flanders which prevented him from becoming the greatest poet in the English language since John Keats, a third generation, myself among them, discovered the power of Wilfred Owen‘s poetry as a ‘weapon’ against the warmongers of the late twentieth century. I still use my anthology of  ‘1914-18 in Poetry’ from which I learnt, by heart, many of his poems. They are anthems which still reverberate in my head, have shaped my adult values and formed the essential documents in my teaching about the Great War over the past thirty years.

The Poetry and the Pity

Owen was born in Oswestry in 1893 and from 1911 to 1913 he was a lay assistant to the vicar of Dunsden in Oxfordshire. His strongly Christian parents had always hoped he would enter the Anglican priesthood, and his Biblical upbringing had an obvious influence on his poetry in both its phraseology and theology of the justification of war.  In October 1915 he returned to England from his role as a tutor in France, in order to enlist as an officer in the Manchester Regiment.  Very early in 1917 he was on the front line of the Somme with the Lancashire Fusiliers. His letters to his mother reveal how shocked he was to discover the horror and muddle of war at the front in wintertime. In May he was invalided home with neurasthenia and sent to Craiglockart Hospital in Scotland. There, on 17 August 1917 he met Siegfried Sassoon, a much-published poet, who encouraged Owen to continue writing his war poetry. Although both poets came close to accept the principle of pacifism, both insisted on returning to the front to remain as leaders and spokesmen for the ordinary men in the trenches.

Just before the Shropshire lad left England to rejoin his company at the front, on 31 August 1918, Owen was planning a volume of poetry that he never lived to publish. He thought of it as a kind of counter-propaganda, as his scribbled preface to it reveals:

This book is not about heroes. English poetry is not yet fit to speak of them. Nor is it about deeds, or lands, nor anything about glory, honour, might, majesty, dominion, or power, except War. Above all I am not concerned with Poetry. My subject is War, and the pity of War. The Poetry is in the pity. Yet these elegies are to this generation in no sense consolatory. They may be to the next. All a poet can do today is warn. That is why true poets must be truthful.

Doomed Youth

Owen’s best and most typical poetry is in harmony with this Preface. He stresses the tragic waste of war, and his characteristic attitude is one of compassion rather than anger. He fills us with a sense of pity for the dead who died such agonizing and undignified deaths. He makes us painfully aware of all the good that these young men, whether British, German or French, could have achieved if only they had lived. Pity, in Owen’s use of the word, was not self-pity. The sacrifice of the Cross represents the crossing-out of the capital ‘I’. Owen pitied others, not himself; his revisions of his poems gradually rid them of all mention of himself; his poems, like ‘Dulce et Decorum Est‘, present universal pictures of typical scenes of the Western Front, like the horror of soldiers suffering a gas attack.  He is concerned with the plight of individual soldiers when they are typical of the plight of doomed soldiers as a whole. Unlike Sassoon’s ‘young man with a meagre wife and two small children in a Midland town’, Owen’s men are unknown, unidentified, like the dead young man in ‘Futility’. This poem arraigns God in the most direct way for ever allowing Creation to take place:

Was it for this the clay grew tall?

O what made fatuous sunbeams toil

To break earth’s sleep at all?

His finest poetry, however, is not that in which he despairs; it is that in which his faith and his doubts are held in balance. Two types of tension give his poems their cutting edge. He seems unsure about whether God exists and whether pacifism is the only answer to war. He carries on an internal debate on these two problems just below the surface of his meaning; the consequent tension gives a terrible intensity to his poetry. Just as the rural poverty he experienced in helping the Oxfordshire vicar before the war made him doubt conventional Christianity, so his terrible experiences in France made him doubt any form of Christianity. Even ‘Exposure’, written during his first tour of duty in Flanders, admits that ‘love of God seems to be dying’. In ‘Anthem for Doomed Youth‘, his subconscious debate rises less respectfully to the surface, when he asks ‘What passing-bells for those who die as cattle?’ The bells represent the strong religious associations, while the phrase ‘die as cattle’ summons up the contrasting atmosphere of an abattoir.   ‘Apologia Pro Poemate Meo‘, written in November 1917, still professes a belief in God:

I, too, saw God through mud –

The mud that cracked on cheeks when wretches smiled.

Other poems also profess a belief in an afterlife in which the the dead soldier is ‘high pillowed on calm pillows of God’s making’ and a shared conviction with ‘some’ who ‘say God caught them even before they fell’.  However, his poem ‘Greater Love’ expresses doubt as to whether it is possible for a good god to exist while such torturing agonies continue. It describes the dead as:

Rolling and rolling there

Where God seems not to care.

A similarly uncertain debate about pacifism is hinted at by his best poetry but rarely expressed directly. ‘Exposure’ briefly states the case against pacifism:

Since we believe not otherwise can kind fires burn:

Nor ever suns smile true on child, or field, or fruit.

Dulce et Decorum Est has often been misquoted by the ‘white poppy brigade’ as evidence of his pacifism, but the ‘old lie’ that he refers to is not that soldiers should be prepared to die for their country, but that in doing so they were doing something ‘sweet’ or ‘decorous’. War, as he observed it in the face of a gassed comrade, was anything but…

Christ in no-man’s land

However, in his letters, Owen sometimes puts the case for Christian pacifism with passionate intensity:

Already I have comprehended a light which will never filter into the dogma of any national church: namely that one of Christ’s essential commands was, Passivity at any price! Suffer dishonour and disgrace, but never resort to arms. Be bullied, be outraged, be killed; but do not kill…

Christ is literally in no man’s land. There men often hear his voice. Greater love hath no man than this, that a man lay down his life – for a friend. Is it spoken in English only and in French? I do not believe so. Thus you see how pure Christianity will not fit in with pure patriotism.

Other poets, both civilians and soldiers, were moved to similar expressions of pity or protest based on Christian principles. Sassoon’s simple prayer of protest, ‘O Jesus make it stop’  echoed millions of cries from the trenches, while Kipling, his attitude to the ‘Great War’ changed by his son Jack’s death at the Front, compares the modern soldier’s agony to Christ’s agony in Gethsemane.  Like Jesus, the soldier in his poem prays that the cup of suffering might pass, but it doesn’t, and the soldier drinks it sacrificially in a gas attack ‘beyond Gethsemane’.

Ultimately, Wilfred Owen does not blame God for the suffering of the soldiers he seeks to represent in his poetry. In July 1918 he wrote to his mother from the Yorkshire seaside town of Scarborough, that he wished ‘the Boche’ would ‘make a clean sweep of ….all the stinking Leeds and Bradford war-profiteers now reading John Bull on Scarborough sands’. Owen condemns ‘the old’ in ‘the Parable of the Old Men and the Young’ in which he rewrites the story of Abraham and Isaac, envisaging the old man killing his son rather than obeying God’s command to sacrifice a ram instead:

But the old man would not so, but slew his son,

And half the seed of Europe, one by one.

Another special target for  Owen’s satire was the hypocrisy, self-righteousness and insincerity of the Church. In ‘At a Calvary near the Ancre’ Owen attacks the militarist chaplains:

Near Golgotha strolls many a priest,

And in their faces there is pride

That they were flesh-marked by the Beast

By whom the gentle Christ’s denied.

On October 4th, 1918, after most of his company had been killed, Owen and his corporal captured a German machine gun and scores of prisoners. He was awarded the Military Cross for this feat. However, just one week before the Armistice, on 4 November 1918, he was killed when trying to construct a make-shift bridge to lead his company over a canal in the face of heavy machine-gun fire. His mother received the news of his death on Armistice Day at home in Oswestry, with the church bells ringing out in celebration of the cease-fire.

Above:

‘Goodbye to the Mobilised’ , by the official French war photographer Jacques Moreau. Between 8.5 and 9 million servicemen and women from all warring nations were killed in action during the first world war

True and Just?

The recent poet Laureate, Andrew Motion,  believes Owen’s maxim about the ‘pity of war’ and the ‘truthfulness of true poets’ has held firm throughout the years, even in such wars, such as the Second World War, which are generally considered ‘just’. Poems about the Holocaust, or Vietnam, or the Gulf War of 1990, or the Bosnian War of 1993, also contain these essential ingredients, as those in the anthology for which Motion writes his afterword, show. This is especially important when the language of war is changed in order to disguise its realities. In the age of modern media transmission, euphemisms such as ‘friendly fire’ and ‘collateral damage’ need to be challenged by the poet’s scribble, just as much as in the trenches of 1914-18, if not more so. Images can be used to mislead; poets must not do so, not if they wish to remain true to their art. They have a higher moral, human calling, if not a divine one. As Motion points out, poetry ‘shows us, whatever our faith, we compromise, betray or wreck ourselves when we take up arms against one another’.

Poppies for commemoration

That’s probably why Owen’s poems are not among the most memorable of the first world war. The ones which are used for the purpose of remembering nevertheless contain ageless truths. That is why they form essential parts of our Acts of Remembrance, our collective commemorations. John McRae’s ‘In Flanders Fields’ also reminds us that the ‘Great War’ was an imperial conflict, involving what were then known as ‘the dominions’, including Canada, where McRae was born. He went to Europe in 1914 as a gunner, but was transferred to medical service and served at the front line during the Second Battle of Ypres.  His poem first appeared in Punch in December 1915. McRae imagined how the dead lying beneath the poppies of Flanders would call on future generations to sustain the causes for which they died. When the flowers were the only plants which grew in profusion in Flanders in the spring of 1919, they became the symbol of remembrance for the British Legion, collecting funds for the injured ex-servicemen and war widows:

In Flanders Fields the poppies blow

Between the crosses, row on row

That mark our place, and in the sky

The larks, still bravely singing, fly,

Scarce heard amid the guns below.

We are the Dead. Short days ago

We lived, felt dawn, saw sunset glow,

Loved and were loved, and now we lie

In Flanders fields.

Take up our quarrel with the foe:

To you from failing hands we throw

The torch; be yours to hold it high.

If ye break faith with us who die

We  shall not sleep, though poppies grow

In Flanders fields.

Left: Armistice Day in Toronto. Oil on canvas by Joseph Ernest Sampson

All her paths are peace…

Another poem we associate with Armistice Day ceremonies, especially the Royal Festival of Remembrance on the eve of Remembrance Sunday, held at the Royal Albert Hall, is Laurence Binyon’s ‘For the Fallen’. However, like McRae’s poem, it was actually written in the early part of the war and published in The Times on September 21st 1914.  It is based on the words and rhythm of the Authorised Version of the Bible in II Samuel, i, 23, 25:

….in death they were  not divided…How are the mighty fallen in the midst of battle!

Born in 1869, Binyon was typical of the older generation of civilian poets who wrote about the war. He wrote the poem while working at the British Museum, which he did for forty years, becoming Professor of Poetry at Harvard on retirement. In 1916 he went to the Front as a Red Cross orderly. The poem’s fourth verse is used today all over the world during services of remembrance, and is inscribed on countless war memorials and monuments:

They shall not grow old, as we that are left grow old:

Age shall not weary them, nor the years condemn.

At the going down of the sun and in the morning

We will remember them. 

One poem which is better known as a hymn, and not especially associated with the First World War, is ‘I vow to thee my country’, often sung to the tune ‘Thaxted’ by Gustav Holst, part of ‘Jupiter’ in his ‘Planets Suite’.  The words, written by Cecil Spring-Rice (1859-1918), have been criticised as overly patriotic, especially the phrase in the first verse which pledges ‘the love which asks no question’ to the earthly country. This suggests a blind, uncritical, ‘my country, right or wrong, kind of patriotism. When he wrote it in Stockholm, between 1908-12, he was thinking of the notion of sacrifice, as he pointed out in a speech in Ottowa, on completing his revision of the poem in 1918:

The Cross is a sign of patience under suffering, but not patience under wrong. The cross is the banner under which we fight – the Cross of St George, the Cross of St Andrew, the Cross of St Patrick; different in form, in colour, in history, yes, but the same spirit, the spirit of sacrifice.’

His rewritten poem now became hymn, now set to Holst’s tune, published in 1925. The second verse about the heavenly kingdom was kept much as it was, but the first was altered significantly. The original poem had been belligerently patriotic, glorifying war. Leaving his role as British ambassador to Washington in January 1918, having encouraged Woodrow Wilson, the US President, to enter the war, Spring-Rice sent the new verses to an American friend with an accompanying note that read; ‘the greatest object of all – at the most terrific cost and most tremendous sacrifice – will, I hope, at last be permanently established, Peace.’ He died suddenly in Ottowa a month later.

Although England does not, yet, have a national anthem of its own, many people would like this hymn to be adopted in that role, both because of the tune and the second verse, which reminds us that, as Christians, and people of faith, we are subjects of two kingdoms, and that there are only ‘paths of peace’ in the heavenly one:

And there’s another country, I’ve heard of long ago,

Most dear to them that love her, most great to them that know;

We may not count her armies, we may not see her King;

Her fortress is a faithful heart, her pride is suffereing;

And soul by soul and silently her shining bounds increase,

And her ways are ways of gentleness and all her paths are peace.

Sources:

Fiona Waters (2007), A Corner of a Foreign Field: Transatlantic Press.

Ian Bradley (2005), The Daily Telegraph Book of Hymns

Matthew Hollis & Paul Keegan (2003), 101 Poems Against War: Faber & Faber

E L Black (1970), 1914-18 in Poetry: University of London Press

 

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