Tag Archives: World War I

Christmas in the Trenches

Christmas, history, music, quotes, , , , ,

Maria Horvath (blog now inactive) posted this song, scripture and video together many years ago:

We begin this month’s look at the different forms of love with one of the most thought-provoking statements ever made about love.

In the Sermon on the Mount, Christ tells his followers, “You have heard that it was said, ‘You shall love your neighbor and hate your enemy.’ But I say to you, Love your enemies and pray for those who persecute you, so that you may be sons of your Father who is in heaven; for he makes his sun rise on the evil and on the good, and send rain on the just and on the unjust. For if you love those who love you, what reward have you? Do not even the tax collectors do the same? And if you salute only your brethren, what more are you doing than others? Do not even the Gentiles do the same? You, therefore, must be perfect, as your heavenly Father is perfect.” ~ Matthew 5:43-48

The lyrics below tell the true story of a truce between British and German soldiers on the Western Front in 1914. It is told from the perspective of a fictional British soldier.

CHRISTMAS IN THE TRENCHES

Oh, my name is Francis Tolliver, I come from Liverpool,
Two years ago the war was waiting for me after school.
From Belgium and to Flanders, Germany to here,
I have fought for King and country I love dear.

’Twas Christmas in the trenches and the frost so bitter hung,
The frozen fields of France where still no songs of peace were sung.
Our families back in England were toasting us that day
Their brave and glorious lads so far away.

I was lying with me mess mates on the cold and rocky ground
When across the lines of battle came a most peculiar sound.
Says I, Now listen up me boys, each soldier strained to hear
As one young German voice sang out so clear.

He’s singing bloody well, you know, my partner says to me.
Soon one by one each German voice joined in in harmony.
The cannons rested silent and the gas cloud rolled no more,
As Christmas brought us respite from the war.

As soon as they were finished and a reverent pause was spent,
“God Rest Ye Merry Gentlemen” struck up some lads from Kent.
The next they sang was “Stille Nacht.” ’Tis “Silent Night,” says I,
And in two tongues one song filled up that sky.

There’s someone coming towards us now, the front line sentry cried.
All sights were fixed on one lone figure trudging from their side.
His truce flag like a Christmas Star shone on the plain so bright
As he bravely trudged unarmed into the night.

Then one by one on either side walked in to No Man’s Land
But neither gun nor bayonet, we met there hand to hand.
We shared some secret brandy and we wished each other well,
And in a flare-lit football game we gave ’em hell.

We traded chocolates and cigarettes and photographs from home,
These sons and fathers far away from families of their own.
Tom Sanders played the squeeze box and they had a violin,
This curious and unlikely band of men.

Soon daylight stole upon us and France was France once more.
With sad farewells we each began to settle back to war.
But the question haunted every heart that lived that wondrous night,
Whose family have I fixed within my sights?

’Twas Christmas in the trenches and the frost so bitter hung.
The frozen fields of France were warmed, the songs of peace were sung.
For the walls they’d kept between us to exact the work of war
Had been crumbled and were gone forever more.

Oh, my name is Francis Tolliver, in Liverpool I dwell.
Each Christmas come since World War I, I’ve learned its lessons well,
For the one who calls the shots won’t be among the dead and lame,
And on each end of the rifle we’re the same.

~ John McCutcheon, born 1952, American singer, musician, and composer

They fight to stay together.

books, history, , , , , , , ,

Ten years later I am re-posting this review, about a book that I put off reading for a year after I bought it, mostly because of its cover design and notes. It’s a novel about Poland that won several minor awards, including the Hemingway Foundation/PEN prize in 2010. Our church women’s book group read it at my recommendation a few years ago, when I was too busy to join in. So it may be time for my own reaquaintance.

A Long, Long Time Ago & Essentially True exceeded my expectations; I don’t remember what I read on someone’s blog that got me interested, but when the book arrived and I saw the fanciful flowery cover with notes using the words “whimsical” and “romance” on the same page, I’m afraid I unconsciously relegated it to a genre of Light Reading.

A cover truer to the story.

But a story of Poland from the 1930’s to about 1990 is sure to be full of war, tyrants, secret police, lies and alcoholism. Wives and mothers can’t even mention their men who went missing years ago; their grandchildren grapple with the generational ripples of all the wounds and deaths and separations both social and physical. I had to look up the word whimsical just now to make sure of my understanding, and no, the author Brigid Pasulka never gave the impression that she was trying to be “playful, erratic or fantastical” with her subject.

The opening chapter that tells about an upright young man named Pigeon might make you think it’s all light and charming, and perhaps to some reviewers the idea of such a hero with old-fashioned morals seems like a fairy tale. He is a shining example of the classic Pole who has Golden Hands that can make or fix anything. And he loves Anielica, a sweet girl who will soon suffer much with and for him, including the long postponement of their wedding — but that turns out to be the least of their sorrows.

The novel alternates chapters about teenagers growing up during the war years with those about their granddaughter in the late 20th century. Her life, also, is nearly wrecked by many of the same old misfortunes as well as some newer ones, like drug-dealing boyfriends. Funny moments and comic aspects pepper her story, as they did her grandparents’. Being able to appreciate the comedy is one way to deal with the heartache; that doesn’t make the story a piece of humor.

Brigid Pasulka

The book was just serious enough and just long enough for my current reading “mood,” and I did not predict the ending that lifted me out of the general bleakness that was trying to smother the characters all the way through. The Polish people had several years of trying to survive and even fight against the Nazis, and then could barely catch their breath before the Soviets took over and they had to quickly shift gears and learn how to cope with a slightly different oppression, the effects of which stretched long into the future.

Through it all the protagonists in this story, the grandparents and the parents and grandchildren, fight to stay together and to protect one another. Bribes and lies and dreadful compromises at times appear to be daily necessities, but the characters’ love and perseverance keep them from the despair that lurks around the corners of their houses like a traitorous neighbor. The moral quandaries that they experience are neither explored in depth nor treated flippantly.

The author, I read on the cover, spent a year in Poland learning the language and the culture of her ancestors. She uses often untranslated Polish words lavishly throughout the story, and they aren’t always easily deciphered versions of English words, so I was frequently left wondering what I was missing, not having a Polish dictionary handy. Nor did I want to look up the many references to obscure events in Polish history which the characters mentioned. But those are my only complaints.

In the middle of meditating on the history and people of Poland I read this poem by a Pole who would have grown up during the Soviet era. The images the writer conjures up, of a field mouse, a tree, “A grass blade trampled by a stampede of incomprehensible events,” lined up very well with the impression I got from this debut novel, of a brave people surviving by means of the virtues of their humanity, which is the grace of God.

By Zofia Stryjeńsk, artist of the interwar period.

Warned by their music.

books, history, quotes, , , , ,

By the end of the second novel in Rebecca West’s Aubrey Trilogy, This Real Night, the children are grown up, and our narrator Rose is often discussing with herself the meaning of world events and human behavior. The narrator’s inner dialogue is just one of the ways that I think the author expresses her own wonderings and certainties; the reader also learns from discussions between the characters, often in emphatic statements that one or another makes out loud or privately in silence, on any number of topics, from fashion to politics and philosophy, from the motives of others to the failings of herself.

The constant revelation of what goes on in her highly analytical mind, her wanting to understand the meaning of things, and her sureness that there is something numinous behind the visible world, all draw me to the stories. (She makes me love just being with the characters — I never want to leave them — which is probably a greater reason, but it deserves its own post.)

I don’t know how to describe the elements of her prose style that makes every other sentence seem worth reading a second or third time — so I keep posting samples. I can say that each page is rich in metaphors that somehow are more than metaphorical: they convey an understanding that there is something more than meets the eye; much of the truth of things is underneath, and beyond.

She is quoted as having said, “Writing has nothing to do with communication between person and person, only with communication between different parts of a person’s mind.” She didn’t complete This Real Night until almost 30 years after The Fountain Overflows, and it was published in 1984, the year after her death. Here are a couple of passages from the last chapters:

“We were not surprised when the war came, for we had heard our father prophesying it all through our childhood… We had also been warned by our music. Great music is in a sense serene; it is certain of the values it asserts. But it is also in terror, because those values are threatened, and it is not certain whether they will triumph in this world, and of course music is a missionary effort to colonise earth for imperialistic heaven. So we were not so sorely stricken by August, 1914, as many other people. Indeed we had our consolations. It was proved to us that music was not making a fuss about nothing, and that the faces of our parents had been distorted out of common placidity not by madness but by the genuine spirit of prophecy.”

Soon, however, their only brother Richard Quin enlists, and after a few months of training in England, during which his family sees him often, he ships off to the Continent, and they accompany him to Victoria Station in London.

“The space around the station had become one of those areas which, like cemeteries and the corridors of hospitals, are swinging on a turntable between the worlds… myriads of men in uniform, deformed by the weight of the kitbags on their backs, of women and children scurrying by their sides, those also deformed, by the weight of grief and stoicism… Above, a great dimly lit illuminated clock said that this was the hour. The occasion was the annulment of life, for what is life but being able to move according to the will?

“But the people who got out of the taxis and cars, all the men bent under their kitbags, were doing what their will would never want them to do, which it could never let them do, were it not in the custody of something outside them not certified to be wise or loyal. The clock said that there was not time to start that argument….”

Sassoon’s Angels

poetry, , ,

This morning I read the day’s selection in poem-a-dayVolume 3 of Poem A Day, and it was by a poet I hadn’t read before, Siegfried Sassoon. I’m very glad to have discovered him. He is famous for his war poetry, and anti-war poetry, during and after The Great War.

Having read about him on various sites online today, I can only say that the tone of his life reminds me of the novel Brideshead Revisited, and like the narrator of that story, Charles Ryder, Sassoon converted to Roman Catholicism later in life.

When he wrote today’s anthology selection, I haven’t discovered – whether it was earlier, as part of his war poems, or later, with the “religious” poetry. Critics saw his later work as inferior and weak, an unfortunate change in perspective, but his response to this was to say that “almost all of them have ignored the fact that I am a religious poet.” He claimed that “my development has been entirely consistent and in character.”

You can hear Sassoon reading hsassoon-youngis own poem, “The Power and the Glory,”  on the First World War Poetry Digital Archive site. I also found this thorough bibliography of his works by a history and book lover, and would like to explore there some more.

The second poem by him (at the bottom of the page) that I am sharing here, written in his own hand, I found on The University of St. Andrew’s site Echoes from the Vault. It is clearly dated twenty years before Sassoon finally entered the church, but his developing vision of spiritual realities is evident. I notice that both poems feature the presence of angels.

The Power and the Glory

Let there be life, said God. And what He wrought
Went past in myriad marching lives, and brought
This hour, this quiet room, and my small thought
Holding invisible vastness in its hands.

Let there be God, say I. And what I’ve done
Goes onward like the splendour of the sun
And rises up in rapture and is one
With the white power of conscience that commands.

Let life be God…What wail of fiend or wraith
Dare mock my glorious angel where he stands
To fill my dark with fire, my heart with faith?

-Siegfried Sassoon

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