Wilfred Owen Dines Out, and Richard Aldington at the Death Agonies of a Civilization

Wilfred Owen had another evening out tonight, a century back, a guest of literate/srtistic upper middle class Edinburgh society. Everything really is going well, it would seem, with Owen’s humane and successful course of treatment…

Went with Mayes to a perfect little dinner at the Grays’ and passed an evening of extraordinary fellowship in All the Arts. The men are not of the expansive type—one is a History Honoursman at Oxford, the other owner of a large Munition Works. The ladies have more effusiveness, but are genuine. One is really witty and the other is a sculptor of great power.[1]

 

The pleasantness of this recuperation still makes an odd contrast with the dreariness of ordinary life as an officer on home service in Britain–the life of Richard Aldington, to take a convenient example. And yet the contrasting of conditions is not as sharp as that between Owen’s peppy and enthusiastic attitude and Aldington’s posing Modernist cynicism, as expressed in this letter to F.S. Flint…

A Company,
No. 8 Cadet Battalion,
Whittington Barracks,
Lichfield
Weds. [6th September 1917]

Dear old Franky,

We are “at it” for umpteen hours a day here, dodging from one military subject to another with incredible rapidity. We get up at 5.30 ack emma, and do strenuous runs of 3 miles of [sic] so most evenings, so I generally feel pretty wilted by the time letter writing time arrives.

On the whole, though, this is a great deal better than the 11th Devons, where I was being tortured at this time last
year.

I hope to heaven neither you nor anything that is yours suffered in last night’s raid. We know little about it here yet, except the usual yarns of Oxford St. in ruins &c. And a bloody good job if it were. We are apparently assisting at the death-agonies of a civilisation, & the quicker it gets through the better.

Wouldn’t Huysmans have enjoyed the spectacle–if he were over military age.

He was a kind of prophet, for when he and Mallarmé “got at” the society of their days as being like decadent Rome they were not so far wrong. We haven’t seen the fall of Paris, but we’ve seen the bombardment of London & we’ll probably see the fall of Petrograd. The more cities that fall the better. I remember thinking that one day on Hill 70, watching our howitzers knocking hell out of Lens. There were 2000 women & children in the town too! Bon pour soldat, no bon pour civile!

What a shocking frisson, and how terribly artistic! But Aldington, who has seen relatively little of the war, comes off more as a poseur old soldier than a second-rate shocker-of-the-bourgeois. This violent separation between civilian and military–and the principled insistence that we query our instinctive horror of civilian deaths in the light of so many more pointless military deaths–is nothing that polite, serious young men had not been expressing years ago, or angry poets some months back.

I may be being too harsh–it is against our principles, or should be, to judge a man’s state of mind by trying to relate the amount of fighting he’s seen (i.e. the amount of shelling he has experienced) to his “right” to break down or seek a way out. These things are subjective. And, of course, he is not all that far wrong. The coming thirty years will see hundreds of cities bombed and burnt, and millions of women and children murdered… but his melodramatic style makes his predictions of these sorts of things in the current context of attrition and stalemate, a century back, seem glib. And it’s cruel to slap on the old charge of “decadence” because it fits his artistic preferences…

And if Aldington wins some sympathy by reminding us that he is married and separated from his wife, that he has seen barrages and fears to endure them again, he promptly loses it by noting that he gets to see her regularly, and by rolling confessions of damaged nerves into another facile dream of revolution…

H.D. is in Lichfield–3 miles from here… Each week-end I get a sleeping out pass; so altogether I feel I could stand this for duration. The sober fact is that I’ll be back in France by December, & I’ve got the wind up horribly. I think I shall just lie down and sob if I get into another artillery barrage.

Well, I suppose one will get along somehow. But I do wish the capitalists would rise in revolt & give us the job of quelling them. I would use a Lewis gun not a rifle!

…Ever thine

R.[2]

As a point of comparison, recall Siegfried Sassoon’s tank, crushing the profiteers and ignorant civilians–that is a naked fantasy, first of all, and in it the writer is the vengeful observer. Here we have a wish rooted in actual politics (the profiteers as “capitalists,” rather than leering, “harlot”-accompanied revelers, in Sassoon’s fever dream) even if it is not much more likely to come true. And Aldington would do the imaginary shooting, would he? If this is the fear of the shells speaking, it’s still coming out sideways, and in a distinctly unflattering way…

 

References and Footnotes

  1. Collected Letters, 491.
  2. Imagist Dialogues, 211-2.

The Gothic Vortices of Herbert Read; Frederic Manning Drinks Himself into Trouble; Wilfred Owen Steels Himself for Silk Stockings

We have a few shorter updates today, a century back. First, Herbert Read is on leave, and seeing the sights–and it is against the rules, here, to omit certain pilgrimages:

The Army is becoming quite a benevolent old gentleman, arranging little joy-rides for us when we are in reserve… We passed through the valley of the Somme–past Albert, with its leaning Virgin–(when it falls, according to the superstition of Tommy, the war ends.–I would like to have charge of a German battery for a few hours)–and finally arriving in Amiens…

Will Read, now a full-fledged zine-publishing Modernist, have the strength to resist the obvious pull? No… and yes, sort of:

Naturally we made for the Cathedral and spent an hour or so there. I can’t go into ecstasies about it. It is fine, of course, especially the exterior… There are some fine flying bastions, or whatever they call them,

They call them flying buttresses, although it’s possible this is a joke, since flying bastions sound like some sort of late-17th century excrudescence on a French étoile fortress now held against Teutonic machine guns…

which would make a finer ‘vorticist’ design.

Ah! That’s a pretty good call, actually… compare the link to the buttresses at right:

The interior is disappointing… After lunch more sightseeing… we saw the famous mural decoration of Puvis de Chavannes and a bust by Rodin.[1]

 

 

Next we have the long-neglected Frederic Manning. He’s getting a second crack, now, at being an officer–it befits his class status, after all, and his experience–he has seen combat service in the ranks. But once again alcoholism has gotten in the way. He joined a new unit on garrison duty in Ireland ten days ago, and only a few evenings later he had “broken all the rules of the mess out of sheer ignorance and no premeditated vice.’’

As he wrote to William Rothenstein today, a century back, he was”liable to be tried by court martial.” And yet he is oddly defiant about the mess (so to speak:)

…I rather like being under arrest, as it spares me the company of my brother officers at mess… Nothing, I think, will
happen; I am only to be ‘strafed’ in canting phrase; then I shall be told how vastly I have improved under the treatment.[2]

We shall see…

 

Henry Williamson, meanwhile, continues to recover in Cornwall–but slowly. Today he went before a board and was ruled “Unfit [for] G[eneral] S[ervice] 3mos.” His doctor at Trefusis Auxiliary Hospital wrote that “Lt. Williamson has during the last ten days begun decidedly to improve, but in my opinion he will need much longer than the time he has already had under treatment before one can report him recovered.”[3] Since Williamson has recently begun writing in earnest, this lull will provide a long runway for the early drafts of his autobiographical novel…

 

 

The First World War Poetry Digital Archive

And Siegfried Sassoon, after having accepted a second chance at a Medical Board, will be on his way, very shortly, to “Dottyville,” the Military Hospital at Craiglockhart.

And how are things going up there?

Quite well, actually, at least as far as Wilfred Owen is concerned. He was even published today, a century back.

Patient-run hospital magazines were once what they aren’t, that’s for sure.

Owen had a hand in this rather polished production of The Hydra, seen at right. He not only wrote the note on the Field Club‘s activities but also, in all probability–the piece shows, in Dominic Hibberd’s estimation, all the hallmarks of Owen’s style–a light sketch about the awkwardness of going stocking-shopping with nurses. Racy stuff, although you may have to scroll down for the large scanned image of the magazine page:

 

The First World War Poetry Digital Archive

 

 

References and Footnotes

  1. The Contrary Experience, 103-4.
  2. Marwil, Frederic Manning, 183. See also Coleman, The Last Exquisite, 129.
  3. Anne Williamson, Henry Williamson and the First World War, 167.

Happy Birthday Richard Aldington; A Painful Encounter for Vivian de Sola Pinto; A Different Sort of Protest from Siegfried Sassoon; Duff Cooper is Saved by Alice; Ivor Gurney’s Delightful Present and Grim Portent

It’s a busy day, today, in England and France…

Today is Richard Aldington‘s twenty-fifth birthday and, having been newly trained as an officer, he was able to take a weekend’s leave and spend it with his wife, the poet H.D., at her rooms in the village of Brocton. It was a happy and productive time:

That birthday weekend she reassured him and helped him take stock of his situation. He wrote to [a friend]: ‘I have been thinking over writing, translation & similar matters & under the encouragement of my wife I have begun to try to build up the ruins again!’

With H.D.’s support, he was tackling the problems the war had brought him as a writer: the lack of time for any sustained work, the limited opportunities for publication–and, worst of all, his ‘writer’s block’, arising out of his not having the luxury (unlike Pound and Eliot) of being able to ignore the war and yet feeling that what he could write about it was weak and inadequate…[1]

Now if he would only date his manuscripts…

 

In any other regiment, Vivian de Sola Pinto would be a literary giant; in the Royal Welch Fusiliers, he is more of a minor memoirist. But it it really is a very good memoir–just short on hard dates, alas–and it’s not quite fair to the man that he will only feature prominently here as a supporting character, both tactically and literarily.

He arrived in France in April after long service–and a long illness–in Egypt, and recovery at home. Tonight, a century back, his current tour of duty will come to a sharp end.

On the night of 8th July, after completing our usual patrol of no-man’s-land I led my men over the bank into the sunken road. It was bright moonlight, and as we dropped on to the road, we found ourselves in the middle of a number of men in flat caps, obviously a German patrol. For a moment English and Germans stared at each other in amazement. I had my loaded revolver hung round my neck on a lanyard and in my excitement I raised it and fired into the mass of strangers. I thought I had fired one shot, but found afterwards that I had emptied all six chambers. I certainly hit a man near me and saw him fall. Then I saw a blinding flash and heard a tremendous roar. The next thing that I remember was regaining consciousness on a stretcher in our front line with a bandage round the bottom of my face and my mouth full of blood, feeling that, perhaps, my lower jaw had been blown off. Later I learnt that after I fired my revolver a German threw one of their stick-bombs, which exploded above my head and knocked me unconscious…

At the dressing station Pinto learns that his jaw is intact, but that “various teeth were knocked out and pieces of bomb were lodged in my tongue and left cheek.” Eating became something of a challenge in the short term, as, even equipped with a rubber tube, “it tended to spout out through the hole in my cheek.”

There followed a very long and uncomfortable journey on a motor ambulance to the railhead, where I was carried on my stretcher to a hospital train by two stretcher-bearers in strange uniforms with broad-brimmed hats like those of boy scouts. ‘Americans!’ I said to myself, and was thrilled by the thought that American units were now in France…[2]

Remarkably, his recovery will be so swift that Pinto will not see Blighty, but instead move directly from the American hospital to a convalescent home near Dieppe…

 

Duff Cooper has not been shot in the face. But he’s still taking his transition into the army rather hard.

July 8, 1917

I arrived in London at about 5 and went to my flat which seemed very desolate with everything put away. It was still raining hard. I telephoned to everyone I knew but not a soul was in London. Then a great cloud of depression came upon me and I felt even more miserable than I had been at Bushey and without hope.

This is a private diary, and surely he showed a stiffer upper lip–not to mention charm and wit–to the outside world. But still… it’s a bit melodramatic! Which befits, I suppose, one of the last of the devoted friends-and-pursuers of Diana Manning. But today, unexpectedly, Cooper turns a corner, emotionally. It must be the radiant love of the divine Diana, right?

Nope–maybe tomorrow. Today, it’s a stiff drink and a dose of Lewis Carroll that does the trick.

I went to the Junior Carlton, drank a pint of champagne and some sherry with a small dinner and read Through the Looking Glass. As if by enchantment my melancholy left me and I knew that I should not be unhappy again. Courage came back to me which I had lost, and I despised myself for having done so. I went back to my flat, changed into my uniform, spoke to the Montagus who had just returned and motored down to Bushey feeling perfectly happy.[3]

 

This sort of mood shift–and its means–might be one of the very few things that Cooper could share with Ivor Gurney. But Gurney’s spirits rise today through the usual pleasures: good food and fond memories of home. And alas that his reading, today, is significantly less fantastic.

8 July 1917

My Dear Friend:

…This village is still delightful, and today the weather is perfect.

Two days ago, I had a dinner of salad and deux pain-beurres. It was perfectly wonderful to have such a dainty meal after aeons of shackles (Englished — skilly: stew.)

Your parcel has arrived, and thank you very much for it. Especially the lemonade powder and the fruit, which are summery things; but do not suppose that the cake, cheese, biscuits and OXO go unappreciated.

Gloster county is packed full of beautiful things, and pink dogroses of the most delicate miraculousness find place therein. Also wild strawberries by the million, and would I were on Coopers Hill looking over to Malvern and Wales while easing my back at times. O God, that goes too deep though!

Then the letter turns on a dime–its import, that is, even though the tone remains light.

We are having really a pretty easy time now, and this means Over the Top, I think. Well, let come what come may, as the Victorians said, I shall have had my day. (And a — poor one at times.)

Alan Seeger’s poems must be interesting. I like “I have a rendezvous with Death” very much…

I have no change now, but next letter shall contain a 5 fr note to be applied to the purchase of Ralph Hodgson’s “Poems”, for you… Or would you prefer the Second Book of Georgian Verse…?

A Frenchwoman told me she never heard French soldiers sing half so much as English. This pleased me, and indeed 7 Platoon has been songful of late…

Your sincere friend,

Ivor Gurney[4]

Singing, then, and thinking of the summer beauties of Gloucestershire… and remembering another soldier’s prophetic/poetic rendezvous…

 

Finally, today, an update of sorts on the Siegfried Sassoon drama. First–and this will prove significant–Robbie Ross is now on the case.

8 July 1917
Hotel Albion, Brighton

Dearest Siegfried, I am quite appalled at what you have done! I can only hope that the C.O. at Litherland will absolutely ignore your letter. I am terrified lest you should be put under arrest.

Let me know at once if anything happens.

Ever your devoted

Robbie[5]

Sassoon has made an interesting choice–out of idleness, he will claim, but perhaps more truly out of a semi-conscious instinct for self-preservation. He informs his influential friends of his dramatic action when it has only half-begun: the letter is sent to Litherland, but the “Statement” is not yet published.

Among the immediate actions Ross will take is to send a letter to Robert Graves, on the Isle of Wight. But today, a century back, Graves is still in ignorance of Sassoon’s action. His letters of today and recent days are all poetry–or, rather, about the placement of poetry. He is drumming up support for his own book and negotiating with Eddie Marsh about the next Georgian Poetry anthology–in which he, Sassoon, and Robert Nichols will be prominent. And in each of these letters to mutual friends he both praises some of Sassoon’s verses and takes behind-the-back potshots at other poems…

Ironically, then, since Graves is about to throw up his poetry-mongering to take up his friend’s dangerous case–Sassoon is risking not only disgrace but imprisonment and, theoretically at least, capital punishment–Sassoon himself has not been as entirely idle as he would have us believe. He has also been tending to his poetic fortunes, and recently wrote to complain about a sharp review–to Charles Scott Moncrieff, as it happens. And today, a century back, Scott Moncrieff replied:

I enjoyed your book much more than I have said, but I do confidently think that you are too ‘good at’ poetry to waste your talents on such London Mail storyette effects as you have secured in ‘The Hero.’ If I had written it I should talk about myself for years after, on the head of cleverness. But that is another matter.[6]

It’s busy times, these days, what with poetry, literary maneuvering, and attempting to provoke a court martial…

 

References and Footnotes

  1. Whelpton, Poet, Soldier, and Writer, 152-3.
  2. The City That Shone, 202-3.
  3. Diaries, 56.
  4. The Ordeal of Ivor Gurney, 174.
  5. Diaries, 179.
  6. Moorcroft Wilson, Siegfried Sassoon, 361.

Hedd Wyn’s War Begins; Francis Ledwidge to Marsh and Ypres; Hardy at a Party; Sassoon and Read and Ford Gazetted

There are many limitations placed on this project–by prudence, by the persistent finitude of time, by the scope of my interests and inclinations–and so a great many worthy writers are completely absent from it. Among the many entire classes of writers whose Great War experience has been summarily excluded are all of those not writing in English. And although this exclusion, more than most of the others (I have not fought very stiffly against the class and gender biases inherent in the traditional core of “Great War Writers,” for instance) makes a good deal of sense–I expect, sadly, only the same monolingual fluency that I possess–it still seems regrettable.

Hedd Wyn (National Library of Wales)

But then again sticking to the English language does not really exclude many important British Great War poets. In fact, it may exclude nor more than one. And it’s that very one whom I wish most to write about–so I will.

This is not only because the story of Ellis Humphrey Evans, alias Hedd Wyn, alias ‘Fleur de Lis,’ is a very interesting one. No–I  also have more sheepishly personal reasons. Today, a century on, I have planned to be in Wales, seeing the sights, trying not to be seen seeing the sights in a shallowly touristic sort of way, and even trying perhaps, to pick up a little of the language. Which is beautiful and, had the “Jingos” have taken their anti-Germanism to a logical extreme, a much more proper language for use by British soldiers fighting Saxo-Prussian imperialism. So, fellow Anglophones, forgive (and enjoy) the coming “month poem,” yn y Gymraeg.

But first, a bit about its author. Evans–a harmless shepherd in the literal as well as the figurative sense–was not eager to go. He was a chapel man and a pacifist, but, after having been drafted in 1916, he entered the army rather than pursue an uncertain course as a conscientious objector. He did this at least in part because it would preserve a possible family exemption from the draft (for doing essential food-production work) for his younger brother.

In early 1917 Ellis Evans began his training at the Royal Welsh Fusilier depot at Litherland, arriving within a few days of when Siegfried Sassoon–who would not have noticed him, in any case–was posted abroad from the same camp.

A family story has it that he overstayed a recent leave and was taken away by military police to be sent to the War. That would have been last month; by today, a century back, the 15th Royal Welsh Fusiliers are in Fléchin, France, training for the coming offensive.

While working as a shepherd Evans had pursued a bardic career in the Welsh tradition–his chosen name Hedd Wyn means “blessed (literally ‘white’) peace”–winning prizes at several local eisteddfodau and writing pastoral (again!) and Romantic-inflected poems. For the past few months he has been working on a lengthy ode, suitable for submission to the National Eisteddfod, and he has–or will–mail it home within a few days of today, a century back. But Yr Arwr is lengthy and not, to my knowledge, satisfactorily translated, so our month poem will be another recent poem called, appropriately enough, “war.”

 

Rhyfel

Gwae fi fy myw mewn oes mor ddreng
A Duw ar drai ar orwel pell;
O’i ôl mae dyn, yn deyrn a gwreng,
Yn codi ei awdurdod hell.

Pan deimlodd fyned ymaith Dduw
Cyfododd gledd i ladd ei frawd;
Mae swn yr ymladd ar ein clyw,
A’i gysgod ar fythynnod tlawd.

Mae’r hen delynau genid gynt
Ynghrog ar gangau’r helyg draw,
A gwaedd y bechgyn lond y gwynt,
A’u gwaed yn gymysg efo’r glaw.

 

War

Woe that I live in bitter days,
As God is setting like a sun
And in his place, as lord and slave,
Man raises forth his heinous throne.

When he thought God was gone at last
He put his brother to the sword.
Now death is roaring in our ears,
Shadowing the shanties of the poor.

The old and silenced harps are hung
On yonder willow trees again.
The bawl of boys is on the wind.
Their blood is blended in the rain.[1]

 

It is appropriate in many ways that Hedd Wyn’s first adjacent fellow poet here would be Francis Ledwidge–himself a proud Gael, and a poet of the working class conflicted about serving the English colonial master.[2] But there the similarities begin to fade. Although Ledwidge began in humble circumstances as an English-language poet from the Irish peasant class, he has risen, these last few years, with the help of a lord.

Today, a century back, Ledwidge wrote to Eddie Marsh, discussing which poems of his might appear in the next Georgian Poetry–Ledwidge is already a veteran of the second anthology. And he is a veteran soldier abroad, well-versed in keeping home in his thoughts, even in the trenches:

Just now a big strafe is worrying our dug-outs and putting out our candles but my soul is by the Boyne cutting new meadows under a thousand wings and listening to the cuckoos at Crocknaharna. They say there will be peace soon.

So they have been saying. The next bit is probably not begun in jest–Marsh will indeed visit the front, when Churchill does, but perhaps he will not have the eyes to see the sights (or the lights, as it were) quite like Ledwidge:

If you visit the Front don’t forget to come up the line at night to watch the German rockets. They have white crests which throw a pale flame across no-man’s-land and white bursting into green and green changing into blue and blue bursting and dropping down in purple torrents. It is like the end of a beautiful world![3]

Ledwidge, with his Gamgee-esque enthusiasms intact, will soon be marching North, from a quiet French sector over clogged roads toward Ypres.

 

And now one further break with convention. I have come across (in a biography of Thomas Hardy) a literary party at the home of J.M. Barrie that will take place at some point this month. Arnold Bennett will describe it, and in doing so he puts Hardy in exactly the light I have always imagined him. The party begins with friendly conversation between the Hardys and Barrie and Bennett. Later,

When darkness had fallen, they stood outside one of the windows, watching the searchlights: then more famous authors arrived, not without arising some irony in Bennett: “The spectacle of Wells and G.B.S. talking firmly and strongly about the war, in their comparative youth, in front of this aged, fatigued and silent man–incomparably their superior as a creative artists–was very striking.”[4]

It is characteristic of mere sorcerers that they fail to recognize a true wizard brooding in their midst.

 

And what if the actual fighting writers had been there? Ah, well–we can assume that Wells and Shaw would assume more modesty before a quiet young beribbonned officer than before the quiet, old, invisibly laurelled poet. Speaking of soldier poets…

 

Herbert Read and Siegfried Sassoon–a farmer’s son from Yorkshire and a gentleman of private means from Kent–have never met. And neither one has met the great shambling broken-down smoldering runaway firework-seller’s handcart that is Ford Maddox Hueffer.[5] Nevertheless, in what surely must be my most pompous and tenuous “crossing of paths” yet, these two most successfully aggressive trench fighters in all of modern poetry’s pantheon and this shell-shocked soon-to-be-the-author-of-perhaps-the-greatest-Modern-English-Novel were published alongside each other today, a century back: although one is training for an assault in France, another is rebelling against England, and another has been quietly stashed in a training unit, all three appeared in the London Gazette, each officially promoted to full lieutenant.[6]

 

References and Footnotes

  1. I have copied a strong translation, by A.Z. Foreman, from here--the link has spoilers.
  2. An only slight less apt and perhaps more interesting point of comparison would be Isaac Rosenberg, whom I recently placed alongside Ledwidge...
  3. Curtayne, Francis Ledwidge, 184.
  4. Blunden, Thomas Hardy, 155-6.
  5. I have been several months behind in his biography--but I hope to being him back in shortly!
  6. I discovered these facts in three biographies: presumably the Gazette itself is somewhere to be circled in red and marked with triple exclamation marks, but I haven't checked!!!.

Wilfred Owen in Hampshire; Herbert Read Reads a Novel, and Writes a Journal, and Looks Forward to Death or Glory

First, a brief update from Wilfred Owen, now a patient at the famously nasty military hospital at Netley, near Southampton Owen refers to its enormous main building as “The Bungalow,” but he is relatively lucky in being assigned to the Welsh Hospital, which is essentially a complex of huts out back. Blighty is nice, but he continues to hope, above all things, for home leave.

Sunday Mng. Welsh Hospital, Netley, Hampshire

I shall have to stay here a week or so. Visitors are allowed in the afternoons, but you will of course wait till I get my 3 Weeks at home. We are on Southampton Water, pleasantly placed, but not so lovely a coast as Etretat. The Town is not far off, & we are allowed to go in. Hope you had my Telegram. Nothing to write about now. I am in too receptive a mood to speak at all about the other side the seamy side of the Manche. I just wander about absorbing Hampshire.[1]

 

Our only other communication today is a rather more complex missive from the front, from Herbert Read to Evelyn Roff. In just a few pages, written from a reserve billet between spells of trench duty, Read manages to touch on writing and reading, the meanings of art and the possibility of death in war…

17.vi.17

One item of news I must not forget to tell you. Aylwin came. I read it (in the trenches, of all incongruous places) and it conquered me…

Read goes on to compare the now-obscure 1899 novel to The House of Seven Gables and Wuthering Heights. Once his literary analysis is completed, a new paragraph launches into a discussion of his own recent writing. This is an overdue reminder of a development I haven’t had precise enough dates to be able to cover: Read had been very busy during his long absence from the trenches, and is now editing (and writing much of) his own Modernist periodical, Arts and Letters. He preens a bit for Roff, and soon moves from barely concealed pride to open fishing for compliments:

Shall I ever make a reviewer (vide Portrait of the Artist)?

…I was a little doubtful about the second poem…

It’s hard not to imagine an eye-roll. But Read is both a capable poet and a perceptive reviewer–for which you must take my word, for the time being.

From there, Read’s discussion of Modernism gains confidence until it ends in an abrupt segue that could stand for the strange fascination of the trench-letter-genre in general:

…It is one of my aims–to restore poetry to its true rôle of a spoken art. The music of words–the linking of sounds… unity of action. Each poem should be exact… The fact of emotion unites the art to life. Any ‘idea’, i.e. ethical or critical, or philosophy should only be basic–ground from which the beauty springs. Or perhaps the unifying principle of a man’s art viewed as a whole.

I’ve been chosen for a death or glory job soon to come off. I am very glad–glad in the first place because it gives me the first chance I’ve had of doing something–glad in the second place because it means that others recognize that I’m of the clan that don’t care a damn for anything.

All the same I intend to ‘come through’ as full of life as anything.[2]

So the next volume of Arts and Letters–and the sound of poetry and the emotional unity of art–will have to wait until this next raid or patrol comes off. If it comes off.

What’s strange here, to me at least, is that the serious, learned talk of the meaning of art has the effect of undermining the youthfully bluff claim that he is eager to risk his life in a coming action. Read[3] side by side as he wrote them, the three paragraphs seem like a too-strenuous declaration of multiple self-definitions… as he protests we realize the improbability or their being conjoined in the same person: Herbert Read cares a great deal for art, and he also cares for nothing, and he also wants very much to survive the quotidian brutality of some trench “stunt.”

And yet he really does mean more or less what he says. It’s all that Nietzsche: paradox is possible, death is acceptable, and glory, really, is the goal…

 

References and Footnotes

  1. Collected Letters, 470.
  2. The Contrary Experience, 98-9.
  3. The past verb, not the writer/officer!

Francis Ledwidge Remembers Spring; F.S. Flint Dines With the Inimitable Ford, Who “Still Invents His Life, Rather;” Dirty Rhymes from Siegfried Sassoon; Good News Brings No Relief to Edward Thomas; Bob Hermon Arrives in Arras

We’ll open today with Francis Ledwidge, minding poetry’s seasonal business. Is it spring, yet, in France? No; but it is Spring at home, in a sense:

Spring

Sweet by the river’s noisy brink
The water-lily bursts her crown,
The kingfisher comes down to drink
Like rainbow jewels falling down.

And when the blue and grey entwine
The daisy shuts her golden eye,
And peace wraps all those hills of mine
Safe in my dearest memory.

France,
March 8th, 1917.

 

Next comes an amusing letter to Richard Aldington from his friend, fellow Imagist, and frequent correspondent F.S. Flint. Aldington, I often forget, was once private secretary to Ford Madox Hueffer:

…I had a telephone call yesterday, and a voice said. Is that you, Flint. I’m Ford Madox Hueffer! Good god, I cried. Yes, can you come and dine with me to-night? –Rather, where can I meet you? So I met him at 5.30 outside Shipwrights, the barber’s, in Coventry Street. We walked to his lodging in the Y.M.C.A. bungalow at Victoria, thence by way of the R.C. Cathedral to the Authors’ Club, where we had a sherry and bitters… we proceeded by way of the tube to the Rendezvous in Soho, where Ford spend [sic] 16/6 on a dinner consisting of Chambertin (I think), hors d’oeuvres varies, salmon and turkey, large helpings of each, to keep within the three course limit. Thence we returned in a taxi to the Authors’ Club, where I took down a list of the poems Ford wants collected in a volume which he wants me to look after.

He had already asked me from France to do this, but I like a churl refused in beautiful French and sent him Poverty. I repented in a few days… and sent him another letter begging his pardon, and accepting the job. He had had neither of these letters. Ford is very quiet, some great change has taken place in him. He says he is going to stay in the Army and not write another book. He laughed when I chaffed him and pointed out the inconsistency of this declaration with his wanting me to pilot a book of poems for him. But he is changed. He is no longer the fat man he was, and he is uglier, and there is another look in his eyes. He still invents his life rather, but I felt that he was rather down and out. Here is a poem I have written as a result of our meeting. It has not come off, but I feel that if I concentrate on it again, it will come out all right…[1]

No, the poem does not quite come off. But what a description of Ford! Changed, and yet unchanged in his total changeability–gorging himself, but on a budget; forswearing art but pushing his war poems. The down-and-outness seems just right, and the propensity for fabulation is something we have been tracing ever since Ford started writing of his experiences in France last summer. And yet can Flint, loyal modernist of the younger generation, have any idea that Ford’s tendency to mythologize his own life will lead to a great fat brilliant beast of a war novel?

 

Things with Edward Thomas could be better–he’s stuck doing office work away from his battery, where he might be doing something to alleviate the feelings of uselessness and loneliness that have been tugging him down toward depression. But things could also be much worse: he’s had a walk, and a good word from across the pond.

Snow blizzard—fine snow and fierce wind… but suddenly a blue sky and soft white cloud through the last of the snow… I liked the walk. Letters from Helen, Eleanor, Oscar and Frost (saying he had got an American publisher for my verses). [2]

Thomas wrote back to Eleanor Farjeon the same day–but there is little of the good cheer we might have hoped for:

March 8

My dear Eleanor, Another letter from you today. I think I already owed you one, but was waiting for the Fortnum and Mason to arrive. It hasn’t done so yet, so I won’t wait any longer, though I doubt if I can do much tonight. I have become rather fed up by this job. It has meant a lot of idle cold hours indoors, a lot of dissatisfaction with myself and some with other people. The Colonel here, though a charming and often entertaining man, is very tyrannical and I have done many trivial things that annoyed me to have to do. Also the nights have been disturbing. I must expect that, but of course artillery in a city is exceptionally noisy. As a matter of fact though I fall asleep very quickly both on putting out my candle and after being wakened up by the fear of God. You mustn’t joke about leave. There is no leave for anyone in this army, neither for men who have been out 9 months nor for men whose wives are dying. If I come back it will be wounded or at the end of the war, I don’t mind which…

This is a poor letter for you. I hope it will find you in fine weather in your cottage garden and able to imagine me much better off than in this belated frost.

Can this be a peevish sort of joke? (The “frost,” I mean, not this early-onset hope for a blighty one.)

…I have heard from Frost—or Helen did, saying he had found a pushbike, but too late, I suspect.[3]

 

The bad mood would seem to be general, though manifesting very differently in our different poets. Siegfried Sassoon wrote to Robbie Ross today, a century back, including in the letter satiric verse both unusual and unsettling. In “The Optimist,” Sassoon has a dull-witted officer spout clichés about soundly beating the Germans–the usual skewering of safe staff officers, at least until it is revealed that the speaker has suffered a head wound… The poem will be published soon, but Sassoon will regret this… it’s not a very satisfactory satire.

The second bit of verse he included was never intended for publication. We have seen the unfortunate conjoining of Sassoon’s snobbery and prudery descend upon the young Welsh officers out for the first time–really, the Sassoon who bemoans the murder of youth should be in sympathy with them. But not if they are speaking with uncouth accents and patronizing the local prostitutes. Hoping to entertain the “unshockable” Robbie Ross, Sassoon archly pities the “poor harlots… how tired they must be of the Welsh dialect and the Lloyd George embrace!”

But the verse is even worse:

She met me on the stairs in her chemise;
I grinned and offered her a five franc note;
Poor girl, no doubt she did her best to please;
But I’d have been far happier with a goat.

This is obnoxious, but one could choose to read it as merely a juvenile rhyme, a nasty private joke. The Royal Welch, after all, have a regimental goat, and such jokes… But that would be to deny that this, too, might be a window into Sassoon’s conflicted character, “a particularly virulent manifestation of Sassoon’s distaste for heterosexual activity.”[4] Perhaps–but Robert Graves, in principle and later practice an enthusiastic heterosexual–was just as snobbish/prudish and cutting about the sordid business of young soldiers and military brothels.

 

We’ll end with a sharp turn back toward traditional family values then, and check in with Bob Hermon:

My darling,

Your letter about the lovely weather is most encouraging but as I happen to be sitting in a house without any glass in the windows & as it is snowing hard, I fail to see it! I am in the big town close handy to were I was…

I rode down here yesterday in the most biting cold wind I ever remember…[5]

The big town is Arras–Hermon’s battalion, too, is being moved into position for the next big push…

 

References and Footnotes

  1. Imagist Dialogues. 196-7.
  2. War Diary (Childhood), 168.
  3. Farjeon, Edward Thomas... 254-5.
  4. Moorcroft Wilson, Siegfried Sassoon, 325-7.
  5. For Love and Courage, 334-5.

Rowland Feilding Faces the Brass; Richard Aldington’s Odd Worms and Epitaphs; Edward Thomas Has a Birthday; Kate Luard is Back in Action

Those Great War generals are all bastards, right? They are donkeys sending lions over the top in pointless, badly-planned, unsupported raids, then spinning the results into victories in the press and lying to the staff so the same murderous tactics are inflicted on the poor bloody infantry again and again. Right? Well, no. Not all of them.

March 3, 1917. Derry Huts {near Dranoutre)

The Battalion Commanders were sent for this morning, to meet General Plumer, the Second (i.e. my) Army Commander, at Brigade Headquarters. We went in one by one, and had a tête-à-tête conversation with him.

When my turn came I found only Colonel Monck-Mason (temporarily commanding the Brigade during the Brigadier’s absence) and the Army Commander in the room.

The latter was very friendly, and very human. That is one of his many admirable qualities. He takes the trouble to know even his Battalion Commanders, and for this and other reasons has earned great confidence among the  troops of his army.

After shaking hands, he referred to the raid of February 19.

Rowland Feilding, competent and painstaking battalion commander, is about to get raked over the coals, it would seem.

He expressed the opinion that there should have been a preliminary bombardment by artillery, and asked me why this had not been done. Obviously, I could not enter into explanations, but he quickly turned to Colonel Monck-Mason, who replied that the trenches were too close together for that.

“Then,” said the General, “you should have had a trench-mortar bombardment.” Then he turned to me and said: “ I know all about your having asked for a Stokes mortar bombardment: General Pereira has told me.”

I felt I could see General Pereira telling him this, and explaining that it was he who had refused it; blaming himself, in fact, for the failure of the raid. Now, that is just Pereira all over, and I repeat it that you may know the man, and understand why every officer and soldier of his Brigade swears by him.

As one of my brother C.O.’s once said to me: “You know, if he trusts you, that he will defend you, and that no one will be allowed to belittle you except across his mangled corpse.” And the feeling in regard to Plumer among the fighting troops—I do not speak for his Staff who no doubt feel this also—is much the same.

We came here yesterday, into Brigade Reserve, to find that the enemy had been shelling the place with high explosive and gas, which latter still hangs heavily on the ground. One shell hit the house where my headquarters are, but the family (mother, baby and all) still cling on.

General Sir Herbert Plumer

(Midnight) I have just got my leave.[1]

Some small wartime tragedies, then, are not compounded by their sequels.

But Feilding is unusually fortunate in his generals, and not only the honorable and loyal Pereira: General Sir Herbert Plumer is one of the more unprepossessing generals the British have, but he is also the most innovative–a term which, though a shibboleth of our current culture, feels strange in its application to a Great War general. As it should, for it was an unusual trait among the many well-bred cavalry generals still struggling to cope with the reality of deep defense systems and the deeper realities of attrition. But Plumer has been thinking differently and, as we can see today, he is listening to the officers in the front lines. And even as they spoke, in fact, he is planning a major operation unlike any yet attempted on the Western Front…

 

To sing us back into the daily routine we have the matter-of-fact choral/chronicle voice of Dr. Dunn’s history of the 2/RWF. But today the chronicle is nearly as poetical as our poets. The battalion, long in the line and proud of its practical mien, does not neglect to notice the birds and the ruins:

March 3rd.–There is a coating of ice on still water. Today’s is the second great flight of starlings and of crows since we came here. Do French crows, like Scotch crows, start housekeeping on the first Sunday in March? We have scraped together a trench strength of 450 by taking in the Drums and other details usually left out. We marched by Eclusier. Near Feuillères a whizz-bang had stuck in the stem of a tree, projecting fore and aft. Enough of Clery is standing to make it ghostly. A village razed is not so sad to see as roofless, windowless, sagging walls; they give one creeps at night. On the wreck of one house a cat sat and blinked listlessly as we marched through…[2]

 

I know I shouldn’t pile relatively uneventful writings atop each other–especially when we still have “welcome back” and “happy birthday” entries to get to–but I can’t resist this letter of Richard Aldington‘s to F.S. Flint. Aldington is eager to be a good modernist: sentimental, but not. And in expressing his general indifference to the killing of older men (Aldington is twenty-four), he surprises with a more-than-modern bit of slang:

3/3/17
My dear Franky,

I emerged from several yards of mud to find among others your excellent & heartening letter. After a night in a somewhat lousy dug-out your poems were like sprays of fresh lilac & your unpublished letter a healthy dung-hill…

I got your parcel several days ago–of course just before we moved, so I had to eat the cake wolfishly in a single evening, instead of making it last it [sic] week. All the same I enjoyed it. Please thank your wife for her trouble…

During a recent thaw in a certain trench there was discovered a rough wooden cross. I scraped the mud off it & on it was written in indelible pencil the following–“here lies [sic] the remains of two unknown British soldiers. Heroes both!”

The next day about a mile from the same point I examined (as I always do if possible) another grave. On it was a little metal plate: “Ein unbekannte Deutsche soldat” [An unknown German soldier]. I thought of my friend Jacques Viguelle lying far away & of another friend Sergeant Henri Gaudier-Brzeska. I wonder if I shall ever see his grave…

I hope this talk of “worms & epitaphs” doesn’t depress you, but you know my mania for necrology. All wasted youth, broken hope, lost effort touches me deeply–and–you will think me very inhuman–I don’t mind when I see older men “clipped” & hear them moaning–it’s the boys, the dear heart of youth stabbed–that’s what hurts.

Cheer-o, old boy.

Keep the home fires burning – with your m.s.s.

Richard[3]

 

And, as promised, two brief observances. One, ironically, jollier than the other:

Edward Thomas is thirty-nine today, but the vagaries of the post have brought him nothing, and he perhaps feels justified, then, in omitting to mention the occasion or to write more than the minimum:

No post. Morning dull spent in office. But afternoon with Colonel to Achicourt to see O.P.s and then to new battery positions… saw my new quarters to be. Wrote to Mother and Helen…[4]

Finally, today, Kate Luard, the Nursing Sister, is back at the front. She arrived yesterday in a new camp at Warlencourt, behind the Arras front after a rough ride over terrible roads. The situation was primitive, and dangerous, and her great pleasure at the prospect of confronting these difficulties comes through in her writing:

This area hums with work… The Colonel has made a little compound for us, walled in with canvas all round… the kitchen is not finished yet and the Nissen hut not up, so we slept on stretchers in the Mess Hut of another C.C.S. just over the road…

Sister R. and I are going to search the country round for a cottage to take our laundry, and to look for possibilities of milk, eggs, and butter, as we are ten miles from shops.

A place a mile away is shelled every day, and they once had to evacuate the patients in the C.C.S. across the road for shelling. The guns sound very close, and last night one heard again the big shells reverberating through the air as they travelled. The German retirement will make a difference here. There was a very sharp frost again last night and it was hard, or rather impossible, to get warm.

If her further descriptions of the dumps and the road work were not enough, the fact that there is another several-hundred-bed Casualty Clearing Station just across the road clearly indicates that action is expected nearby. But there are also the guns: tomorrow’s diary describes tonight, a century back

We were cosily tucked up in bed with dozens of blankets, and our oil stoves burning in our canvas huts and I’d just put my lamp out, when big enemy shells came whizzing overhead from two directions. They burst a long way past us, but made a tremendous noise being fired (from a big naval gun they run up close to their line), and loud screams overhead. Our 9.2’s and 12-inch in the wood here kept it up all night with lions’ roars.[5]

References and Footnotes

  1. War Letters to a Wife, 163-4.
  2. Dunn, The War the Infantry Knew, 301-2.
  3. Imagist Dialogues, 193-4.
  4. War Diary (Childhood), 167.
  5. Unknown Warriors, 96.

Robert Graves Saves the Day… or the Day, at Least, Has Been Saved; Edward Thomas and Siegfried Sassoon Are for the Birds; Richard Aldington Reads Frederic Manning; Edmund Blunden Blushes to His Boots; a Strange New Job for Charles Moncrieff

A six-writer-day today, but never fear: they’re mostly writing pithily.

First, it would seem that today, a century back, was the day that the raid of the 2/RWF was officially postponed. Dr. Dunn’s battalion chronicle confirms that the battalion has long resisted the bad plan, the likely waste of men, and the impossibility of digging in in ground that is awash in mud on the surface yet still frozen beneath. What the chronicle neglects to mention is that Robert Graves was the temporary CO during the last conference on the raid–in fact, Captain Graves is not mentioned at all, and, therefore, does not feature as the hero of the hour.

Instead, we get circumstantial confirmation today of the next milestone in Graves’s career. In Good-Bye to All That Graves notes a long night’s work, soon after his appearance at the raid conference, which ended in exhaustion and a diagnosis–from the very same writing Dr. Dunn who did not dwell upon his temporary command–of bronchitis. On the way out to the hospital, Graves sees a dead man–a suicide: “the miserable weather and fear of the impending attack were responsible for his death.”[1] Dunn confirms that on the 22nd the 2/RWF came out of the line and “one man had committed suicide” while over 130 had to be hospitalized for illnesses related to the weather.

So, while he doesn’t have the date to give in his memoir, it was therefore today, a century back, when Graves, relieved of his very temporary command, was one of the men sent down the line sick. It will be a long journey away for Graves, heading first for No. 8 hospital, Rouen, but not ending there…

And there is one more brutal note: one of the battalions of the relieving brigade inherited the poorly planned, postponed raid. When they launched it, “all went well until the raiders rose to their feet to make the assault, then they were raked by machine-guns and got no further.”[2]

No, no, one more note, before we leave the Royal Welch: today, a century back, the 2/RWF welcomed–perhaps not officially in exchange for Captain Graves, “a fine white goat from the Wynnstay Hills,” a gift from the reserve battalion back in Britain… Battalion parades have been sadly lacking in ceremony for quite some time, and will now be better fitted to honor Regimental Tradition…

 

I’ve been missing bashful Edmund Blunden, and there’s an anecdote that can be matched with today (via the Battalion Diary) which shows him at his bashfullest…

A thaw came on, and dirty rainstorms swept the bleak village ends. I felt how lucky I was to have received almost at that moment a pair of new and ponderous Wellingtons, though my size in boots was different; and in these I worked with Worley on a new plan for putting up barbed wire in a hurry, which we had ourselves pencilled out. The Divisional General rode by one morning as we were beginning, with our squad of learners, and when he returned we had put up quite a maze of rusty inconvenience. The good old Duke — no, the General — called me all trepidant to him, smiled, asked my age and service, liked the wire, and passed into the village. At lunch Harrison also smiled upon me. “Rabbit, I hear you were wiring this morning. . . . The General said you surprised him. He asked me, ‘Who was that subaltern in the extraordinary boots, Harrison? Well, he got up that wire very quick. We went down the street, and there wasn’t a yard of it: we came back and there was a real belt.’ — You’ve found another friend.” He began to laugh very heartily as he added: “Those boots, Rabbit!” This painful memory must be exorcised by being noted here. I presented my batman shortly afterward with a pair of new jack-boots.[3]

 

Edward Thomas and Siegfried Sassoon are separated by eight years of age that, due to their different family circumstances, seem like twenty-five; one is–or could be, were it not for the war–a carefree youth, while the other is a long-burdened family man. They are very different in outlook, temperament, and artistic commitment… despite a few friends and acquaintances in common it’s hard to imagine them getting along very well at all.

But they are both poets of a traditional bent, both have always spent a great deal of time outdoors, and both are in France and yet away from their units and stuck in big impersonal situations (Thomas on temporary assignment as an orderly officer with a larger unit, Sassoon quarantined in Rouen’s huge base camp with measles). Both are pining for home–or action–and spring. And so their diaries, today, make for an uncomfortably close antiphony.

Sassoon: “My fifth night in this squalid little ‘compound’… Four of my fellow patients play cards all day; their talk is all the dullest obscenity.”

Thomas: “Cold and wet… Office work and maps. Court of Inquiry on gassing of 4 men. Am I to stay on here and do nothing but have cold feet…?”

So far, so similar. Sassoon is more histrionic, more misanthropic (for Thomas, despair is too serious a thing to leave at the mercy merely of uncongenial company) and keyed up to protest, while Thomas has yet to experience combat or intense danger, and does not associate his unit with an ideal of world-defying fellowship.

So Sassoon complains a bit more–and has more time on his hands to complain–and the rest of his diary entry for today rails against the stupidity (now a favorite word of Sassoon’s) of the war, the reduction of the soldier from “a noble figure” to “a writhing insect,” and the pointlessness of religion. Which eventually becomes a bit much even for Sassoon, and so he acknowledges that he is frustrated and angry, and writes that “such things come from a distempered brain: an infantry officer only sees the stupidest side of the War:”

Distempered indeed:

Yet I should loathe the very idea of returning to England without having been scarred and tortured once more. I suppose all this ‘emotional experierice’ (futile phrase) is of value. But it leads nowhere now (but to madness).

It’s very bad: Sassoon also quotes Conrad twice. And ironic, of course, that the 2/RWF, the unit to which he will be assigned once his measles are gone, was almost in action today–an action in which they would have been more like insects than heroes.

Thomas, in Arras, is pithier: “What is to be done?”

The complaints are only roughly parallel, but the two poets’ searchings for solace in today’s diary entries are very similar–they look to the birds. Thomas:

No thrushes, yet, but a chaffinch says “Chink” in the chestnut in our garden…[4]

And Sassoon:

There are miles of pine-woods on one side of the camp; I went a walk among the quiet sterns yesterday… The silence, and the clean air did me good… I can see God among the pine trees where birds are flitting and chirping.[5]

But for Sassoon–an infantry officer, as he reminds us–the straight line from birds to spring does not describe an uplifting course: spring means the Spring Offensive. Nevertheless, these poets are for the birds, and tomorrow they will remain closely attuned.

 

Richard Aldington wrote again to F.S. Flint today, and once again we find that while infantrymen suffer the casual cruelty of shelling, they are better positioned than most to administer the casual critical cruelty of criticism: a man who carries all his belongings makes serious choices when he chooses to read, or to withhold the space for reading. Aldington is yet to see the front line, and so he presumably has at least some time to read, and though he must carry his pack, he isn’t stripping it down to the barest trench-essentials…

The good news is that he has read a fellow Imagist, and a fellow Writer That We Read… the bad news for this letter’s recipient is that it’s not his best pal Franky Flint.

My dear Franky,

If I wished to torment you I could invent all sorts of terrifying yarns about the fate of your m.s. You are too sensitive about it. And in any case, know that I respect always poems & H.D.’s letters. Your manuscript is in my pack & will remain there until it is crushed by many route marches, when I will solemnly devote it to Vulcan…

Ah but Aldington is only twitting Flint, here. He has just written that he read and liked the poems; this letter, evidently, is gentle mockery for Flint’s having inquired too soon, showing anxiety before the appreciative return-letter could possibly reach him.

You fill me with nostalgia when you speak of your evenings with Yeats, discussing Claudel & Peguy & Gide. Why man alive, I could talk with battalions & battalions of men & not find one who had ever heard of Claudel or even of Yeats…

Have you seen Manning’s poems? You don’t mention them, so I imagine you haven’t. Some of them are really fine, some quite good, & a residue rotten; but there is enough good stuff in the book to make it quite worth while. You must get a copy when it comes out…[6]

Yes; Frederic Manning’s biography (in both senses) is such that I have more or less missed the writing and publication of his poems. Aldington mentioned the book in that recent letter (and he surely does rate the poetry above Flint’s) but it is striking that Manning, who moved in the literary world before the war but has had a checkered career in the army, somehow managed to get Eidola (1917) published early this year, when he spent most of the autumn on the Somme. But then again Ivor Gurney is attempting the same feat…

 

Finally, today, a brief update from Charles Scott Moncrieff:

22nd February, 1917

. . . A new and strange job. I relieved Campbell Johnson last night in the Command of a Prisoners of War Company and am in a very comfortable little hut with tables and chairs, china plates, a lamp, etc. Near my hut is a large cage containing 500 Germans—who do the most amazing amount of work in various ways, and seem clean and good and docile.[7]

A strange job indeed, but the comfort will matter: whether commanding the prisoners or returning to hospital[8] when his illness flares up, Moncrieff will have a great deal of time to himself. While our poets in the trenches struggle to commit anything to writing, he will be able to further the work he did during his leave in establishing himself as a critic and essayist.

 

References and Footnotes

  1. Good-Bye to All That, 242-3.
  2. The War the Infantry Knew, 299-300.
  3. Undertones of War, 146.
  4. War Diaries, (Childhood), 163.
  5. Diaries, 133-4.
  6. Imagist Dialogues, 190-1.
  7. Diaries, 125.
  8. Scott Moncrieff's poor health, although he bears it stoically in his letters, might be looked upon as essential preparation for the major work he will one day take up...

Isaac Rosenberg, Strained and Weak; F.S. Flint is Read (by Richard Aldington) and Freely Given (by Ford Madox Hueffer)

Today is a day of literary letters, headed back across the channel in loose formation, nodding to each other in terse recognition, and speeding their pleas to the same few destinations. First, a wilting off-shoot of the Georgian/Dymock set–and after him the Modernists.

Isaac Rosenberg had written to Gordon Bottomley in early January about his plans–lousy and otherwise–and his reading.  He was fairly chipper, then, even about his miseries: “I fancy it was a touch of the flue… I wonder if Aeschylus as a private in the army was bothered as I am by lice.” Less so, in a letter postmarked today, a century back:

Dear Mr Bottomley

Your letters always give me a strange and large pleasure; and I shall never think I have written poetry in vain, since it has brought your friendliness in my way. Now, feeling as I am, castaway and used up, you don’t know what a letter like yours is to me. Ever since Nov, when we first started on our long marches, I have felt weak; but it seems to be some inscrutable mysterious quality of weakness that defies all doctors… I believe I have strained my abdomen in some way…[1]

Still, the letter included a “sketch” of “Louse Hunting,” and all was not as dark as Rosenberg’s mood. Not long ago Eddie Marsh had written–informally, of course–to Rosenberg’s adjutant, with the result that he will be transferred, probably at some point this month, from the “works” battalion to a less labor-intensive job in a trench mortar unit.[2]

 

It’s a small literary world: Bottomley is good friends with Edward Thomas and central to the now far-flung Dymock crew. Rupert Brooke was the strongest connection between Dymock and the Georgian Anthology, but Bottomley and de la Mare are others, and even if Thomas has avoided Marsh’s influence they are known to each other. And Marsh, of course, is not intervening lightly in Rosenberg’s military career–he was also a crucial early patron. Between Bottomley and Marsh there are few promising young writers of somewhat traditional verse more than one friendly letter away.

But oh yes–there are other literary microcosmoi, and with our advantage of historical vantage, we know that another small world considering au courant and modern will grab the stage and boot Georgian Poetry into the footlights. Or footnotes.

The Modernists, grouped around a few small journals,[3] see the Georgians more as almost indecently exposed targets of opportunity, prim ladies showing a touch of ankle while the Imagists are stripping to their all togethers to describe. Although Richard Aldington ceded his editorial post at The Egoist to his wife, H.D., when he went for a soldier, he still knows who and what to read.

Yesterday, a century back, Aldington wrote to F.S. Flint, his good friend and fellow subaltern in the Modernist enterprise; today, the august Ford Madox Hueffer, something of an elder statesman among the young ruffians (how’s that?) aimed a missive at the same target. We may set a record, today, for box-barrage-style name-dropping.

Although Aldington could hardly be more unlike his fellow poetical footslogger Ivor Gurney in either personality or poetic  predilection–Gurney has made a literal Dymock pilgrimage–the two rising poets and private soldiers offer the same criterion for poetic appreciation: is it pack-worthy?

My dear Franky,

I carried your poem and Manning’s poems in my pack for I know not how many kilometres–what more devotion to
literature can you ask? I am immensely pleased by your poem, & as I wrote to H.D., feel that it justifies amply your months of silence… Certainly, compel Monro to print the poem in a chap-book & add any “dug-outs” you have…

The horrid thought strikes me that, if U.S. goes to war, Amy will insist on writing and publishing patriotic verse. This must be barred strenuously–we have foreborn to intrude our nationalism, to “let wrath embitter the sweet mouth of song”; so must she. I have sent H.D. a few scraps of vers libre put down from time to time recently. They may not be much good, for I think they are lazy due to a state of intoxication derived from the happy discovery that one can boil Quaker Oats in one’s “billycan”…

This concern–that Amy Lowell will influence the decline of Modern poetry in America even as she has helped to elevate in England, fades into yet another reverie about war’s end. A popular topic, this winter:

I am back for “a rest”, having shed no blood of my own or anyone else’s, save when I gashed my thumb on a bullybeef tin. And poor May Sinclair will go on thinking I’m an ’eroe”! What women have to answer for! After the war–when everything will of course be ideal–we must rendez vous in your earthly paradise & idle long days in sun and long grass… I desire my Horatian otium cum dignitate [leisure with dignity] just as much as ever. If I get back you will not find me a rampagious & lustful legionary, but the same apostle of pastoral culture as of old. Old books, old wine, old pictures–young women & young songs…

Well, I will conclude this empty raving…

Au revoir, old lad, & a hundred congratulations on your fine piece of work.

R.

“Empty raving,” quotha? Naturally, but this is something a man–a ponderous master like Ford Madox Hueffer–could do with a lighter sort of brio, especially if he is behind the likes of drunken junior Modernist officer cadets like Manning…

Attd. IX Welch, No. 6, 1.B.D.
B.E.F., France
19.2.17

I very ungraciously didn’t answer yr. letter–wh. reached me in the far South. However, I was lazy there–where the Mediterranean spurts up into the rosemary and lavender. But this is the bare, cold & trampled North, with nothing
but khaki for miles & miles…Bare downs… & tents… & wet valleys… & tents…& AAC guns… & mud… & bare
downs…& huts…& bare downs…& RFC…& mud…& motor lorries… & mud… & bare downs.

And I am promoted to Adj.–& run a Bn. much as I used to run the Eng[lish] Rev[iew]–It’s the same frame of mind, you know, & much, much easier–or more difficult, according to one’s mood…

Surely this great literary effort must in effect be some sort of preamble?

I want to ask you a favour: I somehow pine to publish a vol. of poems before the war ends or I am killed. Cd. you, do you think?, arrange for someone to publish:

Antwerp
The Old Houses
Two or three poems written in the trenches & other nasty places
& Heaven

in one volume? And could you collect and arrange them, somewhat in that order?

…I fancy it wd. make a pretty good volume. I have got rather a good one written to the dead of the Welch Regt & so on…. Let me know?

I do admire yr. work very much–you know. “Cadences” is an ever so beautiful volume.

And here’s the funny bit. “I admire your work very much.” Enough to schlepp it? Surely yes? You are, after all, an officer, with a servant, who hasn’t been in trenches in months, you must have trunks of books…

I gave it to some people in Mentone–not because I.did not value the gift, but because it wd. spread yr. fame a little–& because in my valise here it wd. only disintegrate amongst revolvers & straps & the mud in wh. one lives.

Goodbye, my dear.

I am personally very happy in this sort of life: in the end it suits me better to write:

“O.C. Canadaous will detail a fatigue party of 1 NCO & 10 men at 4:30 a.m…” than to watch the Mediterranean foam spattering over rosemary and lavender–for I don’t believe I am really, really Highbrow–as you truly are.

But God bless you, all the same…[4]

 

References and Footnotes

  1. Liddiard, ed., 89-90.
  2. See Moorcroft Wilson, Isaac Rosenberg, ch. 18.
  3. E.G. Blast, tied to various writers we read here, including Ford, below; and the newer Wheels, featuring the Sitwells and other Grenadier Guardsmen, several Imagist Anthologies... and yes, there are also people like Pound and Eliot being published, somewhere, presumably...
  4. Imagist Dialogues, 182-6.

Robert Graves Informs Robert Nichols; Siegfried Sassoon Closes Another Loop; Ford Madox Hueffer Hymns the High-Life; Olaf Stapledon and Agnes Miller on a Live Wire and Mr. Britling; Richard Aldington Tells Off and Tells a Joke

February, it seems, will rival January as a cold and miserable month that nonetheless provides a great deal of interesting war writing. Poets writing to other poets! Poets reading original acenturyback sources! Tall tales of the troops that are actually funny! More Mr. Britling! Scabrous poets lashing out at all the other poets they can name!

The first piece of… several… today, comes from Robert Graves to his new friend Robert Nichols. Nichols is out of the war, we may recall, and has flatteringly asked Graves–with tongue-in-cheek preciousness–to inspire his poetry by “feeding my faun with cherries.”

2 February 1917

My dear Robert,

What a ripping letter! I wrote you one a day or two ago and though it’s a bad habit I must write another. You’re lucky, to be able to be so happy in England: I couldn’t while the war lasts…

A friendly letter, or a critical one? Mostly the former. With Graves it’s always possible that what might seem like a sharp reference to the experiential gulf–“you’re a civilian now, friend, oh-so-happy in England, while I’m a soldier”–is merely careless, and it certainly seems as if he is otherwise enthusiastic about this new relationship.

Next, Graves ups the ante by writing Nichols not prosy notes to inspire his poetry but rather a poem of his own. This is the revised version of the draft poem “To Robert Nichols” that made up much of today’s letter:

Here by a snowbound river
In scrapen holes we shiver,
And like old bitterns we
Boom to you plaintively:
Robert how can I rhyme
Verses for your desire—
Sleek fauns and cherry-time,
Vague music and green trees,
Hot sun and gentle breeze,
England in June attire,
And life born young again,
For your gay goatish brute
Drunk with warm melody
Singing on beds of thyme
With red and rolling eye,
All the Devonian plain,
Lips dark with juicy stain,
Ears hung with bobbing fruit?
Why should I keep him time?
Why in this cold and rime,
Where even to dream is pain?
No, Robert, there’s no reason:
Cherries are out of season,
Ice grips at branch and root,
And singing birds are mute.

Next, Graves presumes to preach to Nichols, affecting a frank, hale-fellow voice to knock (fairly, however) Nichols’s rather old-fashioned approach. We are Sorley‘s children, now, Robert!

Look here, Robert; I’ll risk your being annoyed, if you are you’d be no friend of mine, but nowadays one doesn’t ‘view the constellations quietly, quietly burning’, at least not after one’s left school. ‘Moral austerity’? Sorley talks of the spiky stars that shine: less luxuriant, sharper, more effective.

Call me a grandmother: I like being ragged. But oh, Robert, you’ve got all the qualities of a poet if you want, and it seems such a rotten stunt for you to sit in a kimono to view constellations quietly, quietly burning, and read Bridges. You want to get away from all that into a new method…

I don’t apologize for this. I mean it and I feel Somme trenches give me the right even to blasphemy of the Holy Spirit if I feel so inclined.

Yours affectionately

Robert[1]

Well, there you have it, quite openly in that last paragraph. There are many bases for asserting authority in poetry. But in war poetry, there is one only–experience. Having fought in “the Somme trenches,” Graves can criticize without restraint all poetry up to and including that which is divinely inspired… and his humorous hyperbole only half-covers the fact that he is less-than-half joking.

 

Siegfried Sassoon, left behind in Litherland Camp and not party to this new poetic friendship, is moping about and reading. ah, but who? One young but old-fashioned poet, and one fallen soldier–each of them one of our sources. Or, rather, one of them a source I came to late in his lie=fe and should have used more, and the other more of a source-to-come.

February 2

And now reading Charles Lister‘s letters in the hut and feeling deadly tired and depressed. I suppose I’ll worry along somehow in France. How, I don’t quite know.

Wilfrid Gibson’s new poems arrived today. He seems to be laying himself out to be a sort of Crabbe (modernised on Masefield Lines). Some of it is very good, but diffuse…

Charles Lister, another of the well-born young men who swarmed into the Royal Naval Division at the start of the war, was a friend of Patrick Shaw-Stewart and Rupert Brooke, and the third of the “Argonauts” to die. Lister’s father published his son’s letters, and while these will not have anything like the influence of Charles Sorley on the younger poets, it is another early case of a feedback loop.

Sassoon is reading one of the books we might read (and have read a bit of) in order to understand the experience of the war. His writing of his own life, therefore–not just in the memoir but in the near-“real-time” of his diary–is now influenced by Great War life-writing.

To reverse chronological course and restore our sense of future-mastery, I’ll note that it’s also interesting that he’s reading Wilfrid Gibson, who is most definitely a Georgian poet, but not–not yet–a war poet. But he will be. Although this project has seen numerous young men accepted despite severe vision problems, Gibson, already in his late thirties when the war broke out, was several times refused when he attempted to volunteer. But 1917 will bring increasing demands for men, and, accordingly, a loosening of such restrictions… so even as Sassoon reads the words of an Edwardian young man now long dead, he is reading the diffuse Georgian poetry of a poet who will soon know war.

 

Some weeks ago we dispatched the ailing Ford Madox Hueffer to the south of France. Another one of those hospital nightmares? Oh no, my friends!

…we had lived like gentlemen. A peeress of untellable wealth and inexhaustible benevolence had taken, for us alone, all the Hôtel Cap Martin [in Menton, on the French Riviera]–staff, kitchens, chef, wine-cellars. We sat at little tables in fantastically palmed and flowering rooms and looked, from the shadows of marble walls, over a Mediterranean that blazed in the winter sunlight. We ate Tournedos Meyerbeer and drank Château Pavie, 1906. We slept in royal suites… You looked round and remembered for a second that we were all being fattened for slaughter… But we had endless automobiles at our disposal and Monte Carlo was round the corner.

Yes, fattened for the slaughter–perhaps. But having pushed hard to see actual service in France, Ford is now hoping to escape the trenches, and one imagines that others who have gotten as far as the Riviera will as well. But surely not all.

There is so much to comment on, here–and letters to go before we sleep–but let’s try to register three critical touches.

First, it’s safe to say that Ford’s gambling in Monte Carlo–he won steadily using a mathematical system devised by a brilliant friend, then got bored and gambled it away again–alongside various eccentric aristocrats puts Sassoon’s fox hunting and golf to shame as an activity unbecoming an officer who is supposed to be disabled…

Second, a comparison to George Coppard‘s birthday memory is illuminating. For an enlisted man to land at an English aristocrat’s hospital where he will be pampered for a few weeks and given free cigarettes is “dead lucky;” but for an officer and high-liver like Hueffer/Ford to be moved to a similar admission–“untellable… inexhaustible… fantastically”–it takes Monte Carlo, succulent meats, fine Bordeaux, and endless automobiles…

Third, Ford is a bit of a genius. He will write the one and only High Modernist masterpiece dealing with the war, but that, in many ways, sprung fully-formed out of his possibly exaggerated shell shock and (other) modernist commitments. As this scrap of memoir makes clear, he might have been considered instead the forerunner of the realist-absurd World War Two style, or even of Post-Modernism in its beautiful chaos phase. By which I mean Heller, and then Pynchon–who else? If some of Ford’s descriptions recall the earnest efforts of Milo Minderbinder, this transition from French beachfront merriment to hard-edged despair is something that Tyrone Slothrop might have experienced (Ford would have added a trained octopus and mysterious femme fatale if he had known he could get away with it):

…On the 2nd of February, 1917 I had stood on that platform. There had been an icy wind and snow falling. I was going up the line again. If you have asked me then whether I felt despair I should have denied it–mildly. I had been conscious of being dull and numbed in a dull, numb station. All France up to Hazebrouck in Flanders was deep in snow. I was going to Hazebrouck in Flanders.[2]

 

But back to earth, now, with an unlikely pair: young lovers whose warrior half is not a warrior but a pacifist medic, firmly rooted in his dreams of the stars. Half a world away, today, a century back, Olaf Stapledon and Agnes Miller wrote to each other. I don’t often include much from Agnes’s letters–they tell of civilian life in Australia, and often engage Olaf in philosophical discussion–but today her question (ought America to join the war?) brings in the text-of-the-moment:

…there was a little paragraph in Wells’ book “Mr. Britling Sees It Through” which made me want America not to fight. It was where the young American explained that his country will betray her trust if she allowed herself to be drawn into war. He said America was the field for humanity to make a fresh start in, to turn over a new leaf, & it would be wrong got her to go back to the old lines. Do you think that?

Up until a few weeks ago. Oh, apologies–she was asking Olaf.

It would seem that although Olaf and Agnes are half a world away, they are on the same side of that generational gap, the biggest stumbling block on the approach to the experiential gulf. Never has Agnes Miller sounded so much like Vera Brittain (the Vera Brittain of 1914 and 1915).

Have you read “Mr. Britling” yet? I want to read it again to myself. We are going to discuss it at one of the Seekers meetings this year. Hugh’s letters made me cry. Dad said after reading one very harrowing one, “Well, it’s quite understandable that the men themselves wouldn’t see beyond their own trenches. They wouldn’t take a broad view.”–& I wanted to burst out indignantly, “No & why should they? Poor men! Why should anyone see beyond all the filth of it. They were not meant to, war is not the right way. It’s all a hideous madness.”–but I couldn’t have said anything without bursting into tears, so I said naught.

And Olaf, who will receive this letter in a month or two, is writing to Agnes about a book he is reading,

about feminism and marriage and love and the evolution of a nobler kind of society. The point of it all is really very simple, namely that women… must become free & independent economically and spiritually.

The world could do with more such. But he’s not here because he’s a good lad and a conscientious liberal–he’s here because he’s a good writer. Here’s a lovely metaphor:

Dear, you know how an electric wire conveys a current, and how if the current is too strong for it the wire fuses–goes white hot and breaks. Well, all this poor letter writing business is our electric wire, and it is too thin a wire for the current of understanding and sympathy and love that has to pass along it, that must pass along… When we meet, girl, there will be such a lot to learn of one another… The best thing I have learnt in these years of war is the sense of the supreme worth of sincerity in human thoughts and feelings…[3]

 

It’s been a long day and this is perhaps too much, but in guilt–or righteous concession–over the extent to which my dislike for Richard Aldington‘s personality and fiction informs my reading of his letters, I must include this one (to F.S. Flint, as usual). Aldington is certainly warming to the task:

My brave,

I fear my letter worried & annoyed you–but you must permit me a “grouch” occasionally. “The flesh is sad, alas”–& I have no books to read. Sometimes I wish you were here. One can “wag the beard” quite freely while working & we could discuss cadence & quantity & rhythm to the sound of pick and shovel…

So the weather is cold with you? Imagine! Here it is subtropical. We live on iced champagne & salads. The R.F.A. wear nothing but their trousers & socks. It is reported that the R.S.F. have abandoned all clothing except Japanese
umbrellas & fans.

The amazing thing is that in spite of the heat my shaving and tooth brushes are stiff with ice each morning. I have to thaw my towel before it will bend, the jam in tins is covered with a “crust” of ice &…but why continue? You think I
exaggerate? Come & see!

A yarn. Quidam barbarus–a certain Hun, taken prisoner at X on the 11th of Z was asked by a Tommy how long the
war would last. “Two years more,” quoth Fritz, “then we beat you with the bayonet. You’ll only need one ship to take your lot back then.” “Ho,” said our compatriot in wrath “and your blankety blank lot’ll go ’ome in a copulating perambulator.”

This was told me by one who vowed he’d seen it. No doubt the yarn appeared last June in the Journal & last
Saturday in The Evening Standard, but it’s new to me & maybe to you. I hope you’re edified.

See, that’s funny. And the joke requires three participants: the German stooge; the earthy lower-class Briton, profane but, on his best behavior, searching for euphemism; and the well-bred ear, there to appreciate the word-substitution (which was not a new necessity among those who frequently salted their speech with the earthy latrinogrammatic first-resorts represented by “copulating,” but seems to still give a frisson to the middle classes) as well as the metrical superabundance that makes “copulating perambulator” such a joy to find in a sentence that could have been, in a less eloquent age, “screw you, buddy.”

Finally, Aldington, for all that he is an enlisted laborer, now, is a very productive writer, and not only of letters. I’ve already excised about ten literary name-drops from this one, but it now becomes clear what Aldington is up to:

I wrote an article in malicious mood on modern English poetry in which I abused decisively & praised ironically some score of our villainous pundits of the pen. Still it was a poor affair–I lack verve & venom…

What do you think? A new Dunciad in prose with Abercrombie & Kipling & all that lousy crew round Monro elegantly dished and derided.

Perhaps this is what Aldington currently believes that his lowly stance in a copulating navvying unit might help him achieve: it’s a good crouch from which to chuck heavy objects at the marble busts atop the world of poetry. Kipling, popular master of the waning empire; Abercrombie, the reigning Georgian; and Harold Monro as the portfolio-holder for the rising-unmoderns.

Or he just wants to heap invective on a major modernist who has criticized–and critically!–Aldington’s recent translations from the Greek:

…a propos, that fatted imbecile of destruction, Eliot… Slay me this imbecile with a note to ’Arriet. “The Greeks put intelligence on their tombstones” quotha. Many, and the Yanks cannot even get it into the periodicals of their intellectual élite. Consult H.D. and use information and indignation here supplied to expose this festering lunatic, this bunion on the souls of Pound, this comPound [sic], this insult to God!

If you need it borrow some money from H.D. She usually gets a “check” about the 10th” of the month. Call
then…

Cheer up! Why I may be blown to bits to-morrow. Then you can write my biography.

Thine
R.[4]

Well, he sounds like he’s having a good time…

 

References and Footnotes

  1. In Broken Images, 65-66.
  2. War Prose, 65-7.
  3. Talking Across the World, 203-4.
  4. Imagist Dialogues, 180-2.