Posts Tagged ‘Somme battlefields’

Herbert Asquith: The Volunteer

June 6, 2018

Here lies a clerk who half his life had spent
Toiling at ledgers in a city grey,
Thinking that so his days would drift away
With no lance broken in life’s tournament
Yet ever ‘twixt the books and his bright eyes
The gleaming eagles of the legions came,
And horsemen, charging under phantom skies,
Went thundering past beneath the oriflamme.

And now those waiting dreams are satisfied
From twilight to the halls of dawn he went;
His lance is broken; but he lies content
With that high hour, in which he lived and died.
And falling thus, he wants no recompense,
Who found his battle in the last resort
Nor needs he any hearse to bear him hence,
Who goes to join the men of Agincourt.

Hindsight means it’s hard for us nowadays to get our minds around the idea that anyone might volunteer for the hell that was the trenches of the Great War, and yet we know that hundreds of thousands did, before conscription came in, and went to their deaths, doing what they believed to be their duty for King and country. Asquith’s anonymous subject is one of them: in a careful and regularly structured poem, we get the before and the after, the volunteering and the death.

The man is bored with his humdrum life: no difference here from the feelings expressed in Brooke’s sonnet Peace: Now God be thanked who hath matched us with his hour… war offers a change, the potential for being really alive, not toiling (note the choice of word: why is it better than working, which would also fit the metre? Listen to that oi sound in the middle of the word: what does it do?). And yet his imagination is back in an Arthurian or mediaeval world, thinking of lance and tournament. Look at the repetition of of the g sound in gleaming, eagles, legions (almost!) – and what is the effect of the assonance in the long ea sound in each of those words… emphasising eagerness and excitement to get involved, perhaps? There is a stunning and colourful visual picture conjured up in the clerk’s mind, to contrast with the city grey

And now: a subtle shift of mood here, at the start of the second stanza, hinted at in those two words: we know it was an illusion and the man is dead. But in the mediaeval setting of his imagination, he is a hero, for the halls of dawn are surely Valhalla, where the Norse heroes went after death. The man is content with what he did, the poet tells us, having done what he wished: fought and died. We may feel he needs no hearse because there may be nothing left of him to put in it, but that is our hindsight and twentieth-century cynicism speaking; the mention of Agincourt links him immediately and irrevocably with that speech in Shakespeare’s Henry V, and there is a slight sense of irony – or appropriateness? – because the village of Azincourt is in Picardy, on the edge of the Somme battlefield.

What is the poet’s attitude, in the end? What is the tone of the poem: is the volunteer mocked for his futile actions and innocent beliefs, or is his choice and his deed accepted for what it was? I find it hard to judge: I am so far from those times and the ways they thought back then, and the text reflects the times. But I do think this poem had to have been written in the early months of the war.

On the Great War

February 13, 2014

I know I will be revisiting some of the literature of the First World War over the coming months and years. With the arguments about the rights and wrongs, the blame, whether to celebrate or commemorate already under way, in the usual unseemly fashion here in Britain anyway, I decide to put some thoughts on paper.

We remember (supposedly) the war(s) and war dead every year on 11 November. It has increasingly become a matter of routine: do we actually reflect on what it means? To me, the centenary means an opportunity to slow down, and to think properly about what actually happened, and how it has affected our word today. For me, it’s about commemoration, and respect for the dead.

The blame game – who started it, whose fault was it? – is irrelevant, really: the war happened, all those people died. That cannot be undone. Politicians’ job now is to ensure such things never happen again.

We will have the opportunity to remember the actual horror that war is – the deaths, the injuries, the maimings, the mourning: there will be plenty of detail about all that. We need to realise that such things happen in all wars, everywhere, whether our country is involved or not, whether we think a war is ‘just’ (?) or not.

The traces of the Great War remain with us: the places, the cemeteries (I was left at a loss for words so many times on my visit to the Somme battlefields last autumn), the art and the writing. I’m going to write about my reactions to writers from the countries that were involved.

More importantly, the consequences of the Great war are still with us. Eric Hobsbawm‘s massive history contains a volume entitled Age of Extremes: The Short Twentieth Century 1914-1991. It’s a fascinating take on the period, which has always made sense to me: everything flowed from that war – communism and its associated excesses, fascism, the Second World War, the Cold War, and the millions of deaths associated with them. As half-Polish, I remember that Poland re-emerged as an independent nation as a result of the war. And the crazy boundaries in the Middle East, drawn by French and British diplomats and bureaucrats continue to wreck the lives of so many people.

I’ve always felt that war solves nothing. That’s not intended as a glib statement, and it’s sometimes hard to defend, but, as a self-labelled ‘intelligent species’ it’s one that I hope many people will be reflecting on over the next four years.

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