No More Poppies

Over the years I have written quite a few pieces on this blog, around the time of Remembrance Sunday, about the wearing of a poppy, the last being in 2016. I have worn a poppy at this time of year for most of my adult life, but in 2017 I decided to stop.

For one thing, there is no pressure to wear a poppy here in Ireland. Indeed, many Irish people see the poppy mainly as a symbol of British militarism and colonial oppression. At a concert to mark the Armistice last year I saw only a few audience members wearing a poppy, and most of them were the shamrock version commemorating the sacrifice of Irish soldiers during the Great War.

But I don’t think I’ve ever really been that susceptible to peer pressure, so that’s not the main reason for my not wearing a poppy. The main reason is that over the past couple of years the poppy has been appropriated by the likes of racist thug, career criminal and founder-member of the EDL, Stephen Yaxley-Lennon (also known as Tommy Robinson):

I simply cannot bring myself to wear the same badge as this horrible racist gobshite, nor can I stand the hypocrisy of those politicians who make a show of wearing it while happily encouraging the rise of nationalism that caused all the suffering just a century ago. The message of the poppy is supposed to be `Lest We Forget’. I’m afraid far too many have already forgotten.

I have a lecture on Monday 11th November at 11am, when the traditional two minutes’ silence to mark the 1918 armistice is observed. Fortunately, lectures at Maynooth run from five past the hour until five to, so I will be able to observe this on my own before I start the lecture. But I won’t be wearing a poppy.

Is it disrespectful to the war dead to refuse to wear a poppy? No, of course it isn’t. What is disrespectful to them is to seek to reoeat the mistakes that led to wars in the first place.

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A Suspension of Hostilities

Among all the images produced during this weekend’s commemorations of the centenary of Armistice Day, this image of Angela Merkel and Emmanuel Macron struck me as particularly moving.

Part of the reasons is that it reminded me of this photograph, of President Mitterand and Chancellor Kohl, taken in 1984:

Exactly one hundred years after the truce that effectively ended the First World War, these images remind us how much suffering took place before Europe reached a point at which war between France and Germany became unthinkable. That peace now looks increasingly fragile as the forces of nationalism, spurred on by populist demagogues, and funded by greedy disaster capitalists, threaten to tear apart the institutions that have brought Europe together in a spirit of mutual cooperation for so long. All that has been achieved could so easily be lost.

As Fintan O’Toole has written in a long article in this weekend’s Irish Times, the First World War is, in many ways, still being fought. The Second World War was certainly very much a continuation of the First, after a break of just over twenty years, to which the short-sightedness of Western governments in their treatment of Germany was a contributing factor. The end of the First World War saw not only the disintegration of the German Empire (and the abdication of the Kaiser), but also the collapse of Tsarist Russia, and the end of the Austro-Hungarian and Ottoman Empires to boot. We are still living with the consequences of that upheaval.

All this reminds us – or should remind us – that the word `armistice’ means `a truce’ or `a suspension of hostilities’ rather than a lasting peace, and it is by no means impossible we could be sleepwalking to disaster once more. As President Macron put it in his speech today

Les démons anciens resurgissent : des idéologies nouvelles manipulent des religions, l’Histoire menace de reprendre son cours tragique. Faisons une fois de plus ce serment des Nations de placer la paix plus haut que tout, car nous en connaissons le prix.

Frankly, I fear very much for the future and take solace only in the fact that I am no longer young.

I have found the pomp and ceremony of this year’s official Armistice commemorations very difficult to endure. Perhaps there are some people, including some in high places, who have learned the lessons of history, but it is also clear that there are very many who have not.

Which brings me to the poppy. I have written quite a few pieces on this blog, around the time of Remembrance Sunday, about the wearing of a poppy, the last being in 2016. I have worn a poppy at this time of year for most of my adult life, but I decided last year to stop.

For one thing, there is no pressure to wear a poppy here in Ireland. Indeed, many Irish people see the poppy mainly as a symbol of British militarism and colonial oppression. Even at Friday’s concert to mark the Armistice I saw only a few audience members wearing a poppy, and most of them were the shamrock version commemorating the sacrifice of Irish soldiers during the Great War.

But I don’t think I’ve ever really been that susceptible to peer pressure, so that’s not the main reason for my not wearing a poppy. The main reason is that over the past couple of years the poppy has been appropriated by the likes of racist thug, career criminal and founder-member of the EDL, Stephen Yaxley-Lennon (also known as Tommy Robinson):

I simply cannot bring myself to wear the same badge as this creature, nor can I stand the hypocrisy of those politicians who make a show of wearing it while happily encouraging the rise of nationalism. Enough is enough. The message of the poppy is supposed to be `Lest We Forget’. I’m afraid far too many have already forgotten.

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The Last Post – Cardiff University Remembers

 

If you think a lot has happened since July 1st this year, pause a moment to reflect on the fact that 100 years ago today the Battle of the Somme was still raging.

 

Lest we forget.

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Insensibility

It’s the Eleventh Day of the Eleventh Month which means it’s Remembrance Day. I’ve posted about my thoughts about this time of year before (see, for example, here and here). Rather than say it all again, therefore, I decided to post a poem by the greatest poet of the First World War, Wilfred Owen. I might even go as far as to say that this is Wilfred Owen’s greatest poem. It’s certainly one of his most complex and ambivalent works, as it juxtaposes the necessary insensitivity of men who have to survive in conditions so appalling
that they might otherwise go mad, with the unawakened or even wilful insensibility of people who have never been confronted with the horror of what war is really like. Lest we forget.

I

Happy are men who yet before they are killed
Can let their veins run cold.
Whom no compassion fleers
Or makes their feet
Sore on the alleys cobbled with their brothers.
The front line withers,
But they are troops who fade, not flowers
For poets’ tearful fooling:
Men, gaps for filling
Losses who might have fought
Longer; but no one bothers.

II

And some cease feeling
Even themselves or for themselves.
Dullness best solves
The tease and doubt of shelling,
And Chance’s strange arithmetic
Comes simpler than the reckoning of their shilling.
They keep no check on Armies’ decimation.

III

Happy are these who lose imagination:
They have enough to carry with ammunition.
Their spirit drags no pack.
Their old wounds save with cold can not more ache.
Having seen all things red,
Their eyes are rid
Of the hurt of the colour of blood for ever.
And terror’s first constriction over,
Their hearts remain small drawn.
Their senses in some scorching cautery of battle
Now long since ironed,
Can laugh among the dying, unconcerned.

IV

Happy the soldier home, with not a notion
How somewhere, every dawn, some men attack,
And many sighs are drained.
Happy the lad whose mind was never trained:
His days are worth forgetting more than not.
He sings along the march
Which we march taciturn, because of dusk,
The long, forlorn, relentless trend
From larger day to huger night.

V

We wise, who with a thought besmirch
Blood over all our soul,
How should we see our task
But through his blunt and lashless eyes?
Alive, he is not vital overmuch;
Dying, not mortal overmuch;
Nor sad, nor proud,
Nor curious at all.
He cannot tell
Old men’s placidity from his.

VI

But cursed are dullards whom no cannon stuns,
That they should be as stones.
Wretched are they, and mean
With paucity that never was simplicity.
By choice they made themselves immune
To pity and whatever mourns in man
Before the last sea and the hapless stars;
Whatever mourns when many leave these shores;
Whatever shares
The eternal reciprocity of tears.

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Observances

Just for the record, I sneaked back to my office a little early from this morning’s coffee break, closed the door, and at 11am precisely stood alone for the two minutes’ silence that marks Armistice Day. Cardiff University organised a collective Act of Remembrance in which the two minutes’ silence was preceded by prayers and to which all staff and students were invited. I am, however, not a Christian and the religious dimension means nothing to me, so I did what I prefer to do as long as circumstances permit and marked the occasion on my own.

As I stood in my office looking out over the road, I could see a small group of young people, presumably students, standing outside in silence with their heads bowed. I don’t really understand why but a solitary tear fell from my eye as I watched them.

At 11.02 I went back to work.

Lest we forget.

Statistics

Not many summers ago, in 2004, I spent an enjoyable day walking in the beautiful Peak District of Derbyshire followed by an evening at the opera in the pleasant spa town of Buxton, where there is an annual music festival. The opera I saw was A Turn of the Screw, by Benjamin Britten: a little incongruous for Buxton’s fine little Opera House which is decorated with chintzy Edwardiana and which was probably intended for performances of Gilbert & Sullivan comic operettas rather than stark tales of psychological terror. When Buxton’s theatre was built, in 1903, the town was a fashionable resort at which the well-to-do could take the waters and relax in the comfort of one of the many smart hotels.

Arriving over an hour before the opera started, I took a walk around the place and ended up on a small hill overlooking the town centre where I found the local war memorial. This is typical of the sort of thing one can see in small towns the length and breadth of Britain. It lists the names and dates of those killed during the “Great War” (1914-1918). Actually, it lists the names but mostly there is only one date, 1916.

The 1st Battalion of the Nottingham and Derbyshire Regiment (known as the Sherwood Foresters) took part in the Battle of the Somme that started on 1st July 1916. For many of them it ended that day too. Some of their names are listed on Buxton’s memorial. On the first day of this offensive, the British Army suffered 58,000 casualties as, all along the western front, troops walked slowly and defencelessly into heavy fire from machine guns that were supposed to have been knocked out by an artillery barrage that had been tragically ineffective. Rather than calling off the attack in the face of this slaughter, the powers that be carried on sending troops to their doom for months on end. By the end of the battle in November that year the British losses were a staggering 420,000, while those on the German side were estimated at half a million.

These numbers are beyond comprehension, but their impact on places like Buxton was measurably real. Buxton became a town of widows. The material loss of manpower made it impossible for many businesses to continue after 1918 and a steep economic decline followed. It never fully recovered from the devastation of 1916 and its pre-war posterity never returned.

And the carnage didn’t end on the Somme. As the “Great War” stumbled on, battle after battle degenerated into bloody fiasco. A year later the Third Battle of Ypres saw another 310,000 dead on the British side as another major assault on the German defences faltered in the mud of Passchendaele. By the end of the War on 11th November 1918, losses on both sides were counted in millions.

The First World War ended a long time ago, and there is now only one living survivor of the British trenches, but the tragedy that it was shouldn’t be forgotten and neither should the sacrifices made by those caught up in the slaughter. Every year, we have Remembrance Sunday (which passed yesterday) for which it is traditional to wear a poppy after John McCrae’s poem In Flanders Fields:

In Flanders fields the poppies blow
Between the crosses, row on row,
That mark our place; and in the sky
The larks, still bravely singing, fly
Scarce heard amid the guns below.

We are the Dead. Short days ago
We lived, felt dawn, saw sunset glow,
Loved and were loved, and now we lie
In Flanders fields.

Take up our quarrel with the foe:
To you from failing hands we throw
The torch; be yours to hold it high.
If ye break faith with us who die
We shall not sleep,
though poppies grow
In Flanders fields.

And tomorrow morning, at the 11th hour of the 11th day of the 11th month – when the guns fell silent 90 years ago – I will stand (as I always do) for the two minutes of silence observed across the country. Some people consider the wearing of a poppy and the observance of the two minutes’ silence to be celebrations of militarism. I don’t. I wear mine with respect for those who have made the ultimate sacrifice (on both sides, including non-combatants, and in all wars not just the “Great” one). As their deaths recede into the past, these rituals are needed to stop us seeing them as mere statistics. Each name on the war memorial at Buxton represents a human life extinguished and is evidence of the capacity for inhumanity which we all possess and from which we must not be allowed to hide.

For me the poppy also symbolises anger for those whose arrogance and mendacity has led us into wars that we should have avoided. I thank my lucky stars that I never had to live through conflict on the scale my grandparents’ generation had to face and curse those who have inflicted that fate on others. I quote another great First World War poet, Siegfried Sassoon (writing here in prose) whose words are as apt today as they were ninety years ago:

I have seen and endured the sufferings of the troops, and I can no longer be a party to prolonging these sufferings for ends which I believe to be evil and unjust. On behalf of all those who are suffering now I make this protest against the deception that is being practised on them; also I believe that I may help to destroy the callous complacency with which the majority of those at home regard the continuance of agonies which they do not share, and which they have not sufficient imagination to realize.

That could just as easily have been written about Iraq (2003) as Flanders (1917).

Benjamin Britten was the reason I went to Buxton that day in 2004 so its only fitting I should mention the moving performance of his War Requiem I listened to yesterday on the radio. This is a powerful work that interleaves the latin mass for the dead with poetry from the greatest of all the war poets, Wilfred Owen. This is his Anthem for Doomed Youth , which is set right at the beginning of the War Requiem, the references in the poem to church services adding tragic irony to his already powerful verse.

What passing-bells for these who die as cattle?
-Only the monstrous anger of the guns.
Only the stuttering rifles’ rapid rattle
Can patter out their hasty orisons.
No mockeries now for them; no prayers nor bells;
Nor any voice of mourning save the choirs,-
The shrill, demented choirs of wailing shells;
And bugles calling for them from sad shires.

What candles may be held to speed them all?
Not in the hands of boys but in their eyes
Shall shine the holy glimmers of good-byes.
The pallor of girls’ brows shall be their pall;
Their flowers the tenderness of patient minds,
And each slow dusk a drawing-down of blinds.

Wilfred Owen died in battle in 1918, aged 25, just a week before the armistice was signed. Another statistic.