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ww 1 FRAGMENTS   is  a quiet space where I share small pieces of history from the First World War. Over the past several years, I’ve written or published more than seventeen books about the Great War, each exploring different moments, experiences, voices, and first-person accounts from the conflict— fragments that still resonate more than a century later. Every week, I’ll be posting short passages from my books, occasional photographs, and small historical details that deserve a place of their own. Nothing long or overwhelming—just special moments from the Great War, presented one fragment at a time.   Thank you for visiting my blog. I hope you’ll join me on this quiet journey into yesterday. . . . . . Next time: KILLING FIELDS of WORLD WAR ONE by Cotter Bass.   Never miss a new Post! Scroll down to the lower left sidebar to enter your email address for your FREE subscription. You’ll get every new Post from ww1 FRAGMENTS sent straight to your inb...

THE GLORY OF THE TRENCHES

OVERVIEW:

THE GLORY OF THE TRENCHES by Coningsby Dawson is a historical account written during the early 20th century, specifically around the time of World War I. The work presents a profound exploration of the experiences of soldiers in the trenches, focusing on the spiritual and emotional landscapes they traverse amid the horror of war. Through poetry and personal reflections, Dawson conveys the essence of camaraderie, sacrifice, and the often-overlooked nobility of the soldiers who endure unimaginable hardships. The opening of the book introduces the author’s experiences following his wounding in battle, as he transitions from the horrors of the front lines to the relative tranquility of a military hospital in London. Dawson's reflections reveal the overwhelming relief and delight he feels at the simple pleasures of cleanliness and care, contrasting sharply with the grim conditions he endured at the Front. He keenly observes the selfless nature of the nurses tending to the wounded and reflects on the spiritual transformation that occurs in soldiers during war. The author emphasizes the importance of recognizing not just the physical trauma of battle, but the underlying heroism and humanity displayed by soldiers, ultimately setting the tone for a narrative that seeks to illustrate the "glory" found within the trenches.

The following excerpt from THE GLORY OF THE TRENCHES is titled III.  GOD AS WE SEE HIM:

III.   GOD AS WE SEE HIM

For some time before I was wounded, we had been in very hot places. We could scarcely expect them to be otherwise, for we had put on show after show. A “show” in our language, I should explain, has nothing in common with a theatrical performance, though it does not lack drama. We make the term apply to any method of irritating the Hun, from a trench raid to a big offensive. The Hun was decidedly annoyed. He had very good reason. We were occupying the dugouts which he had spent two years in building with French civilian labor. His U-boat threats had failed. He had offered us the olive-branch, and his peace terms had been rejected with a peal of guns all along the Western Front. He had shown his disapproval of us by paying particular attention to our batteries; as a consequence, our shell dressings were all used up, having gone out with the gentlemen on stretchers who were contemplating a vacation in Blighty. We couldn't get enough to replace them. There was a hitch somewhere. The demand for shell dressings exceeded the supply. So I got on my horse one Sunday and, with my groom accompanying me, rode into the back-country to see if I couldn't pick some up at various Field Dressing Stations and Collecting Points.

In the course of my wanderings, I came to a cathedral city. It was a city which was and still is beautiful, despite the constant bombardments. The Huns had just finished hurling a few more tons of explosives into it as my groom and I entered. The streets were deserted; it might have been a city of the dead. There was no sound, except the ringing iron of our horseshoes on the cobble pavement. Here and there we came to what looked like a barricade which barred our progress; actually, it was the piled up walls and rubbish of buildings which had collapsed. From cellars, now and then, faces of women, children, and ancient men peered out—they were sharp and pointed like rats. One's imagination went back five hundred years—everything seemed medieval, short-lived, and brutal. This might have been Limoges after the Black Prince had finished massacring its citizens, or it might have been Paris, when the wolves came down and François Villon tried to find lodging for the night.


I turned up through narrow alleys where grass was growing and found myself, almost by accident, in a garden. It was a green and spacious garden, with fifteen-foot walls about it and flowers which scattered themselves broadcast in neglected riot. We dismounted and tied our horses. Wandering along its paths, we came across little summer-houses, statues, fountains, and then, without any hindrance, found ourselves in the nave of a fine cathedral which was roofed only by the sky. Two years of the Huns had made it as much a ruin as Tintern Abbey. Here, too, the flowers had intruded. They grew between graves in the pavement and scrambled up the walls wherever they could find a foothold. At the far end of this stretch of destruction stood the high altar, totally untouched by the hurricane of shellfire. The saints were perched in their niches, composed and stately. The Christ looked down from His cross, as he had done for centuries, sweeping the length of splendid architecture with sad eyes. It seemed a miracle that the altar had been spared when everything else had fallen. A reason is given for its escape. Every Sabbath since the start of the war, no matter how severe the bombardment, service has been held there. The thin-faced women, rat-faced children, and ancient men have crept out from their cellars and gathered about the priest; the lamp has been lit, the Host uplifted. The Hun is aware of this; with malice aforethought, he lands shells into the cathedral every Sunday to smash the altar. So far, he has failed. One finds in this a symbol—that in the heart of the maelstrom of horror, which this war has created, there is a quiet place where the lamp of gentleness and honor is kept burning. The Hun will have to do a lot more shelling before he puts the lamp of kindness out. From the polluted trenches of Vimy, the poppies spring up, blazoning abroad in vivid scarlet the heroism of our lads' willing sacrifice. All this April, high above the shouting of our guns, the larks sang joyously. The scarlet of the poppies, the song of the larks, the lamp shining on the altar are only external signs of the unconquerable, happy religion which lies hidden in the hearts of our men. Their religion is the religion of heroism, which they have learnt in the glory of the trenches.

There is a line from William Morris's Earthly Paradise which used to haunt me, especially in the early days when I was first experiencing what war really meant. Since returning for a brief time to where books are accessible, I have looked up the quotation. It reads as follows:—

  “Of Heaven or Hell I have no power to sing,

   I cannot ease the burden of your fears

   Or make quick-coming death a little thing.”

It is the last line that makes me smile rather quietly, “Or make quick-coming death a little thing.” I smile because the souls who wear khaki have learnt to do just that. Morris goes on to say that all he can do to make people happy is to tell them deathless stories about heroes who have passed into the world of the imagination, and, because of that, are immune to death. He calls himself “the idle singer of an empty day.” How typical he is of the days before the war, when people had only pin-pricks to endure, and, consequently, didn't exert themselves to be brave! A big sacrifice, which bankrupts one's life, is always more bearable than the little inevitable annoyances of sickness, disappointment, and dying in a bed. It's easier for Christ to go to Calvary than for an onlooker to lose a night's sleep in the garden. When the world went well with us before the war, we were doubters. Nearly all the fiction of the past fifteen years is proof of that—it records our fear of failure, sex, old age, and particularly of a God who refuses to explain Himself. Now, when we have thrust the world, affections, life itself behind us, and gaze hourly into the eyes of Death, belief comes as simply and clearly as it did when we were children. Curious and extraordinary! The burden of our fears has slipped from our shoulders in our attempt to do something for others; the unbelievable and long-coveted miracle has happened—at last to every soul who has grasped his chance of heroism, quick-coming death has become a fifth-rate calamity.


You can find the complete eBook THE GLORY OF THE TRENCHES by Coningsby Dawson at: https://tinyurl.com/v3pxdazb

Complete World War One works of author Cotter Bass and Moonshadow Publishing: https://tinyurl.com/4v68wcy8

Complete works of Cotter Bass and Moonshadow Publishing: https://moonshadow-publishing-shop.fourthwall.com


Next time: A GERMAN DESERTER’S WAR EXPERIENCES by Anonymous . . . . .

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