The Christmas Truce 1914

“The Truce” Christmas 1914

Though World War I had been raging for only four months, it was already proving to be one of the bloodiest wars in history. Soldiers on both sides were trapped in trenches, exposed to the cold and wet winter weather, covered in mud, and extremely careful of sniper shots. Machines guns had proven their worth in war, bringing new meaning to the word “slaughter.” 

In a place where bloodshed was nearly commonplace and mud and the enemy were fought with equal vigor, something surprising occurred on the front for Christmas in 1914. The men who lay shivering in the trenches embraced the Christmas spirit. In one of the truest acts of goodwill toward men, soldiers from both sides in the southern portion of the Ypres Salient set aside their weapons and hatred, if only temporarily, and met in No Man’s Land. 

Digging In

After the assassination of Archduke Franz Ferdinand on June 28, 1914, the world was plunged into war. Germany, realizing they were likely to face a two-front war, attempted to defeat the western foes before the Russians were able to mobilize their forces in the East (estimated to take six weeks), using the Schlieffen Plan. 

Though the Germans had made a strong offensive into France, French, Belgian, and British forces were able to halt them. However, since they were not able to push the Germans out of France, there was a stalemate and both sides dug into the earth creating a large network of trenches. 

Once the trenches were built, winter rains tried to obliterate them. The rains not only flooded the dug-outs, they turned the trenches into mud holes – a terrible enemy in and of itself. 

It had been pouring, and mud lay deep in the trenches; they were caked from head to foot, and I have never seen anything like their rifles! Not one would work, and they were just lying about the trenches getting stiff and cold. One fellow had got both feet jammed in the clay, and when told to get up by an officer, had to get on all fours; he then got his hands stuck in too, and was caught like a fly on a flypaper; all he could do was look round and say to his pals, ‘For Gawd’s sake, shoot me!’ I laughed till I cried. But they will shake down, directly they learn that the harder one works in the trenches, the drier and more comfortable one can keep both them and oneself.1 
The trenches of both sides were only a few hundred feet apart, buffered by a relatively flat area known as “No Man’s Land.” The stalemate had halted all but a scattered number of small attacks; thus, soldiers on each side spent a large amount of time dealing with the mud, keeping their heads down in order to avoid sniper fire, and watching carefully for any surprise enemy raids on their trench. 

Fraternizing

Restless in their trenches, covered in mud, and eating the same rations every day, some soldiers began to wonder about the un-seen enemy, men declared monsters by propagandists. 

We hated their guts when they killed any of our friends; then we really did dislike them intensely. But otherwise we joked about them and I think they joked about us. And we thought, well, poor so-and-sos, they’re in the same kind of muck as we are. 
The uncomfortableness of living in trenches coupled with the closeness of the enemy who lived in similar conditions contributed to a growing “live and let live” policy. Andrew Todd, a telegraphist of the Royal Engineers, wrote of an example in a letter: 

Perhaps it will surprise you to learn that the soldiers in both lines of trenches have become very ‘pally’ with each other. The trenches are only 60 yards apart at one place, and every morning about breakfast time one of the soldiers sticks a board in the air. As soon as this board goes up all firing ceases, and men from either side draw their water and rations. All through the breakfast hour, and so long as this board is up, silence reigns supreme, but whenever the board comes down the first unlucky devil who shows even so much as a hand gets a bullet through it. 
Sometimes the two enemies would yell at each other. Some of the German soldiers had worked in Britain before the war and asked about a store or area in England that an English soldier also knew well. Sometimes they would shout rude remarks to each other as a way of entertainment. Singing was also a common way of communication. 

During the winter it was not unusual for little groups of men to gather in the front trench, and there hold impromptu concerts, singing patriotic and sentimental songs. The Germans did much the same, and on calm evenings the songs from one line floated to the trenches on the other side, and were there received with applause and sometimes calls for an encore.

After hearing of such fraternization, General Sir Horace Smith-Dorrien, commander of the British II Corps, ordered: 

The Corps Commander, therefore, directs Divisional Commanders to impress on all subordinate commanders the absolute necessity of encouraging the offensive spirit of the troops, while on the defensive, by every means in their power. 
Friendly intercourse with the enemy, unofficial armistices (e.g. ‘we won’t fire if you don’t’ etc.) and the exchange of tobacco and other comforts, however tempting and occasionally amusing they may be, are absolutely prohibited.

On December 7, 1914, Pope Benedict XV suggested a temporary hiatus of the war for the celebration of Christmas. Though Germany readily agreed, the other powers refused. 

Even without a cessation of war for Christmas, family and friends of the soldiers wanted to make their loved ones’ Christmas special. They sent packages filled with letters, warm clothing, food, cigarettes, and medications. Yet what especially made Christmas at the front seem like Christmas were the troves of small Christmas trees. 

On Christmas Eve, many German soldiers put up Christmas trees, decorated with candles, on the parapets of their trenches. Hundreds of Christmas trees lighted the German trenches and although British soldiers could see the lights, it took them a few minutes to figure out what they were from. Could this be a trick? British soldiers were ordered not to fire but to watch them closely. Instead of trickery, the British soldiers heard many of the Germans celebrating. 

Time and again during the course of that day, the Eve of Christmas, there were wafted towards us from the trenches opposite the sounds of singing and merry-making, and occasionally the guttural tones of a German were to be heard shouting out lustily, ‘A happy Christmas to you Englishmen!’ Only too glad to show that the sentiments were reciprocated, back would go the response from a thick-set Clydesider, ‘Same to you, Fritz, but dinna o’er eat yourself wi’ they sausages!’ 
In other areas, the two sides exchanged Christmas carols. 

They finished their carol and we thought that we ought to retaliate in some way, so we sang ‘The first Noël’, and when we finished that they all began clapping; and then they struck up another favourite of theirs, ‘O Tannenbaum’. And so it went on. First the Germans would sing one of their carols and then we would sing one of ours, until when we started up ‘O Come All Ye Faithful’ the Germans immediately joined in singing the same hymn to the Latin words ‘Adeste Fidéles’. And I thought, well, this was really a most extraordinary thing – two nations both singing the same carol in the middle of a war.

The Christmas Truce

This fraternization on Christmas Eve and again on Christmas was in no way officially sanctified nor organized. Yet, in numerous separate instances down the front line, German soldiers began yelling over to their enemy, “Tommy, you come over and see us!”8 Still cautious, the British soldiers would rally back, “No, you come here!” 

In some parts of the line, representatives of each side would meet in the middle, in No Man’s Land. 

We shook hands, wished each other a Merry Xmas, and were soon conversing as if we had known each other for years. We were in front of their wire entanglements and surrounded by Germans – Fritz and I in the centre talking, and Fritz occasionally translating to his friends what I was saying. We stood inside the circle like streetcorner orators. 
Soon most of our company (‘A’ Company), hearing that I and some others had gone out, followed us … What a sight – little groups of Germans and British extending almost the length of our front! Out of the darkness we could hear laughter and see lighted matches, a German lighting a Scotchman’s cigarette and vice versa, exchanging cigarettes and souvenirs. Where they couldn’t talk the language they were making themselves understood by signs, and everyone seemed to be getting on nicely. Here we were laughing and chatting to men whom only a few hours before we were trying to kill!

Some of those who went out to meet the enemy in the middle of No Man’s Land on Christmas Eve or on Christmas Day negotiated a truce: we won’t fire if you won’t fire. Some ended the truce at midnight on Christmas night, some extended it until New Year’s Day. 

One reason Christmas truces were negotiated was in order to bury the dead, many of whom had been there for several months. Along with the revelry that celebrated Christmas was the sad and somber job of burying their fallen comrades. On Christmas day, British and German soldiers appeared on No Man’s Land and sorted through the bodies. In just a few rare instances, joint services were held for both the British and German dead. 

Yet many soldiers enjoyed meeting the un-seen enemy and were surprised to discover that they were more alike than he had thought. They talked, shared pictures, exchanged items such as buttons for food stuffs. An extreme example of the fraternization was a soccer game played in the middle of No Man’s Land between the Bedfordshire Regiment and the Germans. A member of the Bedfordshire Regiment produced a ball and the large group of soldiers played until the ball was deflated when it hit a barbed wire entanglement. 

This strange and unofficial truce lasted for several days, much to the dismay of the commanding officers. This amazing showing of Christmas cheer was never again repeated and as World War I progressed, the story of Christmas 1914 at the front became something of a legend. 

The Christmas Truce 1914

Former Doors Mark 40th Anniversary of Jim Morrison’s Death

Former Doors Mark 40th Anniversary of Jim Morrison’s Death

Jim Morrison July 2, 1971

Former members of The Doors have marked the 40th anniversary of Jim Morrison’s death in Paris.

On Sunday, keyboardist Ray Manzarek and guitarist Robby Krieger lit candles at Morrison’s grave in the city’s Pere Lachaise cemetery.

Morrison, the band’s lead singer, died of heart failure in a bath in Paris on 2 July 1971. He was 27.

Hundreds of Morrison fans, some wearing T-shirts bearing the words 40th Anniversary, left flowers at the grave.

Some sang and others read poems to mark the day.

Morrison moved to Paris in 1971 to write.

He was found dead in the bath by his girlfriend, Pamela Courson. A doctor’s report stated the cause of death was heart failure aggravated by heavy drinking.

Morrison, the son of a US Navy admiral, was born in 1943 in Florida.

He formed The Doors with Manzarek in 1965 in Los Angeles

The band name was inspired by Aldous Huxley’s The Doors of Perception, about the author’s drug use.

_______________________

Jim Morrison's Anniversary, Death

What Would Morrison Look Like Today If He Had Lived?

http://news.bbc.co.uk/2/hi/uk_news/scotland/edinburgh_and_east/7771171.stm

THE ENEMY OF MY ENEMY IS YOUR GOD MY FRIEND…

WAR = DEATH

THE ENEMY OF MY ENEMY
IS YOUR GOD MY FRIEND

Oh Dear God
Oh see how they bleed
Oh Dear God, my Lord.

Oh Dear God
Oh see how they plead
Oh Dear God, my Lord.

My Lord;
Who we wait for
Scream for
On the battlefields
Of every war

Antagonist.

Protagonist.

Oh thy Lord,

You upon
Our side

Their side.

No questions
No explanations

Asked
Or ever given.

For my brothers
We will see you
Once more & again

In “Heaven”

“Elysium”

Or on the fields of
The Fallen,
And The Honored

“Dead”

Where no uniforms
Are ever worn
As in Valhalla
We all toast

And sing
Another song.

Oh Dear God
Oh see how they bleed
Oh Dear God, my Lord.

Oh Dear God
Oh see how they plead
Oh Dear God, my Lord.

See how they are born
Oh Dear God My Lord

And See how they grow
Oh Dear God My Lord

And Dear God?

See how
They Die

“Alone …Screaming”

Amen.

___________

R.M. ENGELHARDT

People Kill People

Franz Kafka’s Daughter Meets the Evil Nazi Empire!!!: The Heroism of Roaches Holocaust-Tainted Poems

Franz Kafka’s Daughter Meets the Evil Nazi Empire!!!: The Heroism of Roaches Holocaust-Tainted Poems

BY ELLIOT RICHMAN

While many books have been published about the nightmare of Nazi Germany and the Holocaust, none have the unique mixture of horror, black comedy and existential bile that poet Elliot Richman brings to the subject. Traveling deep into the recesses of the human psyche, Richman mines a dark vein and brings us back to the surface sweating and terrified, yet somehow better for having been there with him.

Franz Kafka's Daughter Meets the Evil Nazi Empire!!!: The Heroism of Roaches: Holocaust-Tainted Poems

Happy NATIONAL POETRY MONTH! If you like dark humor? Great poetry?

I highly recommend this book of poems by author Elliot Richman.

Check it out … R.M.

A Review Of “Versus” By R.M. Engelhardt

“Versus” by R.M. Engelhardt

"Versus" ~Poems By R.M. Engelhardt 2010

Friday, June 25th, 2010~

Reviewed By Lynn Alexander * Full Of Crow

“Versus”, R.M. Engelhardt

Pushing verses

Past their limits

R.M. Engelhardt acknowledges that there is a difference between the passive participant and those who live a passion-driven life, but can often be seen in “Versus” wondering if there is a difference in the end. Passion clearly perpetuates the creative  imperative, manifest in poets like Engelhardt as non-negotiable, but to what end? There comes a time in the life of the poet where this question has to be dealt with. It is one thing to accept the terms of “the muse”. It is another to toil in the direction of some outcome, some goal. What, beyond that yielding and succumbing, is the poet desirous of? Fame, significance, appreciation, relevance? 

The poet succumbs because he or she must, but it doesn’t end there. The poet is driven to more just as the living are driven to interact in this world beyond survival. We do more than eat and breed and sleep, there is something that pushes us. But why?

In the years that I have been aware of Engelhardt’s work, it is this willingness to examine these concerns head on and in a surprisingly candid manner that I think captures my interest the most in his work, which often gets into the problematic terrain of ego, and the ways that we relate to one another through not only our life’s work but through love and community. He states rather directly in “Versus” that poetry is dead, he comments on the state of popular culture and asks the obvious questions about the poet’s role in it. Why bother, and why persist?

Persistence, I think, is the theme in Engelhardt’s work that prompts people to characterize him as “romantic” as many of the poems convey a sense of pining, portraying people desirous not only of love but of transcendent relationships. “She believes in something unseen”, (8, “Perhaps”) “I’m just sick of passing romances”. (“In Cleopatra’s Eyes”, 9)

In ‘Versus”, we see that relationship between the speakers and both issues: wanting to do more than write, wanting to do have more than a date on a Saturday night. (“toys”, 6, “More than just another dance”, 2) This idea of wanting more, wanting to believe in and have faith in that but at the same time considering one’s observations and wanting to be rational.

Persistence then is challenged by cynicism, both inner and external:

“The time for poets has passed”

“And someone once told me that honest people don’t exist anymore in the 21st century”

“And someone once told me ‘That love…is dead.”

Do we persist, press on anyway? In “Naïve”,  Engelhardt describes the urge to avoid the trainwreck. In “Truth” we see people opening boxes, digging through metaphorical “boxes” of expectations mingled with mythology. What happens when people confront truth? Some thrive, some perish, some vanish immediately in the sight of their realizations. This brings us back, again and again, to the questions in “Versus”. What are we after? And can we get there?

‘We all grow older/Still trying to find our way/Like children” (“Any Day Now”, 11)

Many poets grapple with a maturing phase not unlike the point around mid-life when one begins to really take stock about where to put energy, what to be concerned with and what to let go of. Some describe it much like finding their way, having gone through what some describe as a period similar to the honeymoon phase of a relationship. There are burdens in the poet’s world, choices about resources and time and energy and in the beginning there can be a sense of eventual payoff that in later years we learn can be quite elusive. There’s no denying that Engelhardt has love for the craft, but he pushes us to consider what that means, and to perhaps distinguish between the love of writing and the expectations. In some instances, the object of love can be easily interchangeable with “the muse” as both are subjects in these poems of that transcendent longing. The love that leaves for the man who promises everything, the “angel” who vanishes, the losses are connected: the poet wants to believe in more, wants to have faith in more, but life can be a series of losses, followed by grief.

Engelhardt closes “Versus” with a shout-out to those who persist, who don’t give up, who keep searching and don’t give in, who stay true to the realm of dreams.

A Review Of “Versus” By R.M. Engelhardt

The 2011 Albany Wordfest~National Poetry Month

2011 AlbanyWordfest

In celebration of National Poetry Month, Albany Poets is proud to

present the 2011 Albany Word Fest featuring the poetry,

spoken word, and music of upstate New York.  This year’s event will

take place on Saturday, April 16, 2011 at The Linda

(339 Central Ave., Albany).

This year’s event is the 10th anniversary of the Albany Word Fest and with

that in mind, Albany Poets is promising big things.

Thom Francis, Albany Poets President, says, “When we started

this event ten years ago on a Saturday afternoon in Thatcher Park,

we never thought it would become one of the biggest ‘mark-your-

calendar’ events of each and every year. We are very proud of

how we have been able to continue hosting one of the biggest

poetry open mics in upstate New York for ten years.”

The 2011 Albany Word Fest will kick-off with the 12-Hour Open

Mic at 7:00AM at The Linda. Albany Poets Vice President

Mary Panza says, “After the success of the last two 12-hour open

mics, we have decided to do it again, but this time, during the day.

This will give poets a better opportunity to share their work and

also give the audience more time to appreciate the talent in the

poetry and spoken word community.”  This open mic for poetry and

spoken word will be held from 7:00AM – 7:00PM.

Poets who wish to participate in the open mic can sign up online

by going to the Albany Word Fest website, www.albanywordfest.com

until 5:00pm on Friday, April 15.  Performers will also have a limited

opportunity to sign up at the event itself.  Each poet will have 10 -15

minutes to share their work. The open mic is open to all poets and

spoken word artists with no style or content restrictions. 

After the Open Mic, starting at 7:00PM, the 2011 Albany Word Fest

brings the annual Psycho Cluster F*#k to the The

Linda featuring poetry, music and spoken word from upstate New

York artists David Fey, Olivia Quillio, Avery, Daniel Nester,

Poetyc Vyzyonz, Mother Judge’s Open Mic Showcase, Metroland’s

Best Poets of 2011: Mary Panza, R.M. Engelhardt, and KC Orcutt,

and much more.

Admission for this event is $10.00. Tickets will be available for purchase on

The Linda’s website and at the door on the day of the event. This event is

open to all ages ( 21+ with a picture ID required to drink). 

The 2011 Albany Word Fest is sponsored by Albany Poets, McGeary’s,

The Linda, and the very generous donations of supporters of the arts

in upstate New York.

The 2011 Albany Wordfest~National Poetry Month

A 21st Century Dirge For America

A TWENTY-FIRST CENTURY 

DIRGE FOR AMERICA
"Don't Tread On Me"


Another dead song for a dead man

A dead art in no man’s land.

“CENSORED”


For Being REAL
As they stop the world,
Judge and destroyall that which theycannot make
Or see.   

FOR WE THE PEOPLE BELIEVE IN


Anarchy Archery Douche-Beggary38 Flavors & Fifty Stars Officially
And nothing more.
For to say the least  it’s yourApathy Banality AbsolutelyAn Analogy, Abruptly. America SoBlow MeFrom Sea to Shining Sea &Lovingly Bitterly Swallow Me

In Poverty


“Amen”


Or ? You can Literally Be, Continue In The Middle OrSee-Dream OfVespucci, Liberty With SymmetrySynchronicity or Being

True.


So Are We Truly  Free? 
Re-discovered or The Undiscovered CountryLand Of The BraveThat Has Never Truly Ever Seen


DEATH.


“Up-Close” 


So America I ask you beg you Please;

To 
Tax Me Take Me Fuck Me Love Me And Then Silently Leave Me
In The Dark.
But Please,Don’t Use Me, Tread On MeAbuse Me or Ever Break My Heart
“Again”
For NowLady Liberty is walking the streets & Looking To Make A Buck, & Is   Saying  “Heeeeeeeyyyy Chhhhiiiinnnna”
How Are You?
While, like an angry lover, Jealous, she watches your 
EVERY 
“Move”
And Domestically, MajesticallyAnd Carefully
She says ever so softly; PAY UP.
So,
Democrat Republican Soccer Mom White or BlackWelcome to the Homeland The Tea Party & The Land Of The Numb


WHERE WE THE PEOPLE, ONCE BELIEVED


Once …

BELIEVED
In This, This World 


 IN FREEDOM

And Not Merely
The Dead Sound, Dull Thud Of It,As It’s Soul Is Bleeding Out.

(Don’t Tread On Me)


________________


R.M. ENGELHARDT 2011

_________________





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