FullReads

The theme has three phases: the first a calm, a deadly calm, opening statement in five lines; the second in four lines, an explanation, a regret, a reiteration of the first; the third, without preliminary crescendo, breaking out into passionate adjuration in vivid metaphor, a poignant appeal which is at once a blessing and a curse. In the closing line is a satisfying return to the first phase,–and the thing is done. One is so often reminded of the poverty of men’s invention, their best being so incomplete, their greatest so trivial, that one welcomes what–this Sapper officer surmised–may become a new and fixed mode of expression in verse.

As to the theme itself–I am using his words: what is his is mine; what is mine is his–the interest is universal. The dead, still conscious, fallen in a noble cause, see their graves overblown in a riot of poppy bloom. The poppy is the emblem of sleep. The dead desire to sleep undisturbed, but yet curiously take an interest in passing events. They regret that they have not been permitted to live out their life to its normal end. They call on the living to finish their task, else they shall not sink into that complete repose which they desire, in spite of the balm of the poppy. Formalists may protest that the poet is not sincere, since it is the seed and not the flower that produces sleep. They might as well object that the poet has no right to impersonate the dead. We common folk know better. We know that in personating the dear dead, and calling in bell-like tones on the inarticulate living, the poet shall be enabled to break the lightnings of the Beast, and thereby he, being himself, alas! dead, yet speaketh; and shall speak, to ones and twos and a host. As it is written in resonant bronze: VIVOS . VOCO . MORTUOS . PLANGO . FULGURA . FRANGO: words cast by this officer upon a church bell which still rings in far away Orwell in memory of his father–and of mine.

By this time the little room was cold. For some reason the guns had awakened in the Salient. An Indian trooper who had just come up, and did not yet know the orders, blew “Lights out”,–on a cavalry trumpet. The sappers work by night. The officer turned and went his way to his accursed trenches, leaving the verse with me.

John McCrae witnessed only once the raw earth of Flanders hide its shame in the warm scarlet glory of the poppy. Others have watched this resurrection of the flowers in four successive seasons, a fresh miracle every time it occurs. Also they have observed the rows of crosses lengthen, the torch thrown, caught, and carried to victory. The dead may sleep. We have not broken faith with them.

It is little wonder then that “In Flanders Fields” has become the poem of the army. The soldiers have learned it with their hearts, which is quite a different thing from committing it to memory. It circulates, as a song should circulate, by the living word of mouth, not by printed characters. That is the true test of poetry,–its insistence on making itself learnt by heart. The army has varied the text; but each variation only serves to reveal more clearly the mind of the maker. The army says, “AMONG the crosses”; “felt dawn AND sunset glow”; “LIVED and were loved”. The army may be right: it usually is.

Nor has any piece of verse in recent years been more widely known in the civilian world. It was used on every platform from which men were being adjured to adventure their lives or their riches in the great trial through which the present generation has passed. Many “replies” have been made. The best I have seen was written in the ‘New York Evening Post’. None but those who were prepared to die before Vimy Ridge that early April day of 1916 will ever feel fully the great truth of Mr. Lillard’s opening lines, as they speak for all Americans:
“Rest ye in peace, ye Flanders dead.
The fight that ye so bravely led
We’ve taken up.”