The First Battle of Ypres

The First Battle of Ypres (French: Première Bataille des Flandres; German: Erste Flandernschlacht 19 October – 22 November 1914)      

The First Battle of Ypres 

(FrenchPremière Bataille des FlandresGermanErste Flandernschlacht 19 October – 22 November 1914) was a battle of the First World War, fought on the Western Front around Ypres, in West Flanders, Belgium. 

The battle was part of the First Battle of Flanders, in which GermanFrenchBelgian armies and the British Expeditionary Force (BEF) fought from Arras in France to Nieuport on the Belgian coast, from 10 October to mid-November. 

The battles at Ypres began at the end of the Race to the Sea, reciprocal attempts by the German and Franco-British armies to advance past the northern flank of their opponents. 

North of Ypres, the fighting continued in the Battle of the Yser (16–31 October), between the German 4th Army, the Belgian army and French marines.

The fighting has been divided into five stages, an encounter battle from 19 to 21 October, the Battle of Langemarck from 21 to 24 October, the battles at La Bassée and Armentières to 2 November, coincident with more Allied attacks at Ypres and the Battle of Gheluvelt (29–31 October), a fourth phase with the last big German offensive, which culminated at the Battle of Nonne Bosschen on 11 November, then local operations which faded out in late November. 

Brigadier-General James Edmonds, the British official historian, wrote in the History of the Great War, that the II Corps battle at La Bassée could be taken as separate but that the battles from Armentières to Messines and Ypres, were better understood as one battle in two parts, an offensive by III Corps and the Cavalry Corps from 12 to 18 October against which the Germans retired and an offensive by the German 6th Army and 4th Army from 19 October to 2 November, which from 30 October, took place mainly north of the Lys, when the battles of Armentières and Messines merged with the Battles of Ypres.

Attacks by the BEF (Field Marshal Sir John French) the Belgians and the French Eighth Army in Belgium made little progress beyond Ypres. 

The German 4th and 6th Armies took small amounts of ground, at great cost to both sides, during the Battle of the Yser and further south at Ypres. 

General Erich von Falkenhayn, head of the Oberste Heeresleitung (OHL, the German General Staff), then tried a limited offensive to capture Ypres and Mont Kemmel, from 19 October to 22 November. 

Neither side had moved forces to Flanders fast enough to obtain a decisive victory and by November both sides were exhausted. 

The armies were short of ammunition, suffering from low morale and some infantry units refused orders. 

The autumn battles in Flanders had become static, attrition operations, unlike the battles of manoeuvre in the summer. 

French, British and Belgian troops in improvised field defences, repulsed German attacks for four weeks. 

From 21 to 23 October, German reservists had made mass attacks at Langemarck, with losses of up to 70 percent, to little effect.

Warfare between mass armies, equipped with the weapons of the Industrial Revolution and its later developments, proved to be indecisive, because field fortifications neutralised many classes of offensive weapon. 

The defensive firepower of artillery and machine guns dominated the battlefield and the ability of the armies to supply themselves and replace casualties prolonged battles for weeks. 

Thirty-four German divisions fought in the Flanders battles, against twelve French, nine British and six Belgian divisions, along with marines and dismounted cavalry. 

Over the winter, Falkenhayn reconsidered Germany strategy because Vernichtungsstrategie and the imposition of a dictated peace on France and Russia had exceeded German resources. 

Falkenhayn devised a new strategy to detach either Russia or France from the Allied coalition through diplomacy as well as military action. 

A strategy of attrition (Ermattungsstrategie) would make the cost of the war too great for the Allies, until one dropped out and made a separate peace.

The remaining belligerents would have to negotiate or face the Germans concentrated on the remaining front, which would be sufficient for Germany to inflict a decisive defeat.

When This Lousy War Is Over

When This Lousy War Is Over

When this lousy war is over, no more soldiering for me,
When I get my civvy clothes on, oh how happy I shall be.
No more church parades on Sunday, no more putting in for leave,
I will miss the Sergeant-Major,
How he’ll miss me how he’ll grieve.

No more standing to in trenches,
Only one more church parade,
No more NCOs to curse us,
No more tickler’s marmalade.

When this lousy war is over,
No more soldiering for me,
When I get my civvy clothes on,
Oh how happy I shall be.
People said when we enlisted,
Fame and medals we would win,
But the fame is in the guardroom,
And those medals made of tin.

When this lousy war is over,
No more soldiering for me,
When I get my civvy clothes on
Oh how happy I shall be.

Whiter Than the Whitewash On the Wall

Whiter than the whitewash on the wall

Whiter than the whitewash on the wall!

Whiter than the whitewash on the wall!

Oh wash me in the water that you wash your dirty daughter in,

So that I can be whiter than the whitewash on the wall!

On the wall, on the wall, On the wall, on the wall,

Oh wash me in the water that you wash your dirty daughter in,

So that I can be whiter than the whitewash on the wall!

Mademoiselle from Armentieres

Mademoiselle from Armentières

Mademoiselle from Armentières” has roots in a tradition of older popular songs; its immediate predecessor seems to be the song “Skiboo” (or “Snapoo”), which was also popular among British soldiers of the Great War.

Earlier still, the tune of the song is thought to have been popular in the French Army in the 1830s; at this time the words told of the encounter of an inn-keeper’s daughter, named Mademoiselle de Bar le Duc, with two German officers.

During the Franco-Prussian War of 1870, the tune was resurrected, and again in 1914 when the British and Allied soldiers got to know it.

The Pittsburgh Post-Gazette of December 4, 1939, reported that the historical inspiration for the song had been a young Frenchwoman named Marie Lecoq (later Marie Marceau), who worked as a waitress at the Café de la Paix in Armentières at the time of the war. Despite the obscenity of many popular versions of the song, it was reportedly quite clean in its original form.

The song’s first known recording was made in 1915 by music hall baritone Jack Charma

“In Flanders Fields”

“In Flanders Fields”

“In Flanders Fields” is a war poem in the form of a rondeau, written during the First World War by Canadian physician Lieutenant-Colonel John McCrae.

He was inspired to write it on May 3, 1915, after presiding over the funeral of a friend and fellow soldier Lieutenant Alexis Helmer, who died in the Second Battle of Ypres.

According to legend, fellow soldiers retrieved the poem after McCrae, initially dissatisfied with his work, discarded it.

“In Flanders Fields” was first published on December 8 of that year in the London magazine Punch.

It is one of the most quoted poems from the war.

As a result of its immediate popularity, parts of the poem were used in efforts and appeals to recruit soldiers and raise money selling war bonds.

Its references to the red poppies that grew over the graves of fallen soldiers resulted in the remembrance poppy becoming one of the world’s most recognized memorial symbols for soldiers who have died in the conflict.

The poem and poppy are prominent Remembrance Day symbols throughout the Commonwealth of Nations, particularly in Canada, where “In Flanders Fields” is one of the nation’s best-known literary works.

The poem is also widely known in the United States, where it is associated with Veterans Day and Memorial Day

Over There

Over There

Over There” is a 1917 song written by George M. Cohan that was popular with the United States military and public during both world wars.

It is a patriotic song designed to galvanize American young men to enlist and fight the “Hun”. The song is best remembered for a line in its chorus: “The Yanks are coming

Keep the Home Fires Burning

Keep the Home-Fires Burning

Keep the Home-Fires Burning (Till the Boys Come Home)” is a British patriotic First World War song composed in 1914 by Ivor Novello with words by Lena Guilbert Ford (whose middle name was sometimes printed as “Gilbert”).

The song was published first as “‘Till the Boys Come Home” on 8 October 1914 by Ascherberg, Hopwood and Crew Ltd. in London.

A new edition was printed in 1915 with the name “Keep the Home-Fires Burning”.

The song became very popular in the United Kingdom during the war, along with “It’s a Long Way to Tipperary”

James F. Harrison recorded “Keep the Home-Fires Burning” in 1915, as did Stanley Kirkby in 1916.

Another popular recording was sung by tenor John McCormack in 1917, who was also the first to record “It’s a Long Way to Tipperary” in 1914.

Other versions include one by Frederick J. Wheeler and one by the duet Reed Miller & Frederick Wheeler.

There is a misconception that Ivor Novello’s mother wrote the lyrics for the song (propagated—for example—by patter in recorded performances of British musical comedy duo Hinge and Bracket) but Lena Ford (an American) was a friend and collaborator of Novello, not a blood relation.

The opening of the melody bears a resemblance to Gustav Holst’s setting of the Christmas Carol “In the Bleak Midwinter

Take Me Back to Dear Old Blighty

Take Me Back to Dear Old Blighty

“Take Me Back to Dear Old Blighty” is a music hall song written by Arthur J. Mills, Fred Godfrey, and Bennett Scott in 1916.

It was popular during the First World War and tells a story of three fictional soldiers on the Western Front suffering from homesickness and their longing to return to “Blighty” – a slang term for Britain.

Fred Godfrey wrote the song with Bennett Scott and A.J. Mills after passing a music hall in Oxford where a show called Blighty was showing.

He recounts: “One of us suddenly said “What an idea for a song!” Four hours later it was all finished, and the whole country was singing it soon afterward.

I got — not very much

Hush, Here Comes a Whizzbang

Hush Here Comes a Whizzbang

Hush, Here Comes a Whizzbang

Hush, here comes a Whizzbang.

Hush, here comes a Whizzbang.

Now you soldier men get down those stairs,

Down in your dugouts and say your prayers.

Hush, here comes a Whizzbang,

And it’s making right for you.

And you’ll see all the wonders of No-Man’s-Land,
If a Whizzbang, hits you.

Oh It’s A Lovely War

Oh what a lovely war

When the casualties start to mount, a theatre audience is rallied by singing “Are We Downhearted? No!” A chorus line dressed in frilled yellow dresses recruits a volunteer army with “We don’t want to lose you, but we think you ought to go”.

A music-hall star (Maggie Smith) then enters a lone spotlight, and lures the still doubtful young men in the audience into “taking the King’s Shilling” by singing about how every day she “walks out” with different men in uniform, and that “On Saturday I’m willing if you’ll only take the shilling, to make a man of any one of you.”

The young men take to the stage and are quickly moved offstage and into military life, and the initially alluring music hall singer is depicted on close-up as a coarse, over-made-up harridan.

The red poppy crops up again as a symbol of impending death, often being handed to a soldier about to be sent to die.

These scenes are juxtaposed with the pavilion, now housing the top military brass. There is a scoreboard (a dominant motif in the original theatre production) showing the loss of life and “yards gained”.

Outside, Sylvia Pankhurst (Vanessa Redgrave) is shown addressing a hostile crowd on the futility of war, upbraiding them for believing everything they read in the newspapers. She is met with catcalls and jeered from her podium.

1915 is depicted as darkly contrasting in tone.

Many shots of a parade of wounded men illustrate an endless stream of grim, hopeless faces. Black humour among these soldiers has now replaced the enthusiasm of the early days.

“There’s a Long, Long Trail a-Winding” captures the new mood of despair, depicting soldiers filing along in torrential rain in miserable conditions.

Red poppies provide the only bright colour in these scenes. In a scene of British soldiers drinking in an estaminet, a chanteuse (Pia Colombo) leads them in a jolly chorus of

“The Moon Shines Bright on Charlie Chaplin”, a reworking of an American song then shifts the mood back to darker tone by singing a soft and sombre version of “Adieu la vie”.

At the end of the year, amidst more manoeuvres in the pavilion, General (later Field Marshal) Douglas Haig replaces Field Marshal Sir John French as Commander-in-Chief of the British Forces. 

Haig is then mocked by Australian troops who see him inspecting British soldiers; they sing “They were only playing Leapfrog” to the tune of “John Brown’s Body”.

An interfaith religious service is held in a ruined abbey.

A priest tells the gathered soldiers that each religion has endorsed the war by way of allowing soldiers to eat pork if Jewish, meat on Fridays if Catholic, and work through the sabbath if in service of the war for all religions. 

He also says the Dalai Lama has blessed the war effort.

1916 passes and the film’s tone darkens again. 

The songs contain contrasting tones of wistfulness, stoicism and resignation, including “The Bells of Hell Go Ting-a-ling-a-ling”, “If The Sergeant Steals Your Rum, Never Mind” and “Hanging on the Old Barbed Wire”.

The wounded are laid out in ranks at the field station, a stark contrast to the healthy rows of young men who entered the war.