In Flanders Fields and Other Poems E-Book

John McCrae

• Herausgeber: libreka classics
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2019

Seitenzahl: 125

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Titel: In Flanders Fields and Other Poems

von Scott Hemphill, L. M. Montgomery, L. Frank Baum, John Milton, René Descartes, Baroness Emmuska Orczy Orczy, Karl Marx, Friedrich Engels, Edgar Rice Burroughs, Unknown, Norman F. Joly, Norman Coombs, David Slowinski, Mark Twain, Henry David Thoreau, Stephen Crane, John Goodwin, Nathaniel Hawthorne, Winn Schwartau, Odd De Presno, Sir Walter Scott, Jules Verne, Mary Wollstonecraft Shelley, United States. Central Intelligence Agency, United States, Canada, Willa Sibert Cather, Anthony Hope, Edwin Abbott Abbott, Charles Dickens, Frederick Douglass, William Shakespeare, Bruce Sterling, Franklin Delano Roosevelt, Jane Austen, Thomas Hardy, Sir Arthur Conan Doyle, Edna St. Vincent Millay, Gene Stratton-Porter, Richard McGowan, Frances Hodgson Burnett, United States. Bureau of the Census, Electronic Frontier Foundation, Robert Louis Stevenson, Anonymous, Jerry Bonnell, Robert Nemiroff, Andrew Lang, G. K. Chesterton, John Bunyan, Sunzi 6th cent. B.C., Harold Frederic, Mary Wollstonecraft, Victor Hugo, René Doumic, Upton Sinclair, Virginia Woolf, George Eliot, Thomas Paine, Benjamin Franklin, Plato, Samuel Taylor Coleridge, Ruth M. Sprague, William Dean Howells, Wilkie Collins, Jean Webster, H. G. Wells, Kate Chopin, Mark Eliot Laxer, Louisa May Alcott, Frank Norris, Edith Wharton, S. D. Humphrey, Henry Hunt Snelling, William Morris, Mrs. Susanna Rowson, Christopher Morley, Sax Rohmer, Oscar Wilde, Gaston Leroux, Henry James, Project Gutenberg, Harriet Beecher Stowe, Various, Robert W. Service, A. B. Paterson, Henry Lawson, Jack London, Laozi, D. H. Lawrence, Julius Caesar, Joseph Conrad, W. Somerset Maugham, George MacDonald, Marcus Tullius Cicero, Virgil, Theodore Dreiser, Giuseppe Salza, Rudyard Kipling, ca. 50 BCE-16 BCE Sextus Propertius, Robert A. Harris, William Wells Brown, graf Leo Tolstoy, Omar Khayyám, Michael Hart, Library of Congress. Copyright Office, Coalition for Networked Information, Geoffrey Chaucer, Adam Lindsay Gordon, Hiram Corson, Robert Browning, Amy Lowell, Rupert Brooke, Joyce Kilmer, John Gower, Saki, Kenneth Grahame, Anna Sewell, Martin Luther, Philipp Melanchthon, National Atomic Museum, Alexander William Kinglake, Charles John Cutcliffe Wright Hyne, Amelia Edith Huddleston Barr, James Branch Cabell, Bayard Taylor, Horatio Alger, Booth Tarkington, Hjalmar Hjorth Boyesen, Michael Husted, Émile Gaboriau, Jerome K. Jerome, Stephen Vincent Benét, Edwin Arlington Robinson, J. Frank Dobie, Joseph Rodman Drake, Eliot Gregory, John Fox, John Muir, Richard Harding Davis, Edgar A. Guest, Mary Roberts Rinehart, Thomas Nelson Page, Sir Walter Alexander Raleigh, Rebecca Harding Davis, Charles Alexander Eastman, Zitkala-Sa, Marie L. McLaughlin, J. M. Barrie, Bram Stoker, Hesiod, Edna Ferber, John McCrae

ISBN 978-3-7429-0314-3

Alle Rechte vorbehalten.

IN FLANDERS FIELDS

by John McCrae

[Canadian Poet, 1872-1918]

WITH AND ESSAY IN CHARACTER by Sir Andrew Macphail

[This text is taken from the New York edition of 1919.]

John McCrae, physician, soldier, and poet, died in France a Lieutenant-Colonel with the Canadian forces.

The poem which gives this collection of his lovely verse its name has been extensively reprinted, and received with unusual enthusiasm.

The volume contains, as well, a striking essay in character by his friend, Sir Andrew Macphail.

{Although the poem itself is included shortly, this next section is included for completeness, and to show John McCrae's punctuation — also to show that I'm not the only one who forgets lines. — A. L.}

IN FLANDERS FIELDS

{From a} Facsimile of an autograph copy of the poem "In Flanders Fields"

This was probably written from memory as "grow" is used in place of "blow" in the first line.

Contents

Contents With Dates of OriginIn Flanders FieldsThe Anxious DeadThe WarriorIsandlwanaThe Unconquered DeadThe CaptainThe Song of the DerelictQuebecThen and NowUnsolvedThe Hope of My HeartPenanceSlumber SongsThe Oldest DramaRecompenseMine HostEqualityAnarchyDisarmamentThe Dead MasterThe Harvest of the SeaThe Dying of Pere PierreEventideUpon Watts' Picture "Sic Transit"A Song of ComfortThe PilgrimsThe Shadow of the CrossThe Night ComethIn Due SeasonJOHN MCCRAEI. In Flanders FieldsII. With the Guns

Here ends the account of his part in this memorable battle,And here follow some general observations upon the experience:A few strokes will complete the picture:And here is one last note to his mother:At this time the Canadian division was moving south to take its share inThis phase of the war lasted two months precisely,

III. The Brand of WarIV. Going to the WarsV. South Africa

The next entry is from South Africa:The next letter is from the Lines of Communication:Three weeks later he writes:With Ian Hamilton's column near Balmoral.At Lyndenburg:

VI. Children and AnimalsVII. The Old Land and the NewVIII. The Civil YearsIX. Dead in His Prime

Contents

In Flanders Fields

The Anxious Dead

The Warrior

Isandlwana

The Unconquered Dead

The Captain

The Song of the Derelict

Quebec

Then and Now

Unsolved

The Hope of My Heart

Penance

Slumber Songs

The Oldest Drama

Recompense

Mine Host

Equality

Anarchy

Disarmament

The Dead Master

The Harvest of the Sea

The Dying of Pere Pierre

Eventide

Upon Watts' Picture "Sic Transit"

A Song of Comfort

The Pilgrims

The Shadow of the Cross

The Night Cometh

In Due Season

JOHN MCCRAE

An Essay in Character

by Sir Andrew Macphail

I. In Flanders Fields

"In Flanders Fields", the piece of verse from which this little book takes its title, first appeared in 'Punch' in the issue of December 8th, 1915. At the time I was living in Flanders at a convent in front of Locre, in shelter of Kemmel Hill, which lies seven miles south and slightly west of Ypres. The piece bore no signature, but it was unmistakably from the hand of John McCrae.

From this convent of women which was the headquarters of the 6th Canadian Field Ambulance, I wrote to John McCrae, who was then at Boulogne, accusing him of the authorship, and furnished him with evidence. From memory—since at the front one carries one book only—I quoted to him another piece of his own verse, entitled "The Night Cometh":

It will be observed at once by reference to the text that in form the two poems are identical. They contain the same number of lines and feet as surely as all sonnets do. Each travels upon two rhymes with the members of a broken couplet in widely separated refrain. To the casual reader this much is obvious, but there are many subtleties in the verse which made the authorship inevitable. It was a form upon which he had worked for years, and made his own. When the moment arrived the medium was ready. No other medium could have so well conveyed the thought.

This familiarity with his verse was not a matter of accident. For many years I was editor of the 'University Magazine', and those who are curious about such things may discover that one half of the poems contained in this little book were first published upon its pages. This magazine had its origin in McGill University, Montreal, in the year 1902. Four years later its borders were enlarged to the wider term, and it strove to express an educated opinion upon questions immediately concerning Canada, and to treat freely in a literary way all matters which have to do with politics, industry, philosophy, science, and art.

To this magazine during those years John McCrae contributed all his verse. It was therefore not unseemly that I should have written to him, when "In Flanders Fields" appeared in 'Punch'. Amongst his papers I find my poor letter, and many others of which something more might be made if one were concerned merely with the literary side of his life rather than with his life itself. Two references will be enough. Early in 1905 he offered "The Pilgrims" for publication. I notified him of the place assigned to it in the magazine, and added a few words of appreciation, and after all these years it has come back to me.

The letter is dated February 9th, 1905, and reads: "I place the poem next to my own buffoonery. It is the real stuff of poetry. How did you make it? What have you to do with medicine? I was charmed with it: the thought high, the image perfect, the expression complete; not too reticent, not too full. Videntes autem stellam gavisi sunt gaudio magno valde. In our own tongue,—'slainte filidh'." To his mother he wrote, "the Latin is translatable as, 'seeing the star they rejoiced with exceeding gladness'." For the benefit of those whose education has proceeded no further than the Latin, it may be explained that the two last words mean, "Hail to the poet".

To the inexperienced there is something portentous about an appearance in print and something mysterious about the business of an editor. A legend has already grown up around the publication of "In Flanders Fields" in 'Punch'. The truth is, "that the poem was offered in the usual way and accepted; that is all." The usual way of offering a piece to an editor is to put it in an envelope with a postage stamp outside to carry it there, and a stamp inside to carry it back. Nothing else helps.

An editor is merely a man who knows his right hand from his left, good from evil, having the honesty of a kitchen cook who will not spoil his confection by favour for a friend. Fear of a foe is not a temptation, since editors are too humble and harmless to have any. There are of course certain slight offices which an editor can render, especially to those whose writings he does not intend to print, but John McCrae required none of these. His work was finished to the last point. He would bring his piece in his hand and put it on the table. A wise editor knows when to keep his mouth shut; but now I am free to say that he never understood the nicety of the semi-colon, and his writing was too heavily stopped.

He was not of those who might say,—take it or leave it; but rather,—look how perfect it is; and it was so. Also he was the first to recognize that an editor has some rights and prejudices, that certain words make him sick; that certain other words he reserves for his own use,—"meticulous" once a year, "adscititious" once in a life time. This explains why editors write so little. In the end, out of mere good nature, or seeing the futility of it all, they contribute their words to contributors and write no more.

The volume of verse as here printed is small. The volume might be enlarged; it would not be improved. To estimate the value and institute a comparison of those herein set forth would be a congenial but useless task, which may well be left to those whose profession it is to offer instruction to the young. To say that "In Flanders Fields" is not the best would involve one in controversy. It did give expression to a mood which at the time was universal, and will remain as a permanent record when the mood is passed away.

The poem was first called to my attention by a Sapper officer, then Major, now Brigadier. He brought the paper in his hand from his billet in Dranoutre. It was printed on page 468, and Mr. 'Punch' will be glad to be told that, in his annual index, in the issue of December 29th, 1915, he has misspelled the author's name, which is perhaps the only mistake he ever made. This officer could himself weave the sonnet with deft fingers, and he pointed out many deep things. It is to the sappers the army always goes for "technical material".

The poem, he explained, consists of thirteen lines in iambic tetrameter and two lines of two iambics each; in all, one line more than the sonnet's count. There are two rhymes only, since the short lines must be considered blank, and are, in fact, identical. But it is a difficult mode. It is true, he allowed, that the octet of the sonnet has only two rhymes, but these recur only four times, and the liberty of the sestet tempers its despotism,—which I thought a pretty phrase. He pointed out the dangers inherent in a restricted rhyme, and cited the case of Browning, the great rhymster, who was prone to resort to any rhyme, and frequently ended in absurdity, finding it easier to make a new verse than to make an end.

At great length—but the December evenings in Flanders are long, how long, O Lord!—this Sapper officer demonstrated the skill with which the rhymes are chosen. They are vocalized. Consonant endings would spoil the whole effect. They reiterate O and I, not the O of pain and the Ay of assent, but the O of wonder, of hope, of aspiration; and the I of personal pride, of jealous immortality, of the Ego against the Universe. They are, he went on to expound, a recurrence of the ancient question: "How are the dead raised, and with what body do they come?" "How shall I bear my light across?" and of the defiant cry: "If Christ be not raised, then is our faith vain."

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.