Showing posts with label sorrow. Show all posts
Showing posts with label sorrow. Show all posts

Wednesday, October 11, 2023

The End of the World

When I was young I had a Herman's Hermits Greatest Hits album. One of the songs was "The End of the World," which had been originally recorded by Skeeter Davis in 1962. It's a lament about a romantic breakup, though lyricist Sylvia Dee's original inspiration came from the death of her father. 

If you're unfamiliar with the song, here are the first two stanzas.

Why does the sun go on shining?Why does the sea rush to shore?Don't they know it's the end of the world'Cause you don't love me anymore?
Why does my heart go on beating?Why do these eyes of mine cry?Don't they know know it's the end of the world?It ended when you said goodbye
I remember feeling this way a little on my 13th birthday when a girl I liked said yes to going steady with the boy across the street. As tear moistened my pillow that night I thought to myself, "So this is what it's like to be a teenager." Yes, a bit melodramatic.
In the song, these sentiments are followed by a bridge segment that encapsulates a little of what I've been feeling the past few days. It's a very differentstory.
I wake up in the morning and I wonderWhy everything's the same as it wasAnd I can't understand, no I can't understandWhy life goes on the way it does
It just seems weird to me how all this horror is taking place in the Middle East while life over here just goes on as always, with the World Series playoffs and TV shows and shopping and everything. Even the stock market has been going up. What's going on?
Of course there are always horrors going on that we never talk about--rape, violence, starvation, torture, brutality, suffering, etc.  This time it feels different. 
I've frequently cited the line "Man's inhumanity to man makes countless thousands mourn" which was originally penned by Robert Burns in his poem, Man Was Made To Mourn: A Dirge. The statement is a pointed indictment of human cruelty and a reminder that humans are capable of inflicting great pain upon each other, with devastating consequences.
The world is broken. The evidence is plainly visible to all. Will we ever live in a world where everyone is treated with dignity and respect? I have a hard time imagining it.

Sunday, December 26, 2021

Poilu -- A Grisly WWI Memoir from the Trenches

French soldier at lookout, WWI
grisly:  
ɡrizlē / adjective/
"causing horror or disgust"

gruesome:
ɡro͞osəmadjective/
"causing repulsion or horror"

Synonyms: ghastly, frightful, horrifying, fearful, hideous

* * * * *

I recently had a discussion with a friend with whom the topic of World War I came up. I was recommending that he watch Kubrick's Paths of Glory again, as I had just revisited it recently. This led to discussions about books, of which he made three recommendations: The Great War by G.J. Meyer, Goodbye To All That by Robert Graves, and Poilu: The World War I Notebooks of Corporal Louis Barthas, Barrelmaker. The latter two I requested the next day from the library and then purchased Meyer's volume as a Christmas present to myself. 

The word "poilu" is literally translated "hairy" but its meaning is similar to the dismissive term "grunt" that is used in our American lingo. After a few short pages I became utterly immersed with this detailed and insightful account of life in the trenches and its horrors. The words grisly and gruesome only begin to describe the experience for these grunts who suffered the most appalling indignities. 

One of the recurring themes in the narrative is how much the soldiers despised their commanders, and rightly so. The abuse they endured for no reason and the lack of any kind of empathy or attempt to relate to the circumstances these poilu were being sent into is unbelievable. 

A second theme that closely parallels the first is that over time there developed a greater camaraderie between the German grunts and poilu than either group of fighting men with their own officers.

On one occasion the French troops were crawling forward in a heavy rain through the mud and, emboldened by the silence they encountered, they arrived at the German trench they had been ordered to take. They found it stuffed with corpses. There was only one wounded German, who was taken away and the trench reoccupied.

"They tossed out the dead bodies to both sides, front and rear, and covered them insufficiently with the earth they shoveled out while deepening the trench. But the steady rains uncovered the bodies, little by little, and they had to abandon the trench. A sign post at its entrance bore this lugubrious inscription: Trench of Death. In truth, there were only dead men there." (p. 34-35)

Over and over the weather brings additional challenges to bear upon the men. It becomes apparent that there will never be any kind of "winning" in this war. The real objective is to not lose one's sanity.

"The steady rain brought on landslides which uncovered many French cadavers alongside our trench, which had been taken on September 25. They had been tossed out of the trench and insufficiently covered with a bit of dirt. It wasn’t unusual to be grabbed while passing by a skeleton hand or a foot sticking out of a trench wall. We were so blasé about it that we paid it no more attention than to a root we might trip upon in our paths." (p. 134)

And then there were the lice. 

"We had six days of rest at Agnez-les-Duisans. With heavy rains each day forcing us to stay inside our billets, our primary occupation was hunting lice. Each of us carried thousands of them. They found a home in the smallest crease, along the seams in the linings of our clothing. There were white ones, black ones, gray ones with crosses on their backs like crusaders, tiny ones and others as big as a grain of wheat, and all this variety swarmed and multiplied to the document of our skins.

"And these lice bore in as well on the tough skin of a rude peasant as on the soft skin of an effeminate Parisian. It made no distinction among levels of society. To get rid of them, some rub themselves all over with gasoline every night; others carried sachets of camphor, or powdered them selves with insecticide; nothing did any good. You'd kill 10 of them and 100 more would appear.

"This all came from the repulsive filthiness of our bedding, which was hardly ever changed, and the difficulties we had and doing laundry. The cold was so pervasive that as soon as everything was washed it froze solid. Where could we thaw out and put it out to dry?"

There were good reasons the poilu detested their officers. Here is one example. In order to motivate the soldiers to run toward the German trenches, Balthas' unit was told that they must go relieve the 23rd division at a certain location. The soldiers pressed forward only to find no French soldiers at all. They had been lied to and advanced into a withering blaze of machine gun fire. The lie was supposed to make them feel more confident in their advance. Naturally it made them distrust their commanders even more.

If a soldier requested leave because his frostbitten feet made it impossible for him to walk, the soldier would be court-martialed for making excuses to avoid having to fight. And just as in Paths of Glory, sometimes the officers would order the shooting of their own men if they failed to run forward into blistering machine gun fire.

Reading Barthas puts a perspective on the realities of that time. On page one he describes the manner in which the coming war is announced. There is a drumroll in his village followed by the declaration of a general mobilization, which is a prelude to war. 

Barthas writes, "This announcement, to my great amazement, aroused more enthusiasm than sorrow. Unthinking people seemed proud to live in a time when something so magnificent was about to happen... Everyone got ready, at a fever pitch, as if they really feared not getting there in time before the victory was complete."

* * *

“Ah, the notebooks of Louis Barthas! This book has profound historic value. It is also a genuine work of literature.”—François Mitterrand, former president of France

* * * 

Related Links

The Great War: So Much Sorrow, And for What?

Paths of Glory (A 2010 review)

Tuesday, January 7, 2014

Pretty Saro Made Memorable By Dylan's Tender and Delicate Delivery

As has been noted before, it's not just what he sings but how he sings it that makes a Dylan song so memorable. The English folk ballad Pretty Saro is no exception. Pretty Saro is pure sweetness.

Wikipedia pegs the song as originating in England in the early 1700s. Like many  traditional ballads origins are a guess at best. What we do know is that it made its way into the Appalachian folk music bill of fare where it has been preserved as a choice morsel on that extensive menu of delights.

Any number of preservationists have been credited with keeping songs like Pretty Saro from disappearing into the history vault. Among these was a British folk music historian Cecil Sharp. Dylan is one of several well-known musicians who has performed the song, including Judy Collins, Pete Seeger and Doc Watson. Dylan's recording in March 1970 never made the cut for that year's Self Portrait but had been preserved and is now shared on Another Self portrait.

Pretty Saro is a simple story and a common lament in folk ballads. The song writer loves someone he can never have.

The first stanza of the song describes the hills where he lives as sad and lonesome. This is a contrast from the inspiration many people have derived from hills. In stanza two the singer says goodbye to pretty Saro, but that she will be with him in his dreams wherever he goes. The reason for this separation is stated in the third stanza. He's poor and she wants a landowner who has the wherewithal to give her a house and home. Essentially, as elaborated on in the following verse, she likes the finer things that only money can buy.

The story stands in contrast to many other songs of our generation about love being more important than things. "They say our love won't pay the rent," sang Sonny and Cher in "I Got You Babe."

As I listen to Pretty Saro, I am reminded of Dylan's manner of delivery in portions of the Witmark Demos, Bootleg Series Volume 9. The tender way he sings renders it Pretty Sorrow. If you haven't acquired the set, here's one more reason to ask for it on your next birthday.

PRETTY SARO

Down in some lone valley
In a sad lonesome place
Where the wild birds do all
Their notes to increase

Farewell pretty Saro
I bid you Adieu
But I dream of pretty Saro
Wherever I go

Well my love she won't have me
So I understand
She wants a freeholder
Who owns a house and land

I cannot maintain her
With silver and gold
And all of the fine things
That a big house can hold

If I was a poet
And could write a fine hand
I'd write my love a letter
That she'd understand

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