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This Item Was Submitted to Loughborough University As An This item was submitted to Loughborough University as an MPhil thesis by the author and is made available in the Institutional Repository (https://dspace.lboro.ac.uk/) under the following Creative Commons Licence conditions. For the full text of this licence, please go to: http://creativecommons.org/licenses/by-nc-nd/2.5/ LOUGHBOROUGH UNIVERSITY OF TECHNOLOGY' LIBRARY ! AUTHOR/FILING TITlE : HE"Io.l"'TS"'.... -;r If ----------------------~---------------------- r, ----- - ------ --------------- - -------------- -------....,... ACCESSION/COPY NO. __ -' ____________ "_ C?~~~~?!~-~----------- _______ _ VOL. NO. CLASS MARK LeoA-"" c.a<'-( <'I' 1\ H' u J · \\" \:\,\ 14. rEB JUN 1996 u 15 . Il' S~ . ?.!!. ~.~ .. I.' -9 _____I._~ . .-.. ... - .- - .,-- --- . 000 3'350 02 M~\\\\\\\\m\\\\\\\\m\\\\\\\\~\m\m\~ 'i ,Unofficial Records A Study of Diaries with special reference to those kept by soldiers on the Western Front during the First World War. bY ~ane Elisabeth Hewetson "Master's Thesis Submitted in partial fulfilment of the requirements for the award of Master of Philosophy of the Loughborough University of Technology (S) by Jane E. Hewetson 1983. ACKNOWLEDGEMENTS I am grateful to many people who have, in various ways, helped in the preparation of this thesis. I would especially like to thank: Mr. E.S.Blackadder, The Boots Company of Nottingham, Noel Carrington, Miss E.Clarke, William Collins and Sons. Mr. A. S. Dolden, Mrs. Fli tton, Mr. H . Groom , Mr.F. J. E .Hirst, The Imperial War Museum, Mrs.P.Larrad, Mr.Charles Letts of the Letts Company, Mr.E.R.Lysons, Mrs.D.M.Lysons, Miss M.Mackay, The National Army Museum, Mr.G.palmer of the Y.M.C.A., Dr.G.Parfitt, Mr.C.Quinnell, Mr.P.Reed, Mr. and Mrs.P.Scupham, Miss E.Smith, Mr.R.Suddaby, Mr.E.Summerfield, Mr.P.Tozer, and Mr.J.Wade. Finally I would like to thank my Supervisor, Professor John Lucas, for all his guidance, inspiration and patience during these past two years. CONTENTS Page No. ABSTRACT i PREFACE 1ii INTRODUCTION 1 I. WHY THE DIAHY? 18 I!. PRISONER OF WAR DIARY OF PTE.SYDNEY JAGGERS 45 II!. THE DIARY OF 2nd LIEUT. NOEL CARRINGTON 74 IV. THE DIARY OF PTE.EDWARD LYSONS 108 V. THE DIAHY OF SAPPER IRA CLARKE 152 VI. THE DIAHY OF LANCE CORPORAL HERMANN BRAUNHOLTZ 174 APPENDIX I. CHARLES QUINNELL's ACCOUNT OF THE 200 FIRST DAY OF THE SOMME APPENDIX I!. REPRODUCED PAGES FROM IRA CLARKE's 204 DIARY. BIBLIOGRAPHY 208 i A BST RAC T The Imperial War Museum houses over 2,000 diaries from: the First World War alone. This study, with the aid of source material and interviews, examines why so many men of rank and officer class kept diaries during the war, when it was against the King's Regulations to do so. The diaries utilised range from 1914 - 1918, and illustrate the change in attitude to the war from the Old Contemptible, the eager volunteer, to the war-weary recruit. Each diary is represented as a case study of the soldier,illustrating his family and educational background. Because these studies range from public schoolboy to carpenter, differ1ng responses and styles of writing are used to describe the war. Hundreds of soldiers have published memoirs and reminiscences since 1918. Today publishers edit selections, but the purpose of this study is not to reiterate what has already been written. Memoirs recall the war years often with fond remembrance of the most important event of their lives and forget the agony of route marches, hunger and battle. After 1918 it was easier to recall the esprit de corps, and forget the Buffering. Published diaries, like memoirs, cannot be considered a true record. Editors select what they consider the more interesting battles and episodes, so that the reader could believe soldiers spent all of. their time in France engaged in battle. These unpublished selections illustrate battles, but also the monotony of the days 'in rest', on marches, and on fatigues. Soldiers kept diaries during the ii war for companionship, to record the great adventure, and to work out the horrific and inexplicable. They were not, as published material would often have us believe, desribing a glorified infantryman's picnic. iii PREFACE The scene is a small dimly-lit room. The actors are a man and a woman, and they are acting out their parts in Alain Resnais' film 'Hiroshima Mon Amour'. He says: HE: You saw nothing in Hiroshima. Nothing. SHE: I saw everything. Everything. Four times at the museum in Hiroshima. I saw the people walking around, lost in thought among the photographs, the reconstructions, for want of something else. HE: You saw nothing at Hiroshima. Nothing. SHE: The reconstructions have been made as authentically as possible. The illusion, it's quite simple, the illusion is so perfect that the tourists cry. (1) HE: You saw nothing. This is not a study question;"~ the justice of the Hiroshima and Nagaski bombings, but the excerpt serves to illustrate that there may well be no adequate medium for expressing the horror of modern warfare. Today we are like 'She' in Resnais' film. She could read about the dropping of the bomb, see the newsreels, and cry over the fate of Hiroshima. But she could not fully understand because she was not there. When I interviewed the late Stuart Dolden on his published diaries, Cannon Fodder, for information to help this study, he exclaimed: "But you can't wri ~e about it - you don t t know. You weren't there". The following chapters illustrate that those who were there could not find a medium to describe what they saw, and those who wrote afterwards encompassed the horror of front-line fighting into an acceptable literary style. iv One of the most prolific areas of writing during the war was diary keeping. The Imperial War Museum alone houses over two thousand from the First World War. Initially it was my intention to study a collection of war diaries and journals, and not to make any distinction between those unpublished, and those written after the war intended for publication. Soon it became apparent that there was a gap between the two. Unpublished raw material produced very different kinds of responses, whereas published diaries assumed a literary form. Dolden published his diary in 1980, a narrative which has the immediacy of events, with an unsophisticated literary style. But in order to publish, Dolden had to produce an abridged version of the diaries, which resulted in a book of seventy­ thousand words. Whilst this is understandable, the immediacy of the diary was lost in the narrative and as a result the authentic entries became distorted. I found a similar problem with published autobiographies. It may have seemed" unnecessary for Vera Sri ttain I s Chronicle of Youth to have been published after the popularity of Testament of Youth, which draws copiously on the diaries. But the autobiography has the benefit of hindsight, whereas the diary portrays the author as innocent and ignorant of the destruction of war, like so many others in 1914. Testament of Youth is retrospective and judgemental; the diary is wri tten without justification or irony. When war was declared, Brittain writes in Chronicle after she had urged her brother Edward to join up: v Daddy was quite angry about the letter being sent to the War Office, but E said that Daddy, not being a public school man or having had any training, could not possibly·understand the impossibility of his remaining in inglorious safety while others scarcely older than he, were offering their all. (2) In Testament of Youth, the situation is described thus: My father vehemently forbade Edward who was still under military age, to join anything whatsoever. Having himself escaped immersion in the public school tradition, which stood for militaristic heroism unimpaired by the damping exercise of reason, he wi the Id his (3) permission for any kind of military training. Nearly thirty years later Vera Brittain uses distance and her pacifism to comment upon the idealistic views·of her brother, but the diary entry shows the.earlier innocence of the girl who, like Edward, exalted the glorious sacrifice of manhood. The Memoirs of George Sherston juxtaposed with Sassoon's War Diaries reveal a similar attempt by the author to distance himself from and create a literary style out of the war. It there- fore seemed necessary not only to draw attention to this difference, but also to present a random selection of unpublished diaries with their un-literary qualities, to present a truer ·picture of the First World War. I advertised both locally and nationally and received an unsystematic collection, which reflect the very different kinds of ways in which soldiers on the Western Front looked at war. Published diaries, like Stuart Dolden's, have suffered in the editor's hands because of their unliterary nature. The five vi diaries presented in this study are selections which illustrate not only the first day of battle and lists of horrors witnessed, but also the tedium of route marches, the repetitious parades, the feeling of hunger and the need for warmth. The diarists are not hindered by memory, nor do they try to make sense of a life they do not under­ stand by imposing upon their writing a literary style. In contrast the diarists illustrate through their un-selfconscious writing the ways in which, once at the front, there was no language to express what they experienced. This selection takes into consideration the ways in which family, education and the Edwardian upbringing played its role in the differing responses to the war. Although each diarist adopts a different style, they each have this in common: they could not find a vehicle to quantify what they saw, and the tone of the diary entries become disenchanted.
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