Dr Gethin Matthews

‘The sound of battle in our ear’: Presenting the Great War in Welsh1

he selection of detailed Welsh language studies on current documents, considered in the context of the Great War is very limited.2 As will of the contemporary standpoint, and the books Tbecome evident, we are not always presented whose starting point is the steadfast view that the with an objective analysis of the evidence, and often whole affair was futile, purposeless folly. This gap is face the same familiar clichés. summarised by military historians as the conundrum It is no surprise that the Great War of ‘the two Western Fronts’: the front that existed motivated many historians to publish works, as it in France and Flanders between 1914 and 1918 and was, undoubtedly a major turning point in world the imaginary front created by the generations that history. However, although historians agree on looked back in disbelief and horror at the barbarity the basic issues with regard to the fighting, many of the war years.4 The essential premise of the latter aspects of the developments resulting from the war version is found in the works of the anti-war poets are still a cause for debate, and there remains some (especially, in the English context, Wilfred Owen and disagreement about what exactly changed and how Siegfried Sassoon) and the abundance of literature damaging the consequences were.3 about the waste of war, including All Quiet on the In fact, it is this disagreement over so many Western Front and Goodbye to All That.5 aspects of the war that has led to the profusion of The clear impression given, on reading scholarly works discussing the minutiae – each new Welsh language historical works on the war is that analysis inducing a reaction from those who disagree. disillusionment with the war was established much As many military historians bemoan, there is often sooner and had permeated deeper among the Welsh an unbridgeable gap between military studies based intelligentsia than it had with the British population

1 ‘Swˆn yr ymladd ar ein clyw’ – extract from ‘Rhyfel’ by Hedd Wyn (trans. Wade Dowdell). I am very grateful for the kindness of all who helped me with this article, in particular Hywyn Williams, Jen Pappas and the staff of the S4C library, Edith Hughes and the staff of the BBC Wales archive, Owain Meredith of HTV Cymru and Catherine Tiwdor from Canolfan Iaith Nant Gwrtheyrn. 2 Dewi Eirug Davies (1988), Byddin y Brenin (Swansea: Tyˆ John Penry), Gerwyn Wiliams (1993), Y Rhwyg (Llandysul: Gomer), Gerwyn Wiliams (1996), Tir Neb. Rhyddiaith Gymraeg a’r Rhyfel Byd Cyntaf (Cardiff: University of Wales Press). A useful book that derived from a television series is Lleisiau’r Rhyfel Mawr by Ifor ap Glyn (Llanrwst: Carreg Gwalch) (translated by Lyn Ebenezer) (2008). 3 Jay Winter (1992), ‘Catastrophe and Culture: Recent Trends in the Historiography of the First World War’, Journal of Modern History, 64 (3), September, pp. 525-32; 525-6. 4 See, for example, Stephen Badsey (2001), ‘Blackadder Goes Forth and the Two Western Fronts Debate’ in Graham Roberts and Philip M. Taylor (eds.), The Historian, Television and Television History (Luton: Luton University Press), pp. 113-26. 5 The importance of the book All Quiet on the Western Front / Im Westen Nicht Neues (Erich Maria Remarque, 1929) and the popular film of the novel (Lewis Milestone, 1930) has been emphasised by many scholars, e.g. Modris Eksteins (1980), ‘All Quiet on the Western Front and the Fate of a War’, Journal of Contemporary History, 15 (2), April, pp. 345-66; Brian Bond (2002), The Unquiet Western Front: Britain’s Role in Literature and History(Cambridge: Cambridge University Press) pp. 35-40. Brian Bond (ibid., pp.30-4) noted that Robert Graves, author of Goodbye to All That (1929), did not consider his work as being anti-war, but it was generally interpreted as such.

1 Y Cylchgrawn Hanes at large. One aspect of this writing is that many to the war.11 Although this was the voice of a small essays give precedence to a particular group, the minority during the fighting years, often ridiculed by ministers and prospective ministers who volunteered many sections within Welsh society, these opinions their services to the cause without taking up arms were later accepted as the quiet conscience of the themselves: individuals such as Lewis Valentine, nation, apparently many years sooner in Wales than Dyfnallt and Cynan.6 In the case of Valentine, who in England. In 1923, pacifist George M. Ll. Davies went on to become one of the most prominent (who was imprisoned for his beliefs during the war) members of the budding Plaid Genedlaethol Cymru, was elected as an MP by the University of Wales there is no doubt that disillusionment with the war graduates.12 deeply affected his political/nationalist ideas, setting When the fighting was over, one element a precedent for the rest of his life.7 In 1916, whilst that struck a chord with all the people of Europe was serving in France, Lewis Valentine’s essays conveyed the extent of the live lost, as numerous memorials his abhorrence of every aspect of war: ‘My hatred of appeared all over the continent. As Robin Barlow the military deepens daily. Authority in the hands and Gerwyn Wiliams note, one familiar aspect of of the cruel gentry is a dangerous instrument.’ 8 the Welsh narrative given by many historians is the Another author who served in the armed forces and allegation that Wales provided the armed forces who was totally disillusioned by the war while it with a higher proportion of its sons than the other was still on-going was W. J. Gruffydd. On Armistice countries of the United Kingdom.13 It is obvious Day he wrote, ‘1914-1918: Yr Ieuainc wrth yr Hen’ that this concept of the particular strength of Wales’ (‘1914-1918: The Young to the Old’), a ‘bitter’ poem: contribution to the war had established itself in ‘a vigorous polemic’ in which ‘all Gruffydd’s vengeful the Welsh psyche very early on, and that the idea fury boils’.9 And so it was not on the fringes of Welsh of the exceptional sacrifice of the Welsh had been culture, but in the mainstream that the intellectual used by those who considered the war to be just, as voices expressed their discontent with the war. well as those who rejected the military approach. Gerwyn Wiliams insists that ‘Mab y Bwthyn’ (‘The Lloyd George claimed that a higher proportion of Cottager’s Son’), which won the Eisteddfod Crown volunteers had enlisted in Wales than in any other for Cynan in 1921, was a ‘milestone in the history country in the British Empire. of Welsh poetry’.10 Note, therefore, that this had However, although the claim is a familiar earned praise and respect eight years before the one, it is, according to some historians, erroneous, appearance of All Quiet on the Western Front. based on a statement in Ivor Nicholson and Trevor In addition to these Christian soldiers many Lloyd-Williams’ ‘boastful book’, Wales: Its Part in the influential voices had remained stubbornly opposed War (London, 1919).14 Once these figures had been

6 As well as the detailed discussion of these individuals in Byddin y Brenin and Gerwyn Wiliams’ books, see Arwel Vittle (2006), Valentine: Cofiant i Lewis Valentine(Talybont: Y Lolfa); D. Densil Morgan (1995), ‘Ffydd yn y ffosydd: bywyd a gwaith y Caplan D. Cynddelw Williams’, Cylchgrawn Llyfrgell Genedlaethol Cymru, 29, pp. 77-100; D. Densil Morgan (2001), ‘Y proffwyd ymhlith y praidd: Lewis Valentine (1893-1986)’ inCedyrn Canrif: Crefydd a Chymdeithas yng Nghymru’r Ugeinfed Ganrif (Cardiff: University of Wales Press), pp. 68-104; Gerwyn Wiliams (2010), ‘Chwilio am Albert Evans-Jones: Ailedrych ar Gerddi Rhyfel Cynan’, Llên Cymru, 33 (1), pp. 151-77; Alan Llwyd (2003), ‘O Wynfa Goll!’, Cerddi Eisteddfodol Cynan: 1921-1931’ in Rhyfel a gwrthryfel: Brwydr moderniaeth a beirdd modern (Barddas Publications), pp. 79-129; R. R. Williams (1964), Breuddwyd Cymro mewn Dillad Benthyg (Liverpool: Gwasg y Brython). Also, Alan Llwyd and Elwyn Edwards (eds.), (1989), Gwaedd y Bechgyn (Barddas Publications), includes a discussion on Welsh poems about the Great War, which analyses the poetry of many authors who opposed the fighting. David Ellis was another poet with pacifist beliefs who served with the RAMC; a study of his work is available in Alan Llwyd and Elwyn Edwards (1992), Y Bardd a Gollwyd: Cofiant David Ellis (Felindre: Barddas Publications) and in Kate Roberts (1965), ‘Bardd a Gollwyd’, Taliesin, 11, December, pp. 15-27. 7 See his comments in later interviews: ‘I returned to college from the army hating the military and Englishness with a passion, a nationalist, with my faith in the Gospel unmoved’, Seren Gomer, Spring 1968, p. 3. 8 From his journal, quoted in Vittle, Valentine, p. 50. 9 Wiliams, Y Rhwyg, pp. 102-14 (extracts from p.113 and 106); see also Llwyd, ‘O Wynfa Goll!’, pp. 80-1 and John Gwilym Jones (1977), ‘Barddoniaeth Gynnar W. J. Gruffydd’, Swyddogaeth Beirniadaeth (Denbigh: Gwasg Gee), pp. 73-97, 84-5. 10 Wiliams, Y Rhwyg, p.81. 11 Davies, Byddin y Brenin, passim; Aled Eirug (1987), ‘Agweddau ar y Gwrthwynebaid i’r Rhyfel Byd Cyntaf yng Nghymru’, Llafur 4 (4), pp. 58-68; and Deian Hopkin (1974), ‘Patriots and Pacifists in Wales, 1914-18: The case of Capt. Lionel Lindsey & the Rev. T. E. Nicholas’, Llafur, 1 (3), pp. 27-41. 12 Kenneth O. Morgan (1970), Wales in British Politics, 1868-1922 (2nd edition, Cardiff: University of Wales Press), p. 297. 13 See also John Davies (1992), Hanes Cymru (London: Penguin), p. 493; Angela Gaffney (1998),Aftermath: Remembering the Great War in Wales (Cardiff: University of Wales Press), pp. 150-1. 14 Robin Barlow (2011), ‘Did Wales go willingly to the First World War?’ in Huw V. Bowen (ed.), A New History of Wales: Myths and Realities in Welsh History (Llandysul: Gomer), pp. 150-8, 152-3; Wiliams, ‘Dechrau Deall y Rhyfel Mawr’, p. 14.

2 Y Cylchgrawn Hanes quoted in K. O. Morgan’s influential book Wales in half-centenary years.17 In 1964-65 the BBC broadcast British Politics, many later historians took them as the ambitious series The Great War (initially on BBC2 fact.15 and later on BBC1; the series was broadcast twice Therefore, in Wales, although many take more in the 1970s); as well as exploiting interest in pride in the country’s contribution to the victory, the war, the series created a desire to re-appraise the there was obvious disillusionment with regards to events of 1914-18.18 the justice and value of the Great War even before the The war described in the history books of major slump in the world economy. When the world the 1960s was different from the one described by economy had sunk into serious depression, and the the first wave of historians. Rather than focus on international political situation had deteriorated, the generals, the politicians and the movement of the opinions of the authors and poets about what the battalions, a social history of the war was given, little had been gained by the terrible sacrifice, were giving precedence to the experiences of the people confirmed. (both soldiers and civilians). Then, following the In addition, many works were published introduction into history of post structural ideas, that were very critical of the attitudes and decisions from the 1980s onwards, increased attention was taken by the generals during the war. Without doubt, paid to the cultural aspects – how new cultures the most important contribution was Lloyd George’s and identities were conceived during the war, the Memoirs, published in six volumes between 1933 and effects that this had on the lives of individuals and 1936. In the foreword to the new two-volume reprint communities, and how they tried to make sense of in 1938, he refers to how the incredible heroism of the war and its consequences.19 the common man was wasted by useless officials: ‘in In terms of popular conceptions of the war, the narrow, selfish and unimaginative strategy and and its portrayal in works of popular culture, there in the ghastly butchery of a succession of vain and is no doubt that television programmes are the main insane offensives’.16 vehicles through which the public learn about the Then came the Second World War to prove event.20 It is fair to say that the impressions of the that any idea that the Great War would be the war ‘to war held by many Welsh people, are derived from end all wars’ had been a foolish dream. The Great War programmes seen on the British channels – both faded from the public consciousness to some extent factual and fictional. An important and influential during the Second World War years and the decade example is the series Blackadder Goes Forth.21 In the that followed. However, there was renewed interest works of fiction, the familiar caricature of the brave, in the Great War in the 1960s, especially during the pitiful soldier, and the asinine officers is inevitable.

15 Morgan, Wales in British Politics, p. 275. Figures given by Nicholson and Lloyd-Williams were quoted by K. O. Morgan once again in his article (1981), ‘Peace movements in Wales, 1899-1945’, Cylchgrawn Hanes Cymru, 10 (3), June, p. 406. For other authors who quote K. O. Morgan’s figures see the essays of D. Tecwyn Lloyd (1987), ‘Llenyddiaeth Cyni a Rhyfel, 1914-1939’, in his Llên Cyni a Rhyfel a Thrafodion Eraill(Llandysul: Gomer), pp.12-42 (p. 12); ‘Pan fu Gwaedd y Bechgyn Lond y Gwynt 1914-18’, Y Faner, 31 August 1984, pp.8-9 and ‘Welsh Public Opinion and the First World War’, Planet, X, 25-37 (p. 26); also Hopkin, ‘Patriots and Pacifists in Wales, 1914-18’, p. 32; Alan Llwyd (ed.) (2008),Out of the fire of hell: Welsh experience of the Great War 1914-1918 in poetry and prose (Llandysul: Gomer), p. xvi; D. Gareth Evans (2000), A History of Wales, 1906-2000 (Cardiff: University of Wales Press), p. 71. 16 Quoted in Bond, The Unquiet Western Front, p. 46. 17 Jay Winter and Antoine Prost (eds.) (2005), The Great War in History: Debates and Controversies, 1914 to the Present (Cambridge: Cambridge University Press), p. 17; Alex Danchev (1991), ‘Bunking and Debunking: The Controversies of the 1960s’, in Bond (ed.), The First World War and British Military History, pp. 263-88. 18 Literature on the series The Great Warand its influence on historical programmes is vast. See the special edition of Historical Journal of Film, Radio and Television, 22 (1), 1 March 2002; Emma Hanna (2007), ‘A small screen alternative to stone and bronze: “The Great War” (BBC, 1964)’,European Journal of Cultural Studies, 10 (1), February, pp. 89-111; Taylor Downing (2002), ‘The Great War: Television History revisited’,History Today, 52 (11), November; Emma Hanna (2009), The Great War on the Small Screen: Representing the First World War in Contemporary Britain (Edinburgh: Edinburgh University Press), passim. 19 Winter and Prost, The Great War in History, pp. 25-31. See also Aviel Roshwald and Richard Stites (1999), ‘Introduction’ in Aviel Roshwald and Richard Stites (eds.), European Culture in the Great War: The Arts, Entertainment and Propaganda, 1914-1918 (Cambridge: Cambridge University Press), pp. 1-7. Winter and Prost note that the fall of the communist system from 1989 onwards has helped to promote this idea, as the Marxist concept that had been so influencial in social history was derided. Stéphane Audoin-Rouzeau and Annette Becker also note that the fate of the Soviet Union in the 1990s caused scholars to reconsider the war as, according to one, the 1914 war had finally come to an end. Stéphane Audoin-Rouzeau and Annette Becker (2002), 14-18: Understanding the Great War (New York: Hill and Wang), p. 6. 20 See the introduction to Hanna, The Great War on the Small Screen, pp. 1-5. For the importance of television programmes in general to create historical awareness amongst the public, see Raphael Samuel (1994), Theatres of Memory (London: Verso), pp. 13-17 and Jerome de Groot (2009), ‘The public historian, the historian in public’, in hisConsuming History: Historians and heritage in contemporary popular culture (London: Routledge), pp. 17-30. 21 Hanna, The Great War on the Small Screen, p. 23. Brian Bond notes in amazement that Blackadder Goes Forth is shown in schools to teach pupils about the Great War (The Unquiet Western Front, p. 79).

3 Y Cylchgrawn Hanes The starting point for this discussion is to write, before cutting short his life.24 the 1964 series The Great War, which broke new There has been an abundance of programmes ground and set a precedent for many of the history on the history of Wales on S4C ever since the programmes that followed, irrespective of whether establishment of the channel in 1982. Many series or not they referred to the war. This was the first and individual programmes have been (and are still) television production to combine archive footage, broadcast, which follow some aspect of our country’s eyewitness accounts and an authoritative script history and the history of the Great War years written by well-respected historians. Nevertheless, have not been ignored. Many offer a commendable, there is no mention in the series of the complicated intelligent analysis. relationships between the war and the four individual One such programme is Y Rhwyg (‘The Tear’), countries of the United Kingdom: we are presented a one-hour programme aired in 1988 presented with London’s viewpoint alone.22 by John Davies. It not only traces the history of In the same year as The Great War, two Welsh the fighting, but the sharp script by John Davies programmes were shown on Wales’ independent (with the aid of Gerwyn Wiliams) also manages to television channel, TWW. What strikes us today as convey the various ways in which the Great War we look at the programme contents is the restricted affected the culture, society and economy of Wales. It choice of eyewitnesses, as, in all likelihood, many considers the effect on the Welsh landscape, through thousands of Welshmen were still alive in 1964 who the disappearance of many old mansions and the could have spoken of their wartime experiences. appearance of ‘armies of foreign trees dressed in the However, only men (and one woman) who were monotonous uniform of the state’; it outlines the eminent members of Welsh society, the majority of beginning of the downfall of the coal industry and whom had already published their observations on slate quarries and the economic ramifications of the the war, were given the opportunity to present their war; it emphasises the social changes that resulted evidence. Contributions were given by the author, from the war, including the enfranchisement of the Rev. E. Tegla Davies (a pacifist who opposed the women; most of all it emphasises, as Williams Parry war), the Archdruid Cynan (who served in Salonika says, the ‘wrench of losing the boys’.25 with the RAMC and as a chaplain in France), Lady Despite the admirable qualities of this Megan Lloyd George (daughter of the former prime programme, the choice of eyewitnesses does give minister; Labour MP for Carmarthen in 1964), D. J. a cause for concern. We are presented with the Williams (author, pacifist and prominent member reminiscences of two old men (Ithel Davies of Ddinas of Plaid Cymru), the Rev. T. E. Nicholas (a poet, who Mawddwy and Griffith Williams of Llithfaen) and had vigorously opposed the Great War on the basis one old lady (Lady Olwen Carey-Evans). It is difficult of his communist beliefs), Sir Ben Bowen Thomas to argue that this choice is a representative selection (educationalist, President of the University College of those who could have spoken of their experiences of Wales Aberystwyth) and Ifan Gruffydd (who had during these years. published his autobiography, Y Gwˆr o Baradwys [‘The In this article we will concentrate on Griffith Man from Paradise’] the previous year, in which he Williams’ contribution, as his case embodies some discussed his time in the army in France and Egypt of the problems associated with the unquestioned between 1914 and 1920). use of oral testimony decades after an event. I am As we sift through the catalogue of not suggesting that this brave, honourable man is programmes and items broadcast on TWW and HTV23 lying, nor that he intentionally misleads the audience: during these years, very little content deals with the rather, the problem is to do with the nature of human effects of the Great War on 1960s and 1970s Wales. A memory.26 programme on Hedd Wyn was made in 1967 (on the The concept of ‘memory’ is complicated. The fiftieth anniversary of his death): although a powerful truth is that individuals ‘compose’ the history of their programme containing valuable archive material lives, arranging their memories to create a narrative (such as an interview with Hedd Wyn’s lover), very that is consistent, understandable and which gives little consideration is given to the war other than as them comfort.27 Therefore, the researcher cannot an external force that impaired the poet’s opportunity accept the evidence of the eyewitness as fact without

22 The BBC in Scotland apparently pushed for one of the programmes to consider ‘Scotland and the Great War’, but the producers argued vigorously against the idea. See J. A. Ramsden (2002), ‘The Great War: The making of the series’, Historical Journal of Film, Radio and Television, 22 (1), March, pp. 7-19; 14. 23 Harlech Television / HTV started broadcasting an independent television service for Wales in May 1968, replacing TWW. 24 This programme was repeated on S4C in 2011, as part of the Cofio series. 25 From ‘Englynion Coffa Hedd Wyn’. This quote is included in many programmes discussed in this article. 26 Griffith Williams published his autobiography, Cofio Canrif, at 102 years of age (Caernarfon: Gwasg Gwynedd, 1990). Many of the factual errors that appear in the discussion below (relating to his contributions to television programmes), also appear in this book. 27 Anna Green and Kathleen Troup (eds.), (1999), The Houses of History: A critical reader in twentieth-century history and theory (Manchester: Manchester University Press), pp. 233-4.

4 Y Cylchgrawn Hanes further investigation. An analysis of what Great War – and who became famous as a result of his powerful veterans have said at different periods in their lives and poignant statements – was Harry Patch, born has clearly shown how present circumstances and in 1898.32 Similarly in Welsh: in the 1990s a small current social attitudes influence the story being told. number of veterans came to represent the hundreds There is hard evidence that veteran soldiers of thousands of Welshmen who had served. adapt their stories to conform to current social On reaching his 100th birthday, Griffith prejudices and the expectations of the listener. Williams appeared in some Hel Straeon (‘Telling Therefore, as Arwel Vittle notes in his biography Stories’) programmes discussing his memories of of the Reverend Lewis Valentine, the book that the old days, which included stories of his personal he published in 1988 was a ‘literary work’, not an experiences in the Great War. He was the only authentic account of his feelings at the time, even veteran to speak in the programme Y Rhwyg, and though it was entitled Dyddiadur Milwr (‘The Diary of the voice of John Davies introduces his contribution a Soldier’). Vittle declares that Valentine is ‘looking with the words: ‘By now there aren’t many left of the back at the events of the Great War … through the millions who went to war, but there is one gentleman spectacles of pacifist and nationalist middle age’.28 who joined at twenty-five years of age and who has Even more unexpectedly, many studies now reached one hundred years old, and Mr Griffith have shown that profound personal memories are Williams of Llithfaen remembers it all.’ extremely open to corruption by outside sources, The problem is that we cannot depend upon such as films or television programmes, which the facts presented by Griffith Williams. He states can prejudice an individual’s memories of his/her in his book and in numerous television interviews experiences. There is therefore an intricate problem that he volunteered for the army in 1915, but he also when any work that claims to be ‘factual’ depends states in his autobiography that he arrived at the mainly on memories supplied by a speaker many Royal Welch Fusiliers’ training camp a fortnight after decades after the event. Often, rather than an Hedd Wyn, who attended the camp in early 1917.33 account of what actually happened, what we get is the However, according to official records Williams joined fruit of many years’ consideration and trying to make the army on 16 June 1917, and could not therefore sense of extreme experiences.29 As John Tosh notes, have met Hedd Wyn at the camp.34 ‘the ‘voice of the past’ is inescapably the voice of the One of the most striking and memorable present too’.30 stories told by Griffith Williams was that of his However, following the example of The Great colleague who was executed for daring to question War, British programmes on the Great War tend to the war.35 However, although Williams told this tale dignify the veteran’s viewpoint.31 To the producers, as if he himself had been a witness, it appears to be the advantages of hearing the stories directly from a combination of many stories, heavily influenced the mouths of the eyewitnesses were greater than any by the anti-military discussions and attitudes of the doubts about the authenticity of their recollections. decades following the event. As the number of veterans dwindled they Although this story is extremely powerful received more and more attention, and there was and a clear statement of how Griffith Williams viewed an increased demand for those who were still alive. his time in the army seven decades earlier, the details Possibly, the individual who attracted most attention are not believable.

28 Vittle, Valentine, p. 50. 29 For a detailed consideration of an example of a veteran tidying up the narrative of specific events, see Fred H. Allinson (2006), ‘Remembering a Vietnam War Firefight: Changing perspectives over time’, in Perks and Thomson (eds.),The Oral History Reader, pp. 221-9. 30 John Tosh (2006), The Pursuit of History(Harlow: Longman), pp. 318-9. 31 Hanna, The Great War on the Small Screen, p .64. 32 See Hanna, The Great War on the Small Screen, pp. 66-8. Harry did not speak of his experiences during the war until his 100th birthday, but after that he appeared in many programmes, including Veterans: The Last Survivors of the Great War (BBC, 1998); Shot at Dawn (ITV, 1998); The Trench (BBC, 2002); A Poem for Harry (BBC, 2002); World War One in Colour (Channel 5, 2003); The Last Dawn / Ar Doriad Gwawr (HTV / S4C, 2005) and The Last Tommy(BBC, 2005). His death at 111 years old on 25 July 2009 was reported in every British news programme and newspaper. 33 Williams, Cofio Canrif, p. 47 (in which he states that he joined in April 1915); p. 51 (in which he states that he had been at the Litherland camp a fortnight after Hedd Wyn). In Y Rhwyg (after approx 18´00), he stated that he joined ‘in early 1915’. In Alan Llwyd’s (1991) book, Gwae Fi Fy Myw: Cofiant Hedd Wyn (Cyhoeddiadau Barddas Publications), p. 207, he states that Hedd Wyn arrived at Litherland in late January 1917. 34 Griffith Williams notes in his autobiography (p.51), that his number in the Royal Welch Fusiliers regiment was 69188. The card of Private Griffith R. Williams (69188) in the list of those who received medals notes that he received the ‘Silver War Badge’ (the medal given to those who left the armed forces due to injury) and that the details can be seen on page J/988/2. On this page are the details of Private Griffith Richard Williams (69188), which show that he joined the army on 16.6.17 and was released on 29.10.1918. Also, the release forms received by Griffith Richard Williams on leaving the army confirm this date. (These documents are available on-line through www.ancestry.co.uk). 35 This history is available in Williams, Cofio Canrif, pp. 62-3, and in the programme, Y Rhwyg.

5 Y Cylchgrawn Hanes The only interpretation, therefore, that been beaten by a merciless sergeant at the barracks makes any sense of this anecdote is that Griffith in Mold, with the situation of the Welsh soldiers Williams had compressed numerous scattered as they approached the Prussian stronghold in memories and stories into one, influenced by his the woods, with machine guns and shells injuring, uncomfortable feelings about his own military disembowelling and killing their friends all around experiences as he looked back; and also by narratives them. heard in subsequent years that emphasised the Another reason why Ithel Davies’ barbarity of war. In truth, it is unlikely that Griffith contribution creates an imbalance in the programme Williams had witnessed any executions during his is that he tells his story much more eloquently than time at the Western Front, but as he ruminated over the soldiers who tell theirs. After the Great War, his experiences decades later he told the tale of an Davies wet on to become a solicitor and a politician, imaginary event as though he had seen it unfold. and was accustomed to telling his story and justifying In the years following Y Rhwyg, Williams his actions in the war. published his autobiography, Cofio Canrif There are other examples of Welsh language (‘Remembering a Century’), which included 24 pages programmes in which the conscientious objector is of recollections of the 1914-1918 years (almost a given a disproportionate amount of attention, and third of the book), and as he continued to survive, the presentation is sympathetic to his situation. becoming the oldest man in Wales, his photograph In a scene from Tocyn Diwrnod – Breuddwyd Cymro and story appeared regularly in the newspapers.36 An mewn Dillad Benthyg (‘Day Ticket – The Dreams of interview with Williams was recorded for the BBC a Welshman in Borrowed Clothes’), in which we see Wales programme, Shadows on the Western Front, in two soldiers in conversation, one is heard saying to 1993, and one was also recorded for Canrif y Werin the other, ‘Conscientious objectors – maybe they (‘The People’s Century’), a series on the oral history are the brave ones and we are the fools’. In Cymru of the twentieth century, which was broadcast many 2000 (‘Wales 2000’) Merfyn Jones states, ‘They were years after his death in July 1996. treated harshly, some being persecuted, publicly Therefore, just as Harry Patch came to derided and imprisoned’. Here therefore is one represent the soldiers of England, so in Wales in the aspect that regularly receives more attention in 1990s a small number of veterans came to represent Welsh programmes than in corresponding English the hundreds of thousands of Welshmen who had programmes.39 served in the Great War.37 However, another veteran Hedd Wyn is another character that is who appeared regularly on S4C was Ithel Davies, studied thoroughly in many Welsh programmes. who had refused to serve. As well as his contribution It cannot be denied that, to most Welsh speakers, to Y Rhwyg he was seen in both Mametz and Canrif Hedd Wyn is by far the most famous Welsh soldier y Werin: Y Rhyfel Mawr (‘The People’s Century: The who fought in the Great War. His tragic story, which Great War’), and his words were quoted in the second tells of his amazing genius cut down before reaching episode of Lleisiau’r Rhyfel Mawr (‘Voices of the Great maturity, came to represent the futility and waste of War’).38 the Great War. The powerful filmHedd Wyn, which Ithel Davies’contributions to the programme received critical acclaim, tells his story in a polished Mametz cause particular problems. The first, and and sensitive manner. most fundamental question has to be why does a Referring to the story of Hedd Wyn man who refused to fight appear in a programme therefore seems to allow programme makers to focusing on the Welsh who suffered in the carnage of convey very succinctly the tragedy of the Great War. Mametz Woods? No-one can deny the significance of In Canrif y Werin the narrator declares this as being this conscientious objector’s story, but weaving his ‘one of the saddest stories of the war’. The series story into the stories of the Welsh soldiers on 9-10 Lleisiau’r Rhyfel Mawr begins with an extract from July 1916 disrupts the narrative and confuses the one of Hedd Wyn’s poems (‘Distance cannot make programme’s message. us forget / Children of the hills / Our hearts remain There is also a problem if the producers’ together / Although we are apart’). Y Rhwyg concludes intention was to compare Davies’ suffering, having at the grave of Hedd Wyn in Artillery Wood cemetery,

36 See example, ‘My white Christmases’, Daily Post, 24 December 1993; ‘A song in his heart at the age of 104’, Daily Post, 4 June 1992; ‘Dal i fwynhau mwg ei getyn wrth ddathlu ei 105 oed’, Yr Herald Gymraeg, 12 June 1993; ‘Oldest man in Wales celebrates 108th Birthday’, The Independent, 6 June 1996. 37 Another who appeared in many productions, in both languages, was Bob Owen from Llandudno (d. 1998), who spoke in an episode of The Slate (BBC Wales, 1994); Shadows on the Western Front (BBC Wales, 1994); Week In Week Out: Shot at Dawn (BBC Wales, 1997) and Canrif y Werin: Y Rhyfel Mawr (S4C, 2000). 38 Ithel Davies died in 1989: the piece in Canrif y Werin is a repeat of his contribution to Mametz, which tells the story referred to in the footnote below. Note that the citation in Lleisiau’r Rhyfel Mawr comes from a letter sent by Davies to Y Faner in 1916 – see Ifor ap Glyn, Lleisiau’r Rhyfel Mawr, pp.77-8. 39 No mention is made of the conscientious objectors in two English language programmes produced by BBC Wales that tell the story of the war through the testimony of veterans, Mametz Wood (1987) and Shadows on the Western Front (1993).

6 Y Cylchgrawn Hanes near the village of Boezinge. In the first programme our wages, didn’t he? And if you remember, of the series Cerdded y Llinell (‘Walking the Line’), Iolo he gave those generals the sack, yes. General Williams and Hywel Teifi Edwards discuss the story Bing, General Plumer, Rawlinson and that of Hedd Wyn at his graveside with the Professor, in Douglas Haig– he was worth nothing after his unique way, discussing how R. Williams Parry Lloyd George had given them the sack. Lloyd succeeded, through his englynion, to create a ‘sort of George felt it when boys were killed.’ universal figure’ from Hedd Wyn: ‘the young soldier To summarize the debate, we then have full of creative talent, who was killed just like millions Emyr Price’s contribution, which emphasises how of others’. Professor Gareth Williams also travelled to important and key Lloyd George was. Gerwyn Pilckem Ridge for Ar Doriad Gwawr (‘The Last Dawn’), Wiliams refers to the ‘loyalty’ shown to Lloyd George telling the story of the ‘poet heavy under foreign soil’. ‘until his death in 1945’, but it seems that this loyalty The final words of this programme are the powerful, still holds strong today.42 However, one of Lloyd harrowing lines of the poem, ‘Y Rhyfel’ (‘The War’): George’s most faithful followers often receives strong ‘…And the boys’ screams filling the wind / And their criticism in the programmes. blood mixed with the rain’. The same lines are quoted In an article that weighs up the legacy of by Merfyn Jones at the end of the segment discussing the Reverend John Williams, Brynsiencyn, Aled Jôb the Great War in Cymru 2000. states that it would be difficult to discuss the Great Another Welsh icon of the war years is War in Wales without any reference to him. ‘For David Lloyd George, who served as Chancellor of many years now, this Methodist minister, who was the Exchequer, Minister for Arms, War Secretary so prominent in the recruitment campaign during and (from December 1916) Prime Minister. Gerwyn the War, grew to become one of Wales’ bêtes noires as Wiliams states, ‘Throughout the War, as the Kaiser a nation.’ 43 In terms of television programmes on was trampled into the mud Lloyd George was elevated the Great War Aled’s interpretation hits the nail on to a god’.40 In the decades following the war, Welsh the head: almost all the programmes studied discuss speakers have continued to idolise Lloyd George. this great minister’s contribution to the recruitment Of the programmes in question, the one that campaign, more often than not in a negative way. The favours Lloyd George most is Canrif y Werin, produced veterans themselves are amongst those who derided by Emyr Price, who was himself the author of more John Williams most bitterly. than one biography of ‘the wizard of Dwyfor’.41 Griffith Williams would tell (erroneously) of Considering that Lloyd George himself had been how John Williams had left his church in Liverpool very proactive in fighting the ‘war of recollections’ in order to go on a campaign to entice men into the – portraying himself as one who stood up for the army, saying ‘he went like a little dog, recruiting common soldier against the hard-heartedness of the for Lloyd George’.44 On the other hand, in the predatory generals, stubbornly insisting on sending programme Mametz Caledfryn Evans remembers thousands of men to their deaths – it is no surprise the effect Williams had from the pulpit: ‘A very that Canrif y Werin is very scathing of the actions handsome man, preaching to us in the Pavilion of the higher ranking officers. On camera himself, in Rhyl … the place crammed to capacity … full of Emyr Price talked of the ‘bunglings of the generals’ soldiers. I don’t remember the sermon, only his and the ‘huge ineffectiveness’ of their campaigns; the presence’. subsequent narration also refers to this ‘bungling’. An actor’s voice is used to dramatize Discussing the final year of the war, the narration Williams’ speech: ‘You rosy cheeked boys of Anglesey, declares that ‘Lloyd George was ready to get rid of the will you let the sallow faced boys of the towns hard, pitiless British generals. He wished to end the sacrifice their lives to keep you healthy’ both inY war, and bring the boys home’. This incredibly biased Rhwyg and in the first episode of Lleisiau’r Rhyfel statement is preceded by Bob Owen’s fond memories Mawr.45 Extracts from this speech are quoted in of the great man: the programme Tocyn Diwrnod. A whole programme ‘All the boys thought highly of him. He raised is set aside to weigh up Williams’ contribution to

40 Wiliams, Y Rhwyg, p. 64. See also Llwyd and Edwards (eds.), Gwaedd y Bechgyn, p. 30. 41 Emyr Price (1999), Lloyd George y cenedlaetholwr Cymreig: Arwr ynteu bradwr? (Llandysul: Gomer); Emyr Price (2006), David Lloyd George (Cardiff: University of Wales Press). 42 Wiliams, Y Rhwyg, p. 81. 43 Aled Jôb (1988), ‘John Williams, Brynsiencyn â’r Rhyfel Byd Cyntaf’, Barn, 310, November, pp. 10-12, 10. For an essay reviling John Williams see Geraint Jones (2009), ‘Porthmon Moloch’, in his Epil Gwiberod: Detholiad o ysgrifau ‘Sêt y Gornel’ (Caernarfon: Gwasg y Bwthyn), pp. 60-3. For an interpretation that, on the other hand, is sympathetic to John Williams, see Ben Rees (2011), ‘Cloriannu’r Parchedig Ddr John Williams, Brynsiencyn’, Cylchgrawn Hanes Cymdeithas Hanes y Methodistiaid Calfinaidd, pp. 108-27. 44 Y Rhwyg, approx 16´00 in. John Williams retired from his ministry in Prince’s Road chapel, Liverpool, in 1912. 45 For the full quote see Wiliams, Y Rhwyg, p. 14.

7 Y Cylchgrawn Hanes Wales’ campaign during the war in Eryr mewn Coler evidence not corrupted by the passage of time. Gron (‘Eagle in a Round Collar’), which includes a re- However, there is a way forward for studying enactment of many of his recruitment speeches.46 the history of the Great War in which the Welsh have Thus many Welsh programmes about the war a distinct advantage, and where the later evidence tend to re-produce the same material to tell the story. of the veterans themselves will be very valuable. As Presenters are seen in the same locations, such as was stated earlier, the historiography of the war has those parts of the trenches that have been preserved developed over recent decades to focus on the effects (or rather re-built) as they were, in Sanctuary Wood of the fighting years on the culture of the various near Ypres. The producers have even chosen to use countries. The fact that Wales has its own culture, similar music: Welsh hymns in minor keys, played at which witnessed major changes as a result of the a funereal tempo. carnage, opens the door to a study of how exactly Unfortunately, as they tell the same story the talons of war affected the lives of the nation, and these representations of the war also very often re- the lives of regions, communities and individuals. As produce the same ambiguous information. Many of there are many scholarly studies that analyse Welsh the programmes shown on S4C discussing the Great war literature, much of the essential work has been War spread the same erroneous ideas regarding the done, at least with regard to tracing the attitudes of degree of recruitment in Wales. In Ar Doriad Gwawr the country’s intelligentsia. I have already referred to Gareth Williams and Deian Hopkin state that a the impression that these intellectuals experienced greater proportion of Welsh men joined the army feelings of great disillusionment, much sooner and than any other part of the United Kingdom; the more deeply than the British population at large. presenter in Lleisiau’r Rhyfel Mawr makes the same What then of the attitudes of the other Welsh people statement. In David Lloyd George: Prydain a’r Byd who were involved with the war? (‘David Lloyd George: Britain and the World’) Hywel It is possible to approach this subject from Williams states: ‘By the end of the war 300,000 two different angles. We can either consider the Welshmen had served in the armed forces – a much current works of the individuals who suffered these higher proportion than from any other part of the appalling experiences – as with Lleisiau’r Rhyfel Mawr United Kingdom’.47 – and try to follow how some families or communities Another deficiency in the programmes is adapted to their new circumstances, or we can study the failure to explain why Britain was fighting in the the statements of veterans as they look back over the first place. There is no explanation of the source or decades and try to make sense of their experiences, purpose of the war in Mametz, Tocyn Diwrnod or Y analysing the way in which they have composed their Rhwyg; the programme Canrif y Werin jumps directly recollections. The researcher can therefore build a from the shooting of Archduke Franz Ferdinand in picture of which aspects of Welsh culture these men Sarajevo to the havoc in the trenches. Without any considered to be important, and how the war affected further explanation of why war between the great their identity. In this case, no one can deny the European powers broke out, this direct shift into validity of the testimony of the elders, all of whom the carnage makes no sense, making the fighting speak sincerely from the heart. Therefore, why not a seem pointless. It may be that the tendency to give study of interviews with the old veterans analysing the veterans priority in the programmes clouds the their statements in terms of what they convey about situation: decades later, it is very difficult for these Welsh culture in the decades after the carnage, rather men to justify why they were fighting. ‘We knew than accepting every statement as an immutable nothing of what we were fighting for,’ says Griffith ‘fact’? Williams. ‘We had no idea – only to keep the big boys As we approach the centenary of the events happy.’ 48 of 1914-1918, we are bound to hear ‘the sound of In order to comprehend the true significance battle in our ear’ once again, with numerous debates of the Great War, and the ensuing chaos and rifts, in the media regarding the significance of the war and we must start by attempting to ignore the decades its consequences. We can only hope that we in Wales of preaching about the fighting, and draw nearer to will hear, respect and understand, the voices of brave the viewpoint of those people who experienced the men such as Griffith Williams and Bob Owen, as well tragedy and who voiced their feelings at the time. as listen to the opinions of David Lloyd George and This is the distinct advantage that Lleisiau’r Rhyfel read the poetry of Hedd Wyn. Mawr has over other programmes, as it uses current

46 This was a drama-documentary, part of the series Dilyn Ddoe, which was first broadcast on 5 July 1997. The part of John Williams was played by the famous actor from Anglesey, J. O. Roberts. Note that no mention is made of John Williams in the BBC Wales programmes, Mametz Wood (1987) and Shadows on the Western Front (1993). 47 This figure is much higher than the records available of men born in Wales who served, namely 272,924: see Chris Williams (2007), ‘Taffs in the Trenches: Welsh national identity and military service 1914-1918’, in Matthew Cragoe and Chris Williams (eds.), Wales and War: Society, Politics and Religion in the Nineteenth and Twentieth Centuries (Cardiff: University of Wales Press), p. 126. 48 This quote was taken from Canrif y Werin, but Griffith Williams used almost the exact same words inY Rhwyg.

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