Tag Archives: Border Regiment

Lieutenant Nowall Oxland – Portsmouth’s War Poet

Interestingly, I’ve found a young officer with Portsmouth connections who was a war poet- and a little known one at that.

Lieutenant Nowall Oxland was born in 1890. The son of a Cumbrian vicar, he entered Durham School as a Kings Scholar in September 1903. He seems to have performed very well there, becoming monitor and head of school between 1908 and 1910, rowing in the third crew in 1908 and the second crew in 1909, and playing in the Rugby XV in 1907-1909.

In 1909 Oxland left Durham for Worcester College at Oxford University, where he was studying History, showing great promise as a writer of Prose. Whilst at Oxford he played Rugby for Rosslyn Park, Richmond, Middlesex and Cumberland.

Gazetted as a 2nd Lieutenant in September 1914, he joined the 6th Battalion, Border Regiment, a first-line Kitchener Battalion. With that unit he sailed from Liverpool for Gallipoli in July 1915. Oxland took part in the landings at Suvla Bay on 7 August 1915, and was killed there two days later. He was 24. He is buried in Green Hill Cemetery at Suvla. By the time of his death his parents had retired to Outram Road in Southsea.

Apparently one of Oxland’s poems – Outward Bound – was written on the otward voyage, and published inAugust 1915 after his death:

There’s a waterfall I’m leaving
Running down the rocks in foam,
There’s a pool for which I’m grieving
Near the water-ouzel’s home,
And it’s there that I’d be lying
With the heather close at hand,
And the Curlew’s faintly crying
‘Mid the wastes of Cumberland.

While the midnight watch is winging
Thoughts of other days arise.
I can hear the river singing
Like the Saints in Paradise;
I can see the water winking
Like the merry eyes of Pan,
And the slow half-pounders sinking
By the bridges’ granite span.

Ah! To win them back and clamber
Braced anew with winds I love,
From the rivers’ stainless amber
To the morning mist above,
See through clouds-rifts rent asunder
Like a painted scroll unfurled,
Ridge and hollow rolling under
To the fringes of the world.

Now the weary guard are sleeping,
Now the great propellers churn,
Now the harbour lights are creeping
Into emptiness astern,
While the sentry wakes and watches
Plunging triangles of light
Where the water leaps and catches
At our escort in the night.

Great their happiness who seeing
Still with unbenighted eyes
Kin of theirs who gave them being,
Sun and earth that made them wise,
Die and feel their embers quicken
Year by year in summer time,
When the cotton grasses thicken
On the hills they used to climb.

Shall we also be as they be,
Mingled with our mother clay,
Or return no more it may be?
Who has knowledge, who shall say?
Yet we hope that from the bosom
Of our shaggy father Pan,
When the earth breaks into blossom
Richer from the dust of man,

Though the high Gods smith and slay us,
Though we come not whence we go,
As the host of Menelaus
Came there many years ago;
Yet the self-same wind shall bear us
From the same departing place
Out across the Gulf of Saros
And the peaks of Samothrace;

We shall pass in summer weather,
We shall come at eventide,
When the fells stand up together
And all quiet things abide;
Mixed with cloud and wind and river,
Sun-distilled in dew and rain,
One with Cumberland for ever
We shall go not forth again.

It remains the only well- known poem by Oxland which survives.

Apparently there is a very touching memorial to Nowell Oxland, at St Augustine’s Parish Church at Alston in Cumbria, where his father had been the vicar. Painted panels on the reredos memorial screen depict Oxland’s face, in representations of St Michael and St George. Click here for more information.

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Filed under portsmouth heroes, World War One

The History of the British Army Film and Photographic Unit in the Second World War by Dr. Fred McGlade

The Imperial War Museum holds millions of photographs and films created during the Second World War, many of them by the British Army‘s Film and Photographic Unit. They are a treasured resource for military historians. Yet the story of the men who collected this iconic images has never adequately been told.

The beginning of the Second World War found the British Government ill at ease with propgadanda and information. The armed forces in particular seemed to be overly security conscious, and unwilling to inform the general public about their work. Yet total war involved every section of society, and hence it was vital to inform morale on the home front by letting the people know what their menfolk were up to overseas and at home. There were also considerable turf wars, first in Whitehall and then with allies once the US joined the war.

The British Army led the way in producing photographs and films, after forming the Army Film and Photographic Unit. Many of the films and photographs were collected by Sergeant cameramen, who were recruited from existing soldiers who had photographic experience. Hence an ideal combination was found – men who knew how to work a camera, but had also spent some time in the Army. Several of the AFPU men were killed in action, and several more were decorated for bravery. Photographing during wartime was particularly testing, especially in extreme climates such as the desert in North Africa and the jungle in Burma. And like many ‘non-combatants’, the cameramen must have been extremely brave to be in the thick of battle, without being able to take an active part in it.

Personally, for me the most fascinating images produced by the AFPU came from Operation Market Garden. Along with Alan Wood of the Express and Stanley Maxted of the BBC – who also produced some vital reports – three AFPU Sergeants parachuted into Arnhem, and took some iconic images of the battle. Perhaps the most memorable is that of a mortar team of the Border Regiment, their mortar barrell almost vertical in the short range, fighting hard in the cauldron of Oosterbeek. AFPU cameramen also recorded the aftermath of the liberation of Bergen-Belsen, essential for ensuring that the holocaust was not to be forgotten.

There were considerable tensions with the US authorities, however. The US Government was keen to ensure that the US public saw their armed forces taking as active a part as possible in the war. Even though the US was providing by far the bulk of the men and equipment fighting in Europe, to believe some US produced films the americans won the war single-handedly. Sound familiar? Saving Private Ryan, U-571…. obviously Hollywood taking historical licence is not a new phenomenon. But the wartime film showing a band of americans liberating Burma really has to take the biscuit. Just why US public opinion justified lies has never really occured to me.

Fred McGlade has produced an important and interesting record of the work of the AFPU. There are some fascinating images in the Imperial War Museum’s collection, and this book gives them added meaning. I’ve always thought that it was a bit strange to use photographs to illustrate a war, but not to ‘illustrate’ the photographs and how they were obtained.

The History of the British Army Film and Photographic Unit in the Second World War is published by Helion

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Filed under Army, Book of the Week, World War Two