Poem and Notes from 1943

In 1943 my mother Patricia Savage was a young woman of 19 amid World War II. She passed away just over two years ago at the age of 97 having experienced more things in her life than most of us could imagine.

 

Pat in the Women’s Australian National Service (WANS) uniform.

 

Now Mum’s handwriting is a little hard to decipher but I hope I’ve done it justice. The first of the notes. It’s a poem called At Lea, written in September 1943, which you can find in the next post.

The notes are as follows;

At Lea

The first poem honors soldiers who died in the Battle of Lae during WWII, celebrating their sacrifice and the peace they achieved. It acknowledges their bravery, the defeat of enemy forces, and offers comfort to those mourning their loss. The poem reflects on the enduring legacy of their courage and the hope for lasting peace.

At Lae

By Patricia Savage

They shall not die those soldiers

Who fell upon that day,

For they are now the holders

Of a peace they found at Lae.

They held aloft the flaming torch

Until the price did pay.

But they the Japs did badly scorch

Upon the beach at Lae.

So comfort Lord, the hearts that weep

For those who died that day.

For they did so we may keep

The peace they found at Lae.

 
 

Historical Context: This poem was written very soon after the actual battle, which ended on September 16, 1943. It reflects the immediate reaction to the victory and the losses suffered.

Language: The poem uses some dated terminology that would be considered offensive today, reflecting the attitudes and language of the time it was written.

Honoring Soldiers' Sacrifice: this is a commemorative poem, honouring the soldiers who died in the Battle of Lae and attempting to find meaning in their sacrifice. It provides insight into how this battle was perceived and memorialized at the time.

Australian troops disembarking from American Landing Ships, Tank (LST), including LST-456, at Red Beach east of Lae - 4–16 September 1943

Lae, a small town in eastern New Guinea, became significant during World War II. After Rabaul fell to the Japanese in January 1942, Lae was chosen as the new capital of Australian-mandated New Guinea. However, it was occupied by Japanese forces on March 8, 1942, before preparations were complete.

Allied plans to recapture Lae began in July 1942 as part of a larger operation to secure the Huon Peninsula. The strategy involved a pincer movement: an amphibious landing east of Lae and an airborne force at Nadzab in the Markham Valley.

On September 4, 1943, the 9th Australian Division landed east of Lae. The next day, American paratroopers captured Nadzab airstrip, allowing the 7th Australian Division to be flown in. Both divisions advanced on Lae, reaching it on September 16, with the 7th Division entering first.

The operation resulted in about 1,500 Japanese killed and 2,000 captured, while 6,500 escaped. Australian casualties were relatively light. Lae was subsequently developed as a major Allied base and now hosts a large Commonwealth War Graves cemetery, commemorating over 2,700 Australians.

Lae War Cemetery showing the first grave in Row A WX15729 Private H.P Wilson 2/11 Infrantry Battalion 6th January 1943 Age 22 For King and country - his duty nobly done

I’m Writing to an Airman

This second poem captures the essence of wartime correspondence. It's structured as a personal letter from someone at home to an airman serving abroad, identified by his "silver wings."

I’m Writing to An Airman

by Patricia Savage

I’m writing to an airman who wears those silver wings,

And I have lots to tell him ‘bout home & other things.

I wonder when I’m writing just what it’s like to be,

Flying high above the clouds or over the turbulent sea.

I tell him of the songs I hear, they seem to interest him,

Of the garden’s coming on & of his dog called Kim.

Of course, I mention rationing of butter, eggs & such,

Then tell him of the film I saw, which wasn’t up to much.

I saw his mother yesterday, of course, I tell him that,

And then I guiltily mention my new three-guinea hat.

I say I love him truly, for this is near the end,

Wish him luck in his exams & then some kisses send.

But this I do not tell him when he is far away,

That I’m so very much afraid of the flying he calls play.

I’m writing to an airman, ( I think I said before )

One day my task will finish, when peace has come once more.

 
 

Rhythmic Tone: The poem employs a simple, conversational tone with rhyming couplets, giving it a rhythmic, almost song-like quality.

Everyday News in Wartime: The narrator details the contents of their letter, which includes everyday news from home about the garden and the airman's dog, mentions of rationing, and personal activities like watching films. These mundane topics are interspersed with expressions of love and support, creating a poignant contrast between the normalcy of home life and the implied dangers of war.

Hidden Worry and Fear: Despite the seemingly ordinary nature of the letter's contents, there's an underlying current of worry and fear. This becomes particularly evident in the final stanza, where the narrator reveals their deep concern for the airman's safety - a sentiment they deliberately omit from the actual letter. This highlights the common wartime practice of putting on a brave face for loved ones serving in the military.

War's Emotional Toll: The poem touches on several themes, including the stark contrast between civilian life and the perils of war, the emotional toll of separation, and the anticipation of peace and reunion. Historical context is provided through references to rationing and the mention of a "three-guinea hat," firmly placing the narrative in the World War II era. Overall, the poem effectively conveys the complex emotions and experiences of those left behind during wartime.

Port Moresby, New Guinea. August 1942.
Kittyhawk fighter pilots of No. 75 Squadron RAAF, during a break in operations against the Japanese.

Left to right: Flight Lieutenant (Flt Lt) L. D. Wintlen; Squadron Leader (Sqn Ldr) L. D. Jackson, Commanding Officer of the Squadron, who with his older brother, Sqn Ldr John Jackson (killed in action 28 April 1942), Flt Lt J. W. W. Piper and Flying Officer P. A. Masters fought fearlessly with the rest of the outnumbered Squadron

The Young and Old

This third poem captures the cyclical nature of war and the passing of the torch from one generation to the next. The speaker, likely a WWI veteran, observes young Bill – the son of his old comrade – as he prepares to serve in the current conflict.

The Young & Old

by Patricia Savage

Say who's that going down the street?

Why isn't that young Bill?

He certainly looks smart and neat,

In that new khaki drill.

It seems 'twas only yesterday,

Since he was such a lad,

But now I see in many every way,

That he's just like his Dad.

I remember meeting old Bill,

Upon that distant shore.

Together we had stormed that hill,

The last great world wide war.

We fought like hell in the fields there,

Where the blood-red poppies grow.

And we were so proud that we could share,

In striking the winning blow.

And once again they're asking,

For Anzacs brave & true.

To go into the fighting,

For the likes of me and you.

Young Bill has heard his countrys call,

And answer it he will!

For that young lad so straight and tall

Is the son of my friend Bill.

 
 

This poem presents a poignant snapshot of wartime generations, set against the backdrop of World War II with echoes of World War I. The speaker, likely a WWI veteran, observes young Bill – the son of his old comrade – as he prepares to serve in the current conflict. The poem deftly weaves themes of generational service, patriotic duty, and the cyclical nature of war.

It reflects on the bonds formed in wartime and the continuity of service and sacrifice across generations. The tone is largely one of pride and patriotism, though there's an underlying sadness in the repetition of history.

Through its simple rhyme scheme and conversational tone, the poem draws parallels between father and son, answering their country's call in different eras. References to Anzacs and blood-red poppies root the narrative in the historical context of Australian and New Zealand military service.

The speaker's reflections blend pride in service with a touch of nostalgia for his own wartime experiences. There's an underlying current of admiration for young Bill, mixed perhaps with unspoken concern as history repeats itself.

Overall, the poem captures the continuity of sacrifice across generations, the bonds forged in wartime, and the bittersweet reality of young men following in their father's footsteps to serve their country. It's a tribute to the enduring spirit of service, while subtly hinting at the recurring tragedy of war.

AI representation of a young Australian man in Kahki Drill

Darling, I Love You

The fourth poem, written with raw emotional intensity, captures a wife's unwavering devotion to her soldier husband. The poet expresses deep longing, resilience, and hope during separation through rhyming couplets. The verse intertwines personal love with patriotic sentiment, depicting the emotional landscape of couples divided by conflict. The narrator draws strength from her love, proudly displaying her husband's wings and maintaining faith in his eventual return. Her words reveal vulnerability and courage, painting a poignant portrait of endurance and commitment during a challenging historical moment.

For Jay Dunstan to send to her husband Sgt. Observer Colin Mill in England

Darling, I love You

by Patricia Savage

Darling, I love you

In my heart are the words so simple & true,

My adorable husband, I do love you.

And though you are far across the sea,

I knew, my darling, you are thinking of me.

My love for you makes me strong inside

And helps me to smile as the tears I hide.

I also have faith & know that you will -

Come back to me - your love burning still.

Every night when to God I do pray,

I ask him to make me staunch & brave,

Brave like I know you'll always be

And staunch forever in the fight for the free.

Our love for each other will live thru' the war

And even the thought makes my spirits soar.

You’re fighting for everything you hold dear,

And that you will win to me is so clear.

So, on my lapel, I proudly display

The wings you gave me when you went away.

Till your return, my dear man in blue,

I'll be waiting always with my love for you.

 

AI representation of a young Australian airman leaving for the war

I had some difficulty in translating the names in the first two lines. I thought it may have been Fay but it would have been spelt Faye. The husbands name isn’t there and I’m sure it translates to “Observer Colin Mill”.

The fact my mother wrote this on behalf of someone else suggests she may have been helping Jay Dunstan express her feelings during a challenging time of wartime separation. This could indicate several things:

Perhaps Jay Dunstan was struggling to articulate her emotions and sought help from my mother.

My mother might have been particularly skilled at capturing emotional nuance in writing.

A close friendship or familial relationship between your mother and Jay Dunstan could have prompted this act of literary support.

Regardless, the poem remains a powerful testament to the emotional experience of military families during wartime - the love, hope, anxiety, and patriotic spirit that characterized those relationships.

I also thought the note may be classified as prose rather than a poem, so I ran it by Claude.ai and this was the response.

This is actually a poem, not prose. While it might initially look like prose because of its paragraph-like appearance, it has several key characteristics of poetry:

Rhyming Structure

  • Each line has a rhyming partner (e.g., "true" with "me", "inside" with "hide")

  • The rhyming couplets create a musical, rhythmic quality

Metrical Patterns

  • The lines have a consistent rhythmic structure

  • There's a deliberate cadence that follows poetic meter, not standard prose writing

Intentional Line Breaks

  • Lines are deliberately structured for poetic effect

  • The capitalization at the start of each line is typical of poetry, not prose

Emotional and Lyrical Language

  • The language is more elevated and emotive than typical prose

  • There's an emphasis on metaphorical and symbolic expression

Technically, this would be classified as a lyric poem - a poem that expresses personal emotions in a songlike manner. Its form is closest to a traditional love poem or ballad, with a narrative quality describing the emotional state of separation during wartime.

The piece is definitely a poem, not prose, despite its paragraph-like visual presentation.

 

Tony Redhead