New York Times Current History; The European War, Vol 2, No. 2, May, 1915 April-September, 1915 — Key Ideas to Explore

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Words 112,044
Reading time 488 min
Text sections 13

This digital edition of New York Times Current History; The European War, Vol 2, No. 2, May, 1915 April-September, 1915 — Key Ideas to Explore is described by source-level measurements including 112,044 words, 8 hr 8 min estimated reading time, and 13 detected text sections.

The text analysis averages about 22.5 words per sentence, while the detected sections provide another way to judge how the source is divided.

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This May 1915 issue of the New York Times Current History compiles official reports, war correspondence, poetry, and cartoons from multiple belligerent nations, offering a contemporary snapshot of World War I through diverse primary sources.
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ade was able to form up in the open on the left without a shot being fired at it, thus showing that, at the time, the enemy's resistance had been paralyzed.

The brigade pushed forward in the direction of Moulin-du-Pietre. At first it made good progress, but was subsequently held up by machine gun fire from houses and from a defended work in the line of the German intrenchments opposite the right of the Twenty-second Brigade.

Further to the south the Twenty-fourth Brigade, which had been directed on Pietre, was similarly held up by machine guns in houses and trenches. At the road junction, 600 yards to the northwest of Pietre, the Twenty-fifth Brigade, on the right of the Twenty-fourth, was also held up by machine guns from a bridge held by the Germans over the River Les Layes, which is situated to the northwest of the Bois du Biez.

While two brigades of the Meerut Division were establishing themselves on a new line the Dehra Dun Brigade, supported by the Jullunder Brigade of the Lahore Division, moved to the attack of the Bois du Biez, but were held up on the line of the River Les Layes by a German post at the bridge, which enfiladed them and brought them to a standstill.

The defended bridge over the Les Layes and its neighborhood immediately assumed considerable importance. While the artillery fire was brought to bear, as far as circumstances would permit, on this point, General Sir Douglas Haig directed the First Corps to dispatch one or more battalions of the First Brigade in support of the troops attacking the bridge. Three battalions were thus sent to Richebourg St. Vaast.

Darkness coming on and the enemy having brought up reinforcements, no further progress could be made, and the Indian Corps and the Fourth Corps proceeded to consolidate the position they had gained.

While the operations, which I have thus briefly reported, were going on, the First Corps, in accordance with orders, delivered an attack in the morning from Givenchy simultaneously with that against Neuve Chapelle, but as the enemy's wire was insufficiently cut very little progress could be made, and the troops at this point did little more than hold fast to the Germans in front of them.

On the following day, March 11, the attack was renewed by the Fourth and Indian Corps, but it was soon seen that further advance would be impossible until the artillery had dealt effectively with the various houses and defended localities which had held the troops up along the entire front.

Efforts were made to direct the artillery fire accordingly, but, owing to the weather conditions, which did not permit of aerial observations, and the fact that nearly all the telephone communications between the artillery observers and their batteries had been cut, it was impossible to do so with sufficient accuracy. When our troops, who were pressing forward, occupied a house there, it was not possible to stop our artillery fire, and the infantry had to be withdrawn.

As most of the objects for which the operations had been undertaken had been attained, and as there were reasons why I considered it inadvisable to continue the attack at that time, I directed General Sir Douglas Haig on the night of the 12th to hold and consolidate the ground which had been gained by the Fourth and Indian Corps, and suspend further offensive operations for the present.

The losses during these three days' fighting were, I regret to say, very severe, numbering 190 officers and 2,337 of other ranks killed, 359 officers and 8,174 of other ranks wounded, and 23 officers and 1,720 of other ranks missing. But the results attained were, in my opinion, wide and far-reaching.

_Referring to the severity of the casualties in action, the Commander in Chief writes:_

I can well understand how deeply these casualties are felt by the nation at large, but each daily report shows clearly that they are endured on at least an equal scale by all the combatants engaged throughout Europe, friends and foe alike.

The May 1915 issue of New York Times Current History presents a mosaic of firsthand accounts, official dispatches, and cultural commentary from the first year of the European war. Rather than a unified narrative, the volume juxtaposes Field Marshal Sir John French's detailed casualty report for Neuve Chapelle with poems like Beatrice Barry's 'To A German Apologist,' which directly addresses the moral question of Belgium. The inclusion of cartoons from Punch, Simplicissimus, and L'Asino reveals how each nation's press lampooned its enemies, while a facsimile of a Belgian bread-check grounds the conflict in everyday privation.

Official Reports and Human Cost

The issue opens with General Sir John French's own account of the Battle of Neuve Chapelle, a dry enumeration of losses: 190 officers killed, 2,337 men, with total casualties reaching 12,811. The report notes the enemy left 'several thousand dead on the field' and that 'upward of 12,000 wounded' were treated. This bureaucratic tone contrasts sharply with the poetic and editorial pieces that follow. The volume also includes the 'Official Story of Two Sea Fights' and a chronology of the war, suggesting an editorial effort to balance raw data with human interest.

Propaganda and Satire Across Borders

A striking feature is the collection of political cartoons from British, Italian, German, and French publications. An English cartoon from Punch titled 'The Bread-Winner' depicts a domestic scene, while a German cartoon from Simplicissimus shows a father promising to bring back 'a nice German beefsteak' from Europe. The Italian cartoon 'Italy's Neutrality' portrays the German ambassador as a dancer. These images, accompanied by explanatory captions, demonstrate how each nation's humor served nationalist ends. The facsimile of a Belgian bread-check—a ration card in French and Flemish—adds a bureaucratic, non-satirical counterpoint.

Poetry as Political Argument

Beatrice Barry's poem 'To A German Apologist' directly engages the debate over war guilt, repeating the refrain 'Belgium' as an unanswerable charge. The poem acknowledges that 'there are two sides' but insists that facts of 'horrors taking place / In that little land' make the German cause 'luckless.' Other poems, such as 'The Jesters' and 'Sonnet On The Belgian Expatriation,' similarly use verse to frame the conflict in moral terms. These pieces, alongside Count Apponyi's letter on 'America's Neutrality,' show the volume's effort to represent multiple viewpoints while clearly sympathizing with the Allied cause.

Readers should approach this issue as a curated archive of wartime media, not a neutral history. The juxtaposition of official reports, satire, and poetry reveals how information was packaged for domestic audiences. The bread-check facsimile and casualty figures ground the propaganda in material reality, while the cartoons expose the rhetorical strategies of each nation. This volume is best read as a primary source for studying how the war was represented to the American public in 1915.

Flipping through these wartime pages, I felt the weight of ordinary voices swept into history’s machinery. It reminded me of sitting with The Story of a Siberian Exile; Followed by a Narrative of Recent Events in Poland — Reading Notes, where one man’s quiet persistence against immense forces left that same ache—not of spectacle, but of survival recorded simply, almost shyly, between the lines.

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