Kitabı oku: «Fighter Heroes of WWI», sayfa 5

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A Flying Start

It is an extraordinary fact that, of the 14,166 pilots who lost their lives during the Great War, well over half were killed in training. Even without the obvious perils of combat, flying was a dangerous activity. In the years before the war, it had been even more so. Aircraft had been underpowered and slow. They were too fragile to risk being thrown around the sky, and flying – even for the thrill-seekers who pursued it – was usually more of a struggle to remain in control, than a dynamic effort to push the aircraft’s limits. Simply maintaining straight and level flight placed considerable strain on flying wires. When coming in to land, early pilots would push the nose of the aircraft down and lose height with the engine running. Their turns would be made flat, with the minimum of bank. Flying was hazardous enough, without seeking to add to the dangers.

There were those, of course, who sought greater thrills. Intrepid individuals competed in circuit races, where they would fly close to the ground and race around pylons, attempting to overtake each other. It was only on 25 September 1913, however, that British aviators were shown the true potential of their craft. On that day, a French airman named Adolphe Pégoud came to Brooklands Aerodrome to give a flying demonstration. Placing terrible strain on his Blériot monoplane, he performed a vertical dive, a tail slide and a loop. The public was inspired and so were fellow pilots. Gustav Hamel, the first man to carry airmail, wrote that ‘Pégoud’s flights have given us all a new confidence’. Confidence might have been misplaced, however. Eleven months later, Hamel died in a flying accident, and less than two years after that, Pégoud was killed in combat – by a German pilot whom he had taught to fly before the war.

For men entering the infant flying services, loops and tail slides lay in the future. First, they would have to master the basics of flight. Very few of them ever forgot their first trip in a heavier-than-air machine. Ronald Sykes, who was taught to fly by the Royal Naval Air Service in 1917, might speak for thousands:

I remember every minute of my first flight. Going round, feeling as though the world was whizzing – it was a terrific thrill. The great surprise was the effect of centrifugal force. When we were doing a sharp turn and the aeroplane was on its side, there was a pressure on me that pushed my head into the seat. That was a shock – I wasn’t expecting it. On another turn, I couldn’t lift my feet off the bottom of the aeroplane. After that, I did nothing but think about flying.

Nowadays, we are blasé about flying. The idea of looking down on the earth from a great height holds little wonder for the package tourist. During the Great War, however, for men such as Ernest Tomkins it was an unimaginable novelty:

It’s a very funny thing. Say you look down over the Clifton Suspension Bridge, you’re a little bit scared of the height. But when you get up high in an aircraft, you’re detached from the earth and you don’t realize you’re so high. You don’t feel a bit ‘windy’ about being up that high. Even getting on top of a house and looking down gives you more sense of height than if you’re up at 20,000 feet. It’s like you’re looking at a map.

Until late 1914, men joining the Royal Flying Corps had to pay for their own tuition. They attended the civilian flying schools where they trained on some very primitive machines. In October 1914, Graham Donald trained on the most primitive:

I got started training on a genuine American Wright Biplane with twin propellers, chain driven – one of them with a cross chain which makes most engineers shudder. It was completely, inherently unstable and a lot of people said that if you could fly a Wright Biplane you could fly anything. Well the fact remains that it flew. The speed range was about three knots: it flew level at 43 knots, began diving at 42 and stalled at 39 or 40. So you hadn’t got very much to play with. The instrumentation was simple – there was a length of fine cord about eighteen inches long tied to one of the struts in front of you. You kept your eye on these cords, the idea being that if they went sideways you were sideslipping. If the chord went limp, the only thing to do was to start singing ‘Nearer My God To Thee’…

In these basic machines, there was room for only one pilot. The instructor might give the novice some guidance, but essentially he was on his own. This method of training, known as the ‘French School’, was used to teach Eric Furlong to fly a Caudron, at the same school at which Donald Clappen, from the last chapter, was an instructor:

I learnt to fly at Hendon in 1914 at the Hall School of Flying. I learnt on Caudrons. The Caudron was a small aeroplane with a nacelle rather than a cockpit. A nacelle was rather like a wooden bath that you sat in and the engine was stuck in front of you. There were open booms to the tail rather than a fuselage. It only had 35 horse-power and we used to say that if one horse died, you did, too. In fact the stall point and the maximum speed were very nearly the same. The engine was going flat out all the time you were flying and if it stopped for a fraction of a second, the machine came down as though you were falling down stairs. One thing I remember – the Caudron burnt neat castor oil and the pupil inhaled a good deal of it with the result that we all needed to go to the lavatory constantly.

At first, you were strapped into the nacelle and told about the engine and the rudder and told to keep the control stick in the centre. At Hendon, there was a white patch on the fence at the far side. I was told to taxi the Caudron over to the fence. The Caudron was extremely difficult to steer. The two booms at the tail made it want to run in one direction only and the only way to steer it was to give a burst of throttle, which lifted the tail and allowed you to swing it a bit with the rudder. Invariably you swung it too far and you made your way across the aerodrome in a shocking series of S turns. Eventually you got the hang of it until one day – to your great surprise and consternation – you kept the engine on longer than you were expected to and suddenly you were in the air. You felt as though you were fifty feet up – in fact you were probably three feet up. So you stopped the engine until you were on the ground again. After that, the instructor would tear you to ribbons but he didn’t mean it because you’d done a fairly straight flight and you’d landed all right. So then he’d tell you to go and do the same thing again. And as you got used to flying at five or six feet high, you gradually kept the engine on a bit longer and pulled the stick back a bit further and you got up higher until you were up to about fifty feet. And you’d go up and down the airfield, straight down the middle.

When you got that comfortably wrapped up, you’d try a turn. You would start off on the ground with the aeroplane at forty-five degrees to the white patch on the fence and you’d take off and when you’d levelled out at fifty to a hundred feet, you kicked on the rudder, which spoiled the aerodynamic state of the aeroplane and it dropped its nose and turned. It came as a shock because it felt like putting a brake on. The machine did a right-angled turn and down you went and landed. And you kept doing this, turning to one side and then the other, until you’d got it wrapped up. Nowadays, of course, one would be told to put on bank when turning, but at that time, the instructors knew nothing about aerodynamics. There was never any banking taught. So we were told to keep our turns absolutely flat, suicidal as it sounds. And after that you were allowed to struggle around the circuit. You sort of flew around the outside of the airfield and when you came back to where you started, you shut off the engine and landed. That was a circuit. And that’s how I learned to fly.

Another very basic machine used for training was the Boxkite. In this aircraft, the pupil was able to wrap his body around that of the instructor. Donald Bremner flew a Boxkite from Chingford in September 1915:

Boxkites were very queer old machines with a 50-horse-power Gnome engine. They had practically no instruments – just a rev counter. There was a petrol tap and a joystick and a rudder bar. The joystick was alongside the pilot and came up from the right, across in front at a bit of an angle. There was a little wicker seat, bolted to the lower wing. The instructor sat in that and you sat behind him – not strapped in at all – you just put your legs round his waist and hung on round his shoulders. When he took the machine up, you leant your right arm round his shoulder, and caught hold of the joystick. You both had your hands on it and that’s how you learnt to use it. After he’d taken you round a bit, you were then allowed to taxi the machine around the aerodrome using the rudder bar. Without taking off. Then the most heroic thing happened. You changed places with the instructor. He couldn’t reach the rudder bar. All he could do was put his hand on the joystick round your shoulder. And together you flew off. When he thought you were ready – or perhaps when he’d had enough – you were allowed to do hops. You took the machine up on your own and flew about ten or fifteen yards and then put the machine down again. When you’d done enough of that, you started doing circuits.

The Boxkite might have been basic, but its slow speed and limited climb allowed Humphrey Leigh to perform a feat quite beyond any modern aircraft:

My Boxkite was on the far side of Hendon Aerodrome. A mechanic started up the engine and said ‘Give me a lift to the other end of the aerodrome.’ I said, ‘All right,’ and he stood on one of the skids and held onto the frame. I started taxiing across the field. ‘No!’ he said, ‘Let her go!’ So I told him to hold on tight and I took off and landed on the other side of the aerodrome. He was a very brave chap – stood firm, held on and didn’t falter at all.

As the Royal Flying Corps began to justify its presence on the Western Front in the autumn of 1914, it increased the scope of its flying training. The Central Flying School at Upavon was expanded and several civilian flying schools (including Brooklands) were purchased. Most importantly, the Royal Flying Corps began to teach pilots to fly from scratch. Young men no longer had to pay for their own tuition – although those that joined the reserve squadrons continued to do so. The training aircraft of choice, remembered by Donald Bremner, was the relatively advanced Maurice Farman Biplane:

The Maurice Farman Longhorn was a big, clumsy aeroplane but rather pleasant to fly. It was a pusher, so you were sitting out in front of the engine in a nice comfortable seat and you weren’t looking straight down onto the ground like you were in a Boxkite. And it had an airspeed indicator.

Gerald Livock also preferred the Maurice Farman to the Boxkite:

I flew a Maurice Farman at Hendon. Oh, it was terrific. Magnificent. We didn’t have altimeters so I don’t know what height we went to, probably 2000 feet, and circled round Hendon. I’d only ever been up about 300 feet in my Boxkite. One felt like a God, looking down on these poor mortals below. One almost forgot to be frightened.

The Maurice Farman came in two versions – the Longhorn and the Shorthorn. The Longhorn was so called because of its pronounced outriggers to a forward elevator, giving it the appearance of a breed of cattle. Both aircraft were ungainly structures. Sixteen wooden struts joined the upper and lower wings together and they were interwoven with such a tangle of piano wires that it was said you could safely cage a canary inside. Nevertheless, they constituted a great leap forward for pupils as they were capable of dual-control flying – in other words the pupil and the instructor sat one in front of the other, each with his own set of controls. This meant, in theory, that pupils were able to learn in far greater safety. Although, as Eric Furlong discovered, theory and practice did not always overlap:

My application to join the Royal Flying Corps was finally accepted in the middle of 1917. I was posted to the flying training station at Harlaxton in Lincolnshire. I didn’t tell them at first that I’d already learned to fly in 1914. I thought that I would learn more if I kept quiet. Whereas in 1914, all my training had been done on solo machines, in 1917, the system was dual training with the instructor in the other seat. Well, the instructor realized on my first flight that I knew something about flying so he told me to take control. He didn’t like the way I turned using the rudder only, as I’d been taught. By 1917, training had progressed to proper banked turns. So he wrenched the controls out of my hand and said, ‘This is what I want! Do it like this, you see?’ and when we got to the next corner, he wrenched it out of my hands again and when we got to the last corner, I left it to him again. And then I just sat there and watched as we came gliding in. Wallop. We slapped into the ground and smashed the machine to smithers. He looked at me and said, ‘What did you do that for?’ I said, ‘I didn’t touch it!’ He said, ‘Neither did I!’ He thought I had control of the aeroplane and I thought he had control. That was my first landing in a Maurice Farman Longhorn.

In the early days, as Frederick Powell remembers, communication between instructor and pupil was difficult:

The instructor sat behind me in a dual-control Maurice Farman and he flew the machine while I lightly put my hands on the controls. We had no intercom in those days – so the conversation was shouting over the noise of a rattling engine. It was difficult to hear. Sign language came in handy. The sign I used most was the two-fingered salute.

Take-off and landing both presented difficulties for the pupil. Landing, argues Laurie Field, posed the greater challenge:

Landing was the most difficult thing of all because it’s the one thing that mattered! If you made a mistake in the air it didn’t matter – if you made a mistake in landing, you were in trouble. The knack of the landing is that when you come down, you’ve got your gliding height, your engine is off. You gradually pull your nose up as you lose flying speed, it stalls your aeroplane and the perfect landing is to have the wheels and the tail skid hit the ground together. This happened once in every twenty times. A bad landing is when you pull your nose up too early and you’re too far off the ground and your plane drops. If it drops sufficiently badly, your undercarriage is gone.

Reginald Fulljames was wary of taking off:

I was more anxious about taking off than landing because you were entirely dependent upon your engine and if the engine coughed or spluttered as you took off, you had very little chance of avoiding a crash. Whereas if the engine failed at two or three thousand feet, I had every confidence that I could land the aircraft somewhere. And in those days – according to my logbook – one in every five or six flights ended up in some sort of engine failure which necessitated a forced landing.

If a pilot did have to carry out a forced landing shortly after take off, then Brooklands was not the place to do it, as S. S. Saunders recalls:

One corner of Brooklands happened to be a sewage farm. This caused quite a lot of trouble with some of the boys because if they hadn’t climbed up sufficiently high and then had engine failure, they just came down in it. Everyone was warned to avoid it because if they didn’t … well … everyone avoided them …

Once dual-control training had become the accepted method of training, the first ‘solo’ flight became a critical event for every pupil. Vernon Coombs made his first solo by accident:

I was terribly anxious to fly solo and after I’d done one hour and thirty-five minutes dual, my instructor jumped out of the machine and shouted something at me. I thought he’d said, ‘Take it up!’ so I turned the machine round and I took it up. After I’d landed, he tore strips off me. ‘What the hell do you mean doing that?’ ‘You told me to take it up,’ I said. ‘No, I didn’t, he said, ‘I told you to take it in!’

F. D. Silwood failed to make it off the ground:

When the day came for my first solo, my instructor said, ‘Now look, if you treat it very carefully you can do your first solo on my aeroplane.’ So I got out into the middle of the aerodrome and my prop stopped. Well, of course, the normal thing to do is to call for a mechanic to start your prop but with the impetuosity of youth I thought I’d start the prop myself. As I swung it, the aeroplane started moving forwards. So I dashed under the plane, tried to get in the seat but I couldn’t and I fell over. The tailplane hit my head and knocked me to the ground. I watched my instructor’s beautiful aeroplane run away from me. It swerved to the left and I ran after it but it gradually gained speed until it started to turn towards me. I fell over which was just as well because the aeroplane took off over my head and flew at about fifty feet until it crashed. In the meantime, my instructor was going absolutely mad. I had to go in front of my commanding officer who told me, ‘Pilots are cheap but aeroplanes are very, very expensive. You made an awful mess of things today.’ I thought I was going to be dismissed from the service and I held my head very low and said I was sorry. But he had a half smile on his face as he told me, ‘Well, all right. We’ll forget it this time!’

Stanley Walters learnt an important lesson during his first solo:

The instructor said, ‘See the nose?’ I looked at it. ‘See that little cap on the top of the nose? Remember to hold that on the horizon!’ Then he hopped out of the aeroplane and said, ‘She’s all yours! Take it off and fly yourself! But wait a minute! There’s another fellow there, he’s going off solo from another instructor. Let him do his circuit and landing first. As soon as he’s in the air, you take off. Just do one circuit and landing!’ ‘OK,’ I said.

The other fellow was a man called Day. He took off. I was thinking that a hell of a lot of pupils and instructors would be watching me because it was my first solo. ‘One circuit and landing be damned!’ I thought. ‘I’ll do a couple of loops, but they’re all watching Day now, so I’ll wait till he’s landed.’ So I took off and followed Day round to watch his landing – and I saw him stall from about fifteen feet, hit the ground, and burst into flames. He was killed on his first solo. All arrogance in me also died. I did exactly what I was told. I completed my circuit and landed.

Charles Chabot’s first solo went according to plan:

When I went solo for the first time – it seems completely ridiculous in present-day terms – I had had fifty minutes of instruction. But off I went. At one end of Brooklands Aerodrome was a pub – the Blue Boar. We knew that if we came in at 100 feet over the Blue Boar, we were in the right position to land. The sun was just rising above the horizon and, as I came in, the shadow of the Longhorn was away on the left and, as I came down, it began creeping in under the plane, so when the shadow was properly comfortable under the wings, I yanked my stick back and sat down with a perfect landing on the aerodrome. My instructor was delighted. ‘Right,’ he said. ‘Off you go, Chabot. Take your ticket.’

‘Taking your ticket’ meant taking the pilot certificate test conducted by the Royal Aero Club. Donald Clappen recalls the examination:

So far as the Aero Club certificate was concerned, one had to do five figures of eight observed by two qualified pilots who acted as observers. These observers were usually two of the instructors from one of the other flying schools. At the end of each flight of five figures of eight, one had to land within fifty metres of a specified spot, which was where the observers were standing. Then, came the height test. One had to fly up to a height of fifty metres, cut off one’s engine and land again within fifty metres of the spot where the observers were standing. Often, if it looked as though the pupil was going to land too far away, the observers would walk to where they thought he would land. They wanted the pupil to pass, so that they could get back to their own job of teaching people to fly. I do not recall a single pupil failing to land within the specified distance.

Humphrey Leigh confirms that the pupils were not always rigorously examined:

There was one old boy, a captain, who was terribly ham-fisted. He smashed pretty well every aeroplane he got into. Eventually the time came for him to take his ticket. I remember the CO of the station seeing me standing on the tarmac, beckoning me over, and saying, ‘Leigh, go and watch Captain X get his ticket, And what’s more, see that he gets it!’ So I said, ‘Aye, aye, sir’, and went off. In due course, the old boy had to land near the mark – and I was the mark. I could see that he was going to be miles away, so I ran like a stag. And as his aeroplane came to a grinding halt, the old boy said, ‘Have I got it? Was it all right?’ ‘Yes, sir! Yes, sir! Yes, sir!’ I said, clapping like anything.

Once the pupil had taken his ticket, he usually went to an advanced training school, to prepare for flying in action. Reginald Fulljames followed this path:

I was selected for fighter pilot training and I was sent to the Advanced School of Flying at Gosport. One morning, I was surprised to hear that the commanding officer wanted to take me up. This shook me because you seldom had any dual control after you’d gone solo. The commanding officer was the famous Smith-Barry and I suppose he was using me as one of his early guinea pigs, trying out his new ideas.

Major Robert Smith-Barry revolutionized flying training from late 1916 onwards. He had noticed that flyers who arrived on the Western Front were often hesitant and diffident in their approach to flying. This approach, he reasoned, must have been learnt from the instructors, who viewed instructing as a dead-end job. Smith-Barry aimed to revitalize teaching. He insisted that all pupils under dual training should sit in the pilot’s seat in front of the full set of controls. He developed the ‘Gosport tube’, which enabled the instructor to communicate with the pupil during the flight. He believed that a pilot, having flown solo, needed to learn advanced manoeuvres such as sudden turns and the correct way to recover from a spin. Of all the dilemmas that a pilot could face, the spin was the most feared. If the airflow over the wings decreased to the point where the machine could no longer sustain flight, it would fall out of the air. No longer an aircraft, cheating the laws of nature, it became a spinning hulk of wood, metal, wires and cloth. Until 1916, there was no known method of recovering from a spin. Some pilots who spun their aircraft managed to recover by chance, but they could not explain what they had done. Reginald Fulljames:

Smith-Barry showed me, above all else, how to get out of a spin. Smith-Barry was undoubtedly a genius and his methods are the basis for modern flying training. He had been injured in France at the beginning of the war, when he had spun into the ground. After that, he intended to find a proper way of getting out of a spin, and when he had discovered the answer, he pressed the Air Ministry very hard to be allowed to teach this in the Royal Flying Corps. The confidence that I could get out of a spin saved my life when I was being chased by Baron von Richthofen. I went into a deliberate spin and I got away.

Ronald Sykes remembers the feeling of a spin:

It was the most sickening sensation. You were thrown violently to one side of the cockpit with a fierce blast of wind on one cheek. You had to switch off the engine and straighten everything – the control stick and the rudder. You usually didn’t come out of the spin quickly. You just had to put everything central and wait. Eventually you entered a nosedive and you pulled the stick back slightly and you were all right.

Smith-Barry argued that, in order for pupils to be able to practise manoeuvres such as these, the training schools needed a standard type of dual-training machine that was capable of performing them. In December 1916, he was placed in charge of the Gosport School of Flying. The aircraft that he chose as his advanced trainer was the Avro 504K. Frank Burslem encountered great difficulty flying an Avro:

I was a very slow pupil. I suppose I was a little bit dense. I took eight hours to go solo whereas the average was about three hours. My problem was psychological. I went up in an Avro and was put into a spin by the instructor. He told me what to do and how to get out of the spin but when I saw the world turning round on an axis directly below me, I absolutely froze on the controls and I couldn’t do anything. I was so fascinated watching the ground, getting lower and lower, that I couldn’t do anything at all. The instructor was swearing and cursing and he overcame the pressure I was putting on the controls and he got us out of the spin about 500 feet off the ground. The instructors thought I wasn’t fit to fly the faster machines – the single-seater fighters – so I was sent to fly heavier machines – two-seaters.

Smith-Barry’s teaching methods prepared pupils for the realities of combat flying. They also allowed slower pupils – like Burslem – to learn their limits before it was too late. For the pilots such as James Gascoyne who relished the possibilities that flying offered, the sky was the limit:

A loop comprises racing your engine, opening your engine full out, putting it into a slight dive to get full speed, then all you do is pull back the joystick, right back into your stomach, and the machine goes up, over, and then drops. As it drops, you switch off the engine and come smoothly out into a glide. They are usually done at a height of a thousand feet or more to give you time to recover in case you lose too much engine speed and the machine comes straight down.