Imperial theorist J. A. Hobson. Photograph: Elliott & Fry/Getty Images

Introduction – The Clash of World Views:

This May Day morning, another row erupted within the British Labour Party over the proximity of its leader’s ‘world-view’ to those of radical anti-Semites in the party since its beginnings. An article by Danny Finkelstein (pictured above) has drawn attention to the foreword to a recent republication of J A Hobson’s influential 1902 ‘Imperialism’, written by Jeremy Corbyn which, apparently, lauded Hobson’s radical critique of imperialism, while failing to acknowledge the problems it raised and continues to raise in respect of anti-Semitism. Hobson argued in the book that global finance was controlled in Europe by “men of a single and peculiar race, who have behind them many centuries of financial experience”, who were “in a unique position to control the policy”. By contrast with Corbyn’s 2011 preface, books written by historians Bernard Porter (1984) and Niall Ferguson on imperialism have drawn attention to these problems in the context in which Hobson himself was writing. I have given some examples below, which I first wrote about in an article on the Cecil Rhodes controversy at Oxford elsewhere on my website.

 

Extracts from Niall Ferguson’s (2003), Empire: How Britain Made the Modern World:

So close was Rhodes’s relationship with the Rothschilds that he even entrusted the execution of his will to Lord Rothschild, specifying that his estate should be used to fund an imperialist equivalent of the Jesuit order – the original intention of the Rhodes Scholarships. This would be ‘a society of the elect for the good of the Empire’… Rothschild, in turn, assured;

‘Our first and foremost wish in connection with South African matters is that you should remain at the head of affairs in that Colony and that you should be able to carry out that great Imperial policy which has been the dream of your life’.

Not only was imperialism immoral, argued the critics, but, according to these ‘Radicals’, it was also a rip-off: paid for by British taxpayers, fought for by British soldiers, but benefiting only a tiny elite of fat-cat millionaires, the likes of Rhodes and Rothschild. That was the thrust of J. A. Hobson’s profoundly influential ‘Imperialism: A Study’, published in 1902. ‘Every great political act’ argued Hobson,

‘must receive the sanction and the practical aid of this little group of financial kings… They have the largest definite stake in the business of Imperialism, and the amplest means of forcing their will upon the policy of nations… Finance is the governor of the imperial engine, directing the energy and determining the work.’

H. N. Brailsford, another contemporary radical, took Hobson’s argument further in his ‘The War of Steel and Gold: A Study of the Armed Peace’, (written in 1910, but not published until 1914). ‘In the heroic age,’ Brailsford wrote,

‘Helen’s was the face that launched a thousand ships. In our golden age the face wears more often the shrewd features of some Hebrew financier. To defend the interests of Lord Rothschild and his fellow bondholders, Egypt was first occupied and then practically annexed by Great Britain… The extremest case of all is, perhaps, our own South African War.’

Was it not obvious that the war had been fought to ensure that the gold mines of the Transvaal remained securely in the hands of their capitalist owners? Was not Rhodes merely, in the words of the Radical MP Henry Labouchere, an…

‘… Empire jerry-builder who had always been a mere vulgar promoter masquerading as a patriot, and the figurehead of a gang of astute Hebrew financiers with whom he divides the profits?’

Like those modern conspiracy theories which explain every war in terms of the control of oil reserves, the Radical critique of imperialism was an over-simplification (Hobson and Brailsford little knew what a liability Rhodes had been during the siege of Kimberley.) And like those other modern theories that attribute sinister power to certain financial institutions, some anti-imperialism conveyed more than a hint of anti-Semitism. (283-4)

The ‘Crux’ of the Issue:

Above: Image from a map of the world in 1900, showing the extent of the British Empire.

In this last comment by Niall Ferguson, we reach the crux of the issue. Certainly, Rhodes was a colonialist and imperialist, as were most leading figures of his day, not just within the British Empire, but within all the European empires. In Africa, as noted here, the French were equally aggressive in their pursuit of land and resources, and the Belgians and subsequently the Italians also used what, even within the terms of this ‘scramble’ were excessive means against the native African populations. That is not to justify the actions that Rhodes was involved in, but just to place them in a broader context. It also needs to be noticed that his while his strategy for developing Rhodesia was a classical colonialist one, through the control of trading companies, his involvement in the Transvaal and later in the relief of Kimberley was concerned with achieving British supremacy over a white race, the Boers and that, if anything, his attitudes towards the original natives were far more liberal than those of the Afrikaners, certainly than those of Kruger. There is also evidence that, as a businessman, he retained a practical antipathy for everyday racial discrimination. On this question, he should not be judged by today’s standards, but as living at a time when theories of racial hierarchy and paternalism were dominant throughout Britain and Europe.

These theories are certainly evident in the architecture of Oxford, Bristol, Liverpool, London, Birmingham, Edinburgh and other cities which grew rapidly in the eighteenth and nineteenth century. If every surviving reminder of slavers, colonialists and imperialists were to be torn down, the city-scapes of Britain would look radically different, and greatly impoverished. More importantly, much of modern human history has been about the replacement of one great ‘construct’ with another, whether in economics, politics, or art and architecture. As Niall Ferguson has pointed out in more recent and specific publications on the issue, the liberal imperialism of the late Victorian period was criticised by Radicals who revealed themselves as overtly anti-Semitic. The new empires of fascists and communists which characterised the 1930s and 1940s were far more universally destructive than the old ones, yet we do not seek to remove every trace of them. Finally, far from being an ‘architect of apartheid’, as recently asserted in the Oxford student debates over the potential removal of his statue there, there is a fundamental ‘disconnect’ between the imperialism of Rhodes and his contemporaries in Africa and the post-1948 racist regimes in Southern Africa. They drew their inspiration from a heretical view of sectarian Calvinism which was very far removed from the Victorian ‘Anglican’ paternalism of ‘the white man’s burden’ to which Rhodes subscribed.

In an article in ‘The Guardian’ (1 May 2019) another academic historian has pointed out how deeply Hobson’s hatred of all forms of imperialism ran, and his book is certainly a compelling read, an essential one for all undergraduates studying the dominant themes and events of the first half of the twentieth century. Taylor, a professor in modern history at the University of York, wrote in his article that:

“He understood the terrible consequences of European conquest overseas like no one before. He described how jingoism and support for empire inveigled its way into popular culture at home via the media and populist politicians. It remains a signature text and influenced Lenin, the philosopher Karl Kautsky, the political economist Joseph Schumpeter and other classics of the anticolonial canon. Hobson himself went on to become an éminence grise within the Labour party after the first world war, helping draft its economic policy as it entered government for the first time in 1924. He was later tipped for a peerage.

“However, his antisemitism is inseparable from his attack on imperialism. Only alluded to once in the book to which Jeremy Corbyn added his thoughts, Hobson’s virulent assault on Jews is a recurrent theme of another book that first brought him fame and acclaim, 1900’s The War in South Africa. Sent out to cover the Boer war for this newspaper when it was known as the Manchester Guardian, Hobson let rip his racism. Reporting on his visits to Pretoria and Johannesburg towards the end of 1899, he mocked Judaism, described the control of the gambling and liquor industries by Jews, and their behind-the-scenes influence over the warmongering newspapers. Indeed, “the Jewish factor” received an index entry all of its own in this book. Without The War in South Africa, and its antisemitism, Hobson would not have shocked his way into the public eye and received the commission for his most famous work of all.”

Today the Labour Party seeks to draw a line between anti-Zionism and anti-Semitism that few would have understood a hundred years ago. The Radical anti-imperialists like Hobson had a direct influence on the development of the early Labour Party’s foreign policy. By the mid-twenties, there were those within the Labour Party, like the Fabian Beatrice Webb, who began to question the aims of the Zionist movement:

… I admire Jews and dislike Arabs. But the Zionist movement seems to me a gross violation of the right of the native to remain where he was born and his father and grandfather were born – if there is such a right. To talk about the return of the Jew to the land of his inheritance after an absence of two thousand years seems to me sheer… hypocritical nonsense. From whom were descended those Russian and Polish Jews?

The principle which is really being asserted is the principle of selecting races for particular territories according to some ‘peculiar needs or particular fitness’. Or it may be some ideal of communal life to be realised by subsidised migration. But this process of artificially creating new communities of immigrants, brought from many parts of the world, is rather hard on the indigenous natives!

In other statements, Beatrice Webb (seen on the right with husband Sidney) was also quite open about her antipathy for Zionism. In 1929, the new Labour government in Britain appeared to repudiate the Balfour Declaration. Beatrice’s husband, Sidney Webb, by then Lord Passfield and Colonial Secretary, published a white paper which threatened to restrict Jewish immigration and the sale of Palestinian lands to Jews. This was viewed as a provocative act, and was greeted by a furore of protests from Zionists worldwide, from Conservative imperialists in Britain and from some Labour MPs. This enabled the Zionists to sweep away this hurdle; the British government quailed beneath the storm and gave way. This was a crucial decision because, although afterwards pro-Zionist feeling in Britain was never again as strong, control of migration was taken out of Britain’s hands. The Jewish population of Palestine more than doubled in the five years between 1931 and 1936.

What determined the outcome in Palestine, the creation of the state of Israel on the left bank of the Jordan in 1948, and its subsequent expansion into Arab territory, was the balance of strength on the ground between the two populations, which had changed in favour of the Zionist settlers by 1936. Between the wars, however, Palestine had to remain a British mandated territory. The British were unable to delegate their responsibilities to the Zionist organisation, as many wanted them to do. It remained in the same state as the ‘dependent’ territories within the British empire, a colony ruled directly from London, like Kenya.

Right: Sidney Webb (Lord Passfield)

What emerges from these portraits and documents concerning Zionism, imperialism and Palestine in the period 1916-36 is that there was no imperialist conspiracy to create the state of Israel as it existed after 1948. Certainly, there were good relations between leading Zionists and imperialist politicians in Britain, including those in Attlee’s government, but it was the confusion of competing claims and rights in Palestine itself, together with the inability to control the flow of migrants and refugees under the terms of the British mandate which led to the development of the country through settlement into the self-governing state of Israel following the handover of the mandate to the United Nations in 1948. It is difficult to imagine how the outcome of these events could have been any different, especially given the refugee crisis created by the war. The idea that the state of Israel was an artificial creation, a ‘mistake’ as Ken Livingstone has called it in his more recent interview on Arabic TV, does not match the reality of the emerging patterns of the population on the ground in inter-war Palestine. There was no rational alternative to the decisions that were made and no other alternative humanitarian solution.

The Labour Party needs to accept the burden that history has given it to bear from the past hundred years. Either it continues to support the creation of the state of Israel, as Ernest Bevin and Clement Attlee finally did in 1949, or call for its dismantling and destruction, by one means or another, which is what the current leadership of the Labour Party, in the Fabian tradition of the Webbs, wants to do. The continuing tropes about global capitalist conspiracies with Israel and Jewish individuals/ organisations (like Georges Soros and ‘Open Society) at the centre of them have been shared among populist leaders from Viktor Orbán’s extreme right-wing government in Hungary to Corbyn’s hard- left supporters. Even if they wanted to, their opportunism and ideologies (respectively) would not allow them to jettison these anti-Semitic tropes.

The Debate Continues in ‘The Jewish News’, 3 May 2019:

While a spokesman said this week Corbyn “completely rejects the antisemitic elements in his analysis”, the veteran MP made no mention of this in his lengthy endorsement. Instead, the Labour leader described Hobson’s book as “a great tome”, and praised the writer’s “brilliant, and very controversial at the time” analysis of the “pressures” behind western, and in particular British, imperialism at the turn of the 20th century.

After the Board of Deputies wrote to him to demand an explanation, Corbyn responded yesterday to say he was “deeply saddened” that the…

…“mischievous representation of my foreward will have caused real stress within the Jewish community” and rounded on the “false accusation that I endorsed the antisemitic content of this 1902 text”.

“While writing the foreword, I reserved praise for some of the broad themes of Hobson’s century-old classic study of imperialism in Africa and Asia. As with many book written in this era, the work contains highly offensive references and observations. I totally deplore the language used in that book to describe Jews and people from colonised countries.

“The accusation is the latest in a series of equally ill-founded accusations of anti-Jewish racism that Labour’s political opponents have made against me. I note that the Hobson story was written by a Conservative Party peer in a newspaper whose editorial policy, and owner, have long been hostile to Labour. At a time when Jewish communities in the UK, and throughout Europe, feel under attack, it is a matter of great regret that the issue of antisemitism is often politicised in this way.”

Board of Deputies president Marie van der Zyl wrote to Corbyn, telling him that the …

… “community is entitled to an apology for this failure to speak out against prejudice against our community when confronted with racism.

“There is ‘an impression that you either do not care whether your actions, inadvertently or deliberately, signal support for racist attitudes or behaviours” …

“Whilst you, quite correctly, explicitly commended Hobson’s criticism of caricatures of African and Asian people, there is a failure to make even a passing reference to the blatant antisemitism in the book that you enthusiastically endorse.”

“In your letter, you claim only to have ‘reserved praise for some of the broad themes’ of Hobson’s book and that you ‘totally deplore’ the antisemitism that was commonplace in ‘this era.

“However, we note that your lengthy and detailed foreword of over 3500 words, variously describes Hobson’s work as “great”, “remarkable”, “interesting”, “brilliant”, “painstaking”, “very powerful”, “attractive”, “valid”, “correct”, “prescient” and “very prescient”, without any qualification referring to the antisemitism within it.”

The Jewish Labour Movement has submitted an official complaint to the party over this week’s revelation and asked the EHRC to include Corbyn’s endorsement of Hobson’s book in any investigation of the party for institutional antisemitism. “A fish rots from the head”, it said in a strongly-worded statement, adding that any other Labour member would have been suspended and calling on Corbyn to consider his position.

Conclusion – More Tropes & Conspiracy Theories:

Corbyn’s ‘foreword’, written well before he became Labour leader was not a critical appraisal of Hobson’s work, which would have been scholarly and circumspect, but an uncritical and ahistorical whitewashing of a text which not only criticises the ‘Liberal’ imperialism of the time, but also contains anti-Semitic tropes and conspiracy theories which dominated the thinking of many Left-wing theorists within the Labour Party in the early part of the twentieth century. It helped to create a popular intellectual climate which led directly to the persecution of Jews throughout Europe in the years that followed. In this context, Corbyn should explain himself and/or apologise for his slipshod and shoddy writing, which has caused considerable offence to the Jewish Community.

The Trauma of the War in the Twenties and Thirties:

The traumatic effects of loss were also clearly visible on many inter-war politicians like Neville Chamberlain (seen here, on the right, in 1923, as the new Minister of Health and Local Government) and Anthony Eden, who on one occasion, had once sorted through a heap of dead bodies to identify them.

Like Chamberlain, Prime Minister in 1936-40, most Britons feared a repetition of the First World War, so the psychological trauma resulting from the sacrifices that it eventually involved was of a different order and type, including the fear of aerial bombing. As Arthur Marwick wrote on the fiftieth anniversary of the Armistice, all war is…

… a matter of loss and gain: loss of life and limb and capital; gain of territory, indemnities and trade concessions. War is the supreme challenge to, and test of, a country’s military institutions, and, in a war of any size, a challenge to its social, political and economic institutions as well. War needs someone to do the fighting, and someone to furnish the weapons and food: those who participate in the war effort have to be rewarded. … War is one of the most intense emotional experiences… in which human beings as members of a community can be involved.

Arthur Marwick referred to a cluster of ‘sociological factors’ among the causes of the First World War, and historians have identified a similar set of causes of the Second World War, resulting from the effects of the First. What they had in mind were the psychological effects of the First World War, firstly the universal detestation and horror of war, and secondly the breakdown of accepted liberal values, a process which J. M. Roberts described as the shaking of liberal society.  In western Europe in the 1920s, this was a very real and painful process, working itself out into identifiable social, cultural and political effects. T. S. Eliot’s The Waste Land (1922) was a lament on the decadence of Western civilisation in which society had become ‘a heap of broken images’, a stained-glass window shattered into countless pieces that his poem attempted to put back together. The powerful wave of patriotism which had propelled Britain and France into the War had gone, and there was nothing to replace it.

C. E. Montague, a noted leader writer and critic for the Manchester Guardian was forty-seven when he enlisted in 1914, dying his grey hair to persuade the recruiting sergeant. After his return to England, he became disillusioned with the war and, in 1922, published Disenchantment, which prefigured much later critical writing about the war. He wrote of how, on 7 December 1918, two British privates of 1914, now captains attached to the staff, crossed the cathedral square in Cologne and gained their first sight of the Rhine, which had been the physical goal of effort, the term of endurance, the symbol of attainment and rest. Although the cease-fire order on Armistice Day had forbidden all fraternising…

… any man who has fought with a sword, or its equivalent, knows more about that than the man who blows the trumpet. To men who for years have lived like foxes or badgers, dodging their way from each day of being alive to the next, there comes back more easily, after a war, a tacit league that must, in mere decency, bind all those who cling precariously to life … Not everybody, not even every non-combatant in the dress of a soldier, had caught that shabby epidemic of spite. But it was rife. 

At the end of the 1920s, there was a spate of publications on the First World War. For example, Erich Maria Remarque’s All Quiet on the Western Front (1929), Robert Graves’ Goodbye to All That (1929) and Edmund Blunden’s Undertones of War (1929) had an important impact, and it was perhaps only in this 1929-35 period that the experience of the war was for the first time fully realised and digested. Allied to this growing ‘pacifism’ was a deep dislike for the old pre-1914 balance of power and alliance system, which many believed had brought about the war in 1914. The resulting loss of identity left the two Western democracies extremely vulnerable to attacks from the extreme right and extreme left at home and abroad. Just as in the approach to 1914, the ‘will to war’, so well exemplified in the literature of the time, helped to mould a climate of opinion in favour of war, so in the 1920s and 1930s a ‘will to peace’ developed which marked opinion in Britain, France and the United States which prevented an effective response to the threats posed by Italy, Germany and Japan.

In the 1930s, too, the writer Arthur Mee identified thirty-two villages in England and Wales that had not lost a man in the First World War. They were known as the “Thankful Villages”. In every other parish, there were widows, orphans and grieving parents; it is not an exaggeration to say that every family in the British Isles was affected, if not by the loss of a husband, son or brother, then by the death, wounds or gassing of someone near to them. And most of this slaughter had taken place in Europe, the birthplace of the Renaissance and the Enlightenment and, in recent centuries at least, the world’s leading continent in science, medicine and philosophy. Something was still missing in the thirties, along with the lost generation of young men, who by then would have been husbands and fathers. Just as it took families years to assimilate their traumatic losses, so the nation took decades to do the same, as has been shown by America’s more recent struggle to come to terms with the Vietnam War. Then, at a moment when Europe might finally have comprehended the events of 1914-18, it found itself at war again.

The breakdown of accepted liberal values left Britain and France in a defensive, introspective state, ill-equipped to respond to the challenge of Fascism. But when the Nazis tried to bully and intimidate Europe into submission, it made people look at the war of 1914-18 in a new light. Somehow Hitler’s actions made the motives of the Germany of 1914 seem clearer and the First World War seem more justifiable. It also made the death of all those young men in the earlier war seem all the more tragic, since the Allied politicians of 1918-39 had thrown away what little the soldiers had gained. But the revulsion from war was so strong that although public opinion in Britain and France was changing after 1936, it took a series of German and Italian successes to bring about the fundamental shift in opinion which manifested itself after Hitler’s Prague coup on 14 March 1939.  Even then, the Manchester Guardian reported on 2 August that year, on the twenty-fifth anniversary of the outbreak of the First World War,  that a Nazi party newspaper had compared the economic situation then with the 1 August 1914, arriving at the conclusion that the western powers were not in as good a position as they had been twenty-five years previously.

Herbert Read (1893-1968) expressed some of these confused feelings in his poem, To a conscript of 1940, which he wrote soon after the beginning of the Second World War, as the title suggests. In an unusual mood he argues that the bravest soldier is the one who does not really expect to achieve anything:

TO A CONSCRIPT OF 1940

“Qui n’a pas une fois désepéré de l’honneur, ne sera jamais un heros” – Georges Bernanos (“He who has never once given up hope will never be a hero”).

 

A soldier passed me in the freshly-fallen snow,

His footsteps muffled, his face unearthly grey;

And my heart gave a sudden leap

As I gazed on a ghost of five-and-twenty years ago.

 

I shouted Halt! and my voice had the old accustomed ring

And he obeyed it as it was obeyed

In the shrouded days when I too was one

Of an army of young men marching

 

Into the unknown. He turned towards me and I said:

‘I am one of those who went before you

Five-and-twenty years ago: one of the many who never returned,

Of the many who returned and yet were dead.

 

We went where you are going, into the rain and mud;

We fought as you will fight

With death and darkness and despair;

We gave what you will give -our brains and our blood. 

 

We think we gave in vain. The world was not renewed.

There was hope in the homestead and anger in the streets

But the old world was restored and we returned

To the dreary field and workshop, and the immemorial feud

 

Of rich and poor. Our victory was our defeat.

Power was retained where powerhad been misused

And youth was left to sweep away

The ashes that the fires had strewn beneath our feet.

 

But one thing we learned: there is no glory in the deed

Until the soldier wears a badge of tarnish’d braid;

There are heroes who have heard the rally and have seen

The glitter of a garland round their head.

 

Theirs is the hollow victory. They are deceived. 

But you, my brother and my ghost. If you can go

Knowing that there is no reward, no certain use

In all your sacrifice, then honour is reprieved.

 

To fight without hope is to fight with grace,

The self reconstructed, the false heart repaired.’

Then I turned with a smile, and he answered my salute

As he stood against the fretted hedge, which was like white lace. 

A column from the East Yorkshire Regiment marches into battle.

Read was born at Kirbymoorside, in the remote eastern hills of the North Riding of Yorkshire in 1893. He earned his living for some years as a bank clerk in Leeds, before becoming a student of law at Leeds University. He joined the Yorkshire Regiment, the Green Howards, from the University Officers’ Training Corps. He fought in France for three years with the regiment and won the MC and the Distinguished Service Order (DSO). He wrote many important books on prose style, art appreciation and other cultural topics. As a poet, he was a consistent admirer of the Imagists, who revolted against what they saw as the unreal poetic language of the Georgians, making use of precise, vital images. He wrote most of his poetry in the 1930s by which time the Imagists had achieved wide acceptance.

In Memorium – Unknown & ‘Missing’ Warriors:

At the end of the war, the Empire’s death-roll had reached 900,000. More than two million were wounded. And it was only in January 1919 that another man died as the result of a bullet wound received in France in 1918, perhaps the last of the war dead. On Armistice Day, 1920, George V unveiled the Cenotaph, the “empty tomb”. It took the place of the temporary memorial that had been erected for the Peace celebrations in July 1919 (pictured above); Sir Edward Lutyens, who designed it, deliberately omitted any religious symbol because the men it commemorated were of all creeds and none. The concept of ‘ The Unknown Warrior’ was first suggested by J. B. Wilson, the News Editor of the Daily Express in the issue of 16 September 1919. He wrote:

Shall an unnamed British hero be brought from a battlefield in France and buried beneath the Cenotaph in Whitehall?  

The suggestion was adopted, but Westminster Abbey, not Whitehall, was chosen as the resting place. Early in November 1920, the bodies of six unknown men, killed in action at each of the four battles of Aisne, the Somme, Arras and Ypres were brought to a hut at St. Pol, near Arras. The Unknown Warrior who was to receive an Empire’s homage was chosen by an officer who, with closed eyes, rested his hand on one of the six coffins. This was the coffin which was brought to England and taken to Westminster Abbey where it was placed in the tomb of the Unknown Warrior on 11 November, in a service following the unveiling of the Cenotaph by King George V (shown above). The tomb was built as a permanent tribute to those soldiers who have no named gravestone. France, the USA and Italy also created similar memorials.

Just before midday on 10 November, HMS Verdun, with an escort of six destroyers, left Boulogne with the Unknown Warrior. The destroyer Vendetta met them half-way with its White Ensign astern at half-mast.

A Hundred sandbags filled with earth from France were sent over for the grave of the Unknown Warrior in Westminster Abbey. The porters pictured below (left) reloaded the earth at Victoria Station. George V placed a wreath on the coffin (pictured right below), which rested on the gun carriage that took it from the Cenotaph to Westminster Abbey.

Each evening at 8 p.m. traffic is stopped at the Menin Gate Memorial in Ypres for a ceremony where the Last Post is played. This bugle call was played at the end of each ‘normal’ day in the British Army but has taken on a deeper significance at remembrance services as a final farewell to the dead. The commemoration has taken place every evening (apart from during the Second World War) since 1928. The Memorial displays the names of 54,415 Commonwealth soldiers who died at Ypres and have no known grave. In 2018, a bugle found among the possessions of Wilfred Owen went on display at the Imperial War Museum. He removed it from the body of one of the men in his battalion who was killed in action before he was in 1918. British and South African soldiers numbering 72,203 who died at the Somme with no known grave are commemorated at the Thiepval Memorial within the site of the battlefield. A programme of building memorials and cemeteries had begun straight after the war, and there were soon over fifty-four thousand of them throughout the United Kingdom. Every sizeable village and town possesses one, at which wreaths of poppies are laid every Remembrance Sunday. The Newburgh War Memorial in Fife bears the names of seventy-six men from this small Scottish town who were killed. Their names are listed below:

Because of the way men were recruited in 1914, in “pals’ battalions” drawn from particular towns and villages, some of these lost almost their entire population of young men. In these places, there was also almost an entire generation of women of widows and ‘spinsters of this parish’ who never married.

The events of 1939-45 were commemorated more vigorously and immediately – in cinema and Boys’ Own narrative and, over a longer period and to a different end, by the persistence of Jewish community leaders and historians.

By the 1960s, a new generation began to look at the First World War in a new way. It was not the living memory of the First World War that had gone missing (there were, after all, plenty of not-very-old men alive to talk about it – as many did, to the BBC for its series in 1964); it was more that there did not seem to be a way of thinking clearly about it. The poetry of Ted Hughes expressed the spirit that also made books and plays and television programmes about the First World War fashionable in 1964. Hughes found in its soldiers’ admirable qualities a positive vitality and a violent power that he found lacking in modern urban life. At the same time, he believed in the essential goodness of our powerful instinctive impulses. It was in that sense that he found the war exciting, too different from the tragedies of nuclear warfare to be recognizable as the same thing. He once said that what excited his imagination was the war between vitality and death.

In the fifty years that had elapsed since Wilfred Owen’s death, his poems and those of Sassoon appealed to a smaller public than those of Brooke, but they did retain a degree of popularity. Then, in the sixties, their literary reputation grew steadily in the eyes of critics and scholars alongside their increasing popularity with the common reader. There were two reasons for this: firstly, in 1964 the fiftieth anniversary of the outbreak of war in 1914 triggered off a series of books, television programmes and stage shows that made the First World War a fashionable topic; secondly, the war in Vietnam seemed to repeat some of the features of the earlier war, such as its lack of military movement, and its static horrors for the private soldier.

The first performance of Joan Littlewood’s Theatre Workshop production of Oh! What a Lovely War took place just before the fiftieth anniversary, at The Theatre Royal, Stratford East, on 19 March 1963, and then transferred to Wyndham’s Theatre, London in June of that year. In 1964 it transferred to Broadway. The original idea for the musical came from Gerry Raffles, Littlewood’s partner. He had heard a BBC radio programme about the songs of the First World War and thought it would be a good idea to bring these songs to the stage to show the post-World War Two generation that war was not the thing of glory that it was being presented as, at that time. Over a period of time, four writers were commissioned to write a script, but Raffles and Littlewood were unhappy with all of them and decided to give the acting company the task of researching into aspects of the War and then working these into improvised sketches that referenced the findings of that research. Joan Littlewood’s original production was designed to resemble an ‘end of pier’ show,  the sort of seaside variety in the style of music hall entertainment which was popular in late Victorian and Edwardian times. To this end, all her cast members wore Pierrot costumes and none wore ‘khaki’ because, as Littlewood herself put it, war is only for clowns. She was an exponent of ‘agitprop’, a method of spreading political propaganda through popular media such as literature, plays and films.

A world war was not something that most of Littlewood’s younger audiences had experienced directly, except perhaps as very young children, though many were familiar with it through the experiences and stories of parents and grandparents, and would also have heard many of the songs used in the show. The ‘music hall’ or ‘variety show’ format was still familiar to many through the new medium of television, and the play was designed to emphasise that the war was about ordinary individuals who chose to wear the emblems of their country and make the ultimate sacrifice for it. From a historical standpoint, however, the play tended to recycle popular preconceptions and myths which all effective propaganda is based on. As a satirical ‘knees-up’ it seemed to acknowledge that the remembrance of the First World War had reached a cultural cul-de-sac. As a play which is designed to reflect the impact of the horror of modern warfare on the everyday life of the private soldier, it has its strengths as well as its limitations.

Joan Littlewood, one of the most radical voices in British theatre in the sixties.

The villains of the piece are, clearly, the non-combatant officer classes, including the generals and the myth of ‘lions led by donkeys’ is one of the key themes of the play, but this has now been widely debunked by historians. Nevertheless, the First World War was, for the most part, a war of attrition in which huge numbers of men had to pay the ultimate price for military mistakes and minimal gains. In this sense, the play still does a useful job in encouraging audiences to consider for themselves the human cost of war and its impact on individuals. In 1969, Richard Attenborough marked his debut as a film director with his version of the play and, although most of the songs and two scenes from the play remain, the film version bears very little resemblance to the original concept. Despite its stellar cast, many see the film as a travesty of the stage show.

The Last Casualty on the Western Front:

On 11 August 1998, almost eighty years after the armistice, Lieutenant Corporal Mike Watkins of the Royal Logistics Corps was killed when a tunnel he was investigating at Vimy Ridge collapsed.  Watkins had been a bomb disposal expert in Northern Ireland and the Falklands and had carried out work left under First World War battle sites. As far as we know, he was the last casualty of that great conflict.

The Verdict of Historians – Finding a Language of Understanding and Remembrance:

After a hundred years of commemorating the Great War, it may be that, belatedly, we have found a language and a way of understanding, or at least remembering in an informed and enlightened way, the real and diverse experiences of those lost legions. This has emerged from a dispute about what exactly, a hundred years on, we should actually be commemorating. The silence of the mid-twentieth century meant that, in the popular imagination, the witness of the poets loomed larger than some historians thought it warranted. One of Wilfred Owen’s best poems, by critical acclaim, was entitled Futility, but its use as a by-word for the First World War in popular culture has irked ‘revisionist’ historians. To put the debate at its simplest: on the one hand, there is a vein of literary writing that began with Owen and presents the experience of the War as so terrible, so unprecedented and so depressing that it stands outside the normal considerations of history. Professional historians disagree with this, and narratives influenced by this belief, including recent novels such as Pat Barker’s Regeneration Trilogy and Sebastian Faulks’ Birdsong, are viewed by some historians as having failed to do justice to the average soldier’s devotion to what he believed, wrongly or rightly, to be a just cause.

As Britain began to gear itself up for the centenary commemorations in about 2012, a group of historians, including Margaret MacMillan, Max Hastings, Gary Sheffield and Hew Strachan, who disagree on many points, agreed on one purpose: that Britain should be weaned from its dependence on the “poets’ view”. They argued that the fact is that the majority of the British public supported the war and that Wilfred Owen went to his grave a week before the armistice with an MC for conspicuous bravery in pursuit of the justice of the cause he signed up for. The historians of the First World War also argued that idea that great powers “sleepwalked” into war is a misinterpretation: German militarism and expansionism needed to be curbed, and a war between Britain and Germany over the control of the seas became inevitable after the German invasion of Belgium and its threat to the Channel ports.

Writing in the Sunday Times on 11 November 2018, Niall Ferguson (pictured above) seems to take issue with this view. He pointed out that to his generation (also mine) the First World War was ‘not quite history’. His grandfather, John Ferguson had joined up at the age of seventeen and fought on the western front as a private in the Seaforth Highlanders. He was one of the lucky ones who survived and returned, though not unscarred. He was shot through the shoulder by a German sniper. He also survived a gas attack, though his lungs suffered permanent damage. His most vivid recollection was of a German attack. As the enemy advanced towards them, he and his comrades were preparing for the order to go over the top, fixing bayonets, when at the last moment the command was given to another regiment instead. So heavy were that regiment’s casualties, that John Ferguson felt sure that he would have been killed if it had been the Seaforth’s turn. A fact that never fails to startle his grandson was that of the 722,785 men from the United Kingdom who did not come back alive, just under half were aged between sixteen and twenty-four.

Niall Ferguson has argued that the current generation of seventeen-year-olds is exposed to a different sort of enemy – ‘dangerous nonsense’ about the First World War. In the run-up to the Centenary Commemorations, he encountered four examples of this. The first of these he summarises as the view that… despite the enormous sacrifices of life … the war was worth fighting. Ferguson argues that an unprepared Britain would have been better off staying out or at least delaying its intervention. He counters with ten points that he would like all his children to understand in terms of what happened to their great-grandfather’s generation. First of all, the war was not “for civilisation”, as claimed on John Ferguson’s Victory Medal. It was a war for predominance between the six great European empires – the British, the French and the Russian against the German, the Austrian and the Ottoman. It broke out because all the leaders miscalculated that the costs of inaction would exceed the costs of war.

It was also a myth, he claims, that the war was fought mainly by infantrymen going ‘over the top’. It was fought mainly by artillery, shellfire causing 75% of casualties. The war-winning weapons were not poison gas or tanks so much as the improvements in artillery tactics, especially the ‘creeping barrage’ in the final offensive. Neither were the Germans doomed to lose. By mid-1917 the French were finished as an attacking force and German U-boats were sinking frightening numbers of the ships supplying Britain. With Russia consumed by Revolution, a German victory seemed possible as late as the spring of 1918. Certainly, their allies in the Triple Alliance were weak: Austria-Hungary, Turkey and Bulgaria. Their excessive use of submarine welfare in the Atlantic made American intervention likely. Fifthly, the Germans were at a massive disadvantage in economic terms. The Entente empires were bigger, the powers had bigger economies and budgets, and greater access to credit. However, the Germans were superior in killing or capturing their opponents. Overall, the Central Powers killed 35% more men than they lost, and their average cost of killing an enemy soldier was roughly a third of the other side’s.

According to Ferguson, the Germans ultimately lost because the British Army proved more resilient than theirs. Men such as John Ferguson simply would not give up, despite all the hardships they had to endure. Both patriotism and propaganda played a part in this, as did military discipline, but it also mattered that British officers were generally competent; that the average Tommy’s lot was made bearable by plentiful “plonk” and “fags”; that, despite high casualties, the bonds between “pals’ and “mates” endured. An eighth point he cites is that the German Army eventually fell apart during the summer and autumn of 1918 when it became clear that the resilience of Entente forces, bolstered by the arrival of the US troops made a German victory impossible. Beginning with the Battle of Amiens (8-11 August), the Germans lost the will to fight on and began to surrender in droves. Finally, the pandemonium with which the war ended with a series of revolutions and rebellions also brought about the disintegration of the great multi-ethnic empires, with only the Saxe-Coburgs surviving from among the royal dynasties of Europe. Communism seemed as unstoppable as the influenza pandemic which killed four times as many people as the war had.

In an article printed on the same day, Daniel Johnson echoes earlier historians in arguing that the Great War marked the moment when the nations of Europe first grasped the true meaning of total war. Every man, woman and child felt its effects. Johnson’s grandfather, an artist and teacher, never fully recovered from his service on the western front, where he was wounded three times and gassed twice. Most British families, he points out, had terrible stories to tell from the Great War. It afflicted not only those who fought and died, but also those who returned and those who remained behind. No-one who survived the slaughter could ever abide empty jingoistic slogans again. Conscription meant that one in four British men served in the forces, a far higher proportion than ever before. Almost everyone else was involved in the war effort in some way, and of the twenty million who died on both sides, there were as many civilians as soldiers. Women played a huge role everywhere, with the war finally settling the debate about women’s suffrage, although the vote was only granted to those with their own property, aged thirty and over.

Australian troops at the Battle of Passchendaele, 1917

Sebastian Faulks first visited the Somme battlefield some thirty years ago. He was walking in a wood on Thiepval Ridge when he came across a shell casing. This thing is still alive, he thought, if you care to look. He went over to the huge Lutyens stone memorial and looked at the names of the lost – not the dead, who are buried in the nearby cemeteries, but of the British and Empire men of whom no trace was ever found, their names reeling up overhead, like footnotes on the sky. He wondered what it had felt like to be a nineteen-year-old in a volunteer battalion on 30 June 1916, waiting and trusting that the seven-day artillery bombardment had cut the German wire; not knowing you were about to walk into a wall of machine gun fire, with almost sixty thousand casualties on 1 July alone. He wondered if one day the experience of these youngsters might be better understood and valued.

Gary Sheffield, Professor of War Studies at Wolverhampton University, believes that the Second World War was not an inevitable result of the ‘futile’ failures of the First. Rather, he thinks the two wars should be viewed as instalments of the same battle against German militarism, and that that struggle, in turn, should be seen in the longer perspective of European bloodshed going back through the Napoleonic campaigns to the Thirty Years’ War of 1618-48. The ‘poet’s view’ was epitomised by Henry James, who wrote that to see the static carnage of the Western Front as what the long years of European civilisation had all along been leading up to was “too sad for any words”. By contrast, the revisionist historian’s view is that the 1914-18 war was just another if egregious episode in Europe’s long-established and incurable bloodlust.

But the public appetite for commemoration has been spectacular, and diverse over the past four years, in non-poetic ways. The Heritage Lottery Fund (HLF) has awarded a hundred million to more than two thousand local community projects in which more than 9.4 million people have taken part. In addition, the efforts of 14-18 Now, which has commissioned work by contemporary artists during the four-year period, has led to the popular installations of the nationwide poppies tour, Blood Swept Lands and Seas of Red by Paul Cummins and Tom Piper, among other initiatives. Meanwhile, Philip Dolling, head of BBC events, reported that 82% of adult Britons had watched or heard some BBC Great War centenary programme, of whom 83% claimed to have learnt something. His colleague, Jane Ellison, thought the BBC’s greatest success had been with young audiences, helping them to see that the soldiers were not sepia figures from ‘history’, but young people just like them.

In researching for Birdsong, Faulks read thousands of letters, diaries and documents in the reading room of the Imperial War Museum. He remembered a buff file that came up from the basement, containing the papers of a private soldier on the Somme in June 1916. “There is going to be a big push,” one letter began, “and we are all excited. Don’t worry about me. Thumbs up and trusting to the best of luck.” Like most such letters, it was chiefly concerned with reassuring the people at home. But towards the end, the writer faltered.  “Please give my best love to Ma, Tom and the babies. You have been the best of brothers to me.” Then he gathered himself: “Here’s hoping it is au revoir and not goodbye!” But he had obviously not been able to let it go, and had written a PS diagonally across the bottom, “Don’t worry about me, I’ll be OK!” There was nothing after it in the file except a telegram of condolence from the king.

Ordinary men had been given a voice by the Education Act of 1870, providing them with an elementary schooling to the age of thirteen. Their witness was literate, poignant, but not ‘poetic’. It was authentic, unprecedented and, until recently, largely overlooked. But over the last forty years, they have been heard. Scholars of all kinds, editors, journalists and publishers have read, shared and reprinted their accounts; and the local activities funded through the HLF have uncovered innumerable different stories. They had not been missing; they were there all along, waiting to be discovered by ‘people’s remembrancers’. Faulks writes convincingly about their contribution:

The experience of the First World War was most valuably recorded not by historians or commanders, but by the butcher, the baker and candlestick maker. In what you can now discover in archives or online, there is no party line or school of thought. It was difficult to know how to value all this material, because what had been experienced for the first time by civilian-soldiers was not just any war… but the greatest bloodbath the world had ever seen. It was simply indigestible.

You cannot travel far in the history of war, especially 1914-18, before you stray into anthropology. What kind of creature could do these things? During the past hundred years, it is perhaps not only the events of 1914-18 but the nature of warfare and the human animal itself with which we have to grapple. That is the buried legacy of Kitchener’s citizen army.

Perhaps that is not just an anthropological question either, but a theological one, which is where the poets still make a valuable contribution. They also wrote letters, like those of Wilfred Owen as well as Roland Leighton and Vera Brittain, in which they questioned their hitherto-held beliefs in fundamental human goodness. Therefore the poets’ view is reconcilable with that of the ‘revisionist’ historians. Interestingly, in his ‘afterword’ to a recent new collection of war poetry in 2003, on the eve of the Iraq War, Andrew Motion wrote that Wilfred Owen had shown how it was still possible for war poets to celebrate individual acts of courage and to commemorate losses, but not to glorify conflict as such. Owen’s maxim, true poets must be truthful, Motion maintained, had held firm through the years, even in wars which are generally considered ‘just’, such as the Second World War. It also applied even more in the case of Holocaust commemoration poems and to Vietnam, or the Gulf War of 1990, or, we might add, to the wars in former Yugoslavia. ‘Pity’ and ‘truthfulness’ remain the crucial ingredients even – or especially – when the realities of war are blurred by euphemisms, such as ‘friendly fire’ or ‘collateral damage’. The best war poets, he argued…

… react to their experience of war, rather than simply acting in response to its pressures. They are mindful of the larger peace-time context even when dwelling on particular horrors; they engage with civilian as well as military life; they impose order and personality as these things are threatened; they insist on performing acts of the imagination when faced with barbarism. In this respect, and in spite of its variety, their work makes a common plea for humanity.   

The varied commemorations of the past five years have also made it substantially easier for young people, in particular, to form their own ideas of what happened and what its implications for their lives may be. But historians are not simply ‘people’s remembrancers’, as Niall Ferguson has pointed out. Reconciling historians’ expectations of the centenary and the feelings of the general public has been challenging. It has been suggesting that with the passing of the centenary of the armistice, it is time to review the way we remember the Great War. First of all, Faulks argues, there must always be a sense of grief. The War killed ten million men for reasons that are still disputed, and it was the first great trauma in the European century of genocide and the Holocaust.

According to the Sandhurst military historian John Keegan, the Battle of the Somme marked the end of an age of vital optimism in British life that has never been recovered. Professional historians have their eyes trained on the long view, but they can be drawn back to the moment and to the texture of authentic experience of the nineteen-year-old volunteer in Kitchener’s army. But historians do not have a monopoly of memorial acts (I always hated the assumption that history teachers like me should, automatically, be responsible for these ceremonies). Peter Jackson’s new film, They Shall Not Grow Old is the director’s attempt to stop the First World War from fading into history, placing interviews with servicemen who fought over footage from the Imperial War Museum’s archive. The colourised footage is remarkable, immediately bringing a new dimension to images of the living and the dead; combined with the emotional testimony of the veterans it is an immersive experience and a powerful new act of remembrance that keeps the conflict’s human face in sharp focus.

Sources:

The Sunday Times, 11 November 2018 (articles by Niall Ferguson, Sebastian Faulks & Daniel Johnson)

Alan Bishop & Mark Bostridge (1998), Letters from a Lost Generation. London: Little Brown (extracts published in The Sunday Times, November 1998 & The Guardian, November 2008).

The Guardian/ The Observer (2008), First World War: Day Seven – The Aftermath. (introductory article by Michael Burleigh; extract from C E Montague (1922), Disenchantment. London: Chatto & Windus).

E L Black (ed.) (1970), 1914-18 in Poetry. London: University of London Press.

Fiona Waters (ed.) (2010), A Corner of a Foreign Field: The Illustrated Poetry of the First World War. Croxley Green (Herts): Transatlantic Press.

Norman Ferguson (2014), The First World War: A Miscellany. Chichester (West Sussex): Summersdale.

John Buchan (1935), The King’s Grace, 1910-1935. London: Hodder & Stoughton.

Matthew Hollis & Paul Keegan (eds.) (2003), 101 Poems Against War. London: Faber & Faber.

Arthur Marwick (1970), Britain in the Century of Total War. Harmondsworth: Penguin.

Arthur Marwick & Anthony Adamthwaite (1973), Between Two Wars. Bletchley: The Open University.

Vera Brittain (1933), Testament of Youth. London: Gollancz (Virago-Fontana edn., 1970).