Second paragraph of third chapter:
War releases other aggressions too — all those hostilities that have been present in peacetime, but restrained — and so when war comes, other, ‘little’ wars come too: the war of the old against the young, the war of the old-fashioned against the modern, the war of the national against the foreign and of the conforming against the non-conforming. It is not surprising, then, that once the Great War had begun, conflicts of values began, and grew violent, or that qualities that cultivated Edwardians had taken to be the very signs of their nation’s civilization were seen to be the symptoms of a national disease.
I enjoyed this tremendously, a survey of the impact of the First World War on British culture – although the subtitle uses the word “English”, I’m glad to say that Ireland at least is referenced throughout. In 470 pages, Hynes looks at the brutal reset of the UK’s way of life that started in 1914, climaxed in 1916 and continued to reverberate long after the guns had formally fallen silent.
Almost every European family has a story here – my grandfather, born in 1880, was wounded three times in combat; his younger brother was gassed; one of his sisters lost her oldest son at Gallipoli, another lost her husband at Ypres. But Hynes’ focus is culture rather than combat, mainly prose writing, but also poetry, theatre, painting, sculpture, architecture and the nascent cinema industry, and he weaves an intense and diverse tapestry of how art responded to crisis and horror.
A lot of the names were familiar to me – Wells and Woolf dominating, of course, and Owen in poetry. Hynes does a great job of connecting them all together, mapping their mutual influences and in particular drawing out the changing perceptions of the war over time – those directly exposed to it realising the true horror of the situation quicker than those at home.
There is plenty of social commentary in the art, including the changing roles of women, and attitudes to sexuality. I had to grimly laugh at one quote from Asquith’s son, prosecuting a court-martial against a soldier for being gay, who he described in a letter to his wife as
a nephew of Robert Ross, lately a scholar at Eaton, who aroused everyone’s suspicions by knowing Latin and Greek and constantly reading Henry James’ novels.
Sounds like a wrong ’un, for sure!
The book gave me a lot to think about, and I picked up a couple of intriguing recommendations. Sonia: Between Two Worlds, a novel by Stephen McKenna, seems to pick up the Irish dimension and do a bit more with it. And the Sandham Memorial Chapel sounds like it is well worth a detour next time I have reason to venture to northern Hampshire.
This is a great summary of an awful time, and the art that it generated, some of which was great and lasting. You can get it here.
