In 1916, at the age of fifty four, a slight, short sighted, unassuming country vicar and local school master became an Army Chaplain. Theodore Bayley Hardy was destined to become the most decorated noncombatant in the First World War. He was to be awarded the Victoria Cross, the D.S.O., and the M.C. By day he performed the usual priestly and chaplaincy tasks but by night he would work the trenches dropping in with his inimitable "It's only me!" to bring comfort and moral and spiritual support in the nightmare of wars.Sadly, he was to die of wounds only a few days before the Armistice.
Religion did much to shape contemporary British opinion and behaviour during the First and Second World Wars, but it featured rather less in the initial historiography of either conflict. The situation has changed considerably in the past half-century, with a steadily increasing number of academic and popular outputs on the religious aspects of the wars. As key milestones, in connection with the centenary of the First World War and the eightieth anniversary of the Second World War, have occurred or approach, it seems an appropriate time to take bibliographical stock. This volume is the first to offer an in-depth listing of modern literature, in English and other European languages, on British religion and the First and Second World Wars, both on the home front and in combat zones. Coverage extends to Judaism and alternative religion, as well as Christianity. More than 1,200 items are included, comprising monographs, book chapters, journal articles, and postgraduate theses. They are arranged by subjects, in separate sections on each war, with cross-references and a cumulative index of personal names. Carefully compiled over several years by an accomplished religious historian and bibliographer, the work will be an indispensable reference tool to those embarking on investigations into the religious landscape of Britain during the World Wars, and those who wish to discover what has been written about their chosen field to date. It will also help identify gaps in scholarship and encourage researchers to try and fill them.
‘The purple testament of bleeding war’ Shakespeare, Richard II, Act III, Scene 3, l. 93 Simply the best single-volume analysis of the art and literature of the Great War
At the end of 1917, after three years of trench warfare on the Western Front, the Allied armies of Britain and France, and those of their main opponent, Germany, had reached a point of exhaustion and hibernation.On March 21 1918, the German Army launched a massive assault on the Western Front, hurling fifty-nine divisions into battle against the British Fifth Army, smashing through British lines and advancing 40 miles per week. More offensives were to follow throughout the spring, including at Aisne and Marne, with the aim of ending the war before American forces could reach the Continent and reinforce the Allied lines. Nevertheless, although the German Army left the British Army reeling, the Tommies retreated in good order and fought all the way. It was during these bloody battles, which lasted until July 1918, that fifty-seven men stood out for acts of extraordinary daring and bravery. To these men the highest military honour was awarded – the Victoria Cross. This book reveals the true extent of their bravery, their backgrounds and their lives after the war.
The true story of how Britain won the First World War. The popular view of the First World War remains that of BLACKADDER: incompetent generals sending brave soldiers to their deaths. Alan Clark quoted a German general's remark that the British soldiers were 'lions led by donkeys'. But he made it up. Indeed, many established 'facts' about 1914-18 turn out to be myths woven in the 1960s by young historians on the make. Gordon Corrigan's brilliant, witty history reveals how out of touch we have become with the soldiers of 1914-18. They simply would not recognize the way their generation is depicted on TV or in Pat Barker's novels. Laced with dry humour, this will overturn everything you thought you knew about Britain and the First World War. Gordon Corrigan reveals how the British embraced technology, and developed the weapons and tactics to break through the enemy trenches.
The First World War claimed over 995,000 British lives, and its legacy continues to be remembered today. Great War Britain: Exeter offers an intimate portrayal of the city and its people living in the shadow of the 'war to end all wars'. A beautifully illustrated and highly accessible volume, it describes local reaction to the outbreak of war; charts the experience of individuals who enlisted; the changing face of industry; the work of the many hospitals in the area; the effect of the conflict on local children; the women who defied convention to play a vital role on the home front; and concludes with a chapter dedicated to how the city and its people coped with the transition to life in peacetime once more. The Great War story of Exeter is told through the voices of those who were there and is vividly illustrated, including many evocative images from the archives of the Devon and Exeter Institution.
This book is a studiously edited version of the eleven volumes and more than three thousand pages of the diarist's original work. Ella Bickersteth began to put it together for her six sons, because one of them was in Australia at the outbreak of the 1914-18 war. The book reflects upon church and politics, theological musings and matter-of-fact details of how an anxious mother, who was also a busy vicar's wife, kept going through the huge upheaval of war.
This is the first book to relate to the literature and art of the First World War to the literature and art produced by the Second World War and by earlier wars. A Muse of Fire is also the first serious attempt to examine the whole range of war poetry and war fiction in English in its relation to the work of German, French, Italian and - to a lesser extent - Russian, Danish, and Hungarian authors. Before 1914 few authors wrote about or experienced war. War, especially its reality, was not the proper subject of literature; while writers seldom served in the armed forces and were almost never in battle. More than half this book deals with the First World War. In successive chapters A.D. Harvey discusses what sort of people, in what sort of physical and psychological conditions, wrote about the war; or painted it; how they handled the challenge of describing their experiences with complete honesty; what literary and artistic techniques they employed; how other forms of creative talent were fostered by the war; and how far memoirs of the war prepared the way for the next one. The account given of the Second World War in the final section, like the chapters on pre-1914 war literature, provides far more than simply an introduction and conclusion to the central part of the book. It is an important contribution to an understanding of how literature and art relate to the psychological and social structures of the communities within which they are produced. This is the first book to relate to the literature and art of the First World War to the literature and art produced by the Second World War and by earlier wars. A Muse of Fire is also the first serious attempt to examine the whole range of war poetry and war fiction in English in its relation to the work of German, French, Italian and - to a lesser extent - Russian, Danish, and Hungarian authors. Before 1914 few authors wrote about or experienced war. War, especially its reality, was not the proper subject of literature; while writers seldom served in the armed forces and were almost never in battle. More than half this book deals with the First World War. In successive chapters A.D. Harvey discusses what sort of people, in what sort of physical and psychological conditions, wrote about the war; or painted it; how they handled the challenge of describing their experiences with complete honesty; what literary and artistic techniques they employed; how other forms of creative talent were fostered by the war; and how far memoirs of the war prepared the way for the next one. The account given of the Second World War in the final section, like the chapters on pre-1914 war literature, provides far more than simply an introduction and conclusion to the central part of the book. It is an important contribution to an understanding of how literature and art relate to the psychological and social structures of the communities within which they are produced.
This book explores how British Army learnt from the pyrrhic victories of 1915-17 and developed the new tactics, leadership and doctrine of combined arms to overcome the tactical stalemate hitherto bedevilling Allied offensives to defeat the
