In honor of the 100th anniversary of World War I, we’re sharing an excerpt of Sir Hew Strachan’s The Oxford Illustrated History of the First World War. Get a sense of what it was like to live through this historic event and how its global effects still impact the world today.
The Great War haunted the last century; it haunts us still. It continues to inspire imaginative endeavour of the highest order. It invites pilgrimage and commemoration surrounded by palpable sadness. Almost a hundred years after the war, ‘The Last Post’, intoned every evening at the Menin Gate in Ypres, still summons tears. We wish it all had not happened.
We associate the war with the loss of youth, of innocence, of ideals. We are inclined to think that the world was a better and happier place before 1914. If the last century has been one of disjunction and endless surprise rather than of the mounting predictability many expected at the next-to-last fin-de-siècle, the Great War was the greatest surprise of all. The war stands, by most historical accounts, as the portal of entry to a century of doubt and agony, to our dissatisfaction.
Its extremes of emotion, both the initial jubilation and subsequent despair, are seen as a preface to the politics of extremism that took hold in Europe in the aftermath; its mechanized killing is regarded as a necessary prelude to the even greater ferocity of the Second World War and to the Holocaust; its assault on the values of the Enlightenment is seen as a nexus between indeterminacy in the sciences and the aesthetics of irony. Monty Python might never have lived had it not been for the Great War. The war unleashed a floodtide of forces that we have been unable ever since to stem. ‘Lord God of Hosts, be with us yet, Lest we forget—lest we forget!’ How in the world, Mr Kipling, are we to forget?
Figure 11.1 from the Oxford Illustrated History of the First World War. Used with permissions from Oxford University Press.
The enthusiasm surrounding the outbreak of war many described as a social and spiritual experience beyond compare. Engagement was the hallmark of the day. ‘We have,’ wrote Rupert Brooke, ‘come into our heritage.’ The literate classes, and by then they were the literate masses—teachers, students, artists, writers, poets, historians, and indeed workers, of the mind as well as the fist—volunteered en masse. School benches and church pews emptied. Those past the age of military service enrolled in the effort on the home front.
Words, literary words, visible on the page, flowed as they had never flowed before, in the trenches, at home, and across the seven seas. The Berlin critic Julius Bab estimated that in August 1914 50,000 German poems were being penned a day. Thomas Mann conjured up a vision of his nation’s poetic soul bursting into flame. Before the wireless, before the television, this was the great literary war. Everyone wrote about it, and for it.
Not surprisingly, the Great War turned immediately into a war of cultures. To Britain and France, Germany represented the assault, by definition barbaric, on history and law. Brutality was Germany’s essence. To Germany, Britain represented a commercial spirit, and France an emphasis on outward form, that were loathsome to a nation of heroes. Treachery was Albion’s name. Hypocrisy was Marianne’s fame.
But the war was also an expression of social values. The intense involvement of the educated classes led to a form of warfare, certainly on the western front, characterized by the determination and ideals of those classes. Trench warfare was not merely a military necessity; it was a social manifestation. It was to be, in a sense, the great moral achievement of the European middle classes. It represented their resolve, commitment, perseverance, responsibility, grit—those features and values the middle classes cherished most.
And here for dear dead brothers we are weeping.
Mourning the withered rose of chivalry,
Yet, their work done, the dead are sleeping, sleeping
Unconscious of the long lean years to be.
Those lines from the Wykehamist, the journal of Winchester College, of July 1917 evoked both the passing of an age and the crisis of a culture.
‘The bourgeoisie is essentially an effort,’ insisted the French bourgeois René Johannet. The Great War was essentially an effort too. The American writer F. Scott Fitzgerald would call the war on the western front ‘a love battle—there was a century of middle-class love spent here. All my beautiful lovely safe world blew itself up here with a great gust of high-explosive love.’ Fitzgerald’s ‘lovely safe world’ was one of empire, imperial ideas, and imperial dreams. It was a world of confidence, of religion, and of history. It was a world of connections. History was a synonym for progress.
Sir Hew Strachan is a professor of the History of War at the University of Oxford, Commonwealth War Graves Commissioner, and a Trustee of the Imperial War Museum. He also serves on the British, Scottish, and French national committees advising on the centenary of the First World War. He is the editor of The Oxford Illustrated History of the First World War.
We’re giving away ten copies of The Oxford Illustrated History of the First World War to mark the 100th anniversary of World War I. Learn more and enter for a chance to win. For even more exclusive content, visit the US ‘World War I: Commemorating the Centennial’ page or UK ‘First World War Centenary’ page to discover specially commissioned contributions from our expert authors, free resources from our world-class products, book lists, and exclusive archival materials that provide depth, perspective, and insight into the Great War.
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A hundred years on, the First World War still shapes the world in which we live. Its legacy survives in poetry, in prose, in collective memory, and in political culture. By the time the war ended in 1918, millions had died. Three major empires – Germany, Austria-Hungary, and the Ottomans – lay shattered by defeat. A fourth, Russia, was in the throes of a revolution that helped define the rest of the century. The Oxford History of the First World War brings together in a single volume many distinguished World War One historians. From its causes to its consequences, from the Western Front to the Eastern, from the strategy of the politicians to the tactics of the generals, they chart the course of the war and assess its profound political and human consequences.
This is a slideshow of just some of the book’s striking images, capturing the First World War in photographs, illustrations, and posters.
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Erich Ludendorff
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The victors of the battle of Tannenberg, Paul von Hindenburg and his chief of staff, Erich Ludendorff, pose for their photograph later in the war. They would consolidate their collective reputation on the eastern front, but struggled to impose themselves in the west after 1916, when Hindenburg succeeded Falkenhayn as chief of the general staff.
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Russian troops
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Russia had more abundant supplies of men than any other belligerent in the war, but in addition it had a more relaxed approach to women serving in combat units. After the March revolution, Maria Botchkareva, who served in the tsarist army, was asked by Kerensky to form a ‘battalion of death’, made up exclusively of women. Botchkareva herself said it was designed to shame the men into fighting, but elements did go into combat in the summer of 1917.
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Ambulance drivers
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Women had formed nursing units for service with the British army in the Crimean War, and continued to do so until 1914. Nonetheless many who volunteered in 1914, and particularly female doctors, found the War Office reluctant to accept their offers of service, and so they joined the French and Serb armies instead. Such resistance was rapidly replaced by a readiness to have women as nurses on all fronts and, as here, as ambulance drivers.
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Fokker advertisement
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A Fokker advertisement depicting a close-up view of a German fighter pilot in his Fokker monoplane, its synchronized machine gun and propeller, with Germany’s highest medal, le pour le mérite, in the top left corner.
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Remember Belgium
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The rape of Belgium in 1914 remained a powerful propaganda tool even in October 1918 and even in the United States. But America’s war loans proved unpopular with private investors: the interest rate of 4.25 per cent seemed low in relation to a long period of inconvertibility. The banks took 83 per cent of the third and fourth Liberty Loans.
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Women of France
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This American poster, produced shortly after the USA entered the war, was designed to encourage support for the allied war effort, and remind the public of what the French people were going through. The grimness of the factory, and the sight of heavy work being done by women, were designed to elicit sympathy, but ironically reflected reality for many European munitions workers.
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Women of America
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The women of America were urged to follow the militant example of Joan of Arc and buy War Savings Stamps. Few would remember the embarrassing detail that it was the English who burned Joan at the stake.
The new, updated edition of the Oxford Illustrated History of the First World War has been published to mark the centenary of the War’s outbreak in 1914. Editor Sir Hew Strachan became Chichele Professor of the History of War at the University of Oxford, and a Fellow of All Souls College, and between 2003 and 2012 he directed the Oxford Programme on the Changing Character of War. The first volume of his planned trilogy on the First World War, To Arms, was published in 2001, and in 2003 he was the historian behind the 10-part series, The First World War, broadcast on Channel 4. He is a Commonwealth War Graves Commissioner and a Trustee of the Imperial War Museum, and serves on the British, Scottish, and French national committees advising on the centenary of the First World War.
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Image credits: All images are in the public domain.
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As we approach the 100th anniversary of the beginning of the First World War, it’s important taking a look back at the momentous event that forever changed the course of world history. Here, Sir Hew Strachan, editor of The Oxford Illustrated History of the First World War, examines the importance of commemorating the Great War and how perspectives on the war have shifted and changed over the last 100 years.
What might we learn from the centenary commemoration of World War I?
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What is the difference between commemorating the 50th anniversary and the centenary of the World War I?
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What is the difference between the First and Second World Wars?
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Sir Hew Strachan, Chichele is a Professor of the History of War at the University of Oxford, Commonwealth War Graves Commissioner, and a Trustee of the Imperial War Museum. He also serves on the British, Scottish, and French national committees advising on the centenary of the First World War. He is the editor of The Oxford Illustrated History of the First World War. The first volume of his planned trilogy on the First World War, To Arms, was published in 2001, and in 2003 he was the historian behind the 10-part TV series, The First World War.
Visit the US ‘World War I: Commemorating the Centennial’ page or UK ‘First World War Centenary’ page to discover specially commissioned contributions from our expert authors, free resources from our world-class products, book lists, and exclusive archival materials that provide depth, perspective and insight into the Great War.
Subscribe to the OUPblog via email or RSS.
Subscribe to only history articles on the OUPblog via email or RSS.
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