Putin’s Wars: from Chechnya to Ukraine by Mark Galeotti (2022)

This is a very military history. Seeing as it also covers the decade before Vladimir Putin came to power, and that it is very focused on the minutiae of the Russian Army, Navy and Air Force, as well as details of the various reforms and reorganisations they have undergone during the Putin years, the book could more accurately have been titled ‘A History of The Russian Army, Navy and Air Force, 1990 to 2022’.

Military units

Here’s an example of what I mean by military minutiae. This is Galeotti’s description of the Russian army’s invasion of Chechnya:

From the north Major General Konstantin Pulikovsky led a mechanised force drawn from the 81st and 276th Motor Rifle regiments and a battalion of the 131st Independent Motor Rifle Brigade. From the west Major General Valery Petruk led elements of the 19th Motor Rifle Division supported by two regiments and two battalions of paratroopers along the railway tracks to seize the central station and then advance on the presidential palace. From the east, the 129th Motor Rifle Regiment and a battalion each of the 98th and 104th Airborne Divisions under Lieutenant Colonel Nikolai Staskov would make a similar thrust along the railway line to Lenin Square in the heart of the city and from there take the bridges across the Sunzha river. From the north-east, Rokhlin himself would lead elements of the 255th and 33rd Motor Rifle Regiments and the 66th Reconnaissance Battalion of the 20th Motor Rifle Division to take the Central Hospital complex, while units of the 76th and 106th Airborne Division would secure the Lenin and Sheripov oil processing factories and chemical works to prevent the rebels from destroying these crucial economic assets. (p.61)

The accounts of all the wars feature lots of paragraphs like this, precise accounts of which units under which commanders went where and how they fared in the fighting.

There’s also a lot of analysis of organisational and administrative reforms from between the wars, as Galeotti gives detailed accounts of the attempts of successive Russian defence ministers, most notably Anatoly Serdyukov and then Sergei Shogai, to reform the Russian army against opposition and inertia from the military high command.

Hence the chapter titled ‘New Look Army’ (pages 142 to 152), which gives us detail of how the Defence Minister and head of the general staff implemented the 2010 plan for a new-look Russian army, half the size of its predecessor but better equipped and better trained, with better retention of conscripts, fewer but better quality senior officers.

Galeotti explains, with maps, the reorganisation of the army into half a dozen military districts, gives a detailed breakdown of what a new-look motorised rifle brigade consisted of (3,800 officers and men) plus a list of all its components (including 1 nuclear, biological and chemical company) and so on. And a similar level of description of the new-look air force and navy, followed by an organogram showing the chain of military command starting with the president and working down.

And then the last 90 or so pages of the original edition of this book (before he added a new chapter about the Ukraine War), pages 229 to 310, present a very detailed review of the current state of all Russia’s fighting forces, army, navy and air forces, along with special forces, paratroopers and black berets, nuclear weapons and so on, as of the time of writing (April 2022).

In this long final section the book turns into a version of ‘Janes Fighting Ships’ only about all aspects of the Russian fighting machine, giving mind-numbing details of the speed, size, range, design and latest versions of a wide range of military kit, from machine guns (the AK12 to replace the ageing AK74) to its sole aircraft carrier (the Admiral Kuznetsov), along with equally excessive detail of each service’s organisational structure, divisions, brigades and so on and so on. Take the opening of the Spetsnaz section:

The Spetsnaz comprise seven regular brigades of various sizes, in total constituting perhaps 19 battalion-size units called Independent Special Designation Detachments (OOSN) each with around 500 personnel. The relatively small 22nd Brigade has just two OOSN, the 173rd and 411th, for example, while the large 14th Brigade… (p.292)

And so very much on, for page after page after page of excruciating detail.

I was looking for a book about the geopolitics of Putin’s Wars and that’s certainly here, attached to his fairly brisk accounts of each conflict, and when he summarises it, Galeotti is very good. But his accounts of the political background to each conflict, and even the wars themselves, take second place to his forensic analysis of Russian fighting forces and how they have changed and evolved since 1990.

Military biographies

As for the key political and military players, as the book trundled on I realised Galeotti was devoting quite a lot of time to them. All the key players in the 30-year period of the Russian army which he covers are given potted biographies. Putin is the most obvious one, along with sometime prime minister Dmitry Medvedev, but all the defence ministers, the key generals in each of the wars, and the leaders of the respective nationalist or independence uprisings, all are given a half-page potted biography (for example, the extended profile of key defence minister Sergei Shogai on pages 155 to 159).

Slowly this builds up into a sort of indirect social history, because all of them grew up in the ’60s, ’70s or ’80s, their life stories include snapshots of their lives and careers during the late Cold War, the Afghan War, the chaos of the Yeltsin years and so on. It isn’t a collective biography but, taken together, the many individual biographies begin to sketch out a network of real lives, and so start to give a feel for the institutional life of the last years of the Soviet Union.

The 1990s

For Russia the 1990s were a decade of chaos at home and humiliating conflicts abroad. The army almost fell apart amid the chaos following the end of the Soviet Union and economic collapse: stories of soldiers reduced to begging in the streets and even dying of malnutrition. In February 1991 the Warsaw Pact, which had been the West’s bogeyman since its inception in 1955, was formally disbanded.

Prime example of the chaos was how nationalist President Boris Yeltsin inherited a Duma packed with communists who blocked his every move, the standoff escalating to a crisis in October 1994 when pro-communist crowds seized TV channels and the Duma building, which prompted Yeltsin, on 4 October 1993, to send in the army who shelled their own parliament building, starting a fire which ended up gutting it. Like some chaotic Third World country.

Putin was manoeuvred into power by the KGB and other forces who wanted social and political stability after a decade of chaos under Yeltsin. As you’d expect, there are pages detailing Putin’s non-descript career, how he came over as loyal, reliable and dependable to a series of powerful men, until shadowy forces in the KGB and military helped broker the deal whereby Putin was nominated by Yeltsin to be his successor as president, on condition that he passed an act of immunity freeing Yeltsin from prosecution for his umpteen acts of corruption. Putin was made president in December 1999 and his first act was to pass this immunity law for drunk Boris.

All this Russian drunkenness, chaos and corruption is amusing to read about but the point that matters is that Putin came to power determined to restore Russia’s status as a superpower. He and his sponsors wanted to Make Russia Great Again (p.169).

‘Near abroad’

Putin wants to restore the territory lost to Russia when all the other Soviet states declared independence. Galeotti quotes a Russian defence minister in 1995 talking about ‘Near abroad’, meaning the countries and territories adjacent to Russia which it dominated for over a century through its Tsarist empire, and then bossed around through the Soviet era. It’s a well enough known phrase for Wikipedia to have an article on it, defining Russia’s ‘near abroad’ as ‘the post-Soviet states (other than Russia itself) which became independent after the dissolution of the Soviet Union.’

This concept overlaps with the nationalist notion of a Greater Russia which transcends modern borders to include all the old Tsarist territories. Both of them justify Russia interfering in, invading and taking control of their neighbours.

Reuniting the Russian people

During the Soviet Union entire populations were moved around the different republics with little concern for the consequences. It didn’t matter in the borderless USSR but it became very important when all the former Soviet Republics became independent states. At a stroke no fewer than 20 million Russians found themselves stuck in ‘foreign’ countries. To put it another way, all the countries bordering Russia contain Russian minorities, sometimes quite sizeable minorities.

The most obvious examples are the large Russian-speaking communities in the Crimea and in Eastern Ukraine which gave Putin the excuse for invading both of them in 2014 but there are also vocal Russian minorities in, for example, all three Balkan states. At any moment Putin might stir them into protests and then use these protests as a pretext for invading, pretty much as Hitler invaded the Sudetenland in 1938, to reunite its protesting Germans with the Fatherland. Which is why the leaders of the Baltic states are so worried.

So Putin 1) believes Russia has total command over its sphere of influence which can be defined as 2) Greater Russia, Russia at its greatest extent under the empire and also, maybe, the Soviet Union, and 3) wants to liberate these Russian communities now in foreign countries and reunite them with the Holy Motherland.

Russian irredentism

Yet another way of describing the same thing is the term Russian irredentism:

Russian irredentism refers to territorial claims made by the Russian Federation to regions that were historically part of the Russian Empire and the Soviet Union, which Russian nationalists regard as part of the ‘Russian world’. It seeks to create a Greater Russia by politically incorporating ethnic Russians and Russian speakers living in territories bordering Russia. This ideology has been significantly defined by the regime of Vladimir Putin, who has governed the country since 1999. It is linked to Russian neo-imperialism.

Insofar as all the old republics of the Soviet Union are now independent nation states, the Putin Doctrine represents a permanent threat to peace in Europe.

Comparison with Hitler

In many ways it’s like the situation of the German people after World War One. When the victorious Allies imposed the punitive Treaty of Versailles on defeated Germany they redrew the map of Europe so that no fewer than seven million Germans found themselves stuck in countries outside Germany. This was partly what Hitler was about with his popular promise to reunite all ethnic Germans in an expanded Fatherland. This, for example – its large German population – was why Hitler demanded the area known as the Sudetenland back from the state of Czechoslovakia, a nation which was only created by the Treaty of Versailles and which Hitler refused to recognise as a real country.

Putin is very close to Hitler’s way of thinking. He, Medvedev, foreign secretary Sergei Lavrov, members of his political party (United Russia), commentators and intellectuals, have all been lined up to claim that Ukraine simply isn’t a country, it has no claim to be a nation state. It was, is and always will be part of Greater Russia.

In his 2021 essay ‘On the Historical Unity of Russians and Ukrainians’, Putin referred to Russians, Ukrainians and Belarusians as ‘one people’ making up a triune Russian nation. He maintained that large parts of Ukraine are historical Russian lands and claimed there is ‘no historical basis’ for the ‘idea of Ukrainian people as a nation separate from the Russians’.

It would be one thing if this was just the view of a particular clique or party but in fact these nationalist, neo-imperial views are very popular across Russia. That’s the real worry. That even if Putin and his entire clique were vaporised it wouldn’t change the fundamental neo-imperial irredentist mindset of the entire Russian ruling class and a large part of its population. Russia is committed to being a source of instability and conflict in Eastern Europe for the foreseeable future…

Russian paranoia

To which we must add Russian paranoia. The whole premise of the Russian forces in all services, of Russian military doctrine, of the vast amount spent on arms and men, is that everyone wants to attack and destroy Russia. All Russian officials toe the Putin line that Russia is permanently under serious threat. Former head of the FSB, Nikolai Patrusheve, is on the record as saying the United States ‘would very much like Russia not to exist as a country’ (quoted p.312). As Galeotti puts it:

We can never underestimate the paranoias and resentments of Putin and his circle… (p.307)

Paranoia is defined on Wikipedia as:

an instinct or thought process that is believed to be heavily influenced by anxiety, suspicion, or fear, often to the point of delusion and irrationality. Paranoid thinking typically includes persecutory beliefs, or beliefs of conspiracy concerning a perceived threat towards oneself i.e. ‘Everyone is out to get me’.

If it’s a mental illness or psychiatric condition then the entire Russian military-political establishment is mentally ill.

Weakness of the Russian army

However, when he came to power Putin faced a simple challenge which was the army left to the Russian Federation after the collapse of the USSR was in very poor shape and this book is very largely about the efforts of his successive defence ministers, and hand-picked senior military staff, to reform and improve it.

Early on Galeotti mentions all kinds of reasons for the Russian army’s weakness. Obvious ones were chaos, mismanagement and universal corruption. The tradition of building a mass army of over a million using reluctant conscripts. The way the conscripts were signed up in two waves, in the spring and autumn, ensured lack of overlap and consistency. Galeotti also says the Russian army has a long-standing problem because it lacks the rank of non-commissioned officer that the British army has, the rank of men who’ve risen from private, command the trust of and speak the language of the ordinary soldiers, can convert officers’ orders into do-able actions.

Another problem was the Russian army has a centuries-old tradition of hazing, dedovshchina or ‘grandfathering’. Like everything Russian this is the legitimisation of brutal bullying designed to turn raw recruits into ‘men’. But, as well as regularly actually killing them, it of course does nothing of the sort, turns no-one into ‘men, it just brutalises them, preparing them to rape, pillage and torture whatever foreign population is unlucky enough to be occupied by them.

Then there was the vast problem of out-of-date equipment. Galeotti has passages throughout the book detailing the shortcomings of all kinds of Russian military kit, from tanks to body armour. The lack of reliable radios and communications led to friendly fire incidents in all the wars he describes. Half the Russian planes and helicopters shot down in the short Georgian war (7 to 12 August 2008) were shot down by their own side.

Hence the central thread which the book comes back to again and again, which was the efforts of successive defence ministers to reform the army, navy and air force at all levels, in all ways. Maybe the book should have been titled ‘The Reform of the Russian Army 1990 to 2022′.

Bad advice

I was amused that Yeltsin was encouraged to embark on the First Chechen War (11 December 1994 to 31 August 1996) by his advisers and Minister of Defence, who assured him they would take Grozny and pacify the country in a matter of weeks, that it would be a ‘bloodless blitzkrieg’ (p.56). The Russian attack began in November 1994 and was dogged by failure of every kind – ‘The plan was doomed from the start’.

Compare and contrast the over-optimistic advice given to George W. Bush about the invasion of Iraq, ‘they’ll be welcoming us with open arms and throwing flowers’ etc.

Compare and contrast Britain’s defence staff telling Tony Blair they could easily cope with policing Basra and sending troops to Helmand Province in Afghanistan, no problem.

Compare and contrast the Russian military establishment assuring Putin they could invade Ukraine, overthrow the government and elect a Russia-friendly administration within a week.

These military advisers, eh? Maybe the beginning of wisdom is never trust anything your military advisers tell you.

The First Chechen war (December 1994 to August 1996)

The First Chechen War was a disaster for the Russian army. It has been outsmarted and outfought, even losing cities to a ramshackle guerrilla army. All the inefficiencies, brutality and corruption of the army had been put on public display. (p.67)

The Second Chechen War (August 1999 to April 2000)

This time the Russians had a better plan and knew to advance slowly, pacifying and securing territory as they went, rather than the strategy in the first was which was to race to the capital Grozny leaving all the territory outside under the control of insurgents.

The Russo-Georgian War (August 2008 Russo-Georgian War)

The underwhelming performance of the military in Georgia… (p.88)

In 2008 when mighty Russia took on tiny Georgia, more than a quarter of all the armoured vehicles deployed simply broke down before they even reached the battlefield. (p.239)

It only lasted a week but, according to Galeotti, it was a war of blunders, including the bombing of abandoned airfields, officers lost to friendly fire and advances halted by broken-down vehicles (p.120). From his point of view – concerned with the issue of military reform – this little offensive was important because it gave Shogai and Putin the ammunition they needed to push through their sweeping reforms against resistance from the Army staff.

Annexing Crimea

Crimea had been part of the Russian empire for centuries and only (rashly) given by Nikita Khrushchev to the Ukraine Soviet Republic in 1954. So it was a prime example of the Greater Russia argument, the argument that, at the chaotic collapse of the Soviet Union, many territories which had for centuries been part of Russia were abruptly included in what were suddenly newly independent nations, often against the wishes of their Russian minorities.

Thus Ukrainians in western Ukraine were thrilled when their popular Euromaidan uprising led to the overthrow of Russia-leaning president Viktor Yanukovych and the establishment of a western-friendly government, but the large Russian minority in Crimea was genuinely scared, especially when the Kiev government indicated that they were going to remove Russian as an official language, remove Russian street signs etc. All this played into Putin’s master narrative:

In his 2021 essay ‘On the Historical Unity of Russians and Ukrainians’, Putin referred to Russians, Ukrainians and Belarusians as ‘one people’ making up a triune Russian nation. He maintained that large parts of Ukraine are historical Russian lands and claimed there is ‘no historical basis’ for the ‘idea of Ukrainian people as a nation separate from the Russians’.

Reading Galeotti’s account of the annexation of Crimea, what’s impressive was the lack of violence and Russian brutality. Russia infiltrated special units (Galeotti, of course, gives minute detail of just what units, led by which commanders, were deployed where) to all the key command points before the Ukraine high command had cottoned on to what was happening.

Crimea was an extraordinary military success. (p.178)

Local support

A key point is that a lot of Crimeans are ethnic Russians and genuinely welcomed the annexation. Putin organised a quick referendum and claimed 97% of the population approved the annexation (p.177). Do they think the rest of the world is stupid? Or are they so trapped inside their chauvinist box that they think Soviet-era electoral fictions are viable? Maybe both. They might as well have claimed 200% of the electorate wanted reunification with Russia. This kind of thing brings down derision and contempt on the Putin administration but they don’t see it.

And all along, as Galeotti points out, it isn’t necessary. If they had held a free and fair referendum, chances are the pro-Russian vote would still have won. But the Russian political elite has no concept of what democracy is and how to use it. The heirs to 250 years of Mongol khans and 400 years of tsars and 75 years of communist totalitarianism, the Russian elite literally knows no other way of ruling except via top-down diktats.

Comparison of Russian nationalism and Islamism

A key point, and a running thread through the book, is that in all these conflicts – Chechnya, Georgia, Moldova, Ukraine – the situation was made messy and confusing by the involvement of local militias. Chechnya is fascinating because some of the forces fighting the Russians were straight nationalists but, given the era and the proximity to Afghanistan, many of them were Islamic groups fighting for something else entirely, for the creation of an Islamic Caliphate in the Caucasus.

In a sense this kind of Islamic ideology and Russia’s chauvinism have a lot in common in that 1) they both inspire a kind of messianic intensity of belief and, 2) on a more practical level, that they don’t believe in borders. Greater Russia chauvinism flies free of accepted borders, borders are the enemy, keeping good Russians trapped in foreign countries created by an alien settlement somehow engineered by the perfidious West. Russia will only be great when these invalid nation states are swept away and the borders redrawn to include all true Russians in the genuine Greater Russia.

Identically the same with Islamist ideology, which believes all the borders and nation states of the Middle East were created by Western imperialists and the region will only be strong and pure when all believers are united in the restored caliphate, free of the trappings of the imperial West.

It’s a match made in heaven.

The role of militias in near Russian countries

To come back to the role of local militias, something which makes all the Russia wars feel very distinctive is that they were and are fought in places which are already riven by ethnic and tribal and cultural division. To read about Chechnya and Georgia is to be impressed by how fissile those ‘nations’ already were. The authorities in Georgia’s capital, Tbilisi, had only nominal control over the entire region of South Ossetia which was packed with pro-Russian separatists or, over to the west, on the Black sea coast, with the region of Abkhazia, ditto.

These are ‘countries’ which 1) already featured a large pro-Russian community and 2) were and are characterised by a high level of clan and tribal attachment which converts into tribal politicians, tribe-based mafias and, by an easy extension, clan-based militias.

The complicated role played by local militias in very clan-based, feuding societies is a central feature of all these conflicts.

Donbas and beyond

And continued in the Ukraine. For even as he was infiltrating his troops into Crimea for what proved to be a surprisingly bloodless annexation (February 2014), Putin was also encouraging local pro-Russian militias in eastern Ukraine.

The fascinating aspect of Galeotti’s account is how the conflict in the Donbas region of eastern Ukraine began spontaneously, with coalitions of independence politicians, activists, and rag-tag militias taking on the Ukrainian authorities. It certainly wasn’t a carefully planned operation like the annexation of Crimea, the opposite, and for some time the Kremlin didn’t know how to react. To begin with they began to siphon military hardware to the more successful pro-Russian militias, followed, after some months, by military advisers.

Galeotti says that in these early phases the aim was to warn the new pro-western regime in Kiev of the consequences of allying with the West, no more. However, as the Ukraine army got its act together and, working with pro-government militias, began to drive the pro-Russia forces East, the Kremlin had to decide whether to acquiesce in their defeat or escalate. They chose to escalate and sent in regular Russian troops, breaching the sovereignty of a European nation (p.187).

Galeotti describes the two ceasefire treaties, Minsk 1 and Minsk 2, their predictable failure, and the settling down of the problem into a permanent low-level conflict. It reminded me of some of the civil wars I’ve read about in Africa, contested borders, governments relying on local militias, all sides using exemplary violence i.e. carrying out atrocities on unarmed civilians designed to warn other villages and towns to surrender without a fight.

As 2014 turned into 2015 and 2016 the Ukrainians reformed and reinforced their army with a huge recruitment drive, better training, new kit. They drove the rebels back but could never win because whenever they looked close to victory, the Russians deployed a regiment to block them.

So the pattern was one of on-off ceasefires, trench warfare, sporadic local fighting, mutual sniping and shelling, and equally mutual recrimination, until 2022 when Putin decided that it was time to break the stalemate. (p.191)

Syria, the unexpected intervention

We in the West think the Arab Spring was a spontaneous uprising of oppressed peoples across the Middle East to overthrow their corrupt old rulers. See my review of:

From the paranoid perspective of the Kremlin, though, it looked a lot like the uprisings were the work of a West systematically getting rid of traditional Soviet allies (Gaddafi, Saddam, Bashar al-Assad). At the UN, Russia acquiesced in the West’s bombing of Libyan forces but felt betrayed when this led not to a ceasefire but to the overthrow of Gaddafi. All of this, of course, was in light of America’s overthrow of Saddam Hussein in 2003 which led not to a pleasant democracy but the collapse of the Iraqi state and chaos within and beyond its borders.

So Russia had at least three reasons for stepping in to prop up the Assad regime:

  1. the Assad family had been a friend and ally in the region: why not make him really indebted to you by saving his skin?
  2. as a message to America that Russia, too, could throw its weight around / be a regional force in the Middle East
  3. genuine concern that if Assad, too, fell, the whole Syria-Iraq strip of territory would fall to ISIS or other Islamist groups, which Russia has genuine cause to fear

Regarding ISIS, see my review of:

Regarding the international aspects of the Syrian civil war, see my review of:

The events of the Syrian civil war are complicated. But for Russia its intervention was surprisingly successful. It showed itself and the West that it could project its power significantly beyond its borders. It saved an old ally, thus bolstering its credibility. It served as a useful blooding ground for large parts of the Russian army, navy and air force, which were rotated through the theatre. It allowed the military to road test new technology, especially new drones, and to road test new doctrines and strategies for different situations and types of engagement.

It also marked the high point and maybe eclipse of the Wagner group of mercenaries, who were vital in holding the line during some attacks alongside the prone-to-run-away Syrian army, but also taught the Russian high command to keep them in their place.

Invasion of Ukraine

The 2022 invasion of Ukraine and the poor performance of Russia’s troops… (p.89)

Requires a post of its own…

List of post-Soviet conflicts Russia has been involved in

  • Transnistria war – November 1990 to July 1992
  • First Chechen war – December 1994 to August 1996
  • Tajikistan civil war – May 1992 to June 1997
  • Yugoslavia – 1992 to 1995 Russian forces were part of the UN peacekeeping force
  • Second Chechen War – August 1999 to April 2009
  • Russo-Georgian War – 7 to 12 August 2008
  • Russian forces joined international anti-pirate patrols off the coast of Somalia
  • Annexation of Crimea – February 2014
  • Start of Donbas war – February 2014
  • Syrian civil war – from 2015 Russian forces supported the Assad government
  • Second Nagorno-Karabakh War – 27 September to 10 November 2020 –Russia sent peacekeeping force in 2021
  • Invasion of Ukraine – 20 February 2014 to the present

Table of contents

For your information, here is a straight copy of the book’s table of contents, from which you can see its comprehensive scope and level of detail:

1. Before Putin

  1. Born in chaos
    • The Soviet Disunion
    • The August coup
    • Boris Yeltsin: the man without a plan
  2. A military in crisis
    • An army gone bad
    • Nukes for sale?
    • Bringing the boys back home
    • Empty dreams
    • ‘Pasha Mercedes’
  3. The first Chechen war
    • Resistance and resentment
    • High hopes, quick defeats
    • The plan
    • Taking Grozny…
    • … and losing Grozny again
  4. The wars of Russian assertion
    • Moldova’s post-Soviet hangover
    • Central Asia: the Tajikistan contingent
    • Balkan dash

2. Enter Putin

  1. Putin’s priorities
    • Who is Vladimir Putin?
    • Putin in charge
    • Putin’s ministers
  2. The second Chechen war
    • Round two
    • Retaking Grozny
    • Operation Wolf Hunt
    • The creation of ‘Kadyrovstan’
    • Lessons learned
  3. Ivanov, the Initiator
    • My name’s Ivanov, Sergei Ivanov
    • The spy and generals
    • Ivanov’s reforms
    • Size does matter
  4. Sedyukov, the Enforcer
    • Enter the taxman
    • Serdyukov’s purge
    • And enter Makarov
    • The Georgian excuse
  5. Georgia 2008: Tblisi’s move…
    • Harbingers
    • Provoking a war
    • The Georgian advance
    • The battle for Tskhinvali
    • The Russian advance
  6. Georgia 2008: …Moscow’s counter
    • The tide turns
    • The Abkhaz front
    • The audit
    • Did anything work well?
  7. ‘New Look’ army
    • Command and control: unified battle management
    • The ground forces: divisions to brigade
    • The air forces: rationalised
    • The navy: integrated at last
    • The airborne: survival

3. The New Cold War

  • Shoigu, the Rebuilder
    • Who is Sergei Shoigu?
    • ‘A servant to the tsar, a father to the soldiers’
    • General Gerasimov
    • Rearmament and recruitment
    • Ready for action
  • Crimea, 2014
    • Russia and Ukraine
    • ‘Returning Crimea to Russia’
    • Taking Crimea
    • Enter the ‘little green men’
    • ‘Crimea is ours’
    • An audit of the operation
  • Donbas, 2014-
    • Strelkov’s spark
    • A war of irregulars
    • The ‘Northern wind’
    • The fixing of the conflict
    • Stalemate
  • Lessons of the Donbas war
    • Command and control in a proxy war is hard
    • Information warfare is a powerful force multiplier
    • Implausible deniability has its place
    • Drones are the next big thing
  • Syria 2015 (1): the unexpected intervention
    • A long, bloody war
    • A friend in need
    • Heading to Hmeymin
    • Hmeymin’s hammer
    • Turning the tide
    • Victory of sorts
  • Syria 2015 (2); lessons of the Syrian campaign
    • Airpower is not (usually) enough
    • Mercenaries have their place, but need to know it
    • Brutality can work, but hearts and minds matter, too
    • Frenemies can find themselves in battle
    • A nice little war is good for business

4. Rearming Russia

  1. Rumble for ruble
    • When comparisons fail
    • ‘Let us starve, but let us export’
    • The metal-eaters
    • Buyer beware
    • Modernising the military
  2. Armiya Rossii
    • The battalion tactical group
    • The return of the division
    • Heavy metal
    • Specialised forces for specialised operations
    • Logistics
    • Capabilities
  3. The sky is Russia’s!
    • Always in transition
    • The aerospace forces
    • Defence of the motherland
    • Fist of the motherland
    • Heavy lift
    • Drones
  4. Contesting the sea
    • Never a naval power
    • Rusted, rebuilt
    • Organisation
  5. Power projection: blue and black berets
    • ‘Nobody but us’
    • By parachute, plane or track
    • The black berets
    • ‘Black Devils’
    • ‘Where we are, there is victory!’
    • Underwater sentinels
  6. The Spetsnaz
    • Special people, for special tasks
    • Tip of the spear
    • Putin’s Spetsnaz
    • The special operations command
  7. The nuclear backstop
    • Post-Soviet armageddon
    • Rail, road and tube
    • Under the waves
    • Strategic aviation
    • Modernisation and magic
    • Why nukes matter so much [they bolster Russia’s sense of itself as still a superpower]

5. The Future

  1. Political warfare
    • The rise of the spooks
    • Hybrid, ambiguous, non-linear, political
    • Outsourced warfighters [the Wagner group]
    • Information warfare
  2. New generation warfare
    • Small wars
    • Limited deployments
    • Big wars
    • Escalation, de-escalation and lesser apocalypses
  3. The challenges of the future
    • The Western flank
    • … And the turbulent South Caucasus, too
    • Central Asia: instability and jihad
    • China, the great frenemy
  4. Ukraine 2022: Putin’s last war?
    • Not the generals’ war
    • A police action, not a war
    • From Kyiv to the Donbas
    • How hubris destroyed a military
    • Deadlock
  5. Conclusions: the Eurasian Sparta?
    • A nation under arms?
    • The military myth
    • The security state?
    • A weak hand played well
    • After Putin?
  6. Ukraine 2023: a dispatch on a war in progress
    • The paradox of reform
    • War Putinism
    • The mutiny
    • The war in Russia
    • The imagination race
    • Prospects

General conclusions

The whole spectacle confirms my strong feeling that human beings simply cannot govern themselves. The naive expect humanity to take some kind of concerted action against climate change. Really? With people like this in charge?

Are modern wars doomed to failure?

Are modern wars winnable? When was the last time either Russia or America actually won a war?

For the Russians – Afghanistan, Chechnya, Georgia, Yugoslavia, Syria, Ukraine.

For the Americans – Vietnam, Afghanistan, Iraq.

Russian lies

I watched the BBC TV series ‘Putin and the West’ in which French president Francoise Hollande and British Prime Minister David Cameron baldly stated that Putin is a liar. Hollande said not only is Putin a liar but his entire approach to diplomacy is to lie, his strategy is based on lying about everything.

The Russians even lie when the lie is so blatant and absurd it damages their own cause. Galeotti’s book contains some nice examples. In 1993 during the Georgian war the Russians broke a ceasefire agreement by bombing Sukhumi while it was still held by Georgian forces.

Russian defence minister Grachyov responded with the implausible and widely derided claim that these were Georgian aircraft painted with Russian colours, bombing their own positions as a provocation. (p.122)

In moments like that you can see how lying is such second nature to the Russian establishment that it can’t see how stupid and ridiculous it makes them look to the outside world. This was captured in a recent press event in Delhi where Russian foreign minister Lavrov claimed the Ukraine war started when Ukraine attacked Russia and went on to claim that Russia was trying to halt this unfortunate war.

This is Göbbels-level lying which is so absurd that it makes you worry about the sanity of the Russian leadership. Putin ordered the military invasion of Ukraine but, having read Galeotti’s book it’s easy to think that Putin and his circle genuinely believe that they invaded the territory of a neighbouring country because they genuinely see Ukraine’s defection to the West as a kind of attack on Russia, on Russia’s idea of itself, on the Russian nationalist belief that Ukraine and Belarus aren’t independent nations at all. They felt culturally, psychologically and strategically ‘attacked’ and so sincerely believe that the military invasion was a justified response to the Ukraine government’s insult and threat to Russian hegemony.

At moments like this you can see how the Russian elite inhabits a different mindset, in effect a different reality, from the rest of the world, utterly blinded by their Greater Russia nationalism and prepared to do anything to protect it.

But there is, of course, an alternative interpretation, which is that a lot of these lies uttered in public fora are for domestic consumption. Edited by Russia’s totally cowed and quiescent media, they can then be broadcast on the nightly news, with the laughter track removed and roars of applause edited in.

Yes, it’s important to remember that the Russian government lies to everyone including its own people, and that if anyone finds out the truth and starts broadcasting it they are quickly locked up or pushed out a window or die of mystery poison. But then being lied to by your government is another venerable old Russian tradition. This isn’t my prejudice, it is a factual point Galeotti makes over and over again:

Russians have decades’ or even centuries’ experience of being lied to by their governments, especially regarding wars… (p.375)

The Russian bearhug

There’s a hoary old proverb about Mexico, ‘Poor Mexico! So far from God, so close to the United States!’ How much more true this is of every nation which borders Russia today. China, Mongolia and Kazakhstan probably needn’t be too worried, too big, nothing to steal.

But poor Georgia, Belarus, Latvia, Estonia and Finland – the Putin Doctrine, the concepts of Greater Russia, near abroad, Russian irredentism, Russian neo-imperialism, Russian nationalism – all these variations on the same theme mean the leaders and peoples of those countries must be permanently anxious about whether Russia will attack and invade them next.

It’s unlikely, seeing as most of the Russian army’s resources are deployed to – and being consumed in – Ukraine. But in planning for the future, the next five, ten years, should they be factoring in invasion by Russia?

Thank God there’s the whole length of Europe between my country and the resentful, angry, permanently aggrieved Russian bear.

War with China?

Although I’ve spent my entire life worrying about a nuclear war, subjected to movies and novels and documentaries about the horror of a nuclear war with the USSR or Russia, and although Putin and his mouthpieces go on and on about the threat from ‘the West’, Galeotti disarmingly says Russia is never going to face the threat of an invasion by NATO. Do you think the people of Belgium or Italy or Austria would ever want to attack Russia? Why? Let its people stew in the repressive authoritarian culture which they seem to love and recreate in every generation.

Galeotti argues that the real threat is China. The majority and the best Russian armed and air forces are concentrated in the west of the country, all on high alert for the mythical invasion by Holland and Denmark and Lithuania which is never going to come. But what about the vast area of Siberia?

Galeotti explains that during the imperial nineteenth century Russia seized large bits of territory from China. In principle these borders were re-agreed by a treaty of 2008, but what if China wants them back? Russia’s border with China is 4,000 kilometres long and very thinly protected (p.339).

The relationship between China and Russia is set to become more asymmetrical with China increasingly becoming the economic master and Russia the vassal. Deprived of trade with the West because of Ukraine sanctions, Russia is increasingly forced to sell its oil and gas to China which is aware of its partner’s weakness. What if China’s demands for unequal trade deals slowly, steadily increase? And apparently there has been growing concern in the FSB, some of it expressed publicly, at the growth of Chinese cyber activity against Russia, spying and hacking. And what about China’s growing influence in the five vast ‘stan’ countries to Russia’s south, Kazakhstan, Kyrgyzstan, Tajikistan, Turkmenistan, and Uzbekistan, where Chinese promises of investment and cash prove more attractive than Moscow’s penniless bullying? Likelihood is all these tensions will slowly ratchet up, the direction of travel is one way, with Russia contracting before an ever-growing China…

All of Russia east of the Urals is serviced by just two enormous train lines both of which could be easily ruptured and then none of its western forces could be redeployed. Any incursion could not be contained by forces which can’t reach the battlefield and so it is here, out East, that any escalation to battlefield nuclear weapons and beyond is most likely, or least unlikely. Discuss.

Over-optimistic?

The paperback edition of the book has a final chapter written in August 2023 covering the war in Ukraine up to that date and moving onto political conclusions. Galeotti’s account of the war (as of all the other wars he covers) is brisk and very readable, it’s his broader conclusions I question.

Writing in 2022, Galeotti pulls together a raft of evidence to suggest the war has been a disaster for Putin and Russia, it’s the end of the Russian army, public opinion is turning against him, draft dodging is up, there have been firebombing of draft offices, social media is awash with soldiers bitterly complaining about being used as cannon fodder, strongly implying that the president’s days are numbered and throwing in the old canard about him being ill, cancer, some immune disease etc.

It starts out sensible and maybe each of the strands are true, but life isn’t that sweet. There is no justice. Russia is an autocratic nation, ruled for its entire history by lying dictators. It’s not being pessimistic, it’s being coldly realistic, to assume that this will never change.


Credit

‘Putin’s Wars: from Chechnya to Ukraine’ by Mark Galeotti was published by Osprey Publishing in 2022.

Related links

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The Dutch Revolt by Geoffrey Parker (1977, revised 1985)

Old

This is an old book. Parker tells us he wrote it in 1975-6, it was published in 1977 and although it was updated in 1985, this is all a long time ago. Fifty years is a long time in the humanities, time to overturn assumptions and for entirely new perspectives to emerge and dominate (social history, feminist history, post-colonial history and all the rest). But a comparison between Parker’s views and more recent historiography on the same subject suggests the basic issues were identified long ago and just keep being revived and squabbled over.

A central one is whether the revolt of the 17 provinces of the Low Countries against the Hapsburg rule of King Philip II of Spain in the 1560s and ’70s amounted to: 1) one coherent, sustained struggle for independence – or 2) a series of ad hoc revolts against specific policies, carried out by different provinces, and by different interests and classes in the provinces, for different reasons, which eventually morphed into calls for ‘independence’ and, an incredibly long time later (80 years), resulted in seven of those provinces becoming an independent state.

Parker espouses the first model which, incidentally, was the view of many of the contemporary Spaniards involved in the successive revolts. By contrast, it’s the Dutch who, when they entered their Golden Age (1640s to 1710s) looked back, smoothed over the bumps and elided the different revolts into one continuous heroic struggle, a view which obviously supported their patriotic and colonial worldview.

Contents

Here are the contents of the book, the list of chapters and sections. They indicate both the subject matter and the timeline, and make clear that 1) Parker sees it as three distinct revolts or rebellions and that 2) although it dragged on till 1648, the lion’s share of the action took place in the 16th century.

1. Prelude

  • The Netherlands in 1549
  • The seeds of discontent (1549 to 1559)
  • The erosion of royal power (1559 to 1564)
  • The collapse of royal power (March 1564 to October 1565)

2. The First Revolt (1565 to 1568)

  • The crisis
  • Spain 1566: the time of decisions
  • The failure of the first revolt
  • The sending of the Duke of Alva
  • The Duke of Alva’s new order

3. The Second Revolt ( 1576 to 1581)

  • The gathering storm
  • 1572 [St. Bartholomew’s Day massacre]
  • The Prince of Orange’s new order
  • The failure of repression (1573 to 1576)

4. The Third Revolt (1576 to 1581)

  • Revolution
  • Orange’s triumph
  • The split

5. Independence and Survival (1581 to 1589)

  • The failure of leadership in the Republic
  • The Spanish reconquest
  • War or peace?

6. Consolidation and Settlement

  • The war to 1609
  • The Dutch Republic as a great power
  • The survival of the Spanish Netherlands
  • Postscript: the Netherlands divided

A note on geography

Modern names

Digging into the subject made me realise I don’t even know what this part of the world is called today. According to Google AI:

The ‘Low Countries’ is a broad historical and geographical term for the region including the modern-day Netherlands, Belgium, and Luxembourg.

‘The Netherlands’ is the official name of the country in north-western Europe, composed of 12 provinces.

‘Holland’ is the name of a specific region within the Netherlands, consisting of two provinces (North and South Holland), which boasts the densely populated and well-known cities of Amsterdam, Rotterdam and The Hague, and which has historically been used informally to refer to the entire country, though this practice is now discouraged by the Dutch government.

A 16th century map

The 14th and 15th century state of Burgundy included many of the provinces of the Netherlands. When the Burgundian State became defunct in the 1480s, these lands were inherited by the House of Habsburg. Charles V, born in 1500, became: Holy Roman Emperor; Archduke of Austria; King of Spain; King of Sicily and Naples; Lord of the Netherlands; titular Duke of Burgundy.

Charles set about conquering the Netherlandish provinces he didn’t inherit through the so-called Guelders Wars, fought sporadically between 1502 and 1543. This map shows the provinces Charles inherited and those he added.

By the 1540s the Habsburg emperor Charles V had by marriage and conquest acquired all 17 Dutch provinces, thereby tying them together into one political unit for the first time.

This may be a bit early in a summary to mention it but maybe the biggest thing I learned from reading this book is how all this talk of independence only applied to about half the provinces, the northern ones. The southern, predominantly Catholic, provinces, in the end remained solidly behind Spain. The Spanish never lost control of the entire country; for most of the war they controlled most of the south, the to and fro of battles and territory gains happened at the borderlands and in the north. Which is why Parker is able throughout to refer to ‘the Brussels government’ as a synechdoche for the Spanish administration. And which is why, nearly 500 years later, the map still shows a striking division between the ‘obedient provinces’ of the Catholic loyalist south and the Calvinist rebel north or, as we know them today, Belgium and the Netherlands, respectively.

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Belgium, the Netherlands and Luxembourg form the Benelux

The Netherlands in 1549

Parker starts his account in 1549 because it was in that year that young Prince Philip of the House of Hapsburg, born in 1527, son of Charles V and heir to the Spanish throne, was sent on an extended tour of the Spanish Netherlands. It took him the best part of a year to visit each of the 17 provinces, be shown the sights, and meet the leading statesmen and religious leaders.

The opening chapter describing this grand tour gives Parker the opportunity to sketch out key facts about the Netherlands at that time:

  • the Hapsburg Netherlands covered an area of 34,000 (cf England’s 51,000 square miles)
  • population 3 million, same as England and Wales
  • the western provinces had the highest urban density in Europe (p.23) – by 1550 there were 23 cities with over 10,000 inhabitants, compared to four in Britain
  • schools abounded and there was a very high literacy rate
  • which led to radical Protestant beliefs in many areas, for one of Martin Luther’s key teachings was: Read the Bible in your own language and make up your own mind

In the 16th century book learning led to Calvinism. (p.21)

Antwerp was one of the largest cities in Europe, a bustling port with up to 500 ships entering or leaving every day. Its wealth supported many printing presses, artists and musicians. Antwerp acted as ‘the clearing house for the commercial and public finance of most of northern Europe’ (p.27), and had just built a new Exchange for its money market. Holland had an enormous merchant fleet of 1,400 ships while its fields were famous for cattle.

But despite all this trading success and wealth the Netherlands had only begun to be conceived as one territory the year before Charles’s grand tour, in 1548, when Charles V, after much lobbying, persuaded the Diet of the Holy Roman Empire to grant the Dutch states independence from the structures of the Holy Roman Empire. In reality the 17 provinces (17 only if you amalgamated some of the smaller ones and jiggled identities around a bit) were still very distinct and independent, with their own councils, laws and traditions.

For a start few citizens if anyone identified themselves as Dutch or a Netherlander. Their first allegiances were always to family and town, language and religion, and on these latter two big vectors the region was very divided.

Traditional liberties

People identified not with a state but with their town or city. These all had their own traditional laws and customs, some dating back half a millennium. Parker makes the shrewd point that the individual citizen had none of the ‘human rights’ we tend to take for granted now. People could be arrested and prosecuted for all manner of secular or religious offences. More or less the only protections anyone had were the ancient freedoms and traditions and ‘liberties’ of their town or city (p.34). This is why they were so jealously guarded, and why the Duke of Alva’s assault on them in the 1560s triggered such a backlash.

Parker calls this intense focus on people’s local town or city and traditions and language etc, particularism.

Language

They all spoke different languages. Parker mentions: French, Dutch and its variants, Walloon, Picard, east and west Flemish, Hollands; Low German in the East, Fries in Friesland, Oosters or east Dutch. Linguistic parochialism of course emphasised particularism.

Religion

A chaos of Christian beliefs spread across Europe in the light of Martin Luther nailing his 95 theological theses to Wittemberg church door in 1517. The word ‘Protestant’ didn’t exist until 1529 when the minority of reformed princes protested against the Catholic Church’s policies at the Diet of Speyer. Up till then, and long afterwards, there was confusion about doctrine, ritual, versions of Christian belief and names. ‘Anabaptist’ was the term most frequently used but mostly as an all-purpose insult, like ‘woke’ in our day.

In fact, Parker points out that we have the records of anabaptists interrogated by the Spanish Inquisition which reveal that even quite educated heretics had only a very hazy view of what they were in favour of. They knew what they were against, which was corruption in the Catholic Church, the selling of positions and of indulgences, the whole structure of what the Catholic historian Paul Johnson called ‘mechanical Christianity’.

Despite the theological confusion, the enmity was very real. In 1523 the first Protestant burned anywhere was executed at Brussels, and during the reign of Charles V some 2,000 Netherlanders were burned alive for their beliefs.

Finances

Money, or rather lack of it, is the key to many tergiversations in Spanish policy towards the Netherlands. (p.16)

‘The fate of the Netherlands was thus tied to that of Spain, and often one cannot understand the political history of the one without knowing the financial situation of the other.’ (Hubert Lonmchay, Belgian historian)

Thus:

  • 1575: the financial crisis explains the ‘Spanish fury’ of the unpaid mercenaries in Antwerp the following year.
  • 1596: the financial crisis preceded the transfer of power from Philip II to the Archdukes in 1598.
  • 1607: the financial crisis paved the way for Philip III’s settlement with the Dutch in 1609.

Three revolts

So Parker thinks of there as being three revolts and the key thing about them is they were all different: different places, different populations, different causes. Cumulatively, they were co-opted into a narrative of a national revolt, but that’s not how they originally occurred or why.

First revolt 1566: fuelled by Philip’s innovations against traditions and liberties, namely:

  • imposing garrisons of Spanish soldiers on Dutch cities
  • the repressive policy of Cardinal Granvelle
  • Philip’s scheme to create 15 new bishops
  • part of which was directing them to more actively persecute heretics via the Spanish Inquisition.

Politicians used the organised power of Calvinist ministers, although political support was fickle. They fought under a banner saying ‘Long Live the Beggars’.

Second revolt 1572: principally triggered by Philip’s imposition of a 10% value added tax: ‘the tenth penny’ became a rallying cry. The rebels’ banners bore images of the tenth penny.

Third rebellion 1576: began in Brussels, a town which had remained loyal in 1566 and 1572. Unlike the first two revolts, practically all those involved were Catholics, and their revolt was triggered by the mutinous Spanish Catholic soldiers who were running amok in the (loyal) southern provinces. Their banners read: ‘For Faith and Fatherland’.

Geographical variation

The heart of the first revolt was in the southern Netherlands whereas the heart of the second revolt was in the northern Netherlands. Towns which had remained obedient in 1566 now led the revolt: Gouda, Rotterdam, Dordrecht, Haarlem – while some of the most unruly towns of 1560s such as Middelburg and Amsterdam, remained loyal in 1572 and long after. The third rebellion, 1576, began in Brussels, a town which had remained loyal in 1566 and 1572.

According to Parker, Spanish contemporaries, especially the various viceroys and army leaders sent to deal with them, were very clear that there were three distinct revolts, which took place in different locations, for different reasons, and featured different participants. But the Dutch, even at the time, didn’t see it way. They were much quicker to stress the continuity of the conflict with Spain, of their struggle, and of their final independence. And later, in the light of independence triumphantly achieved, with the benefit of hindsight, heterogeneous elements were merged into one struggle.

Constant war

Squabbling provinces

I have found it impossible to summarise Parker’s book for a basic reason, which is that the subject is impossibly complicated. There were 17 provinces which continually squabbled among themselves and sometimes went to war against each other; within the provinces there were numerous towns and cities which, also, often disagreed with each other; and within the cities you often had violent conflict between different groups of city leaders, magistrates and so on; not to mention the ordinary people of all these places who were liable to start riots and insurrections at the drop of a hat.

Spanish leaders

In addition, the Spanish were governed in the Netherlands by a succession of leaders (Margaret of Palma, to whom was appointed Antoine Perrenot de Granvelle (Cardinal Granvelle) as adviser, the Duke of Alba, the Prince of Palma, and so on) who also fell out with each other. And then there is the enormous influence of the neighbouring countries, notably France, which underwent a series of religion-inspired civil wars throughout the period, with the result that different factions among the French made shifting alliances either with the Dutch rebels or the Spanish authorities (or both) in bewildering succession.

St Bartholomew’s Day Massacre 1572

The highlight of the religious enmity of the period was the notorious St Bartholomew’s Day Massacre in the night of 23–24 August 1572, the eve of the Feast of Saint Bartholomew the Apostle, two days after the attempted assassination of Admiral Gaspard de Coligny, the military and political leader of the Huguenots. On this night French Catholic forces murdered thousands of unarmed French Protestant leaders. The number of dead across France vary widely, from 5,000 to 30,000.

Apparently, King Philip II of Spain burst out singing and danced around the room when he was told the news of the Massacre because it meant that the threat of an invasion of the Netherlands by Protestant French forces to back the Dutch rebels had disappeared; this would force the rebels to the negotiating table and thus save him a fortune in war costs.

Sea Beggars

I haven’t yet mentioned the Sea Beggars. According to Google AI:

The Sea Beggars (Dutch: Watergeuzen) were a fleet of Dutch and English ‘pirates’ who were instrumental in the early stages of the Dutch Revolt against Spanish rule in the late 16th century. The Spanish government gave them the derogatory nickname ‘beggars’ due to their humble origins and rebellious nature. Their capture of Brielle in 1572 was a crucial turning point, securing a base and sparking the larger rebellion.

But in reality, the history of the Beggars is long and really complicated, with disparate bands of them behaving in contradictory ways, sometimes random pirates, sometimes a disciplined naval force and, at various points, fighting for both sides or just for themselves.

The Spanish Armada 1588

It took a while for the English to get involved in the Dutch conflict, but when Elizabeth I intervened it would trigger the famous Spanish Armada, which was mainly an attempt by Philip to end England’s support (always hesitant and half-hearted at best) for the rebel Dutch. The failure of the Armada was a severe blow to Spanish prestige but it did nothing to stop the war.

Endless war

And so, after a while, it all becomes a blur. Every page refers to numerous sieges, marches, campaigns, urban riots, insurrections, executions, pogroms, massacres and battles that it becomes very hard indeed to remember who among the blizzard of names are on which side, especially as many of the magistrates of individual cities switched sides, depending on who was winning. Here’s an attempt at a timeline covering just the first 20 years or so before I ran out of puff.

Timeline

By the 1540s the Habsburg emperor Charles V had by marriage and conquest acquired all 17 Dutch provinces, thereby tying them together into one political unit for the first time.

1549 The Pragmatic Sanction was a decree by Holy Roman Emperor Charles V that united the Seventeen Provinces of the Burgundian Netherlands (modern-day Netherlands, Belgium, Luxembourg, and parts of France) into a single, indivisible territory for a single line of hereditary succession, establishing a single legal and administrative framework while retaining existing local customs and laws,

1550 – an imperial Edict of Blood confirmed the severity of previous decrees for use by the Inquisition against heresy i.e. Protestantism.

1554 – Mary I of England (1516–1558) and Philip of Spain (later Philip II; 1527–1598) married at Winchester Cathedral on Wednesday 25 July 1554.

1555 – Charles V abdicated

Charles had arranged for 15 new bishops to be appointed to the Low Countries. Due to papal delay they were not appointed until March 1561. 1) They were all Spanish, much to the chagrin of native Catholic clerics who saw the path to promotion blocked. 2) Part of the new system was the imposition of two inquisitors per diocese. These changes provoked resistance from all classes as a violation of their rights, and many remonstrances were published. Most protests were aimed at Cardinal Granvelle.

1559 – Antoine Perrenot de Granvelle, a key advisor to Philip II, was surreptitiously appointed chief councillor to the regent Margaret of Parma. He was behind the hard line taken against heretics over the next five years, the rise in prosecutions, burnings and executions, which made him very unpopular.

1566 – In 1566 Dutch noblemen submitted a petition to Margaret, the Smeekschrift der Edelen (Nobles’ Petition).

July 1566 – The Letters from the Segovia Woods, two sets of letters Philip II of Spain sent to his Regent Margaret of Parma, rejecting requests to abolish the ordinances outlawing heresy in the Habsburg Netherlands.

August to December the Dutch Fury. According to Wikipedia:

While awaiting Philip’s reply to the petition, the government in Brussels had already suspended the enforcement of the ordinances. This had emboldened the Calvinists in the country (many of whom returned from exile because of the milder political climate) and they started to organize open-air religious meetings which attracted large crowds. Though initially peaceful, these eventually led to social unrest when Philip’s reply had been received. In August and September, a wave of riotous attacks on churches, destroying religious art and fittings, the so-called Iconoclastic Fury or Dutch Fury: Beeldenstorm went over much of the country and Calvinists seized power in a few cities, like Valenciennes. These insurrections motivated Philip to send over an army under the command of the Duke of Alba in 1567. His repressive measures ignited the Dutch Revolt.

1566 – December about 400 lesser nobles led by Count Hendrik of Brederode, Orange’s brother Count Louis of Nassau, and Count Charles of Mansfield signed the Compromise of the Nobility. They formed a union to oppose the edicts, and in order to appeal to Catholics as well as Protestants they called it the League of Compromise.

1566 – November 29 the Duke of Alba accepted command of the army in the Netherlands as captain-general.

– November 1576: The Spanish Fury refers to a series of violent sackings of cities in the Low Countries (modern-day Netherlands and Belgium) by mutinying Spanish Habsburg soldiers during the Dutch Revolt, primarily between 1572 and 1579. The most infamous event was the Spanish Fury at Antwerp in November 1576, where unpaid soldiers attacked the city, killing thousands and burning down a significant portion of it.

1567 – the Duke of Alba takes over control of Netherlands from Margaret of Parma.

1568 – 23 May the Eighty Years’ War, also known as the Uprising, started with the Battle of Heiligerlee.

– September 5, Alba established the Conseil des Troubles to investigate disturbances and by 1569 had a prosecuting staff of 170. During the Alba regime they tried about 12,000 people, convicted 9,000 mostly in absentia, confiscated their property, and executed more than a thousand. – about 60,000 people left the Netherlands to avoid Alba’s repression. – One quarter of Holland’s nobility were suspected of heresy or rebellion.

1569 – 20 March, Alba asked the States General for a 1% tax on assessed wealth, a 5% tax on real estate sales, and a 10% tax on commercial transactions called the Tenth Penny.

1572 – the Sea Beggars (Watergeuzen) seized several poorly defended towns and cities in Holland and Zeeland, including Brielle. The capture of Brielle marked the Sea Beggars’ first victory over the Spaniards.

Willem Prince of Orange born 1533 – the richest man in the Low Countries. Though affable, he kept his thoughts to himself which is why he became known as ‘William the Silent’.

Alessandrio Farnese Prince of Parma founder of Belgium

1573 – March the Calvinists in Holland took control of state education.

– October: Felipe II recalled the Duke of Alba on October 15 and replaced him with Luis de Requesens who had been governing Milan.

Spain’s military occupation and repression of the Netherlands had already cost Spain more than 25 million florins with 8 million of it spent during Alba’s years. The troops were owed 6 million crowns in pay, and military expenses were running 600,000 florins a month.

1575 – the Calvinists founded a university at Leiden to serve Holland and Zeeland.

1576 – 5 March: Governor Requesens died of typhus at Brussels. Philip appointed John of Austria, an illegitimate son of Charles V, as new Regent.

– 25 April: Union of Delft signed by William the Silent, Prince of Orange, and the provinces of Holland and Zeeland in the Netherlands, making a definitive federation of the two provinces. It also made William the effective head of the federation, granted him supreme authority in war and allowed him to call a States General when he pleased with the aim of more effectively gathering resources and planning operations in the Eighty Years’ War.

– 8 November: the Pacification of Ghent Ghent’s Committee of Eighteen was formed and one week later they agreed to expel all Spanish troops from the Low Countries.

Felipe II appointed his half-brother Johann of Austria governor-general.

January 9, 1577 the States General formed the Union of Brussels. Stadholder Hierges used German troops to besiege the remaining Spaniards in the fortress at Vredenberg, and they surrendered in February. Without troops and money Johann faced a union of sixteen provinces. On February 12 he signed the Perpetual Edict and promised to send troops home to implement the Pacification

– May: John of Austria entered Brussels.

1578 – October: John of Austria died of typhoid fever and was succeeded by Felipe II’s nephew, Alessandro Farnese, Duke of Parma. Parma served Governor of the Spanish Netherlands from 1578 to 1592. Widely regarded as the greatest general of his age, Parma’s campaigns marked Spain greatest successes in the Eighty Years’ War, giving the Spanish crown permanent control of the southern provinces. This crystallised the existing cultural and religious divides between north and south provinces which laid the basis of the separate, Catholic nation which would eventually become the nation of Belgium (in 1830).

1579 – William of Orange signed the Union of Utrecht on May 3. The Holy Roman Emperor tried to broker peace talks at Cologne.

1580 – Orange persuaded the States General to offer the sovereignty of the Netherlands to the French aristocrat, Duke François Hercules of Anjou, with constitutional conditions, and this was accepted by the States of Brabant and Flanders. A treaty was signed in September 1580.

1582 – February, Anjou arrived in the Netherlands and was officially welcomed by William.

– 6 July: The Act of Abjuration was a formal declaration by the States General of the northern Netherlands, which effectively declared independence from King Philip II of Spain. It stated that Philip had forfeited his sovereignty due to his tyrannical actions and allowed the provinces to assert their own independence. This pivotal document is considered the foundation of the Dutch Republic and marked a significant turning point in the Dutch Revolt.

1583 – January: Anjou was dissatisfied with his limited power and so decided to take control of the Flemish cities of Antwerp, Bruges, Dunkirk, and Ostend by force. He planned to personally lead the attack on Antwerp. To fool the citizens of Antwerp, Anjou proposed that he should make a ‘Joyous Entry’ into the city, a grand ceremony in which he would be accompanied by his French troops. On 18 January 1583, Anjou entered Antwerp, but the citizens had not been deceived. The city militia ambushed and destroyed Anjou’s force in the French Fury. Anjou barely escaped with his life. The debacle at Antwerp marked the end of Anjou’s military career. He went back to Paris and was dead by June 1584.

– 10 July: a fanatical Catholic from Burgundy named Baltasar Gérard assassinated William the Silent.

1584 – The States General at The Hague appealed to England’s Queen Elizabeth who offered advice and military aid. On August 10 she signed the Nonsuch treaty which made the United Provinces of the Netherlands a protectorate of England. Elizabeth appointed Robert Dudley, the Earl of Leicester, governor-general and sent an expeditionary force of 6,350 infantry and 1,000 cavalry. Here’s a quote which gives a sense of the teeming complexity of the scene:

Thomas Wilkes had become the English member on the Council of State in the Netherlands, and he wrote a ‘Remonstrance’ to the States of Holland arguing that Leicester had become the sovereign of the Netherlands. Leicester occupied Gouda and other cities in September. However, François Vranck, the Pensionary of the city of Gouda, on October 16 replied in his ‘Deduction’ that sovereignty in Holland for eight centuries had belonged to the nobles and the people in their local councils. His views became the ideology of the Dutch States Party. Elizabeth accused the Dutch States of not paying her troops. Oldenbarnevelt responded by removing the Earl of Leicester’s partisans from the Council of State and naming Maurits of Nassau commander-in-chief.

Here’s a map of the Netherlands in 1585, the orange bits form the Union of Utrecht, the yellow bits are owned by Spain, the shaded bits indicate conquered by Spain under Parma’s leadership. What this map shows, as I mentioned above, is the extent to which Spain retained control of most of the area, for most of the period. The rebels struggled to gain and control their provinces against the relentless onslaught of Spanish forces. In the end it was Spain’s bankruptcy rather than Dutch military achievement which won the country’s independence (see below).

1585-6 – From September 1585 to July 1586 Sir Francis Drake conducted naval raids on Spain, the Canaries, the Cape Verde Islands, the West Indies, and Florida. Drake’s attacks damaged Spanish prestige and caused Philip II to shift resources to the America.

1586 – In revenge for Elizabeth’s intervention, Philip began planning an invasion of England in order to restore it to Catholicism. Leicester struggled to organise a coherent central administration out of the squabbling provinces and towns.

1587 – April: Drake raided Cádiz, and in this famous ‘singeing of the beard of the king of Spain’, destroyed supplies destined for the Spanish Armada and captured the ship San Lorenzo.

Meanwhile, Leicester’s attempts to assert leadership of the States was interrupted when he was recalled to England to advise Elizabeth on the question of the hour which was whether or not she should execute Mary Queen of Scots (she decided yes and Mary was beheaded on 8 February 1587).

In his absence, several English garrisons betrayed the towns they were protecting to the Spanish, thus trashing England and Leicester’s reputation. Leicester returned to the Netherlands and tried to persuade the States to negotiate with Parma.

1588 – Elizabeth, scared by reports of the invasion fleet being prepared, opened negotiations with Parma. In the event the failure of the Spanish Armada (Grande y Felicisima Armada) ‘marked a turning point in the Dutch revolt’ (p.221). It 1) weakened Philip and Spain’s prestige and 2) marked the end of Parma’s steady string of military victories. From now on his luck turned. And the Army with it. Between 1589 and 1607 the Spanish Army in the Netherlands mutinied on no fewer than 40 occasions.

1589 – In April to July the English launched a two-pronged land and sea attack on the Iberian Peninsula. They sought to capture the remnants of the Armada, to capture the Spanish treasure fleet, and to restore the Portuguese pretender Don Antonio to the Portuguese throne.

– 1 August King Henry III of France was assassinated by a Catholic fanatic. This was because he had himself ordered the murder of Henry I, Duke of Guise, leader of the Catholic League, which had demanded the exclusion of all Protestant heirs from the line of succession, an attempt to stop the throne from passing to the leader of FGrance’s Protestants, Henry of Navarre. In fact that is precisely what did happen, Navarre ascending the throne as Henry IV.

1590 – All this was very important to the Dutch because it caused Philip to switch his focus entirely away from the Low Countries and onto France. Philip switched money and resources from his army in the Netherlands to France. He ordered Parma to invade France which he did with an army of 20,000 in July 1590.

Parker makes the point that if Parma had not done this, Henry would have taken Paris and been crowned there, thus ending the civil war. Instead Philip’s military support for the Catholic League ensured that the French Civil War dragged on for another 8 years, 8 years of bleeding Spain’s resources and relative neglect of the Low Country.

For the rest of Philips’ life [i.e. until 1598] France came first in all things. (p.227)

1592 – over the next few years Parma gamely juggled campaigns against Navarre across France, with trying to maintain defensive levels, and stave of army mutinies in the Netherlands. Broadly speaking he failed, with the army of the States under Maurice of Nassau steadily retaking towns and territories in the north. In November, exhausted by his efforts, Parma died at Arras in northern France.

After Parma’s death, command was split between a political and a military leader who proceeded to ignore each other and plunged the Spanish effort in the Netherlands into chaos. Deprived of men and money, what Parker calls ‘the Brussels regime’ i.e. the Spanish government in the Netherlands, was forced to conclude a truce with Navarre.

The truce of 1593-4 was the turning point of the war. (p.231)

It allowed Navarre to consolidate his position and secure his realm. Henry IV announced his conversion to Catholicism on 25 July 1593, was crowned at Chartres in February 1594, and captured Paris in March.

1595 – Philip appointed a nephew, Albert of Austria, as governor of the Netherlands, a post Albert was to hold for a record length of time, until 1621.

1596 – the Dutch formed a triple alliance with France and England (the Treaty of Greenwich) which led to Dutch forces taking part in the Earl of Essex’s 1596 attack on Cadiz and 1597 expedition against the Azores.

– A second Spanish Armada was sent out in October 1596. Its aim was to help the Irish in their rebellion against the English crown. The strategy was to open a new front in the war, forcing English troops away from France and the Netherlands, but:

Before it had left Spanish waters, storms struck the fleet off Cape Finisterre. The storms shattered the Armada causing much damage and forcing the ships to return to their home ports. Nearly 5,000 men died either from the storm or disease and 38 ships were lost, which was enough for a long-term postponement of the Irish enterprise. The material and financial losses were huge – the two ships carrying the army’s pay-chests were lost – adding to the bankruptcy of the Spanish kingdom, during the autumn of 1596…

– So in November 1596 Philip II announced his third decree of bankruptcy and this was to cripple Albert of Austria’s military campaigns. Unpaid garrisons mutinied, towns besieged by the Dutch had to surrender as Albert had no money or men to relieve them with. As a result of the bankruptcy the Spanish Army of the Netherlands began to disintegrate.

1597 – The Third Spanish Armada was dispatched in October 1597 with the same objective of landing in south-west Ireland to give aid to the Irish rebels against Elizabeth.

The Third Armada consisted of 140 ships and 14,000 soldiers and sailors. They made it as far as the English Channel but as they approached near the Lizard a storm scattered the fleet. Some ships did push on and even landed troops on the English and Welsh coasts but it was at this point that English fleet, returning from a raid on the Azores, cut off their retreat. The Armada commander, Padilla, realised the majority of his fleet would now be unable to make full landfall, eventually ordered a retreat back to Spain. The English captured a number of Spanish ships.

Winding up

1598 – May: a tired Philip II signed the Treaty of Vervins which ended Spanish involvement in the French Wars of Religion. Henry IV had won.

– September: Philip II died and was succeeded by Philip III.

1601-2 – The fourth and final Spanish Armada was sent to Ireland to aid Irish rebels against Elizabeth. The Spanish landed in south-west Ireland, seized Kinsale and linked up with forces of the Irish rebel leader Hugh O’Neill, Earl of Tyrone – but the small fleet was defeated in a sea battle, Tyrone’s forces were defeated in battle, and Kinsale was besieged until the Spanish leader was forced to surrender his army.

1603 – The death of Elizabeth I on March 24, 1603 and the accession of James VI of Scotland as James I of England, marked the end of an era: two new rulers (James and Philip) with little of the baggage of the past were able to enter negotiations which led to the formal cessation of hostilities between England and Spain was formalised in the Treaty of London (August, 1604). The Anglo-Spanish War had lasted nearly 20 years, 1585 to 1604.

– The arrival on the scene of Ambrogio Spinola, a banker and organiser of genius from Genoa. He offered to finance the siege of Ostend if he could be its military leader and soon proved himself to be successful. But Spinola’s military efforts and banking contacts couldn’t conceal the fact that Spain was now in permanent financial trouble, not least because of the cost of fortifying so many of its outposts abroad against attack by the rival English and Dutch fleets.

1606 – A massive mutiny of the Spanish Army in the Netherlands, the largest since 1576, with troops demanding arrears of over 1 million florins.

1607 – The Spanish treasury issued another bankruptcy notice, converting high-interest, short-term debts into low-interest, permanent ones (p.238). Philip III and his advisers told their allies in the southern provinces that the war would switch to being a purely defensive one.

– As a consequence of the failed Fourth Armada (1602), and despite the peace signed with the English (1604), Tyrone and his allies subsequently fled Ireland for good in 1607, in an event known as ‘the Flight of the Earls’. The English then carried out a policy of colonisation known as the Plantation of Ireland, which assured the Protestant Ascendancy.

1609 – The Truce of Antwerp inaugurated the 12 years’ truce, 1609 to 1621. After 40 years of fighting the Dutch had achieved de facto independence and religious freedom and this was acknowledged in the recognition of their representatives with the legal status of ambassadors, by England, France, Venice and so on.

According to the EBSCO summary:

On Spain’s part, the empire’s ‘golden age’ was over; its merchant fleet was largely destroyed, and much of its trade with its colonial possessions had been usurped by others, primarily the English and Dutch. English privateering and naval activity greatly expanded England’s reach in the Mediterranean, the Caribbean, the Atlantic, and Asian trade routes, and they led to the first serious attempts at colonization in North America, first at Roanoke and then at Jamestown. The chartering of the East India Company (1600) also helped pave the way for the formation of an empire. The Dutch [too] were able to pursue greater commercial and colonial opportunities…

As Parker puts it:

The Spanish and Portuguese navies proved hopelessly inadequate to contain Dutch colonial expansion in the West and East Indies. (p.261)

And so the grand Catholic anti-Protestant strategy which Philip II devoted most of his life and his country’s wealth to utterly failed: England had emerged a stronger nation; the rebel Dutch had gained much that they fought for (religious freedom and political independence); and the Catholic League in France had been quelled by Henri IV.

Parker uses this natural pause in the narrative to give a lengthy description of the complicated constitutional arrangements of the various provinces. What I took from it is that although they had elections to this or that post, and a semblance of democracy in some respects, essentially the provinces evolved towards a highly oligarchical arrangement in which power was held by tightly knit groups of a handful of families. No king or aristocrats, maybe; instead cabals of leading families. Here, as Parker waspishly concludes, ‘was a world made safe for oligarchs’ (p.247).

Then, in 1621, war resumed. The striking thing about this last phase is how uninterested Parker is in it. He skips over the period 1621 to 1648 in barely ten pages, casually mentions a few battles and the Dutch occupation of Brazil in a phrase but doesn’t go into any detail, tell us about any military leaders, strategies, campaigns, sieges or battles.

1618 – Revolt in Bohemia which started the Thirty Years War. The Protestant Bohemians appealed to the Protestant Dutch for help.

1621 – March: Philip II died, succeeded by his son, Philip IV.

– The Truce of Antwerp expired. The dying Philip III wanted to let it do so and resume the war in order to completely subjugate the Dutch as his father wanted but his generals told him it was not possible and his treasurer told him Spain couldn’t afford it.

1622-3 – Spinola’s unsuccessful siege of Bergen-op-Zoom.

1625 – Spanish capture the city of Breda, and take back possession of (parts of) Brazil (which the Dutch had seized.

1635 – war broke out between Spain and France. It involved fighting in Northern France, the Spanish Netherlands, northern Italy and the Rhineland, as well as proxy conflicts in Catalonia and Portugal, where France supported local revolts against Spanish rule. It can be seen as the wider Thirty Years War (1618 to 1648).

1648 – Final peace settlement as part of the wider Treaty of Munster which ended the Thirty Years War.

At the end of his strange, half-hearted coverage of these final 27 years, Parker concludes:

For the Spanish Hapsburgs, as for the rest of Europe, the Revolt of the Netherlands had come to an end in 1609. (p.266)

After the end of the Thirty Years War the conflict between France and Spain dragged on for 20 more years. It only ended with the Treaty of the Pyrenees in 1659. While the outcome was militarily a long, exhausting stalemate, the peace settlement is often seen by historians as marking the end of Spain’s supremacy and the beginning of France’s rise as the dominant power in Europe.

The Dutch Empire

The rise of the Dutch Empire is a subject I wish I better understood. A paragraph in Parker gives a good feel for its origins, for its burgeoning range and ambition, at this time.

During the 1590s the trade of the north Netherlands, and especially of Holland, burgeoned. Dutch ships sailed in increasing numbers to the Baltic, to the Mediterranean, to France, and to the European colonies overseas. Between 1598 and 1605, on average 25 ships sailed to West Africa, 20 to Brazil, 10 to the West Indies and 150 to the Caribbean every year. Sovereign colonies were founded at Amboina in 1605 and Ternate in 1607; factories and trading posts were established around the Indian Ocean, near the mouth of the Amazon and (in 1609) in Japan. (p.249)

A Marxist view

The following is from the interesting article The Dutch Revolt: a social analysis by Pepijn Brandon in International Socialism:

This was the age of feudal empires, of which Habsburg Spain was the first and foremost. The new monarchies balanced between the class interests of aristocratic landowners and the new power of commercial wealth. The banking capital of the Swiss Fugger family became the grease for a nearly endless bout of noble wars. The Spanish Habsburgs and the French Valois alone fought 11 wars from 1494 to 1559. Those wars were a powerful engine for the formation of centralised absolutist states. In order to increase their independence from local lords the kings at the top of the feudal hierarchy created enormous mercenary armies financed by the taxation of the urban capitalist elites.

The Spanish view The Spanish Habsburg rulers and the highly commercialised elites of the Low Countries, then, found themselves on opposite sides of the same development. The former tried to adapt to the new conditions by building a mighty empire melding both the wealthy trading cities and the powerful lords ruling over their heartlands. This required an attempt to stop the cracks opening up in the texture of feudal Europe by the rise of rival economic and political forces. The result was a policy of permanent warfare, dramatically increasing the taxation pressure on urban populations. The second plank of this strategy was to prop up the main ideological institution of European feudalism, the Catholic church, against the rise of Protestantism.

The Dutch view Dynastic conflict caused the sudden and radical disruption of trading routes, like the closing of the Sont in the early 1560s, which caused a major disturbance of the grain market. And the repression of heresy was a direct threat to the interests of cities like Antwerp and Amsterdam that harboured many agents from German Lutheran states. Repression also weighed heavily on the urban small producers, many of whom were infected by the new radical religious ideas of the time.

In 1564 they gained a major victory, forcing Philip II to withdraw one of his leading officials, the hated Cardinal Granvelle.

Calvinists As Tawney wrote in his famous book on religion and the rise of capitalism, ‘Calvinism [was not just another Christian variant, it] was an active and radical force. It was a creed which sought, not merely to purify the individual, but to reconstruct church and state, and to renew society by penetrating every department of life, public as well as private, with the influence of religion.’

There’s much more in Brandon’s analysis, which I found fascinating.

Human nature

An enormous amount of twaddle is spoken by commentators and futurologists and progressives about the never-ending fantasy of creating a rational, fair and equal society. In the latest version, AI is going to usher in an era of peace and plenty. These people apparently know nothing about history or human nature. Here’s just one paragraph from an online account of the Dutch Revolt, from the section about the rise of the Anabaptists which gives you a feel for human nature, the real human nature as recorded in thousands of years of brutal history.

Soon Amsterdam had 3,000 Anabaptists and in March 1534 seven men and five women ran naked through the city shouting about the wrath of God. The civic militia was activated and, by the end of the month, executions were taking place there and in Haarlem. In March 1535 about 300 armed Frisian Anabaptists, including Pieter Simons, took over and fortified the Cistercian Abbey of Oldecloster, destroying altars and images, and Stadholder Schenk von Tautenburg besieged them with artillery, killing many. The 24 survivors were hanged or later beheaded, and the women were drowned in a river. On May 10 a mob stormed Amsterdam’s town hall and murdered Burgomaster Pieter Colijin, and then dozens were killed in a battle. Five days later seven Anabaptist women were drowned there. The executions spread to The Hague, Leiden, Maastricht, Liege, Middelburg, Deventer, and Wesel.

And so very much on, for the next 120 years of religious wars and persecutions. History is chiefly the record of human beings massacring, torturing, murdering, starving, drowning, eviscerating, maiming, burning and executing each other. Any other interpretation is, in my opinion, denial of the facts and wilful ignorance.

Humans doing what they do best at The Saint Bartholomew’s Day massacre, 1572, as depicted by François Dubois (Musée cantonal des Beaux-Arts)

And here’s another little snippet from this seemingly endless catalogue of murder and horror:

On December 2 1572 Alba’s son Fadrique ordered every person in Naarden into their church and set it on fire, killing all 3,000 citizens.

Just as the Nazis did at Oradour-sur-Glane 372 years later. This kind of behaviour spread all across Europe throughout the wars of religion and then went onto an industrial scale during the Thirty Years War, with such devastation that it took some parts of Germany three centuries to fully recover. Just in time for the Second World War.

Assault on a Convoy by Jan Brueghel and Sebastian Vrancx (1612)


Credit

‘The Dutch Revolt’ by Geoffrey Parker was published by Allen Lane in 1977. A revised edition was published in 1985. Page references are to the 1988 Peregrine Books paperback edition.

Related links

Related reviews

Our Bodies, Their Battlefield: What War Does to Women by Christina Lamb (2025)

Warning: This review contains details of really disgusting and evil sexual violence perpetrated against women and girls that goes far beyond rape. If you’re of a sensitive disposition or prone to nightmares, don’t read it.

The more places I went to, the more prevalent I found rape was.

‘It is an everlasting nightmare.’
(Lola Narcisa Claveria, Filipino survivor of Japanese sex slavery, page 351)

This is a deeply upsetting but profoundly important book, often devastatingly depressing but sometimes genuinely inspiring. Christina Lamb is an award-winning journalist who has covered a variety of warzones in her career as well as writing 10 factual books. From early in her career she realised just how prevalent rape was as a weapon of war, not just as random outrages, but used systematically to demoralise enemy forces and terrorise entire populations. What she learned about the vicious sexual abuse of women in conflict after conflict was sickening and disgusting. But she also came to realise that the scale of the violence and abuse against women was often overlooked in journalism and history books overwhelmingly written by men (p.459); and by international bodies and courts more often than not run by men.

Everything has to start with the evidence and this means the first-hand testimony of the survivors. Telling their stories not only offers some form of closure for the victims, and the psychological validation of knowing someone believes them. It is also the start of gathering evidence, for use not only in possible court proceedings but to begin to be used in larger historical narratives, to begin to redress the gaping silence about one of the most overlooked and neglected parts of war and conflict – the unspeakable crimes, violence and abuse directed against women and girls, often on an industrial scale.

‘When I saw them laughing and humiliating us, I decided we needed to break the silence. If we didn’t talk about what we went through, and if they were not punished, what could we expect from their children but the same or greater evil?’ (Bakira Hasecic, founder of Association of Women Victims of War in Bosnia, p.167)

And so this substantial book (474 pages) records Lamb’s odyssey, over a seven year period, to track down, interview and record the testimonies of women who have suffered unbelievable horrors in conflict after conflict around the world.

Destinations

Lamb goes to:

2016 August: Leros, Greece The Greek island of Leros was used to house refugees from war in the Middle East including Yazidis who had been enslaved and trafficked by Islamic State.

2016: Baden-Wurtenberg The German province which took in 1,100 Yazidi women and children who had been treated as sex slaves by ISIS.

2016: Northeastern Nigeria: On 15 April 2014 the brutal Islamic terror group Boko Haram kidnapped 276 mostly Christian schoolgirls from the town of Chibok and carried them off into sexual slavery. #BringBackOurGirls or #BBOG went viral. Hardly any of the girls have been recovered.

2017 December: Bangladesh: Kutupalong To interview survivors of the 2017 massacres and mass rapes of Rohynga women by Burmese soldiers. In three months more than 650,000 were driven out of the west Burmese state of Rakhine, two-thirds of the Rohynga population.

Every single shack had terrible stories and I had never come across such widespread violation of women and girls. (p.75)

Bangladesh: Liberation War Museum, Dhaka and Sirajganj Up to 400,000 were women raped by Pakistani soldiers in Bangladesh’s war of independence as official Pakistan military policy. Lamb learns that the survivors were called birangonas from the Bengali word bir meaning war heroine (p.92).

‘Often when the women were raped the soldiers had grabbed their babies and stomped on them to death or thrown them so hard their brains had come out.’ (Safina; p.110)

Rwanda Aftermath of the 1994 Hutu genocide of Tutsis, itself the sequel to the 1959 Hutu Revolution, and pogroms of 1963 and 1973.

‘Of course they raped me… Wherever you were hiding under a tree a man would find you and rape you and sometimes kill you. There were lots of different men doing this and they used sticks and bottles into the private parts of many women right up to their stomach…’ (Serafina Mukakinani, p.132)

2018, March: Yugoslavia: Sarajevo The appalling atrocities of the Serbs in Bosnia, and the heroic efforts of Bakira Hasecic and her Association of Women Victims of War, founded in 2003, to bring the Serb torturers, murderers and rapists to justice.

Yugoslavia: Srebrenica Dragana Vucetic, senior forensic anthropologist at the International Commission of Missing Persons. On 11 July 1995 Serb militias took away about 8,300 Muslim men and boys, drove them out into fields or football grounds, then massacred them, shooting or bludgeoning them to death. Dr Branca Antic-Stauber who runs a charity for rape survivors and uses horticulture therapy.

2018, October: Berlin Stories of the vast mass rapes of German women and girls during the Red Army’s conquest of eastern Germany and Berlin at the end of the Second World War. In towns and villages every woman from eight to eighty was raped multiple times. ‘It was an army of rapists’ (Natalya Gesse, Soviet war correspondent, p.194) It is estimated that up to 2 million women and girls were rapes and scores of thousands of Germans committed suicide, and killed their children, rather than fall into the hands of the Russians.

2018, November: Buenos Aires In 1976 a military junta seized control of Argentina and rules for 7 years during which up to 30,000 leftists, trade unions and activists were kidnapped off the streets and ‘disappeared’. Estela Barnes de Carlotta, president of the Grandmothers or Las Abuelas (p.214).

2018, March: Mosul Lamb attends the hurried trials of a handful of the 30,000 or so people charged with being members of ISIS. Justice is a farce. The court doesn’t consider rape as a separate offence, all offences are grouped together as terrorism.

2018, April: Iraq: Dohuk The prevalence of suicide among Yazidi survivors of ISIS sex slavery.

2019, February: Democratic Republic of Congo: Bukavu In 2010 Congo was called the rape capital of the world. Lamb interviews Dr Denis Mukwege, founder of the Panzi Foundation, who has treated more rape victims than any other doctor in the world.

In the Second Congo War stories of women who were not only gang raped but then shot in the vagina, or had bayonets shoved in their vagina, or sticks soaked in fuel which was then set alight. Lamb discovers that Dr Mukwege’s clinic is seeing more and more raped babies. Some men believe that raping babies will give them magical powers; they are told this by witchdoctors (p.337).

In a gruelling book this chapter (chapter 13, pages 300 to 334) contains probably the worst atrocities (the 86-year-old who was raped, women’s vaginas set alight or hacked off, the mother who was forced at gunpoint to eat her own baby); but also the most inspiring moments. Lamb meets the inspiring Christine Schuler Deschryver, founder of City of Joy, a safe haven for survivors in Congo.

‘It’s about giving a woman value… I hug them and then they are healed and people say I have magic hands but it’s just love… I’m convinced you can change the world only by love’ (p.330)

It also contains the most telling evidence of the way rape used as a weapon of mass terrorisation is tied into broader economic and political structures. Because Deschryver points out that 1) Congo contains more of the rare metals needed to create mobile phones and batteries (cobalt, coltan) than any other country on earth; 2) if you drew a map of the rapes you’d see they cluster around mining areas, and so 3) rape is used as a strategy of terror by the militias and groups who control the mines and the regions around them. Which leads her onto her fourth point, 4) if the international community really wanted to end conflict in the Congo it could but, in Deschryver’s view, it suits multinational corporations to preserve Congo as an unstable mess the better to plunder the country of its cobalt, coltan and gold (p.331).

Democratic Republic of Congo: Kavumu Village where scores of babies and very small girls have been abducted, raped and their genitals destroyed, allegedly by the ‘Army of Jesus’, a militia controlled by a local warlord whose members have been told by a witchdoctor that the blood from raped and mutilated babies will make them invulnerable in battle (p.339). Although the warlord was eventually taken to court and convicted, the case went to appeal and none of the villagers knows whether he and his henchmen are in prison or not. Meanwhile, having lost all faith in the justice system, they have started to take the law into their own hands with lynchings and beheadings of suspect young men (p.348). Thus, chaos.

Manila Lamb meets surviving ‘comfort women’, enslaved by the occupying Japanese Army during the Second World War. They prefer to the term lolas which means grandmother in the local Tagalog language and which they use as an honorific, hence Lola Narcisa and Lola Estelita.

Concluding chapter 2020

Sexual violence against men

  • in eastern Congo a quarter of men in conflict zones have experienced sexual violence
  • in Afghanistan bacha bazi or the abuse of boys is common
  • in Syrian prisons under Bashar al-Assad, men and boys were submitted to horrifying sexual violence

The challenge of achieving justice Lamb jumps between a number of cases, showing the dedicated work of investigators, researchers, lawyers, prosecutors and judges, but how gruellingly slow it is and how pitifully few convictions are achieved. The Yazidis wait, the Rohingya wait for justice.

Guatemala During the 36-year-long civil war over 100,000 women were raped, mostly Mayans in an attempt to exterminate their ethnicity (p.387). In 2016 11 Mayan women secured the conviction of a retired army officer for sexually enslaving them.

Peru Over 5,000 women raped during the 11-year-long civil war with Shining Path guerrillas.

Colombia Sexual crimes have been included in crimes heard by the tribunal set up at the end of the 52-year-long civil war with the Revolutionary Armed Forces of Colombia (FARC).

Chad Successful conviction of Chad’s despicable sadist president, Hissène Habré, who ruled through a reign of terror till his overthrow in 1990. In 2000 he was arrested and put on trial in neighbouring Senegal. In 2016 he was convicted of crimes against humanity, torture and rape and sentenced to life imprisonment.

Women in charge Lamb makes the telling point that most of these convictions were only secured when women were judges or prosecutors in the case.

2025 update

2022, May, Ukraine: Berestianka The Russians are back and they’re raping again. And looting everything they can to take back to their pitiful slum of a country. Gang rapes, torture, rape in front of the rest of the family etc (p,409). Rewarded by Putin on their return home. According to Lamb domestic violence is not criminalised in Russia and widely accepted. Figures. Whenever I read about Tolstoy or Dostoyevsky despising the decadent West, this is what I think of. Russia, home of domestic violence, epidemic alcoholism and rapists.

For the first time Ukraine established a court and started prosecuting Russian war criminals while the war was still ongoing (as it is today).

2023, autumn, Tel Aviv On 7 October 2023 Hamas fighters broke through the wall dividing Gaza from Israel and went on a rampage at multiple sites, massacring 1,200 civilians and taking 251 others back to Gaza as hostages. Lamb meets survivors, and speaks to the many first responders, therapists and women’s activists regarding the widespread evidence of sexual violence against the women victims: gang rapes and sexual mutilation i.e. shooting women in the vagina. In her interviewees’ opinion the intention was the most primitive one imaginable of attacking your enemies’ procreative ability, plus the more modern one of spreading not just terror but horror. The barbaric cruelty was exemplary in the sense that it was intended to traumatise an entire nation (which, arguably, it did).

Hebron in the West Bank. Lamb meets Palestinians who live under extraordinarily tight Israeli supervision, and then survivors of sexual violence inflicted by the Israeli Defence Force, and lawyers and NGOs who have reported on it. Interestingly, the main targets have been men and boys, designed to cause maximum humiliation in revenge for 7 October. The accusations of sexual humiliation in captivity sound identical to the Americans at Abu Ghraib.

‘It was me and two other prisoners and three border police. They filmed us naked then began to touch our bodies and make jokes and insulted us. One of them had a metal detector which he tried to put in our anuses.’ (Palestinian Thaer Fakhoury, p.448)

Avignon, December 2024 Lamb is introduced to Gisèle Pelicot, the woman drugged by her  husband who then invited men from a website group to come to their home and rape her. The police found thousands of videos on her husband’s laptop clearly identifying the men which allowed a trial to go forward with 50 accused. The key thing is she waived her right to anonymity in order to speak out and so became a heroine to anti-rape activists, feminists and ordinary people around the world.

Summary When she completed the first edition in 2020 Lamb couldn’t imagine that sexual violence in conflict would return to Europe, in the form of Russian soldiers raping Ukrainian women, or the horrors of the Hamas attack on Israel, or the eruption of brutal civil war in Sudan. Every year the UN presents a report on conflict-related sexual violence. The 2024 report concluded that conflict-related sexual violence is increasing.

Historical retrospective

Spain The really systematic mass rape of large populations of women probably first occurred in the Spanish Civil War 1936 to 1939. It was carried out by General Franco’s Falangist forces. ‘Not just rape but appalling evisceration of peasant women of Andalucia and Estremadura’, including the branding of their breasts with fascist symbols (historian Antony Beevor, quoted p.203).

Nanking The rape of Nanking, December 1937 to January 1938, where the Japanese accompanied mass murder of Chinese civilians with mass rape of women and girls.

Comfort women Euphemism for the hundreds of thousands of women and girls, predominantly from Japanese-occupied Asian countries, who were forced into sexual slavery by the Imperial Japanese Armed Forces before and during World War II.

Vietnam War 1961 to 1973: My Lai massacre and Tet Offensive.

Khmer Rouge 1975 to 1979. Cambodians murdered 2 million other Cambodians accompanied by mass rape.

Turkish invasion of Cyprus 1974, triggered widespread Turkish soldier rape of Greek women.

Timeline

1863 Abraham Lincoln issues general order 100 making rape carried out by soldiers of the Union Army punishable by death.

1919 Commission of Responsibilities established with rape near the top of the list of 32 war crimes.

1946 but at the war crimes tribunals at Nuremberg and Tokyo not a single prosecution for sexual violence.

1949 Geneva Convention, Article 27:

Women shall be especially protected against any attack on their honour, in particular against rape, enforced prostitution, or any form of indecent assault.

1973 Bangladesh declares rape a crime against humanity.

1993 International Criminal Tribunal for the former Yugoslavia (ICTY):

Men and women came forward to recount evils beyond imagining – women and girls locked up in schools and suffering repeated anal, oral and vaginal rape, people having their tongues cut off, or being burned alive as human torches as they ‘screamed like cats’ (p.160)

1994 International Criminal Tribunal for Rwanda (ICTR) established in Arusha in Tanzania: Lamb interviews raped Tutsi women who testified in the first rape-as-war-crime trial. It was the first time rape was recognised as an instrument of genocide and prosecuted as a war crime.

‘I was raped countless times. The last group that raped me were so many people and one man shouted, “I can’t use my penis in that dirty place so I’ll use a stick.” I know many women who died like that. They sharpened the sticks and forced them right through their vaginas.’
(Cecile Mukurugwiza, p.141)

1998 first conviction for rape as a war crime.

1998 Rome Statute which established the International Criminal Court defined rape as a war crime.

2000 UN Security Council Resolution 1325 was the first formal and legal document from the Security Council that required parties in a conflict to prevent violations of women’s rights, to support women’s participation in peace negotiations and in post-conflict reconstruction, and to protect women and girls from wartime sexual violence; for ‘the greater inclusion of women in peace and security’.

2008 UN Security Council passed Resolution 1820 stating that ‘rape and other forms of sexual violence can constitute war crimes, crimes against humanity or a constitutive act with respect to genocide’.

2009 established the office of the Special Representative of the UN Secretary General on Sexual Violence in Conflict.

2010 Bangladesh sets up an International Crimes Tribunal. As of 2019 88 collaborators and party leaders had been tried for torture, murder and rape.

2011 In a video sent to a Nobel Women’s Initiative conference about sexual violence, Nobel Peace Prize laureate, Aung San Suu Kyi said:

‘Rape is used in my country as a weapon against those who only want to live in peace, who only want to assert their basic human rights. Especially in the areas of ethnic nationalities, rape is rife. It is used as a weapon by armed forces to intimidate the ethnic nationalities and to divide our country.’

2014 then UK Foreign Secretary William Hague organised a four-day conference calling for the end of sexual violence in conflict.

2016 International Criminal Court convicts Pierre Bemba of murder, rape and pillage carried out by his men during the 2002-3 war in the Central Africa Republic.

2018 Nobel Peace Prize awarded jointly to Denis Mukwege and Nadia Murad “for their efforts to end the use of sexual violence as a weapon of war and armed conflict”

2019 first conviction by the International Criminal Court for rape in wartime.

2019 report of the UN Special Representative listed 19 countries where women are being raped in war, by 12 armies and police forces and 41 non-state actors.

2019 Gambia took Myanmar to court over the Rohingya genocide, the first time one state had taken another to court over war crimes it had committed. Tried at the International Court of Justice in the Hague, resulting in orders against Myanmar carrying out any further genocide.

2020 first criminal trial of a member of Islamic State for crimes against the Yazidi, held in Germany, resulting in conviction and life imprisonment.

Learnings

Systematic mass rape, sexual violence, sexual torture and sexual mutilation are far more widespread than the bleakest pessimist could ever have expected.

Rape in conflict is rarely ad hoc, random and incidental. More often it is the result of encouragement or orders from the highest levels of military and political leadership, as in: mass rapes in Germany; mass rapes in Rwanda; mass rapes in Bosnia; mass rapes in Syria, and so on.

These kinds of mass rapes are now recognised, not as accidental by-products of the chaos of war, but as conscious war strategies, and as such, defined as war crimes. They are also associated with genocide, the conscious attempt to wipe out a people or group.

The genocidal intent is demonstrated in cases like the mass rape of Bangladeshi women and girls by the army of Pakistan, or the mass rapes of Bosnian Muslims by Bosnian Serbs, or the mass rape of Rohingya women by Burmese soldiers. In each instance the intent wasn’t sexual per se, the intent was to wipe out the victims’ ethnic group by breeding a new generation with the blood of the conquerors in them. In Bangladesh:

‘They had orders of a kind from Tikka Khan [Pakistan’s military governor in the East]… What they had to do was impregnate as many Bengali women as they could… so there would be a whole generation of children in East Pakistan that would be born with blood from the West.’ (p.97)

In Bosnia:

The victims ranged from between six to seventy years old and were raped repeatedly and often kept captive for several years. Many women were forcibly impregnated and held until termination of the pregnancy was impossible. The women were treated as property and rape was used with the intent to intimidate, humiliate and degrade. (p.156)

This same motive – ethnic triumphalism – explains why foetuses were cut out of pregnant women, babies were bludgeoned to death, and children were shot or had their throats cut.

Speaking about it helps. Sharing their stories in safe, supportive environments helps the survivors.

‘It’s all about giving them respect and them owning their stories. After a month, when they begin to tell their stories, sometimes OMG… and the transformation after six is huge. We turn pain into power and give victims strength to be leaders in their communities.’ (Christine Schuler Deschryver, founder of City of Joy, Congo, p.327)

But it never goes away. These women are profoundly damaged forever, as are their families, all their relationships, and their wider communities. And that was the intention.

‘That’s why rape really was a calculated weapon. The fellows who raped them and planned to rape them: they knew you either die now or die later but you’ll never be human again after this ordeal.’ (Rwanda Justice Minister Johnston Busingye, p.153)

As much or more healing comes from having the state formally recognise their plight, a formal recognition that it happened and that it was a crime.

‘It’s not possible to heal from this forever but it helps to speak about it as soon as possible and to share the story with someone compassionate. What I have seen definitely helps their healing is when perpetrators get punished because that gives the victim confirmation by authority she was not the one at fault for what happened to her and that she’s innocent.’ (Dr Branca Antic-Stauber, p.190)

‘Talking to the judges was the beginning of my rehabilitation. For so many years society did not want to listen… But now we could tell our side of the story… Seeing the life sentences at long last, after all they did to us, truly, it gives you your life back.’ (Graciela Garcia Romero, p.238)

In conservative societies state recognition can support recognition at local, village and family level. A striking example is the way the first president of Bangladesh, Sheikh Mujibur Rahman, who recognised the horrific scale of the mass rapes carried out by the Pakistan army and coined a term of praise for the victims, calling them Birangona, or ‘war heroines’.

Better still, though, is the healing effect of watching their perpetrators brought to justice, tried and convicted of their crimes. This validates the victims’ experiences and assures them that the world around them understands and values their suffering.

‘Their actions changed the law and criminal justice for every woman. The women showed you can take the worst trauma and turn it into a story of strength and victory.’ (Erica Barks-Ruggles, US ambassador to Kigali, on the rape survivors who travelled to the Rwanda genocide tribunal to testify against the perpetrators, p.149)

The only problem is it happens pitifully rarely.

Meanwhile, many of the women interviewed wanted their perpetrators to be killed (p.119).

‘I want the worst things to happen to the men that did this to me. I want them to die not in a quick or humane way but slowly, slowly, so they know what it’s like to do bad things to people.’ (Naima, a Yazidi enslaved by ISIS, p.264)

‘I feel so angry at what those Japanese did to me and my family, that if I saw them today I would kill them.’ (Lola Narcisa Claveria, Filipino woman enslaved by the Japanese p.357)

‘I hate them so much and wish death to all of them and Putin.’ (Vika, Ukrainian woman raped by Russian soldiers, p.403)

Charities have discovered that a good way to draw survivors out of their often disastrous mental suffering is to give them tasks, jobs, skills training and agency. Like the farm bought by Christine Schuler Deschryver, to be run by rape survivors in Congo (p.329) or Dr Branca Antic-Stauber’s idea of setting up a rose-growing business to employ survivors in Bosnia (p.185)

No index

There’s no index. Why?

Similarly no list of the organisations mentioned in each country, or organisations addressing sexual violence generally. I supply my own list below.

Human history

Well, I’ve explained my view of human history in a separate blog post:

History is an abattoir. What was written down is a tiny fraction of what happened, and it was written by the educated and privileged, mostly sucking up to kings and khans. The reality of human existence for most humans for most of human history has been unspeakably brutal.

Last thought

In his brilliant series of books about conflict and international order in the 1990s, Michael Ignatieff divides the world into zones of conflict and zones of safety. Every day I thank my lucky stars that I was born and lived all my life in what he calls a ‘zone of safety’. Way before you get to my white privilege or my male privilege, I give thanks for my safety privilege.


Credit

‘Our Bodies, Their Battlefield: What War Does to Women’ by Christina Lamb was first published by William Collins in 2020. I read the updated 2025 paperback edition.

Organisations mentioned in the text

Support organisations

At the end of the Unsilenced exhibition at the Imperial War Museum, the curators give a list of support organisations, which I repeat here:

Related reviews

Unsilenced: Sexual Violence in Conflict @ the Imperial War Museum

This exhibition includes cases of rape, sexual humiliation, torture and child abuse in conflict. Imperial War Museum advises that this exhibition is only suitable for those aged 16 or over.

This is a really important exhibition on a very important subject. Most exhibitions stimulate or entertain me but this one significantly changed my understanding and attitude towards a horrific and ongoing crisis.

‘Unsilenced: Sexual Violence in Conflict’ is the UK’s first major exhibition dedicated to describing, analysing and understanding sexual violence in conflict. It includes 162 objects which illustrate all aspects of the issue, from wartime propaganda posters to testimonies from women victims from the First and Second World wars, as well as more recent conflicts such as Yugoslavia, Darfur and Congo, Gaza and Ukraine.

Expert views

The first and last galleries house no objects, just video screens which feature interviews with experts in the field. In the first room they introduce key facts and concepts around sexual violence in conflict, including the term itself and its definition, what it means, who perpetrates it, and who the victims are. In the final room, the same experts suggest ways to bring about change. These experts are:

  • Charu Lata Hogg – founder and Executive Director of All Survivors Project
  • Dr Zeynep Kaya – Lecturer in International Relations, University of Sheffield
  • Dr Paul Kirby – Queen Mary University
  • Christina Lamb – Sunday Times journalist and author of ‘Our Bodies, Their Battlefield: What War Does to Women’
  • Sarah Sands – journalist and former Chair of the G7 Gender Equality Advisory Council

Why sexual violence in conflict has gone unreported

According to the experts, sexual violence has accompanied conflict and war for as long as we have records.

Wherever conflict erupts, sexual violence is present.
(Sara Bowcutt, Women for Women International)

For most of history it has been repressed and unrecorded, for numerous reasons.

  • Until the advent of photography and, nowadays, smartphones and social media, it’s been difficult to document and record.
  • This has led to sexual violence being under-reported at the time and so all but ignored in official records and historical accounts.
  • Perpetrators and the bodies they serve in (armies, militias, informal groups), wanting to preserve their ‘honour’ and prestige, suppress information.
  • But victims, families of victims, their communities and wider societies sometimes cover it up because of the ‘shame’ and social stigma attached.

But there are other occasions when sexual violence is the opposite of hushed up, when it is used to terrorise and demoralise civilian populations, with a view to depriving fighting forces of support or bringing pressure on them to surrender and end the abuse of their civilian communities. This was practiced in Darfur and more recently by Russian forces in occupied areas of Ukraine. In these situations incidents of sexual violence are widely advertised – but the challenge remains the same: of identifying the exact perpetrators, and trying to establish who in the chain of command gave authorisation for it. This can be frustratingly difficult to achieve.

Why it’s important to discuss sexual violence in conflict

The stance of this exhibition is that the subject must be directly addressed, discussed and aired, for a number of reasons:

  • Allowing victims to speak allows the crimes to be documented and so evidence gathered for legal proceedings.
  • But it also allows for something equally important, which is for the victims’ voices to be heard, their ordeals to be recognised, and so some kind of closure to be achieved.
  • Legitimating speech on the subject also helps to overcome social taboos around shame and keeping silent, which obtain in many if not most societies.
  • So: speaking out both helps victims recover and contributes documentary evidence to investigations and trials.

As a survivor explains:

‘To leave a little bit of what I had behind, that affected me, you don’t forget it but you learn to live with it, and by talking you take off a weight, a stigma, so I leave relaxed, free and happy.’

Four charities

With these aims in mind in mind, the penultimate room focuses on the ongoing work of four NGOs working in the field of sexual violence in conflict, namely:

  • Women for Women International
  • All Survivors Project
  • Free Yezidi Foundation
  • Waging Peace

There’s a panel on each of these organisations, alongside photos of the work they do, and moving testimonials from victims who have benefited hugely from being listened to and validated. As one of them wrote:

‘We all want to mean something to someone, that we matter. That we’re important.’

These testimonies are accompanied by objects:

  • a traditional cloth toub titled ‘Peace by Piece’, created by Sudanese women affected by the war in collaboration with Waging Peace
  • a handmade animal toy created by women through Free Yezidi Foundation’s programme to empower women through training, job opportunities and income generation
  • policy and testimony from All Survivors Project, the only international NGO dedicated to addressing acts of sexual violence in conflict against men and boys

Installation view of Unsilenced: Sexual Violence in Conflict @ the Imperial War Museum showing panels explaining the work of three of the four featured NGOs, including written and spoken testimony (via the headphones) © Imperial War Museum

Why an exhibition like this is part of the solution

Having explained all these processes you can see why an exhibition like this fits into the process of solution, by 1) documenting and recording abuses 2) allowing victims’ voices to be heard 3) increasing public awareness and understanding 4) making it easier to discuss abuses and, potentially, identify and target the patterns of behaviour which underpin or lead to sexual violence: the underlying attitudes which have made it ‘acceptable’ or ignorable in the past.

I would say that two major threads or themes run through the exhibition, one about gender, the other about justice.

Gender norms

Charu Lata Hogg is the most feminist or deploys the most academic feminist point of view. All I mean by this is that in her interviews she talks liberally about toxic masculinity and the patriarchy, two phrases which don’t appear in any of the other interviewees.

Hogg claims that sexual violence in conflict does not take place in a vacuum. It follows logically from the gender stereotyping widespread in peacetime society and then promoted in much wartime propaganda. She sees sexual violence in conflict as arising directly from ‘toxic gender norms’ i.e. the widespread perception in so many societies which associates masculinity with strength, power, dominance and violence, and women with passivity, domesticity, secondariness and victimhood.

This is why the first room of the exhibition, immediately after the introductory videos, is devoted to an impressively large number of images, posters and propaganda leaflets etc, from the First and Second World wars but also other conflicts, which play up to these gender stereotypes. They shows women as sexy spies, seducers, security risks, with a whole fleet of striking leaflets designed to be dropped over enemy troops depicting their beloveds back home having sex with non-combatants while they’re living in misery and fear at the front.

Installation view of Unsilenced: Sexual Violence in Conflict @ the Imperial War Museum showing posters promoting gender stereotyping in wartime © Imperial War Museum

In other words, the exhibition argues that the widespread deployment of sexual and gender stereotyping in peacetime society feeds into the propaganda accompanying a conflict, and both lay the foundation for the sexual violence which then occurs in the conflict itself.

In the final room of videos which addresses possible solutions, Hogg returns to this theme and says the only way forward is to target the patriarchy, to target ‘toxic gender norms’ and target ‘the patriarchal seeds’ that establish these gender stereotypes at such an early age, and so ubiquitously, that when conflict arises, men act accordingly, i.e. abuse the exaggerated positions of power which conflict gives them in order to rape, enslave, terrorise, mutilate and murder the vulnerable i.e. mostly (but not only) women.

You can see that this approach has a number of weaknesses. 1) It’s problematic knowing exactly what you mean by ‘patriarchy’ and ‘patriarchal seeds’; in a general way probably everyone could agree with the idea that, despite half a century of feminism, it’s still ‘a man’s world’, but can you be more specific? 2) ‘Targeting the patriarchy’ sounds fine as a slogan but, like ‘levelling up’ or ‘Make America Great Again’, the challenge is in formulating concrete proposals to make this happen.

3) But surely the biggest problem is that if you tie sexual violence in conflict to every type of gender stereotyping across all of society, and claim that you won’t be able to end the violence until you’ve ended all gender stereotyping, this means you’re going to be waiting a very long time. It is, in other words, a utopian wish rather than a practical solution.

Justice

This is why I was more attracted by Christina Lamb’s contribution in the final video room which discusses the way forward. Lamb says the solution is simple: hold the perpetrators to account. Encourage and support victims to speak out (as per the work of the NGOs listed above). Document the crimes. Empower international bodies such as the United Nations’ International Court of Justice to set up courts of enquiry into specific conflicts. Gather evidence, name names, and bring individuals to justice.

Although this has proven dismayingly difficult in practice, it is at least a practical agenda, and it harmonises with work already going on i.e. it can be based on the speaking out supported by the NGOs and also helps to validate the accounts of victims, make them feel that they’re not being ignored.

In this practical area of justice progress has been made over the last 30 years or so, which the exhibition describes.

Timeline

1919 Commission of Responsibilities established with rape near the top of the list of 32 war crimes.

1946 but at the war crimes tribunals at Nuremberg and Tokyo not a single prosecution for sexual violence.

1949 Geneva Convention, Article 27:

Women shall be especially protected against any attack on their honour, in particular against rape, enforced prostitution, or any form of indecent assault.

1993 International Criminal Tribunal for the former Yugoslavia (ICTY):

Men and women came forward to recount evils beyond imagining – women and girls locked up in schools and suffering repeated anal, oral and vaginal rape, people having their tongues cut off, or being burned alive as human torches as they ‘screamed like cats’ (p.160)

1994 International Criminal Tribunal for Rwanda (ICTR) established in Arusha in Tanzania and for the first time recognises rape as an instrument of genocide to be prosecuted as a war crime.

1998 First conviction for rape as a war crime.

1998 The Rome Statute, which established the International Criminal Court, defined rape as a war crime.

2000 UN Security Council Resolution 1325 is the first formal and legal document from the Security Council that required parties in a conflict to prevent violations of women’s rights, to support women’s participation in peace negotiations and in post-conflict reconstruction, and to protect women and girls from wartime sexual violence.

2008 UN Security Council passed Resolution 2008 stating that ‘rape and other forms of sexual violence can constitute war crimes, crimes against humanity or a constitutive act with respect to genocide’.

2009 Establishment of the office of the Special Representative of the UN Secretary General on Sexual Violence in Conflict.

2019 First conviction by the International Criminal Court for rape in wartime.

2019 Report of the UN Special Representative listed 19 countries where women are being raped in war, by 12 armies and police forces and 41 non-state actors.

Reconciliation

The comfort women

But it’s not only justice in the sense of arresting and charging individuals. Only by acknowledging the existence of sexual violence can any progress be made towards broader reconciliation.

The most striking example, and also an example of how difficult this is in practice, is probably the case of the ‘comfort women’ of south-east Asia. Before and during the Second World War the Japanese Army forced hundreds of thousands of women and girls into sexual slavery. They came from many different nationalities but the large majority were from Korea.

The exhibition describes the Wednesday demonstration, more fully the ‘Wednesday Demonstration demanding that Japan redress the Comfort Women problems’, which began to assemble outside the Japanese embassy in Seoul at noon on Wednesdays in 1992. Japan claims to have made a formal apology for the scandal and to have offered reparations but the wrangle goes on about precise details.

Meanwhile, the Koreans have erected several statues in memory of the comfort women, one outside the Japanese embassy in Seoul, another in front of the Japanese consulate in the southern port city of Busan. Here’s a newspaper article about it. The exhibition includes a miniature reproduction of this statue with an explanation of its symbolism.

Installation view of Unsilenced: Sexual Violence in Conflict @ the Imperial War Museum showing a tiny replica of the Korean Sonyeosang or statue of peace, and the panel explaining its symbolism © Imperial War Museum

My overview

I asked at the museum Information desk but there is, regrettably, no catalogue for the exhibition, so I intend to provide a public service and give a fairly thorough breakdown of its content. It is in six rooms. The headings are the titles of each room, the bullet points are sub-sections within each room.

1. Prologue

Video clips of the experts addressing the following questions:

  • What is sexual violence in conflict?
  • Who is affected by sexual violence in conflict? Mostly women but some men and boys, particularly homosexuals
  • Who are the perpetrators? Armies, militias, military police, armed bands
  • Does sexual violence in conflict still happen today? Yes, widespread in current conflicts including Ukraine, Sudan
  • Why are we talking about this now? It is bad now but with the stresses and displacements of climate change is only likely to get worse

2. Structures and representations

  • Wartime presentations: sexist imagery and propaganda (see photo, above) including a couple of unintentionally hilarious films from the 1940s informing soldiers about the risks of sexually transmitted infections
  • Power and accountability:

3. Acts and manifestations

  • Mass incidents:
    • Red Army: the mass rapes carried out by the Red Army as it fought its way across Germany at the end of the Second World War; Stalin notoriously commenting that he could understand why battle-scarred soldiers would want to have some ‘fun’ with enemy women; over 2 million German women were abused, leading to death and serious injury, infections and suicide
    • ISIS: in 2014 Islamic State authorities organised the enslavement and mass sexual abuse of Yazidi women and girls: the exhibition includes the guidelines ISIS published for its soldiers on how to capture and treat sex slaves
  • Power imbalance: the little-known stories of sexual abuse of evacuees, particularly children, including in Britain during the Second World War
  • Sexual humiliation and torture:
    • Abu Ghraib: the show includes the New Yorker magazine article by Seymour Hersh detailing the shocking abuse of inmates at Abu Ghraib prison in Iraq in 2003
    • les tondues: French women who, at the liberation of villages, towns and cities, were seized, displayed and had their hair shaven off as a form of punishment and social condemnation for alleged collaboration with the German occupiers – the show includes documentary photos of tondues taken by Lee Miller

Installation view of Unsilenced: Sexual Violence in Conflict @ the Imperial War Museum showing, on the wall on the right, the section about comfort women; on the wall in the middle evidence of the ISIS mass enslavement of Yazidi women; and in the glass cases letters and memoirs from child evacuees who were sexually abused © Imperial War Museum

4. Justice and reconciliation

  • Legal justice: history of attempts to set up courts and tribunals starting with the first arrest warrants for rape issued by the Yugoslavia tribunal in 1993; in 1998 the International Criminal Court recognised sexual violence in conflict as a crime against humanity
  • Children born of sexual violence in conflict: the work of TRIAL International and The Forgotten Children of War Association and how it took until 2022 for Bosnia and Herzegovina to acknowledge children born as a result of sexual violence during the Bosnian War 1992–1995 as civilian victims of war

5. Rebuilding

As described, a panel apiece on the four charities:

  • Women for Women International
  • All Survivors Project
  • Free Yezidi Foundation
  • Waging Peace

6. Final thoughts

Video room with the five experts listed above giving their thoughts on the following topics:

  • How are attitudes towards sexual violence in conflict changing?
  • Why is it important to listen to victims and survivors?
  • What does justice look like for victims and survivors?
  • How can we create change?

Installation view of Unsilenced: Sexual Violence in Conflict @ the Imperial War Museum showing the videos of expert opinion (photo by the author)

Niggles

On 2 November the exhibition ends and will be dismantled. Why? Surely an exhibition on such an important and universal subject as this should become a permanent display. Not least if it’s true, as the curators claim, that sexual conflict has always been a part of war and continues to be, right up to the present day. Well then, shouldn’t a key element of conflict be addressed in a permanent display in Britain’s leading museum of war and conflict?

In the same spirit, why is there no catalogue of the exhibition? I’ve been to hundreds of exhibitions, and even the most trashy or superficial have usually been accompanied by catalogues or brochures. Surely an important exhibition on such an important subject warrants a permanent documentary record.

Poster created by the Mansudae Art Studio, Pyongyang. The text, in Korean, can be translated as: ‘No! Rid the twenty-first century of sexual violence!’


Related links

Support

At the end of the exhibition, there’s a list of support groups. For public information, I include it here:

Related reviews

Myth and Reality: Military Art in the Age of Queen Victoria @ the National Army Museum

The National Army Museum, at the west end of Royal Hospital Road, between the Royal Chelsea Hospital (home of the famous Chelsea Pensioners) and the Chelsea Physic Garden (and just round the corner from Oscar Wilde’s main London home in Tite Street) is a lovely place to visit on a Saturday morning.

It’s clean and light and airy and you just waltz right in with only a minimal bag search, there’s a lovely clean café with free drinking water, lovely clean toilets, and it’s never very busy so it’s easy to stroll around the exhibitions without having to fight your way through crowds of tourists unlike, say, the pressure cooker experience of visiting British Museum or National Gallery.

There are 3 or 4 permanent galleries accompanied by one or two rotating exhibitions, and it’s all completely FREE.

In the exhibition space on the second floor the Museum is currently hosting quite a large display of oil paintings, watercolours, sketches and memorabilia on the theme of the Victorian Army – some 140 works and objects in total.

I enjoyed it very much: there are lots of talking points, not only about the specific history/battles/wars behind many of the paintings, but about individual artists, about the evolution of artistic styles across the period, about the relative merits of big oil paintings, watercolours or sketches to capture the reality of soldiering, the spirit of battle, and so on.

Installation view of Myth and Reality: Military Art in the Age of Queen Victoria at the National Army Museum showing, on the left, a print of the Charge of the Light Brigade by Lady Elizabeth Butler and, on the right, the huge painting of ‘Reveille at Waterloo’ by the same artist (photo by the author)

First I’ll list the rooms or sections which the curators have divided their material up into, as a kind of evidence base, and then I’ll go on to my own topics or headings.

The official themes

  1. Myth and Reality
  2. Lady Butler
  3. Women and Military Art
  4. Patriotism and Portraiture
  5. The Victoria Cross
  6. Realism and Reportage
  7. The End of an Era

The general premise is that it was during Queen Victoria’s long reign (1837 to 1901) that not only did artists come to depict war and soldiers more realistically than ever before, but developments in publishing and print technology made these images more accessible and popular than ever before. This meant that major exhibitions were attended by huge crowds, while affordable prints and publications and even cheap postcards could be mass produced at increasingly affordable prices, and so found in homes across the country.

Installation view of Myth and Reality: Military Art in the Age of Queen Victoria at the National Army Museum showing the five-yard-wide oil painting ‘The Capitulation of Kars, Crimean War’ by Thomas Jones Barker (1855) with its static explanatory panel in front and an interactive screen off to the right (photo by the author)

Victoria’s Wars timeline

The exhibition includes a timeline of wars fought during Victoria’s reign. The point is that the British Army campaigned almost constantly throughout the period. There were a few big wars (the Crimean War, the Indian Mutiny and, right at the very end, the Boer War) but most of the conflicts we were involved in were small and localised, what modern historians call Victoria’s ‘small wars’.

  • 1837 – Queen Victoria ascends the throne
  • 1839 – the first photographs by Louis Daguerre in France and William Fox Talbot in England
  • 1842 – the world’s first illustrated weekly news magazine launched, the Illustrated London News
  • 1845 to 1846 – First Sikh War
  • 1852 to  1853 – The Second Anglo-Burmese War
  • 1853 to 1856 – the Crimean War
  • 1854 – Florence Nightingale travels to Crimea with 38 nurses. William Howard Russell’s reporting for The Times transforms people’s understanding of the squalid reality of war. 25 October – Battle of Balaklava and Charge of the Light Brigade.
  • 1854 – the Victoria Cross (VC) was introduced by Royal Warrant on 29 January 1856 to acknowledge the bravery displayed by soldiers and sailors during the Crimean War and soon after the Queen awards it to 62 Crimean war veterans

Queen Victoria and Prince Albert inspecting the wounded Grenadier Guards in Buckingham Palace. Coloured lithograph by George Thomas after himself (1855) Wellcome Collection

  • 1857 to 1858 – the Indian Rebellion
  • 1873 to 1874 – Third Anglo-Ashanti War
  • 1878 to 1880 Second Anglo-Afghan War
  • 1879 Anglo-Zulu War, featuring the Battle of Rorke’s Drift, 23 January 1879
  • 1880 to 1881 First South African War
  • 1882 Anglo-Egyptian War
  • 1884 to 1885 – Siege of Gordon at Khartoum, leading to its fall on 26 January 1885
  • 1885 Third Anglo-Burmese War
  • 1895 to 1896 Fourth Anglo-Ashanti War
  • 1898 – British reconquest of Sudan, featuring the Battle of Omdurman, 2 September 1898
  • 1899 to 1902 – Second South African War, featuring the sieges, the concentration camps etc
  • 1900 Fifth Anglo-Ashanti War

My take

There are about 40 artists, amateur and professional, soldiers and civilians, represented across the exhibition but the exhibition begins in a very decided way which raises a number of questions, because it starts with a strong emphasis on women war artists.

A feminist emphasis on women’s military art

The curators – all women – have decided that the first dozen or so works you see are all by women artists and devote several sections to them.

Victorian women artists, they tell us, helped to shape public perceptions of Army life. Many women were connected to soldiers through marriage or family, sometimes travelling with them abroad and depicting the people and places they saw.

Women were also important supporters and collectors of art, none more so than Queen Victoria herself. The Queen was also one of the most prominent subjects of military art, along with another celebrated figure of the time, Florence Nightingale – which explains why there’s a wall of works depicting the Queen meeting war veterans, awarding medals etc, and a little section about Florence Nightingale (who was famously averse to having her image captured, as she believed it detracted from her work).

However, as the exhibition proceeds you realise that most of the artists on display are not women, and, of course, none of the soldier artists are female – so why start this way unless you’re making a polemical feminist point? The implication seems to be that, after centuries or millennia of The Patriarchy, of tellings of history and art which downplay or completely ignore the role of women in the creation and consumption of art, this exhibition is doing its bit to redress the balance.

Fine. I understand. Why not? But there’s a second element to this approach which is notable and, maybe, problematic: this that one of the greatest, if not the greatest war artist of the Victorian era was Lady Elizabeth Butler, and so, hand-in-hand with the ‘women and military art’ section goes the ‘Lady Elizabeth Butler’ section. On one level there’s no quibbling with this: Butler was an outstanding artist and produced some of the standout works of the entire century. She was an absolute mistress of her craft, the half a dozen big paintings of hers brought together here are alone worth travelling to visit the show for, especially as several of them are usually buried in the Royal Collection.

So on the plus side, ignoring all its other features for a moment, you could say this is an outstanding selection of paintings, sketches and anecdotes by one of the nineteenth century’s great artists, and this is all to the good.

So why am I kvetching? Because the curators state, in these opening sections, in these early wall labels, that Lady Butler transformed military painting, depicting the life of soldiers with a new realism, taking a new, humane approach and setting a new standard for the subject. And this is all well and good, too, except that… In order to understand why Lady Butler is so important, and what she transformed, and what she changed it would have been good to have been fully introduced to the tradition of Victorian military painting which preceded her.

Instead, the result of placing Lady Butler right at the start of the show is to jump quite a long way into the later Victorian period without any preliminary explanation.

The work which really brought her to general attention was her ‘Roll Call’ which was displayed in 1874, 37 years into Victoria’s reign – and the first big work of hers which the curators feature, on the first wall of the exhibition, is ‘Dawn of Waterloo’ which was first displayed in 1895! 58 years into Victoria’s reign and only 6 years before her death. It’s a great painting but it comes at the very fag end of the period being covered and so is pretty misleading about the military art of Victoria’s era.

‘The Dawn of Waterloo: The Reveille in the Bivouac of the Scots Greys on the morning of the battle’ by Lady Butler (1895) the first full-scale painting by Lady Butler which the visitor encounters in ‘Myth and Reality: Military Art in the Age of Queen Victoria’ at the National Army Museum

Recap

So the decision to emphasise women’s role in military art may be laudable, and bringing a number of women’s works all together in the first few rooms ensures that the subject gets the prominence it deserves, rather than interspersing women’s works chronologically among the men’s pictures where they might be overlooked and unnoticed (as very probably happened in so many previous exhibitions on the subject).

Fine. And if you’re going to mention women artists of the time, then it would be silly not to mention and indeed have a section about the greatest of them, Lady Butler, also here right at the start. OK. Fine.

But the (maybe unintended) consequence of all this is that the visitor is deprived of a chronological understanding of the subject – of what military art looked like before Victoria, then at the start of her reign, how it developed through the decades leading up to the two seismic conflicts of the Crimean War and the Indian Mutiny in the 1850s, how it reflected trends in the broader art world, and so on.

You see how a chronological survey like this would have been interesting in itself and might also have better prepared the way for Lady Butler’s dramatic innovations: by the time you got to Lady B you’d have had a much better understanding of The Tradition she was transforming… but instead you have to work it out for yourself.

Five styles

This unchronological approach characterises the rest of the exhibition, too. Particularly in the sections about ‘Patriotism and Portraiture’ and ‘Realism and Reportage’, works from the 1840s or ’50s are placed next to works from the 1880s, ’90s or even early 1900s – it’s up to the visitor to make chronological, historical and aesthetic sense of the many different styles on display.

Having gone round the exhibition three or four times, dwelling on favourite works (and being drawn back again and again to the brilliant Butler paintings) I think I came up with about five different, roughly chronological styles of painting. They are:

  1. Romantic-sublime
  2. Patriotic-sentimental
  3. Mid-Victorian anecdotal
  4. Lady Butler
  5. Stiff official portraits

(This isn’t taking into account the pencil or charcoal sketches, and the many watercolours, which are specialist areas unto themselves.)

1. Romantic-sublime

Although painted in 1853 this picture strikes me as epitomising high Romanticism with its fondness for dramatic mountainous scenery and The Sublime. Look at the big baby eyes of Wellington (and his horse), the ethnic outfits of the local guides – it all has the rosy, soft-focus approach of Sir Water Scott’s novels.

Wellington at Sorauren, 27 July 1813 by Thomas Jones Barker 1853 © National Army Museum

2. Patriotic-sentimental

Kars is a city in north-eastern Turkey. In June 1855, as part of the during the Crimean War (1854 to 1856) it was besieged by a Russian army of 25,000. Demoralised by their defeats at the hands of the Russians, the Turks left the defence of Kars to Brevet Colonel (later General Sir) William Fenwick Williams, the British commissioner. The garrison was able to repulse three major Russian attacks but eventually cold, famine and an outbreak of cholera forced it to surrender on 26 November 1885. In recognition of their heroism, the Russians allowed the British garrison to march out of the city with the honours of war and into captivity.

‘The Capitulation of Kars, Crimean War’ by Thomas Jones Barker (1855) (National Army Museum)

This is a huge painting, over five yards wide (!), and it’s accompanied by not one but two diagrams identifying all the figures in it, one a static diagram, one an interactive display of the same. But it was only chatting to one of the (very well-informed) visitor assistants that I really understood what is going on.

You see the local in the red cloak clutching the hand of the bald British officer on his horse (Major General Fenwick Williams) and the cascade of similar locals off to his right, and the pitiful woman lying on the ground with her helpless children in the foreground, and similar locals on his left?

These are the local Turks who the British are abandoning to the kindness of the conquering Russians. So they are pleading with the British not to leave and abandon them but the British, defeated, have to. (Maybe a modern analogy would by NATO forces pulling out of Afghanistan and letting the Taliban take over.) It is this acute sense of regret and shame which explains the expression on the face of the British officer.

(You could write a book about the peoples the British Army promised to protect, only to abandon them – I’m currently reading a book about the Dutch Revolt which mentions that Queen Elizabeth I made all kinds of promises to the Dutch patriots in the 1580s which she then completely broke… It’s a long tradition.)

Back to the painting: ‘The Capitulation’, then, is a psychological study in the pain and embarrassment of duty, of a fine upstanding officer mortified to be abandoning the people he promised to protect. As such it is full of all kinds of melodramatic details, the thrown-up hands of the man in white on the left, the tearful eyes of the woman on the ground. It’s like a tableau from a mid-Victorian melodrama, at the centre of which is the British officer maintaining a stiff upper lip despite being deeply moved.

In fact it tells you a lot about mid-Victorian art and audiences that the work was commissioned, not by an aristocratic patron, but by the art dealers and print makers Agnew and Sons, precisely to be turned into prints and widely sold. So it is very deliberately catering to popular taste and demand.

3. Mid-Victorian anecdotal

The Victorians loved detail and clutter. Dickens’s novels overflow with wonderfully telling details and so do classic mid-Victorian paintings like William Powell Frith’s Derby Day (1858) or The Railway Station (1862), packed with little stories and anecdotal details. The exhibition includes an absolute classic of this style, ‘Home Again’ by Henry Nelson O’Neil.

‘Home Again’ by Henry Nelson O’Neil (1860)

‘Home Again’ depicts soldiers disembarking from a troopship at Gravesend on their return from the Indian Mutiny (1857 to 1859). For military history buffs the curators tell us that about 40,000 British troops were sent to India (more than had been mobilized for the Crimean conflict) to suppress the mutiny among the Indian troops of the East India Company’s Bengal Army.

But in purely visual terms we are invited to relish the details! At the very top a young woman peers over the shoulder of a bearded infantry corporal, who holds their baby for the first time. In the middle-right a young soldier of the 60th (The King’s Royal Rifle Corps) dressed all in black leans down to offer his Victoria Cross to a Chelsea Pensioner. The central action depicts sailors assisting a wounded sergeant to disembark. We are told that he wears a Kilmarnock ‘pork-pie’ cap under the white cotton ‘Havelock’ cover distinctive to the campaign, with the neck flap for protection from sunstroke.

There is patriotic pride here, and sentimentality of a sort, but it is very clearly all about the common people, ordinary soldiers (and sailors) and their reunions with wives and sweethearts. As such, it a little bit anticipates Lady Butler’s humanism but still with that mid-Victorian obsession with anecdote and detail.

4. Lady Butler

‘The Roll Call’ is one of the most celebrated British paintings of the 19th century. On its public appearance in 1874 it cemented Butler’s reputation as one of the leading painters of the age. It depicts a roll call of soldiers from the Grenadier Guards following the Battle of Inkerman in 1854 but can stand for thousands of similar occasions.

The Roll Call by Lady Elizabeth Butler (1874) © Royal Collection Enterprises Limited 2025 | Royal Collection Trust

The composition expresses Butler’s profound feel for the plight and experiences of the ordinary soldier, for the pity of war and the walls of the show feature not one but two quotations by her, emphasising how she eschewed patriotic guff in her concern for the actual lived experiences of the men who fought and suffered.

‘I never painted for the glory of war, but to portray its pathos and heroism’.

‘The Roll Call’ was fantastically successful. When it went on display at the Royal Academy it attracted over 300,000 visitors in a 3-month period and the more you look, the more brilliant it becomes.

The curators explain that historical or military painting for a long time worked with the basic design of a triangle which places the most important person – generally the commanding officer – at the apex (as in the pictures of Wellington and Major General Fenwick Williams, above). As soon as that’s pointed out to you, you realise really drastic difference her, the polemical message sent by the composition which is the equality of the men, all placed on the same level.

There’s still an anecdotal aspect to the thing, if you go up close and work slowly from left to right, starting with the two soldiers on the left lighting a sneaky fag or cigar, and working along through the bandages and blood of the wounded to the striking element of the man who’s collapsed into the snow. It really conveys the wretched pity of war, 44 years before Wilfred Owen coined the phrase for his volume of First World War poetry.

There is, of course, a figure on horseback, but he isn’t treated with the Romantic sentimentalism of the Wellington, above. Instead we can feel the gruff sympathy of the sergeant in charge as he reviews his wounded troops. And he also acts as the viewer’s entrance point into the work. If it was just the row of soldiers it would be slightly impenetrable: the officer on horseback not only relieves what might have been monotonous, but his movement carries the eye into the composition.

But there’s more because, after you’ve finished admiring the overall shape and canny dynamism of the composition, if you step back you notice the colours. You notice how Butler has depicted the uniforms of the men with great accuracy but used them as a springboard to create a composition of shades of grey. The grey coats and badges are reflected under the line of men by the different shades of snow and above them by the extremely nuanced and varied shading of the clouds.

On a literal level the coldness of the winter is evoked by the dominant tones of black, grey, white and brown, contrasting with small splashes of red from coatees and flags. But on a more aesthetic level, the awareness of shades of grey makes you think of James McNeil Whistler’s compositions, symphonies of certain palettes and timbres.

And then you notice the crows, the brilliant broken flight of crows coming from the middle of the composition and looping up over the head of the reviewing officer.

In its: 1) absence of sentimentality; 2) its immediately felt humanistic concern for the plight of the average soldier; and 3) its stunning painterliness, its brilliance of composition and colouring, ‘Roll Call’ really is a masterpiece. It’s worth visiting the exhibition just to see this one work in the flesh.

5. Stiff official portraits

Something the curators of the Army Museum must struggle with is that so much military art is decidedly average, if not actively poor. One or two of the battle paintings here struck me as ludicrously bad, but there’s a more subtle problem and that’s to do with military portraits.

I bet there are tens of thousands of these up and down the land, professional portraits of Britain’s countless officers, generals, admirals and so on which are good enough, decent enough, professional likenesses, but are never going to make it into anyone’s history of art because they are, by their nature, a very conservative wing of the medium.

Their number, their prevalence and popularity in Victorian times explain why there is a section titled ‘Patriotism and Portraiture’ here. Not only did ‘the people’ want to see portraits of heroes like Wellington or Gordon or Roberts, but countless military families wanted professional portraits of their eminent male members to hang alongside all their forebears, and hundreds of officers messes and regimental headquarters, ditto.

Hence a half dozen masterpieces of stultifying conventionality and woodenness.

Lieutenant The Honourable Frederick Hugh Sherston Roberts VC, Kings Royal Rifle Corps by Julian Russell Story (1899)

There’s a story behind this portrait, which is that Roberts not only won the Victoria Cross, but the same medal was awarded to his father, Field Marshal Frederick Sleigh Roberts, 1st Earl Roberts, making them one of only three father-and-son pairs to be awarded the VC in its 169-year history.

Watercolours

As mentioned, the exhibition includes 20 or so watercolours, much smaller and more intimate than the bombastic oil paintings. In a sense, watercolours under-promise and so are often able to over-deliver.

Installation view of Myth and Reality: Military Art in the Age of Queen Victoria at the National Army Museum showing a set of six watercolours of the Crimean War by William Simpson (photo by the author)

General Cannon’s landing, July 7 1854

My wife and I play a simple game when visiting exhibitions. Having crawled through the exhibits and rooms, reading and processing every wall label, we reach the end, turn round and go back through it, this time lightly, airily choosing one work per room which we like and having to explain why. A variation is to choose a work we would buy and take home to hang in the landing or hall or wherever. As I’ve stated, the Lady Butler paintings are all brilliant, but in terms of something I’d actually buy and live with, something a bit more modest, I kept returning to one of the 20 or so watercolours on display, ‘General Cannon’s landing, July 7 1854’, a pencil and watercolour by Joseph Archer Crowe (who has seven works in the exhibition).

‘General Cannon’s landing, July 7 1854’ Pencil and watercolour by Joseph Archer Crowe

Crowe worked at the Crimean War as a special artist for The Illustrated London News. This watercolour depicts how, on 7 July 1854, Turkish forces launched an amphibious assault across the River Danube on Russian positions at Giurgiu (in modern day Romania). The Russians were driven back and Giurgiu was occupied by the Turks.

It’s not going to rock anyone’s world, I just liked the composition, the line of ships going in from roughly right to left, and the light impressionistic touches of colour.

Women artists

I may have missed some but, for the record, here are the women military artists featured in the exhibition:

  • Lady Elizabeth Butler
  • Jane Drummond (portrait of Mrs Anne Steele)
  • Gertrude Ellen Burrard (portrait of Nussiban, our ayah)
  • Elizabeth Anne Leslie Melville (portrait of Major General Sir Owen Tudor Burne)
  • Emily Henrietta Ormsby (portrait of Colonel Henry Francis Strange; portrait of Major General John William Ormsby)

Lady Butler’s works

  • Tenth Bengal Lancers tent pegging (1873)
  • The Roll Call (1874)
  • Study of a Wounded Guardsman (1874)
  • Quatre Bras (engraving of oil painting, 1879)
  • Patient Heroes: A Royal Artillery Gun Team in Action (1882)
  • Scotland Forever! (engraving after oil painting, 1882)
  • After the Battle of Tel-el-Kebir (engraving of original painting, 1888)
  • After the Battle of Tel-el-Kebir (fragment of original painting, 1888)
  • The Defence of Rorke’s Drift (1882)
  • The Ballad of the Royal Irish at Sebastapol (6 x pencil illustrations of a poem, 1890)
  • Military sketches (pen, watercolour and pencil, 1893)

Summary

I don’t know whether my point about the lack of chronology and build-up to Lady B is even worth mentioning. My wife went round the displays two or three times with me and didn’t even notice or care, just enjoyed various works on their own merit.

So: if you’re interested in military history the exhibition contains lots of titbits about key wars and engagements of Victoria’s reign, about medals and uniforms, some lovely watercolours and a dozen or so really impressive oil paintings, along with a number of average or also-ran works which, however, illustrate interesting topics, such as the section about the creation of the Victoria Cross, and so on.

And the National Army Museum is always a lovely place to visit because – ironically, given its subject matter – it’s such a calm, clean and peaceful place to be. Go see.


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Shakespeare and War @ the National Army Museum

A tale of two Henries

In 1944 Laurence Olivier produced, directed and starred in a movie version of Shakespeare’s play ‘Henry V’. Shot in bright primary colours it dealt in bright primary patriotic emotions and 30 years later my Dad and his best friend could remember seeing it in the cinema as 12-year-old kids and being stirred by its patriotic fervour, its stirring invocation of England’s valour and fortitude, at a time when German V rockets were falling on London and the south-east. (A V2 rocket fell on the house next door to my Dad’s, killing the occupants. The one time he mentioned it was the only time I ever saw him cry. Britain needed all the patriotism and determination it could muster.)

Installation view of ‘Shakespeare and War’ at the National Army Museum showing posters, cartoons, photos and programmes from the Second World War including a poster for Olivier’s Henry V

Those ardent schoolboys will have noticed that the film was ‘dedicated to the ‘Commandos and Airborne Troops of Great Britain the spirit of whose ancestors it has been humbly attempted to recapture’ because this appears as a caption at the start of the film, but won’t have known that the production was partly funded by the British government as a form of soft propaganda.

Forty five years later, in 1989, the actor widely seen as inheriting Olivier’s mantle, Kenneth Branagh, directed and starred in a new movie version of ‘Henry V’. Much was made of the fact that, instead of stylised sunny sets, the play went for a darker, grittier look, most notably in the battle of Agincourt scenes, filmed on a lovely sunny day in the Olivier version, but in a downpour of rain in the Branagh, which turns the battlefield into a quagmire, spattering all the characters with mud and also gore from the countless bodies which have been hacked and stabbed. Critics weren’t slow to point out that it was made in the aftermath of the Falklands War and so carried a strong message against war and warmongering.

Poster for the original 1984 Royal Shakespeare Company production of Henry V directed by Adrian Noble and starring Kenneth Branagh, as featured in ‘Shakespeare and War’ at the National Army Museum

The same play, the same author, the same plot, the same characters, the same stage directions and the same words – and yet supporting two very different productions, reflecting very different societies, mindsets and values.

These are just two examples of the way Shakespeare’s plays about war – the causes of war, the preparations for war, the experience of war, wartime emotions from terror to exhilaration – and the greatly varying opinions of his many different characters about war and warfare, have been quoted, adapted, distorted, illustrated and recycled, used both to support and attack Britain’s wars, in the 400 years since his death.

Shakespeare and War

The National Army Museum in Chelsea is currently holding a FREE exhibition titled ‘Shakespeare and War’ which sets out to review the huge history of the national playwright’s role in Britain’s many wars and conflicts and how his words, stories, characters and scenes have been used in widely different times and situations.

The exhibition sets out to document how the plays, characters and speeches have been excerpted and exploited propagandists, governments, commentators, satirists and anti-war activists, soldiers and civilians – during the turbulent 400 years since Shakespeare’s death, in 1616. As the curators put it:

The plays have been used to rally the nation at times of crisis and to reflect on the human cost of conflict. But they have also been used to critique war and to consider the more challenging aspects of the military experience. They have inspired soldiers and civilians alike, helping people face adversity on the battlefield and at home.

After Shakespeare

Thus the exhibition starts after Shakespeare’s death. There’s none of the usual fol-de-rol about his biography or the Globe Theatre or the parabola of his career, just the blunt facts that he was a very successful actor-dramatist-manager, who died in 1616, before the British Army even existed.

Instead we are thrown straight into the first major conflict which occurred after his lifetime, the civil war or wars of three kingdoms which broke out 23 years after his death, in 1639, and lasted until Cromwell’s pacification of Scotland in 1653.

The exhibition is divided into six broad historical sections, each of which is introduced by a wall label and then features all sorts of bric-a-brac from the period in question – broadsheets, posters, cartoons, pamphlets which cite or reference, quote or parody scenes, characters or speeches from the plays to suit the purpose of polemicists and propagandists of the moment, paintings or photos of Shakespearian actors or patrons, posters for productions through the ages, and then – in the modern era – recordings of radio and TV productions and so on. At the most basic level, it’s a curiosity shop of historical Shakespeariana.

1. Royal Shakespeare: The Civil War and Beyond

During the English Civil War Shakespeare was often associated with the monarchy. While in prison awaiting trial, King Charles I read Shakespeare’s (Second) Folio (the First and Second Folios were the first attempts to publish all Shakespeare’s works in one volume). The King made notes on its pages and the exhibition has his copy on show. This did not go unnoticed by the great poet and Puritan propagandist, John Milton, who is represented here by a first edition of his pamphlet, Eikonoklastes.

Installation view of the civil war part of ‘Shakespeare and War’, showing, on the left, engravings of Charles I (above) and Cromwell (below) along with Charles’s copy of the Second Folio beneath an English mortuary sword (photo by the author)

This little collocation of objects overflows with meanings. Eikonoklastes was written and published late in 1649 to justify the execution of King Charles which took place on 30 January 1649. It was a point-by-point rebuttal of a pamphlet titled Eikon Basilike, a Royalist propaganda work, which purported to be a spiritual autobiography of the saintly king. The Basilike set Charles up as the type of a perfect enlightened monarch who ruled by the Divine Right of Kings and through the ancient constitution. Milton refuted all these points and more, claiming that Charles’s rule had degenerated to a tyranny over a people who could only be free by executing him and abolishing the monarchy altogether.

Where does Shakespeare come in all this? Well, he was part of the culture wars between the two sides. Theatre was encouraged and sponsored by the King, the Court and aristocrats. Shakespeare’s younger contemporary, Ben Jonson, ended up writing masques – elaborate ritualistic performances, accompanied by music – for the King and Court, which reinforced the ideology of royalty and monarchical rule and in some of which the king himself took part.

In the eyes of radical Puritans all this was blasphemy. Representing people on stage came close to breaking the commandment about not worshipping images. Plays diverted people’s minds away from the only thing they should be contemplating, the glory of God. Playhouses were notorious sites of crime and prostitution. Shakespeare’s plays, even the sternest tragedies, are littered with outrageously rude puns and euphemisms, the kind of thing Parliamentary Puritans had in mind when they accused the theatre of staging ‘spectacles of pleasure, too commonly expressing lascivious mirth and levity.’

For all these reasons and more the Puritans protested against the theatre in the years leading up to the war, and this explains why, when Parliament took control of the capital in September 1642, they promptly shut down all the playhouses. Which explains why there’s an engraving of Cromwell in this exhibition showing him wearing a suit of armour above a pile of discarded theatrical bric-a-brac, such as masks and disguises. For 18 long years the theatres were dark. Shakespeare’s Globe was torn down in 1644 and turned into ‘tenements’.

The Restoration

In 1660 the monarchy was restored and Charles II assumed the Crown. His 25-year reign was troubled by political and religious issues along the old civil war schism, at its most fundamental the clash between devotees of the Protestant cause and Charles’s Court which became tainted with accusations of Catholic sympathy, especially after he married the Catholic princess Catherine of Braganza in 1662.

Like his father Charles was a great patron of the arts, including theatre, and his rule saw the flourishing of the movement referred to as Restoration Comedy. The theatre once again became associated with all the vices of Londoners at play, and this, like the theatre of his father, became the target of religious criticism. The ongoing schism between Catholic-leaning court and Protestant nobles came to a head during the three-year reign of Charles’s brother, James II, who with typical Stuart arrogance, not only took a Catholic wife but made it clear that the new infant son she bore him would be raised a Catholic. The Protestant aristocracy rebelled and overthrew him in what their propagandists named The Glorious Revolution, inviting the Protestant Prince of Orange (in modern Holland) to come and be our king.

The curators skimp a bit on this period, displaying just one work, a copy of a book by the playwright John Crowne adapting Henry VI parts 2 and 3 and titled ‘Misery of Civil War’.

Shakespeare’s history plays

The thing is, Shakespeare’s history plays amount to a sustained investigation of the nature of authority and ‘good’ rule. All of them are named after the English king they focus on and ask questions like, What makes a good king? What makes a bad king? Are nobles, or ‘the people’, ever justified in overthrowing a king? If two noble houses fight for the crown, what are ordinary people to do? Follow their conscience, try to avoid the conflict, or fight for their local lord and master? Is there such a thing as a ‘just’ war in which case, how do you define one?

Questions like these echo throughout the obvious plays i.e. the ones about English history, but are also central to the Roman plays and three of the four great tragedies.

The history plays are usually divided into three groups:

  • the series depicting the Wars of the Roses, being: Henry VI parts 1, 2 and 3, and Richard III (4 plays)
  • the second tetralogy – including Richard II, Henry IV parts 1 and 2, and Henry V
  • the standalone plays King John, Edward III and Henry VIII

The Roman plays which discuss the nature of authority and leadership focus on Julius Caesar and its sequel, Antony and Cleopatra. Both cover wars and include battle scenes.

The tragedies all feature war, in different ways. Macbeth is about a successful soldier and includes actual battle scenes. King Lear and Hamlet feature the invasion of their respective countries (England by the French and Denmark by the Swedes) but no actual fighting. And Othello is all about a highly successful mercenary general, which features no battles but is drenched in reminiscences of fighting and the rhetoric of battle.

What I’m trying to convey is that these 17 or so plays are rarely about war as such, but but are far more about the nature of power and authority and what happens when authority collapses.

The eight classic history plays are about the collapse of authority in one country and civil war among the English. The two Roman plays are the same: in both the Romans aren’t fighting any external enemy, but among themselves. Similarly, the three tragedies (excluding Othello) are about the collapse of royal authority in one country – the French only invade England in Lear and the Swedes invade Denmark in Hamlet once the native rulers have made a complete horlicks of trying to rule themselves.

And again, although the English come to the aid of the rightful heir to the throne at the end of Macbeth, they only have to do so because, yet again, the ruling class of the country in question (this time Scotland) have made a total mess of ruling themselves, as a result of all the murders Macbeth finds himself voodooed into committing.

Thus, the seventeen or so plays about history are almost entirely about the collapse of political authority in one country leading to civil war. The fifty years from the collapse of Charles I’s power in the 1630s through to the Glorious Revolution in 1688 are, therefore, the most relevant or applicable to Shakespeare’s concerns. It is, therefore, strange and intriguing that contemporaries, apparently, according to this exhibition, made so little application of the huge amount Shakespeare wrote on this subject to the one era in the past 400 years which most suited it.

This little survey of Shakespeare’s history plays also explains something else. Henry V is the only one in which is not about a civil war. Henry V is the only one in which we are not fighting among ourselves, but go abroad and fight somebody else. This explains why Henry V crops up in this exhibition as the spearhead for patriotic fervour more times than the ten other history plays put together – because once we’d sorted out our own political problems via the civil wars and rebellions of the seventeenth century, we turned our warlike energies against foreigners.

2. Revolutionary Shakespeare: Change and Political Debate

The late eighteenth century saw a major global war (against France) and two revolutions (in America and France) which changed the world. In each of these conflicts Shakespeare’s plays, characters and the Shakespeare brand were used to define, critique and support both a patriotic war and new political movements.

The Seven Years War

By the start of the eighteenth century Shakespeare had become established by numerous writers, critics and commentators as a national icon. The exhibition skips over the wars of the early 18th century, in Europe and India:

  • War of the Spanish Succession 1701 to 1714
  • Great Northern War 1717 to 1720
  • War of the Austrian Succession 1740
  • Carnatic Wars 1744 to 1763

Instead it jumps to the Seven Years’ War (1756 to 1763), the war against France which saw British victories on the Continent, in India, in the Caribbean and North America. The exhibition includes a number of interesting mementoes from the war.

David Garrick, the leading figure in London theatre by the mid-century, wrote a Dialogue to preface a 1756 production of The Tempest, in which two characters debate the rights and wrongs of the new war. It reminds us that for hundreds of years actors, managers and playwrights felt perfectly free to preface Shakespeare productions with prologues like this, tailoring the play to the issues of the day, or even cutting and rewriting bits of the plays to reflect current concerns.

In 1768 Edward Capell produced an edition of the plays in which he states what had, by then, become orthodoxy, that the 38 or so plays amount to ‘a part of the kingdom’s riches’. Not only this, but Britain’s standing ‘in the world’ depended on ‘the esteem within which these are held.’

The fact that Shakespeare’s one play which takes a foreign enemy is directed against the French did not escape numerous writers and commentators as Britain embarked on a global struggle against…the French. There’s a playbill for a production of Henry V staged in Covent Garden in 1761 which has two significant aspects. 1) For this occasion, the play was unsubtly subtitled ‘the Conquest of France’ and 2) each of the 23 productions were followed by a lavish recreation of the coronation of King George III which had just taken place (22 September 1761).

If Shakespeare’s association with kingship had been deeply problematic for Milton in the 1640s, long before a century had passed the name of Shakespeare, the Shakespeare brand, had become indissolubly linked to celebration of the solidly Protestant and anti-French monarchy.

The American War of Independence (1775 to 1783)

Following on from, and partly a result of, the Seven Years War, came the American War of Independence. Unsurprisingly, American patriots seeking to break from Britain drew on Shakespeare’s classical histories. Plays like ‘Julius Caesar’ and ‘Coriolanus’ helped support the idea of republican government and liberation from imperial rule.

The two sides (British and American) both staged plays and the curators display playbills from both sides, which use Shakespeare texts to propagandise for their cause. So there’s a playbill for an American production of Julius Caesar which applauds the ‘noble struggles for Liberty by that renowned patriot Marcus Brutus.’

There are rather more relics from the British side and the curators display pictures focusing on New York. This is because early on in the war, the British Army under the command of Lieutenant-Colonel Henry Clinton occupied New York City and turned it into a garrison town. Members of the Army staged regular productions of Shakespeare at the newly-renamed Theatre Royal, confirming the by-now well-established link between drama and royalty. the performances were staged ‘with permission’ of Clinton, who was also a patron of the performances. Plays were staged to raise funds for wounded soldiers. The British tended to favour Shakespeare’s monarchical plays, whilst American Patriots used plays with a republican ethos (such as Julius Caesar and Coriolanus) in their satirical prints and posters.

Lieutenant-Colonel Henry Clinton, 1st Regiment of Foot Guards, 1758 (National Army Museum)

The French Revolutionary and Napoleonic wars (1789 to 1802, 1805 to 1815)

As explained above, Shakespeare’s plays can be used to provide examples of resistance to oppression and corrupt politics and so justify insurrection against corrupt rulers. The French Revolution amounted to a massive ideological upheaval in the thinking of all Europe. In the three years after the initial overthrow of the monarchy in 1789, politicians and intellectuals all across Europe took the sides of either the revolutionary liberators or the rule of monarchy, hierarchy and order. But in 1792 revolutionary France declared war on Austria and Prussia and the conflict became military in nature. Many former sympathisers retracted their support, especially after the situation in Paris descended into The Terror of 1793 to 1794.

The French Revolutionary War lasted from 1792 to 1802, when it was terminated by the Treaty of Amiens. Fighting broke out a year later in what came to be called the Napoleonic Wars which were to last from 1803 to 1815.

During this long period of ideological and military conflict, Shakespeare plays, characters and lines were mobilised to justify both sides of the ideological and military divide. In Britain, politicians, public figures, actors, and the Army drew on the playwright’s characters and speeches to justify their reasons for going to war, and to criticize rebellions against royalty.

This 25-year period also happened to be a golden age of political satire, featuring two of the greatest British caricaturists and cartoonists, James Gillray (1756 to 1815) and Isaac Cruikshank (1764 to 1811). Amid the many visual jokes and references they and many cartoonists and commentators like them used to pillory the politics of the day, Shakespearian references loomed large.

So the exhibition has some excellent cartoons by both men, which invoke Shakespearian references for the purposes of mockery and exaggeration. This print by Cruikshank uses The Tempest to praise the patriotic Tory Prime Minister William Pitt and ridicule his chief political opponent, Charles James Fox, an opponent of the British monarchy who was an initial supporter of the French Revolution.

Prospero and Caliban in the Enchanted Island by Isaac Cruikshank (1798)

Smoothly dressed Pitt is depicted as the wonder-working magician Prospero, telling his creature:

Hence! – fetch us fewel and be quick
Thou wert best – shrugst thou malice?
If thou dost unwillingly what I command
I’ll rack thee with old cramps –

While Fox, portrayed as big ugly Caliban, and wearing a tricolour scarf (symbol of the revolution) shrugs with savage disgust, saying:

I must obey! his art is of such power
It would control a Setebos,
And make a vassal of him.

There’s a brilliantly vivid print by Gillray titled ‘A phantasmagoria – conjuring up an armed skeleton’ which depicts contemporary politicians as the three witches from Macbeth. The print criticises the Treaty of Amiens which was widely seen as a capitulation to France. In the picture the witches are replaced by three leading supporters of the treaty, Henry Addington, Lord Hawkesbury and William Wilberforce and their magic spells for peace have, it is implied, reduced Britannia to a skeleton. Note the sack of gold at bottom left implying that these ‘traitors’ were bribed to betray their country and the French cockerel at bottom right, mockingly standing astride a skinned British lion.

‘A Phantasmagoria; — Scene – Conjuring-Up an Armed-Skeleton’ by James Gillray (1803)

The exhibition includes probably Gillray’s most famous image, ‘The Plumb-pudding in danger; – or – State Epicures taking un Petit Souper’. The image depicts British Prime Minister William Pitt and French Emperor Napoleon carving up the world between them. I’ve seen it many times but didn’t realise that the epigraph directly under the title, at top right, is an adapted quote from The Tempest, namely ‘”The great globe itself and all that it inherits” is too small to satisfy such insatiable appetites’.

The Plumb-pudding in danger; – or – State Epicures taking un Petit Souper by James Gillray (1805)

In these cartoons you see something interesting happening. Many of the previous objects (from the Seven Years or American Revolutionary Wars) indicated that Shakespeare was best promulgated via productions of entire plays. Here, in these cartoons, you can see the way that Shakespearian tags and clichés now lend themselves to much more pithy and succinct visual media.

Satirical prints had been around all through the 18th century, in fact they go back to Shakespeare’s day and even earlier. But somehow the Gillray and Cruikshank feel new. They demonstrate how Shakespeare, as well as representing the ‘the kingdom’s riches, according to high-minded editors such as Edward Capell, could also be the source of popular jokes and gags.

From now on, alongside all the stirring patriotic stuff, the exhibition features a strand of often very funny works using Shakespeare for comic purposes.

3. Imperial Shakespeare: The Victorian Army

After Napoleon’s defeat at Waterloo in 1815, the British Army’s role began to change. Rather than fighting major campaigns on the Continent, it was regularly used to protect and expand Britain’s imperial possessions, to fight Queen Victoria’s ‘small wars‘. But further to what I just mentioned about comedy, my favourite bits from what amounts to the Victorian section of the exhibition, were comic.

It must be said that some of the exhibits in the show seem to bear a pretty slender relationship with its supposed subject, Shakespeare and War. For example, the eighteenth century section has a set of images around the death of General James Wolfe at the 1759 Battle of Quebec which have no direct relation to Shakespeare, don’t quote or cite Shakespeare, seem to have no relationship except that Wolfe’s death was made the subject of ‘patriotic plays’.

Less utterly irrelevant is this entertaining print. In 1823 British aristocrats still carried out duels and this print mocks the practice by having the duellers and their seconds portrayed as monkeys. Apparently the title derives from a quote from ‘The Merchant of Venice’ but it’s a pretty flimsy pretext for including it in an exhibition about Shakespeare and War.

Awful Moments or Monkeys of Honour, colour print by John Lewis Marks after an unknown artist (1823)

More directly relevant if irreverent are the excellent prints taken from a later book, the Military Misreadings of Shakespere by Major Thomas Seccombe. It contains 31 beautifully delineated cartoons of military cockups, clumsiness and pratfalls, each offset by an ironically serious Shakespeare quotation. In this one a beautifully dressed member of the Life Guards has just been thrown by his horse to the accompaniment of a grand quote from Titus Andronicus: ‘That what you cannot, as you would, achieve, you must perforce accomplish as you may’ which thus acquires a completely comic meaning.

‘That what you cannot, as you would, achieve, you must perforce accomplish as you may’ from Military Misreadings of Shakespere (1880)

The Crimean War (1853 to 1856)

It wasn’t all lolz. The great exception to the century of generally small colonial wars which the British Army fought was the Crimean War, the one major conflict we were involved in in the century between the end of the Napoleonic Wars (1815) and the start of the Great War (1914). This famously highlighted significant problems with the Army’s organization, notably in the famous and futile Charge of the Light Brigade. Newspapers reported on the poor conditions in which soldiers found themselves, leading to demands for improvements and reforms to the Army’s culture and structure.

Only one exhibit relates to this badly managed and bitter war, a watercolour done by the Swedish artist Egron Sellif Lungren which depicts a kind of cinematic reimagining of a production of Henry V (what else?) staged by Charles Kean at the Princess’s Theatre in 1859 i.e. a few years after the war ended. Queen Victoria attended the play and commissioned Lundgren to do a watercolour version of it for her Theatre Album. Of all the scenes in the play Lundgren chose to depict the siege of Honfleur which is not only the setting for Henry’s famous speech ‘Once more unto the breach dear friends’, but will have reminded many people of the long and gruelling British siege of Sebastapol.

Installation view of ‘Shakespeare and War’ at the National Army Museum showing Egron Sellif Lungren’s watercolour plastered across one wall, with Gillray and Cruikshank cartoons on the left

Imperial Shakespeare

Obviously the nineteenth century was the one in which Britain cemented its grasp over the largest land empire the world has ever known, as well as almost total control of the world’s oceans. This is a very big subject indeed and it is not really properly explored. Take just India. Were there no British theatres in India, Shakespeare productions in India? Did the growing Indian middle class every stage Shakespeare productions with Indian casts? Was Shakespeare’s name, plays or quotes never invoked to justify British rule in India? Were there comic or satirical pamphlets or prints using Shakespeare quotes to mock British rule in India? Not in this exhibition, nor anything about the British Army’s involvement in Africa, the Caribbean, the Middle East or Far East.

Instead, as I’ve already pointed out, some of the exhibits have only a tenuous or oblique connection to the exhibition topic. For example, a picture caption tells us that amateur theatricals were often staged by regiments and soldiers as peacetime entertainments, which we might well have guessed. And that’s the fairly flimsy pretext for sharing a photo of members of the East Yorkshire regiment staging a production of Hamlet at their barracks in Cheltenham in 1895.

The Cast of Hamlet, Winter Gardens, Cheltenham, 1895 (National Army Museum)

Meanwhile, there’s nothing about the second war of the period which shook British confidence, the Boer War of 1899 to 1902. Were there no Shakespeare productions mounted here in England to raise funds or stir patriotic fervour? Did the besieged populations of Ladysmith, Mafeking or Kimberley put on productions to keep their spirits up? Didn’t domestic commentators or cartoonists use Shakespeare quotes or characters as material? If so, none of it is displayed here.

4. Patriotic Shakespeare: The First World War (1914 to 1918)

During the First World War great service and sacrifice were required of both the Army and the civilian population. As in the last great campaign in Europe a century before, Shakespeare was used in Britain to rally the troops and the country behind a sense of national duty.

As mentioned above, some exhibits are included on pretty flimsy grounds: for example, there’s no real reason to include some of Lord Kitchener’s recruitment posters (Your country needs You) except for the fact that, after Kitchener drowned when the ship he was sailing in hit a German mine (HMS Hampshire, 5 June 1916) the League of the Empire started publishing and presenting special editions of the ‘Complete Works of Shakespeare’ to wounded and disabled soldiers in his name, an edition which quickly became known as ‘the Kitchener Shakespeare’ – but there’s nothing at all about Shakespeare in the famous posters.

‘Lord Kitchener’s Appeal’, recruiting poster, 1914 (National Army Museum)

More tenuous examples include: a sketchbook by a John Henry Jenkins, a front line soldier, which depicted not only trench life but the watercolours of amateur theatricals which the soldiers put on, although Shakespeare is nowhere mentioned; or a 1915 recruitment poster which includes the image of St George and the dragon and so, the curators suggest, might have reminded some viewers of Henry V’s famous call, ‘God for Harry, England, and Saint George!’ Pretty tenuous.

Much more relevant is a book of Shakespeare quotations arranged under themes or headings relevant to the war and distributed to soldiers, ‘Shakespeare in Time of War: Excerpts from the Plays arranged with Topical Allusions’, edited by the artist Francis Colmer and published in 1916.

Another apparently random object is this photo of Women’s Army Auxiliary Corps personnel packing boxes in a factory in 1918. Spot the Shakespeare connection? No, because there isn’t one…

Women’s Army Auxiliary Corps personnel packing boxes in factory, 1918

…until you look at the photo beneath it, which is a photo of Maggie Smale’s all-women production of Henry V, staged in a munitions factory in Leeds which had been operated by the ‘Barnbow Lasses’ during the Great War. Is this to do with feminism? Or pacifism? Or a celebrating of provincial grit? I wasn’t sure.

Still from Maggie Smale’s all-female production of Henry V as featured in ‘Shakespeare and War’ at the National Army Museum. Photo by Mike Oakes

Amateur productions of Shakespeare were mounted across the country, sometimes to raise morale, to entertain wounded soldiers, for the benefit of the public. Three hundred years after his death Shakespeare was not only a well-known brand but possibly the only literary writer a lot of working class people had heard of. As in his own time, he catered for an audience of elite intellectuals, the educated middle classes, and illiterate workers. You can see why Shakespeare productions abounded because he was 1) possibly the only playwright everyone had heard of and 2) safe –unlike more recent troubling playwrights of the previous generation (Shaw, Ibsen etc).

There’s a clip from an official film showing wounded soldiers watching open air production of A Midsummer Night’s Dream. Scenes like this 1) the British heritage which the soldiers were fighting for 2) to a wider audience demonstrated the care the government was taking of its fighting men. This clip appeared alongside footage of scenes of artillery and war preparation, thus dovetailing Britain’s cultural heritage into the war effort.

in my own life I’ve met plenty of people who don’t give a toss about official culture, art or theatre. You’ve got to wonder how many of the sock and maimed soldiers forced to watch this kind of thing actually enjoyed it or even understood it. Because that’s a thing about Shakespeare – unless you’re pretty familiar with the play beforehand, it’s impossible to get the most out of a theatrical production, in fact it’s often impossible to understand what’s going on and especially difficult to get any of the comedy in his plays.

It’s fascinating to learn about the Shakespeare Hut. In February 1916, to commemorate 300 years since his death, this mock-Tudor retreat was opened on a plot of land in Bloomsbury. The hut was built on a site cleared for a planned Shakespeare Memorial Theatre, which was abandoned because of the war.

The aim was to provide shelter for wounded Australian or New Zealand troops. Over the next two years it would welcome in more than 100,000 soldiers far from their New Zealand homes. Queen Mary visited in 1917, took up her post behind the tea counter, and poured cups for all the men.

The troops were subjected to regular Shakespeare productions, including an all-female Henry V starring Ellen Terry, one of the most famous actors of her day. Hah! So the Maggie Smale production was following in venerable footsteps.

The exhibition features photographs and playlists from the Hut and you can read more and see photos in an interesting Guardian article about it. Interesting to learn that it the site is now occupied by the London School of Hygiene and Tropical Medicine.

One of the most interesting learnings from the exhibition is about the role of theatricals among British prisoners of war held in Germany. The exhibition focuses on the Ruhleben Camp in Germany which housed some 5,000 POWs. Prisoners were allowed to construct a theatre and, for the same tercentenary which prompted the Shakespeare Hut, staged a series of productions, including Twelfth Night and Othello. The exhibition features photos and a programme from a 1915 production of As You Like It.

In a similar spirit, the British Red Cross mounted a Shakespeare Exhibition at the Grafton Galleries in 1917. Quite clearly, if you go looking for Shakespeariana during the First World War, you’ll find it.

Installation view of ‘Shakespeare and War’ at the National Army Museum, showing a poster for the Red Cross Shakespeare Exhibition of 1917 (photo by the author)

5. Democratizing Shakespeare: The Second World War

Same goes for the Second war. Once again Shakespeare was trotted out as the exemplar of the culture and values that were under attack from Nazi Germany, that we were fighting to preserve. The motives and means were very similar to the first war – am dram productions across the country to entertain wounded troops or raise money, leading actors of the day giving patriotic productions in London to stir patriotic fervour, footage of productions shot to be show in cinemas and raise morale.

With the new angle of radio. For the first time productions could be broadcast, to a large radio audience which steadily grew throughout the six war years. As part of the government’s attempt to mobilize society to support the war effort, British theatre was sponsored by the state for the first time in its history.

The Council for the Encouragement of Music and the Arts (CEMA) was created to promote and maintain the fine arts and British cultural life. It later became the Arts Council of Great Britain. The Entertainment National Services Association (ENSA) provided for the forces, organising shows and performances by well-known actors, singers, and comedians.

Photo of an ENSA production staged in a London underground station in 1942 (National Army Museum)

Despite the challenges of wartime, both theatre and Shakespeare thrived. Once again, his words helped to frame the experience of conflict both in Britain and across the world. The exhibition features a recording of a radio programme originally broadcast by the BBC Overseas Services on Shakespeare’s birthday on 23 April 1942. It included extracts from ‘As You Like it’, Henry IV part 1 and, of course, Henry V. It was introduced and performed by leading Shakespearean actors Peggy Ashcroft, Robert Donat, Edith Evans and Ralph Richardson. You can listen to it on headphones and marvel at their phenomenally posh plummy English voices.

There’s a section devoted to the Laurence Olivier production of Henry V described at the start of this review.

And once again there’s a section devoted to British prisoners of war staging Shakespeare productions in camps in Germany. The exhibition includes a list of plays staged at Stalag 383 in Hohenfels, which included ‘The Merchant of Venice’.

6. Just Shakespeare: Adapting After 1945

After the Second World War the patriotic tone of Laurence Olivier’s Henry V lingered throughout the 1950s. But the second half of the 1960s saw radical changes in all aspects of art and culture, with a variety of new approaches to all the arts including theatre. This included the anti-war movements triggered by Vietnam, as well as new attitudes to sex and nudity, which now began to appear in Shakespeare productions.

For 200 years the name and plays of Shakespeare had acted as a kind of recruiting sergeant for the British Army and rallying point for the nation in times of real threat (particularly during the Napoleonic, First and Second World Wars). From the late 60s onwards, Shakespeare’s relationship with the state, the Establishment and the Army came under increasing critical scrutiny. Not in every production, but in an increasing number.

Hence Kenneth Branagh’s 1984 RSC production. Unlike earlier productions it shows the execution of French prisoners onstage and then left the bodies and corpses from the Battle of Agincourt at the back of the stage, behind a gauze curtain, for the later, supposedly reconciling scenes between the English king and his French bride-to-be.

The last section of the exhibition, in the central booth of the (fairly small) exhibition space, takes the Branagh production as setting the tone for productions which followed the Falklands War (1982), the Gulf War (1990 to 1991), and the Iraq War (2003 to 2011).

It includes video clips of stage productions including:

  • a 2013 production of ‘Othello’ which depicts the characters in the modern-day Army uniform used during the Iraq War
  • a 2015 production of ‘Othello’ which features graphic scenes of waterboarding Iraqi suspects
  • ‘Days of Significance’, a play by Roy Williams based on ‘Much Ado About Nothing’ which looks at the impact of British troops who fought in the Iraq War

The strong anti-war flavour of these productions and the pretty intense criticism of the British Army and its techniques, could hardly be more unlike the innocent patriotism of the Shakespeare Hut or the brightly colours optimism of Olivier’s Henry V. If we go to war with Russia I wonder if Shakespeare will be trotted out to inspire patriotic spirit as it was 100 and 70 years ago. I doubt it. Shakespeare hasn’t changed, that’s to say the texts remain pretty much what they were 400 years ago. But our understanding of war, gained in the brutal conflicts in Iraq and Afghanistan, has made any thoughts about the glamour or heroism of war impossible to modern Brits.

Availability bias

This is a fascinating premise for an exhibition and I thoroughly enjoyed working my way through the wealth of objects and their captions. It proves that Shakespeare is like the Bible, so compendious and diverse that you can find words to justify more or less any opinion on any subject (as demonstrated by the opposing sides in the American War of Independence using Shakespeare to bolster their arguments).

However, it throws up an obvious issue which is to do with the availability of objects to display. The exhibition was curated by – and is based on the scholarly books by – two Shakespeare scholars, Amy Lidster and Sonia Massai, namely Wartime Shakespeare: Performing Narratives of Conflict. Just from the synopsis on Amazon you can see how a book-length work like this is free to range over all and any productions it likes because words are easy. On the other hand, an exhibition in a museum is severely limited by the objects it can get its hands on.

In fact, like every exhibition at every gallery or museum, this one is an exercise in the art of the possible. Objects which denote important productions or topics may not be available (or may not even exist) while other topics throw up a glut of barely relevant artefacts.

In addition, it’s difficult and expensive to get objects on loan from other collections whereas it’s cheap and easy to get them from your own storeroom, so all exhibitions in all galleries are biased towards the host institution and its collection.

Plus there’s the common problem with any historical overview which is that objects from three or four hundred years ago are rare whereas, as you get closer to the present day, the number of objects rapidly increases, until you are drowning in a surfeit of stuff.

These imbalances in the real world threaten to unbalance or distort the picture painted by any exhibition, an imbalance which is easily managed in books and articles where issues and ideas can be easily conveyed by text alone.

So, at various points, I couldn’t help feeling that the curators had included some objects more because they were just related to one of the conflicts during the period in question than for their Shakespearian relevance. As mentioned above I couldn’t see any Shakespeare connection to the three or four pictures of General Wolfe and the capture of Quebec except that the event was turned into patriotic plays and prints. To put it another way, some of the links between specific conflicts and Shakespeare were pretty tenuous. I still don’t understand why there was an English mortuary sword in the Civil War section except that maybe the curators felt they just needed a physical object, any object, to go alongside the half dozen books and pamphlets.

All the objects (photos, pamphlets, diaries and whatnot) are interesting, it’s just that I was left scratching my head why some of them were included.

Shakespeare and conflict

There’s another, more scholarly, issue. This, as I touched on earlier, is that taken together, Shakespeare’s dozen or so history plays, plus the relevant Roman plays and the tragedies, build up into a subtle, sophisticated, multifaceted meditation on the themes of power, authority, legitimacy, insurrection, rebellion, revolt and overthrow.

Arguably, to really address the topic which this exhibition sets out to explore, you would need a really sound grasp of how all these issues are dramatised and explored in the 20 or so relevant plays, before you even started your review of how they’ve been applied to Britain’s wars and Britain’s Army.

But this, of course, is a massive task – after a lifetime reading Shakespeare I still haven’t read all the history plays and have nothing like a complete grasp of the issues of legitimacy and political power which they raise.

And an exhibition like this has to be practical, finite and manageable. This one achieves what it sets out to do, in a relatively small space, as well as it probably could do. But, in my opinion, the ghost of the larger political, social and cultural issues raised by the plays hover over it, unmentioned and undiscussed.

To take just one aspect of what I’m driving at, many of the characters in the history plays (the ones I’m familiar with) describe and discuss the horror of war, the fear experienced by soldiers, the terror of innocent civilians, the horrific injuries, killing and massacres involved, the fields strewn with bodies, the devastated landscapes and ruined economies. Descriptions of these kinds of things are commonplace in the plays and yet, somehow, hardly occur anywhere in this exhibition.

At some point I realised that this is not an exhibition about Shakespeare and War as about Shakespeare and the British Army. This explains why it’s divided into chronological periods based entirely around conflicts the British Army engaged in right up to the present day, rather than the themes of war encountered in the plays which I have just listed. And this is why, although it’s a very enjoyable trot through British military history, with an emphasis on how Shakespeare’s name, characters and words have been exploited in times of war – it feels, ultimately, despite being packed with shiny objects, intellectually thin.

You can see how an exhibition about Shakespeare and war would actually be something quite different: instead of taking a chronological approach it would take the topics I’ve mentioned several times now – the collapse of authority, civil war, rebellion, interstate war – and then the aspects of war – recruitment, training, fighting, sieges, inspirational rhetoric, the exhilaration of fighting, the horror of wounding, the devastation of the countryside, the mourning of widows – and explore how all of these are described and critiqued in Shakespeare’s multifaceted dramas. It would be something completely different from this exhibition. But then again, maybe what I’ve got in mind would be so wordy and text-heavy that it couldn’t be staged as an exhibition at all.

What this exhibition does, it does very well. It is small but beautifully staged and is FREE.


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The Virgin Soldiers by Leslie Thomas (1966)

Brigg is a naive, virgin, 19-year-old private coming towards the end of his two-year National Service in Malaya during the communist insurgency (1948 to 1960). He’s a clerk in the Royal Army Pay Corps based at Panglin, a little way north of Singapore Island. In the evening he and his mates take the bus down to the island, to hang around in bars, many of them full of Chinese or Malay prostitutes. He knows he’s had a cushy number compared to the poor bastards who have been posted ‘up country’ i.e. further north and into the jungle. Those guys have seen real fighting, have been injured and seen their mates killed. By contrast the only violence Brigg and his buddies see is fights among the bored squaddies themselves or the occasional farcical incident such as when a drunk corporal having a crap in a latrine saw some fireflies dancing in the middle distance and so emptied his Sten gun magazine at them, sparking a barrack-wide panic until the other soldiers came running and saw what a plonker he’d been.

So it’s essentially a farce of army life, or features many farcical incidents – which means that, when the brutal reminders of war do come, they seem all the more brutal, inexplicable and horrible.

Cast of characters

As with many army novels, there’s a fairly big cast of characters because that’s the basic fact about the army, it’s very big, very populous – all the privacy and domestic quiet you enjoyed at home is torn from you and you’re thrown into the permanent company of all kinds of men you really don’t like, all day long, and then spend all night in big dormitories surrounded by men fidgeting, farting, crying and wanking.

And just often enough to give the whole experience a horrific edge, there’s the risk of actual fighting, of ambushes or sudden attacks by a homicidal enemy.

One way to cope with all this is to bring out the ludicrous and farcical aspects of army life. And one way to do that is to convert all the horrible men you’re forced to spend all your time with into gargoyles and caricatures. At moments The Virgin Soldiers reminded me a bit of Catch-22 in the way that both are populated with characters each of whom is allotted an obsession, an idée fixe or dominant characteristic which recurs robotically for comic effect.

Private Brigg, main character.

Private Sandy Jacobs, a hairy Scottish Jew.

Corporal Brook, ‘a thin man who was mad’, oddly ineffective, liable to freeze at vital moments, a figure of fun right up till the moment when he freezes in the face of a crowd of rioters in Singapore, so that one of them skewers him with a fence railing, in one of those moments of sudden violence which pierce the farcical mode.

Private Fenwick, who is trying to give himself an ear infection so as to be invalided home but only manages to give himself rheumatism and then falls in love with a nurse at the hospital where he’s treated so that, when he’s offered the opportunity of going home, he now desperately tries to have it rescinded so he can stay with his love.

Private Tasker, in on most conversations and trips to the bars and brothels, reliably randy, always first to pick up a girl and then take her off into the jungle to get his end away.

Private Sinclair, one of the most broadly comic characters, an obsessive trainspotter (p.60), continually thinking about train timetables, keen member of the Railway Society, despises the other men and their obsession with sex. In the book’s sudden violent finale, he turns out to be something of a hero before being killed by insurgent fire.

Patsy Foster and Sidney Villiers, gay couple, walk around hand in hand, always found in each other’s bunks; officers yell at them but they never get into any real trouble i.e. everyone seems to accept them.

Gravy Browning, international table tennis champion.

Sergeant Wellbeloved, officious bully and loudmouth, constantly bragging about his experiences in World War Two when he was captured by the Japs and interned in one of the notorious prison camps, singing his own praises as the only prisoner who stood up to them etc. Late in the book we are informed that this is all bullshit, that he was a coward and sold out his comrades to the Jap authorities. ‘He had a rancid face and a yellow bald head,’ (p.24). Brigg heartily loathes him.

Sergeant Driscoll, haunted by the memory of accidentally shooting some of his own men in Caen, during the Normandy Landings, when his Sten gun jammed. Moments later the house they were in was bombed so they’d have died anyway, but it doesn’t stop his ongoing PTSD. He is also haunted by the way his beloved wife divorced him when he refused to quit the army. Both scenes are described very powerfully.

Sergeant Fred Organ, 22 stone of blubber, ran the canteen tent, hung up a sign saying Fred’s Bar, 30 years service, barman, fatman, singer (p.67). Meets a grisly end when he treads on a landmine left over from the war on an apparently innocent carefree beach.

Phillipa Raskin, the daughter of Regimental Sergeant Major Raskin. Her father mercilessly bullies her, wants her to be a real woman, eventually provoking her into drunkenly losing her virginity on the night of a regimental party, she getting completely plastered at the family home and shouting at more or less the first soldier she sees passing the family home to come and fuck her. This soldier turns out to be Sergeant Driscoll and they proceed to have a very satisfying affair.

Colonel Wilfred Bromley Pickering, officer in charge of the regiment and the barracks. Lost his eye in Normandy, which terminated a promising career. To his eternal ignominy it wasn’t due to some heroic engagement with the enemy but when, under fire, he looked into a particularly beautiful flower thus disturbing a bee which was nestling in it, which came out and stung him on the eyeball. This disability explains why he has ended up in charge of this clerical unit down in peaceful Singapore, well away from the fighting against the communist insurgents further north.

Juicy Lucy. Crude nickname given to the slim, beautiful Chinese prostitute that Brigg goes with one night, more or less as a bet, who guides him through the mysteries of sex and who he thus loses his virginity to, thereupon falling heavily in love with.

She started from the beginning and went all the way. He felt like a balloon being slowly blown up. When she showed hi the big secret, she whispered: ‘How the virgin like?’ ‘Oh it’s lovely, Lucy,’ he shivered. ‘It’s lovely, it really is.’ (p.47)

Main events

The narrative consists of a series of incidents, some comic, some farcical, some grimly violent:

Wellbeloved supervises a squad digging a ditch who unearth a mass grave of Australians murdered by the Japanese during the war.

Wellbeloved and Driscoll nearly have a fight in the beer tent.

Fred Organ gets blown up on the beach when he has the bad luck to tread on one of the many landmines sprinkled on it back in 1942.

Brigg loses his virginity to prostitute ‘Juicy Lucy’ and then agonises that she will have given him an STD.

A soldier tells the boys that if you have a circumcision you get ten days leave. After some discussion in the bar, Brigg and his mates all agree to undergo the operation. But the soldier was misinformed and none of them get any leave. There’s some crude comedy when the nurse attending the row of just circumcised squaddies play with their exposed toes at the bottom of their beds, acting coy, just enough to arouse them and give them erections which, of course, hurt excruciatingly.

The boys build a catapult to hit the countless barking dogs which keep them awake at night but which instead, with its very first shot, hits Wellbeloved on the knee with half a brick, temporarily crippling him.

Phillipa chooses Sergeant Driscoll

The regimental dance. Sergeant Major Raskin’s beastly behaviour to his daughter Phillipa who he bullies and accuses of being a lesbian. To appease him she dances with the first soldier she sees, Brigg, then escapes the dance, goes home, makes herself very drunk, then leans out of the posh house she lives in with her bullying dad and gaga mother and shouts at a soldier crossing the wooden bridge below. This soldier turns out not to be Brigg, as she drunkenly thought, but Sergeant Driscoll, who takes advantage of her drunkenness to relieve her of her virginity, and they commence a friendly affair. Despite this Brigg insists on looking her up and taking her out and she allows him to, but never with the slightest possibility of sleeping with him. She is being very satisfactorily serviced by her sergeant.

The Singapore riots

Riots break out in Singapore. Sent to quell them, a patrol of our boys comes directly face to face with rioters. Wellbeloved orders ineffectual Corporal Brook to disarm the leading rioter but Brook freezes and is skewered and killed by a man with a spiked railing (who is immediately eviscerated by our guys’ gunfire).

Whoops there go my trousers

During this rioting period, Briggs finds himself in Lucy’s part of town and runs up the stairs to her flat. There she lures him in, scantily clad in a silk dressing gown, and persuades him to have sex. Then he wants to leave but she playfully throws his trousers out the window into the alleyway below. In a panic Briggs yells at his patrol partner Lantry to go and retrieve them. But when Lantry gets to the alleyway the trousers are gone. Terrified he’s going to get court martialled, Briggs makes Lucy give him some trousers, the only ones she owns being green silk woman’s trousers which, of course, look ludicrous, but Briggs wearing them rushes off with Lantry. Almost immediately they come upon a calm dignified Sikh holding the trousers who says that, finders keepers, they are now his. Furious Briggs attaches his bayonet to his rifle and points it at the Sikh who calmly hands them over. Farce.

The Driscoll and Wellbeloved fight

Sergeants Driscoll and Wellbeloved hate each other. In the empty sports arena where the regiment are staying while in Singapore, they have an epic fight. Driscoll has discovered that all Wellbeloved’s stories about fighting the Japs during the Second World War are lies, that he was not only not a hero, but sold out some of his comrades in the Japan camp to curry favour with their captors.

Brigg saves Phillipa

The platoon are driven back up to regimental headquarters at Panglin where there is an extended farcical incident. When a squad are detailed to go and protect officers’ houses from possible attack by the rioters Briggs smuggles himself along, effectively disobeying orders. He then peels off to the house of Phillipa and her dotty mother and, in an infection of panic, warns them that rioters are coming, hustles them out of the house and through the garden, as he sees a crowd of Chinese running towards them. He gets off a few shots before hustling them up a path behind the houses then he has a brainwave: there’s a huge overland pipeline running behind the houses so he forces the dazed stumbling mother and protesting Phillipa up onto it then they set off in terror through the night full of shots and cries. Their panic increases when they realise the Chinese mob have followed them and are also running along the pipeline. Brigg turns, kneels, gets off a few potshots then turns to hassle the women along, but the old mum is exhausted, and eventually slips and falls off the pipeline into the muddy swamp below.

Brigg drags Phillipa down there with her and all three hide in the scrubby jungle as they hear the mob come up abreast of them, on the pipeline overhead, pause, confer, then, mercifully, hurry on. They say in the muddy swamp till dawn, then wearily ascend the pipeline and stagger the last few hundred yards to a road where a jeep finds them and drives them back to the barracks.

Here Brigg is brought in front of Colonel Pickering who wearily points out that he disobeyed orders at least twice; there were no rioters near the houses so he, in effect, abducted Phillipa and her mother, nearly killing the old woman in the process; and that the Chinese he shot at were loyal Chinese from the camp laundry who were also fleeing in a panic. Lastly, one of his bullets shot off the fingers of the laundry’s chief mangler, a venerable old boy in his 70s who all the others look up to and the Chinese union are now demanding compensation or they’ll go on strike. Altogether a completely farcical misunderstanding. And the vulgar icing on the cake is that the venerable old mangler’s name is Fuk Yew.

The Colonel very decently says he won’t press charges against Briggs for desertion in the face of the enemy. nor will he name him as the shooter-off of Fuk’s fingers, but he will require him to hand over his next 6 weeks’ pay as compensation to the old Chinese. Thoroughly chastened, Brigg leaves the colonel’s office thinking of the possible newspaper headline: ‘How I shot FUK YEW the Chinese mangler’.

Lucy is dead

Brigg goes to see Lucy for the last time of dancing and sex but the bar manager tells him she’s dead. She was kicked to death by squaddies who thought she’d given them STIs. In a sweat of panic fear Briggs takes a taxi to her apartment and sure enough finds it has been emptied, only an old Chinese lady on the bed looking at some of the bric-a-brac before she gets up and walks out, leaving Briggs to collapse on the bed where he lost his virginity and cry his eyes out.

Frog races

As a result of handing over his weekly pay, Brigg is now penniless until he comes up with a plan of volunteering to do guard duty at the nearby ammunition depot for cash in hand. He discovers that the ammo boys hold epic frog races using the big wild frogs which throng the jungle. After a comical build-up Briggs’s frog wins the big race and the next day he puts in for some leave.

R&R up north

He catches a train north and a ferry across to the leave centre on Panang Island. His mellow mood is ruined by being billeted with a soldier, Waller, who’s been sent here because a squad of all his mates was recently massacred by CTs (communist terrorists). Waller flatly, calmly, asks Briggs how he can wangle himself a nice cushy number like Brigg has and Brigg is ashamed.

The rickshaw race

The boys attend a bordello named the Piccadilly Lights. To their surprise Sinclair the trainspotter ends up dancing with one of the prettiest hookers, nicknamed Little Nell. The other boys – Brigg, Lantry and Tasker – have a discussion about whether Little Nell should be left to Sinclair or one of them should take her for the night which escalates into the decision to have a rickshaw race for it. They go outside to the rack of rickshaws, each get into one then brief their drivers that it’s a race, which proceeds with predictably farcical results.

Phillipa relents

On the last day of his leave Brigg is mucking about in a canoe when is surprised to see Phillipa standing on the shore. She’s up her beginning the long training to become a nurse and his room-mate Waller mentioned he (Brigg) was here so she came looking. They spend a lovely day together till they get back to her room where Brigg makes a move, she says no, and he explodes with frustration, slapping her face and turning to go, crying tears of anger and frustration. But she calls to him, he turns and finds she has stepped out her dress, quite naked. They make love and it is wonderful. Fall asleep, shower, go out for an evening meal, come home, make love again. Early the next morning she’s left for her early shift and he has to hurtle back to the leave centre just in time to pack his stuff and jump onto the lorry to the ferry and the start of the journey back to Panglin. Just one niggle. In the middle of the night, he had reached out to hold her and she had sleepily said, ‘sergeant’. Sergeant? Which sergeant?

CT attack on the train

The book climaxes with a serious attack by armed insurgents on the troop train. An intense ten pages describe how the train is blown up and derailed, then wave after wave of rebels storm it. The soldiers fight back, not just our boys but a platoon of plucky Gurkhas. Waller, the infantryman traumatised by the deaths of his pals takes charge and is rock steady. Brigg finds a place under a carriage and fires at each new wave of attackers. Sinclair is taken down to the Gurkha end of the train and out in charge of an arc lamp to highlight the attackers, until it is shot out and he is shot twice in the chest, falling from the top of the carriage. Waller is shot dead and Brigg panics, he runs off shouting hysterically that he is going to fetch help. He stumbles through the jungle, falls into a ditch, becomes completely disorientated and blunders back out onto the track some distance away.

Brigg walks along the track till he sees the lights appear of an approaching train which he flags down. This one is packed with soldiers and he briefs the officer in charge about the ambush, so that the train starts up again and arrives as a relieving force. Brigg is thrilled to find his old muckers Lantry and Tasker still alive if seriously shell shocked, dirty and shaking. For the whole of the rest of his life Brigg spends long nights piecing together the chain of events, trying to make sense of it, trying to make sense of his behaviour, but never quite managing.

The end

Two short final codas.

1) Driscoll has been stationed in Butterworth, in the north of the country, and Phillipa moves to Penang to be with him. She hears about the raid on the train but isn’t worried. She knows her sergeant is indestructible.

2) Then in the last few pages, the National Service boys pack up their kit for the last time, climb aboard the truck which will take them to the port and their ship back to Britain. The last image is of Brigg spotting the old Chinese mangler at his work outside the laundry and he shouts a cheerful ‘Fuk Yew’ at the Chinaman who makes a cheerful V-sign in return.

Prose style

Given the book’s reputation for bawdiness it’s a surprise to see how hard Thomas worked at giving it style. Every page contains sentences which make an effort to impress.

It was not really dark because there was a moon looking daggers through the doors. (p.69)

Having a cold shower:

He let the stream of cold water hit him sharply like a dropping sword, jumping at its first strike, but then tackling it and mixing into it. (p.95)

After Sinclair has had his first sex, with a prostitute, he walks down to the beach:

He walked from her flat, down some concrete steps to the beach and then along the sand towards the place where big waves were coming white over the rocks like sporting ghosts. (p.175)

And:

On this beach the waves came up noisily, banging their fists on the shore and trying to grip the shingle with their fingers as the parent sea pulled them away again. (p.177)

The hot tropical sun, its movements and shadow, inspire repeatedly florid descriptions from Thomas:

They got a bus from the foot of the hill into Georgetown, arriving when the shadows were probing everywhere, and the sun was drifting away on its evening journey. (p.181)

As I read these many instances of imaginative and teasing descriptions, I couldn’t decide whether this is good style or terrible style, vivid and imaginative or arch and contrived. Either way I found them interesting and different and, when I learned to relax and enjoy them, all these little metaphors and turns of phrase add hugely to the book’s entertainment value.

Thoughts

When I was a boy this kind of book had the thrill of being ‘naughty’, about boobs and sex and stuff, an impression encouraged by saucy cover of the hardback edition showing images of war projected onto a busty Asian body.

But although there is a fair amount of sex in it – numerous soldiers fantasising about sex, talking about sex, and then actually having sex in a sweaty fumbling sort of way – there’s much more to the novel than that. It is an impressive depiction of life as a British soldier doing National Service in a hot, sweaty country on the other side of the world. It has the depth of lived experience and, although some of the passages are extended comic set-pieces, others are as disturbing and upsetting as life is.

Most of all, and despite Thomas’s often strange, sometimes contrived way with words, it is amazingly easy to read. During his lifetime it sold not just a million but millions of copies. Touched a nerve or a cluster of nerves. Impressive.


Credit

The Virgin Soldiers by Leslie Thomas was first published by Constable and Co in 1966. References are to the 1974 Pan paperback edition. All quotations are used for the purpose of criticism and review.

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