“Constructs of Courage: War Literature as Historical Source Material” is a recent paper that I presented at the 2012 DePaul University Student History Conference. It examines how non-traditional sources can be incorporated into historical analysis with an acceptable level of rigor. I do this by organizing the material to illustrate its relationship to one of three constructs of courage – political, social, and individual – and demonstrate the types of questions that can be appropriately submitted to the sources. I hope that you enjoy it.
Constructs of Courage: War Literature as Historical Source Material
Courage is a characteristic of warfare discussed by all stakeholders in time of war. Different constructs of courage often compete for control of the historical narrative. Because the Great War spawned an unusually deep canon of literature, even a half-hearted survey of voices provides the historian with a wide range of perspectives, definitions, and motivations behind these characterizations. The different genres of literature provide opportunities to examine the political, social and individual constructs of courage from the viewpoint of members of the military, non-combatant participants, and others who experienced the war indirectly. The portrayals of courage in the sources examined demonstrate how different genres, supporting multiple voices, compete with each other, and provide historical opportunities not available from more traditional source material.
In the approach to conflict, the state creates a narrative that prepares its subjects for the sacrifice required. To be successful, the political construct of courage must stoke nationalist passion and equate action with morality. To maintain this courage, the state is motivated to censor anything that might conflict with it. Journalism accounts of the front, letters from enlisted men, and subversive literature were all controlled to prevent direct contradictions to the messaging that the state produced for the public. Because of this, the sources examined don’t define the political construct of courage as much as they reflect it through their challenges to it. Bertrand Russell and Edmund Dene Morel warned British subjects that their sacrifices were not for a greater moral good, but for ordinary purposes.
One way the state can support its cause is through imagery and memorabilia, whether it actively produces the items or simply encourages their distribution. National flags and memorial souvenirs – like those created and collected by the townspeople in Under Fire – provided static reminders with which the population could regularly engage.[1] But the best example, spanning nearly a century in France, were the images d’Epinal, a series of mass-produced posters which provided a concise, graphic and popular vector for disseminating a nationalist message and avoiding the examination of difficult themes and moral judgments. By the start of the Great War, the printers of Epinal were producing an estimated 3.6 million pieces, much of it infused with a combination of nationalist and religious imagery.[2] The popularity of these sources indicates how the state could advance an effective portrayal of courage, honor and national pride.
Two men who not only illustrated the political construct but also courageously challenged it were E.D. Morel and Bertrand Russell. Morel was French-born to an English mother, and after his father died he accompanied his mother back to England, where he eventually became a naturalized citizen. Prior to the war, he had earned a good reputation from his investigative reporting on Belgian abuses in the Congo, and even run for a Labour seat in the House of Commons. Morel used his 1916 analysis Truth and the War to attack the underpinnings of the nation’s political construct of courage, and directly challenge the legitimacy of those in power. In his epilogue he writes,
At this spectacle apprehension and rage possess you. For you have staked all on ‘Victory,’ and if ‘Victory’ is for none of you, therein your common doom is writ; the doom of your systems, your caste-privileges, your monopoly of the sources of production, your unfettered command of the labour of millions of men…[3]
But this is nothing compared to his damnation of the Foreign Office. In the chapter “Betrayal of the Nation, 1906-1911” Morel asserts the conflagration could have been avoided with “…high and honest statesmanship, not bad and furtive diplomacy.”[4] His attacks call into question the fundamentals of a political construct of courage: unavoidability, moral certitude, and shared sacrifice.
Bertrand Russell, the 3rd Earl Russell and a prominent British intellectual, was a prolific writer and critic of the war. The 14th volume of his collected papers is titled Pacifism and Revolution, 1916-18, and not only led to, but was partially written during, his imprisonment for “…having made a statement ‘intended and likely’ to prejudice the relations of this country with the United States.”[5] Like Morel, Russell illustrates the illegitimate process the state uses to create a political construct of courage. His 1917 essay “The Price of Vengeance” attempts to moderate the absolute difference between the factions that a national narrative asserts, instead claiming that war is the great moral threat, not another nation. The danger of following the national narrative is to “…become willing to endure vastly greater evils than those that we set out to avenge.”[6] Russell’s argument discredits the notion that a nation can effectively manage the ever-increasing intransigence in the national attitude once they have begun manipulating the political construct of courage (and other emotional narratives.) Only sustained dissidence by credible authorities in society can possibly provide an alternative narrative.
The acts of Morel and Russell not only highlight the political construct of courage, but also exhibit courageousness. Both had excellent reputations before the war, Morel had a wife and family, and both men were above conscription age (at least at the time of their dissent). If they had remained silent, they could have lived out the war in comfort. Their dissent jeopardized almost everything they had. And while they did not offer their lives like the soldiers on the front, many on all sides of the debate have argued that – of the choice between death and living with ruination – death is the lesser price to pay.[7] Russell and Morel exemplified a different, yet equally valid, form of courageousness.
Those outside of the war effort adopt the social construct of courage. This narrative functions as an inter-generational communication, providing understanding between older and younger generations. It parallels the political narrative, but serves different purposes. For the younger generation, it rallies support for the war, and encourages youth to do their duty, as illustrated by the compulsion of Vera Brittain’s circle of friends to enlist.[8] For the older generation, it provides succor to the families of the dead by describing their sacrifices as heroic and patriotic. Although the civilian public is in less direct danger during war, there must still be mental preparation for the inherent difficulties: casualties, loss of loved ones, and concerns over the conflict’s purpose. The social construct of courage facilitates this preparation.
In order for society to accept the need and cost of war, past horrors must be forgotten. Rituals are not only means of commemoration but also forgetting, and “war memorials, with their material representation of names and losses, are there to help in the necessary art of forgetting.”[9] As the origins of specific memorials and rituals are further removed, members of society are free to project their own context and meaning on them, often reflecting the political narrative and thus reinforcing the social construct of courage. The presence of memorials and rituals provides a link to the past that not only honors the actions of the dead but also the cause for which they gave their lives. This enables the alignment of the political and social constructs of courage.
Honoring the dead is also important for facing the loss of contemporary youth. Winter also discusses the use of museums and archives as tools for memorialization, but notes their naturally occurring and rampant bias toward the value of conflict and sacrifice.[10] This desire to provide dignity for the dead in the distant and recent past drives society to continue the war effort and downplay its horrors (so the fallen did not sacrifice in vain). For the historian, the bias of these sources and their frequent alignment with the political construct of courage presents a challenge to assigning relevance in the broader historical narrative. The strong inclination to honor the dead above all else must temper and shape the questions that can be submitted to these sources.
Once a social construct of courage has been created, it is maintained by elevating the value of sacrifice. This elevated sense of honor emanates from the moral certitude of the political construct and compels many to serve. Vera Brittain illustrates this effect when she writes of her conversation with Roland about getting a war wound: “[a]nyhow I should hate to go all through this War without being wounded at all; I should want something to prove that I had been in action.”[11] For Roland, an outward display of sacrifice is worth the physical damage that it brings. That the actual value of the sacrifice is unduly distorted is suggested a few pages later, when Brittain questions the veracity of a church sermon.[12] Social authorities like church leaders are critical in disseminating and maintaining a social construct of courage that supports its political counterpart and, like the cases of Morel and Russell, it is difficult to challenge them directly. Although individuals and historians may find success in challenging the social construct of courage, its maintenance is so crucial to the state that it will persevere while the state remains viable.
Achieving an accepted construct of social courage requires entering into social covenants. Two such covenants are cited in the reviewed literature: providing a path to Manhood and inheriting the rewards of society. These covenants are ancient and often unspoken, until they are uncovered and explored in literature.
W.N. Hodgson’s poem “Before Action” discusses a soldier’s preparation for battle and death, which is the definition of courage. Hodgson’s placement of the three stanzas is interesting and significant: as a youth, the narrator asks to be made a soldier before asking to be made a man. At the end of the first stanza he asks:
By all the days that I have lived
Make me a soldier, Lord.
And at the end of the second stanza he asks:
By all his mad catastrophes
Make me a man, O Lord.[13]
The assertion is that being a soldier is a path to Manhood. And ecclesiastical references, as well as the second stanza’s “By all of man’s hopes and fears, And all the wonders poets sing” suggest social and cultural support for the individual’s journey.
It is a truth of our civilization that the older generation makes the decision to send the younger generation to war. The second covenant – inheriting the rewards of society – is addressed in Pat Barker’s Regeneration. During a Sunday sermon, Dr. Rivers contemplates the meaning of a stained glass window:
The bargain, Rivers thought, looking at Abraham and Isaac. The one on which all patriarchal societies are founded. If you, who are young and strong, will obey me, who am old and weak, even to the extent of being prepared to sacrifice your life, then in the course of time you will peacefully inherit, and be able to exact the same obedience from your sons.[14]
Barker both defines and challenges this covenant when she implicitly asks, “What is the obligation of the older generation?” The ability to answer such a question raises concerns for society’s perpetuation of the social construct of courage from conflict to conflict.
The ranges of literary genres that examine social courage provide multiple voices for the historian. Sources like Brittain and Hodgson work together to reinforce the individual’s view of social courage and how it transfers into action. Winter’s analysis of memory and mourning illustrates truths that reach between conflicts and provide social continuity. Because the political narrative is difficult to maintain, the inter-generational communication of the social construct is important to the process. With some truths of conflict extending beyond its historical frame, it is important to utilize source material that can encompass that wider frame. Finally, it is worth noting that the social construct of courage can also be abetted by sources capable of challenging it, as when Volpatte fails to correct the townspeople’s mistaken impression about conditions in the trenches.[15] In this situation, challenging the social construct at home so that future conflicts and loss of life could be properly valued was often not part of the individual construct.
War literature addresses the individual in ways that other sources cannot. Certainly, it provides insight into the individual, as opposed to the group. It also provides a challenge to the political and social constructs of courage that are disseminated through bureaucratic institutions (and documented as a matter of course). Finally, by its nature it demonstrates the linkages between the present and universal truths by inheriting forms and cultural knowledge. War literature engages a segment of the population neglected by source material generated by institutions, providing additional opportunities to historians. They allow – and demand – a different type of historical inquiry to be formulated. The examination of war literature allows the investigation of actions, attitudes and behaviors not reflected in many traditional sources.
The soldiers’ song “I Want to Go Home” tells of men’s fears of the trenches and death:
Take me over the sea,
Where the snipers they can’t get at me.
Oh my, I don’t want to die, I want to go home.[16]
As a song, it allows the men to engage it with a detachment that protects them from charges of cowardice. In this construct, the individual courage comes from honestly confronting their fear of death. This is a direct challenge to the political construct of courage cited in Ellis, where he noted that the military élite “yearned for the glorious charge, particularly by the cavalry, in which the courage and impetus of man and beast was sufficient to bring victory.”[17]
In addition to considering courage frail, it was also viewed as situational. Ivor Gurney’s “On Somme” describes courage as a mask for cowardice, which certainly conflicts with political and social notions of courage and fortitude.
But still a hope I kept that were we there going over,
I, in the line, I should not fail, but take recover
From others’ courage, and not as coward be known.
And then, to close:
Courage kept, but ready to vanish at first touch.[18]
Here we find that courage is often gained from your comrades, if for no other reason than to not be seen as a coward. Thus, courage is situational, and as he notes in the last stanza, ephemeral. “On Somme” supports the complex idea of courage echoed in the soldiers’ song and the fears of Geoffrey in Testament of Youth, when he admits to acting with courage because he is afraid of being a coward.[19]
Individual courage is more complex than social or political constructs can accommodate. Instead of the mythical assertions of the latter, the individual construct provides an opportunity to examine courage in depth. By viewing themselves as a unit of a large group, a soldier’s loyalty could shift to their comrades, as well as devaluing their individual loss.[20] This loyalty led to a soldiers’ code of conduct, mentioned in Ellis and echoed in Jünger, when he recalls:
The sergeant practically had both legs sheared off by hand-grenade splinters; even so, with stoical calm, he kept his pipe clenched between his teeth to the end. This incident, like all our other encounters with the Britishers, left us pleasantly impressed with their bravery and manliness.[21]
Barbusse presents a different portrait of the soldier, which confronts the naked truth of the front lines. He described the men of his squad as ordinary and, “[l]ike ordinary men as a whole, they are ignorant, not too keen, narrow-minded, and full of good old common sense, which sometimes goes astray…”[22] These are not Titans, fighting for the glory of God and motherland, but just men who have been placed in horrific circumstances and are adapting in order to survive. The inclusion of war literature, with its complex examination of courage, to the body of source material that advances the political and social constructs, offers a richer – if conflicted – historical narrative.
Of all the first-person accounts considered, Jünger’s Storm of Steel reads most like a mythical account. Possible reasons for this might include the heightened sense of nationalism in Germany (“We were enraptured by war”[23]) and the numerous revisions made over the years that were undoubtedly influenced by subsequent events. Regardless, Jünger clearly had a sense of honor and courage more closely aligned with the political and social constructs of the day. This is evident when he informs us of reciting Ariosto upon entering battle: “A great heart feels no dread of approaching death, whenever it may come, so long as it be honourable.”[24] Combined with his placement of the primacy of courage over ability in the making of a soldier (“The fellow in question was barely fit for active service any longer, because an earlier wound had left him morbidly fearful”[25]) you get a strong alignment with the view of courage and moral certitude previously cited in Ellis. Storm of Steel demonstrates the multiple perspectives found within war literature and, through its differences with other sources highlights the complexity of notions of individual courage.
The literature of the Great War and included histories portray multiple competing narratives. By examining the political, social and individual constructs of courage examined in the sources, their contributions to the historical narrative can be evaluated. Essayists like E.D. Morel and Bertrand Russell define the political construct of courage by the nature of their challenges to it, and demonstrate courageousness as valid as the infantryman, albeit different. Social histories like Eye Deep in Hell and Sites of Memory approach “common man” and popular culture sources that military or diplomatic historians might discount. They identify and sometimes challenge the social construct, and highlight the links between generations and conflicts. And the memoirs, novels and poetry provide insight into the attitudes, beliefs and actions of individuals that can challenge political and social narratives. Each type of source demands a different type and scope of question from the historian in order to remain valid, but employing them together provides an opportunity to craft a historical narrative unavailable from more traditional source material.
Notes
[1] Henri Barbusse, Under Fire (New York: Penguin Books, 2004), 273.
[2] Jay Winter, Sites of memory, sites of mourning (Cambridge: Cambridge University Press, 1995), 127.
[3] Edmund Dene Morel, Truth and the War (New York: Garland Publishing, Inc., 1972), 317.
[4] Morel, 274.
[5] Bertrand Russell, Pacifism and Revolution, 1916-18 (New York: Routledge, 1995), 403.
[6] Russell, 189.
[7] Russell, 411-413. While Russell’s four and a half months in prison certainly represent a punishment and curtailment of liberty, they were not as bad as they might have been. Among other things, Russell was allowed to wear his own clothes, send out for food, and enjoy weekly visits. He was the beneficiary of lobbying on the part of his brother, which allowed him to describe his internment (at least initially) as “regular and wholesome.” It was not until the latter part of his term, when the conscription age had risen and his hopes for exemption faded, that he became depressed and less effective at his work. However, he was ultimately released and left to resume his routine without threat of military service.
[8] Vera Brittain, Testament of Youth (New York: Penguin Books, 2005), 100.
[9] Winter, 115.
[10] Winter, 81.
[11] Brittain, 116.
[12] Brittain, 127.
[13] W.N. Hodgson, “Before Action” in Walter, 99.
[14] Pat Barker, Regeneration (New York: Plume, 1991), 149.
[15] Barbusse, 275.
[16] Soldiers’ song, “I want to go home” in Walter, 166.
[17] John Ellis, Eye Deep in Hell (London: Croom Helm Ltd., 1977), 83.
[18] Ivor Gurney, “On Somme” in Walter, 125.
[19] Brittain, 305.
[20] Ellis, 97.
[21] Ernst Jünger, Storm of Steel (New York: Penguin Books, 2004), 125.
[22] Barbusse, 42.
[23] Jünger, 5.
[24] Jünger, 171.
[25] Jünger, 151.




