http://truth-out.org/news/item/12543-wwi-same-protests-of-futility-folly-heard-today
A ration party of the Royal Irish Rifles in a communication trench during the Battle of the Somme. The date is believed to be July 1, 1916, the first day on the Somme
First World War: Same Protests of Futility, Folly Heard Today
Sunday, 11 November 2012 07:11
By H Patricia Hynes, Truthout | News Analysis
Watching Londoners reveling in the streets on Armistice Day, November 11, 1918, the war critic and pacifist Bertrand Russell commented that people had cheered for war, then cheered for peace – "The crowd was frivolous still, and had learned nothing during the period of horror." (1)
World War 1 was the first industrial war, with poison gases, flamethrowers, aerial bombing, submarines, and machine guns intensifying the scale of war wreckage and setting the norm for 20th century war. It quickly became a total war, moving inexorably toward total defeat, with no political space or will for early truce. By policy, British war dead was not sent home lest the public turn against the war. Instead, they were buried in vast graveyards near battle sites in France and Belgium. Even today, Belgian and French farmers plowing fields in places of intense, interminable fighting and mass death on the western front unearth an estimated one-half million pounds of war detritus and soldiers’ bones each year.
In Britain, a vast, unbreachable gap arose between war-ruined soldiers and war-fevered citizens suffused and infected with martial music, uniformed parades, and war propaganda – a chasm widened by pervasive government censoring of soldiers’ mail. A pliant media shamelessly published false accounts that turned mass battle losses and defeats into victories. War-loyal British editors were rewarded with knighthoods and peerage; and it was wryly noted that the war couldn’t have lasted more than a month without the newspapers. (2)
From the unyielding ugliness and butchery of World War I emerged soldier poets, notable among them Siegfried Sassoon and Wilfred Owen, whose unsparing style and content severed them from the traditions of epic war poems and British romantic poetry. Living and dying in a trench war fraught with dead bodies and rats that fattened on them, with rear guard commanders who sent battalions of teenage boys into the slaughter of machine gun fire, the soldier poets castigated their homeland’s war-mongering politicians and industrial profiteers. Their sense of betrayal encompassed not only politicians giving war orders securely from home and complicit generals holed up in remote chateaus, but also war-clamoring citizens. Among these were patriotic mothers, recruited to publicly shame unenlisted young men into joining and to heckle war resisters and pacifists. The war poets’ realism countered – but never superseded – the homeland novelists, artists, playwrights and poets, among them the empire-loving Rudyard Kipling, procured by the government to ennoble the war through facile appeals to patriotism and uniform, glory for country and honor of serving.