Britain Adopts Conscription

Getty Images
Getty Images

Erik Sass is covering the events of the war exactly 100 years after they happened. This is the 222nd installment in the series.  

January 27, 1916: Britain Adopts Conscription 

Among the Great War’s many other casualties, one of the most symbolic was Britain’s long, proud tradition of an all-volunteer military. With British losses mounting rapidly on all fronts and insufficient numbers of young single men volunteering to fill the spots left vacant, the failure of the Derby Scheme in October to December 1915 meant Parliament had no choice but to pass the Military Service Act, mandating compulsory military service or conscription. 

The Derby Scheme, in which every means short of outright compulsion was used to persuade single men to enlist – including public shaming – produced 215,000 direct enlistments while another 420,000 men (who were not physically unfit or in exempt occupations) declared themselves ready to serve if called, for a total of roughly 635,000 new and potential enlistments. 

This was far short of the additional million men called for by Secretary of War Lord Kitchener (in December the House of Commons authorized an army of four million men, up from the current total of around 2.7 million). Meanwhile, out of around 2.2 million single men of military age, over a million had stayed away during the Derby Scheme, refusing to enlist or make a declaration of willingness to serve, including around 650,000 not in exempt occupations. 

At first the Liberal cabinet led by Prime Minister Herbert Asquith was understandably reluctant to consider a politically unpalatable measure like conscription, but after Asquith was forced to form a coalition government in May 1915, some of the holdouts began to change their stance under pressure from Minister of Munitions David Lloyd George and the Conservative lawmaker Leo Amery, supported by a growing number of dissident Liberals and Unionists. 

As Lloyd George and Amery began drawing up the Military Service Act in late December 1915, last-ditch opponents resigned from the cabinet in protest, including Home Secretary John Simon, later replaced by Herbert Samuel. Undaunted, Asquith introduced the bill to Parliament on January 5, 1916, proposing to automatically enlist all unmarried men, including widowers without children, ages 18-40 (the law did not apply to Ireland due to fear of rebellion following the deferral of Home Rule). On January 27, 1916, King George V signed the act into law and Britain took another step towards a fully militarized society. 

The new law included exemptions for men in occupations deemed crucial to the war effort, who in 1915 were estimated to number around 1.5 million, but mechanization and the employment of women in war factories would allow the government to whittle this number down over time, freeing up more manpower for military service. Another law, passed in May 1916, would extend compulsory military service to married men as well. 

While most British men submitted to compulsory service as expected, producing 2.5 million additional enlistments by the end of the war, the law was highly controversial. Indeed, broad sections of society remained bitterly opposed to conscription, with some of the most prominent voices coming from trade unions, where socialist anti-militarism went hand in hand with distrust of authority; at a more self-interested level, they also hoped to use the threat of collective action to protect their dues-paying members. In January 1916 the South Wales Miners Federation voted to go on strike in protest against conscription, and the British Trades Union Congress also voiced its official opposition to the law. 

There was an overlapping strain of anti-conscription sentiment among progressive idealists, drawing on the Quaker pacifist tradition. At the beginning of the war some of these conscription opponents had formed the No-Conscription Fellowship, while other dissidents formed the Union for Democratic Control, also opposed to conscription.

One prominent member of both groups was the philosopher Bertrand Russell, who would earn fame (or notoriety) for his speeches and articles in the NCF’s Tribunal newspaper against conscription and in defense of conscientious objectors. Russell was branded a traitor, banned from speaking, fined and eventually jailed for six months for his NCF activities. 

Liebknecht, Luxemburg Found Spartacus League

Britain was hardly alone when it came to growing grassroots (but by no means universal) opposition to the war. In Germany the leftist Social Democratic Party split over the issue of support for the war, reflecting a deepening schism that would eventually give rise to the German Communist Party.

In the febrile days of July and August 1914 the German Social Democrats, like other European socialist parties, had abandoned their longstanding pacifism and voted for war, reflecting their own nationalist fervor as well as intense pressure from conservative officials who’d long distrusted them as subversive, anti-patriotic agitators. Later they expressed their continuing support by voting to approve war budgets, including new taxes and loans subscribed by the general population. 

The socialist support for patriotic measures was part of the “Burgfrieden” (“fortess truce”) that prevailed at the beginning of the war, when Germans from across the political spectrum supposedly came together in a display of national unity. However this unity was a façade that soon began to crumble under the stress of a prolonged war, with factory workers protesting stagnant wages, rising prices, and food shortages, as well as the threat of conscription and displacement by female labor. The growing tension was evident in developments including the formation of the radical German Workers Union by aggrieved workers in Düsseldorf in May 1915, and the SPD’s own call for an end to the “Burgfrieden” the following month. 

Moderate German Social Democrats now found themselves in the uncomfortable position of supporting the war (with conditions, most notably a peace without annexations) but also renewed class struggle, putting them at odds with both the government and their own radical wing. Indeed, growing numbers of party members were gravitating to the SPD’s leftwing faction, led by the obstreperous Karl Liebknecht (below), who had opposed the war from the beginning. 

Much of the pressure came from women who faced growing privation on the home front. In October 1915 female protestors disrupted a SD party meeting with calls for an immediate end to the war and food shortages, while a visiting foreign socialist, the American Madeleine Zabriskie, recalled meetings with German counterparts in June 1915: 

Their gatherings are secret. We meet in out-of-the-way places. I find that my telephone messages are intercepted; that a perfectly harmless letter is never delivered. I am watched… The most revolutionary talk is uttered by a gray-haired woman, the mother of grown children. A burning flame, this woman… In a secluded corner of a restaurant she whispers the great heresy: “Germany’s salvation lies in Germany’s defeat. If Germany wins when so many of her progressive young men have been slain, the people will be crushed in the grip of the mailed fist.” 

The growing rift in the Social Democratic Party burst into the open on December 21, 1915, when 20 Reichstag delegates voted against a new war loan while another 20 abstained, and deepened on January 9, 1916, when the moderate Social Democrats denounced their own party newspaper, Vorwarts, for its pacifist stance. Finally on January 12 they voted to expel Liebknecht, the radical ringleader, for his opposition to the war. 

Liebknecht, no stranger to political upheaval, vowed to rebuild the socialist movement from the ground up, by organizing the grassroots members against the party elite. Towards this end, on January 27, 1916 he joined forces with Rosa Luxemburg, a radical intellectual of Polish descent imprisoned since February 1915 for encouraging resistance to conscription, to found the Spartakusbund or “Spartacus League” (replacing the earlier Spartakusgruppe or “Spartacus Group,” which had existed within the party). 

For their manifesto the Spartacus League adopted Luxemburg’s “Theses On the Tasks of International Social Democracy,” written while she was in prison, which called for a new “Third International,” or global socialist organization, to replace the failed “Second International,” which had crumbled with mainstream socialists’ support for the war. The “Theses” began by stating: 

The world war has annihilated the work of forty years of European socialism: by destroying the revolutionary proletariat as a political force; by destroying the moral prestige of socialism; by scattering the workers’ International; by setting its sections one against the other in fratricidal massacre; and by tying the aspirations and hopes of the masses of the people of the main countries in which capitalism has developed to the destinies of imperialism. 

Luxemburg continued with a blistering critique of the current socialist leadership: 

By their vote for war credits and by their proclamation of national unity, the official leaderships of the socialist parties in Germany, France, and England… have… assumed their share in the responsibility for the war itself and for its consequences… This tactic of the official leaderships of the parties in the belligerent countries, and in the first place in Germany… constitutes a betrayal of the elementary principles of international socialism, of the vital interests of the working class, and of all the democratic interests of the peoples. 

In somewhat more emotional language, Liebknecht wrote in his screed “Either/Or” in April 1916, that “the proud old cry, ‘Proletarians of all countries, unite!’ has been transformed on the battlefields into the command, ‘Proletarians of all countries, cut each other’s throats!’ Never in world history has a political party gone so miserably bankrupt, never has an exalted ideal been so disgracefully betrayed and dragged through the mud!” 

Thus the Spartacus League called for mass action by workers and soldiers in all the belligerent countries to bring an immediate end to the war – in essence a continent-wide strike coordinated by the Third International, accompanied or followed by a peaceful democratic revolution in each country. Liebknecht’s anti-patriotic stance was unmistakable in a pamphlet from 1915: “The main enemy of the German people is in Germany: German imperialism, the German war party, German secret diplomacy. This enemy at home must be fought by the German people in a political struggle, cooperating with the proletariat of other countries whose struggle is against their own imperialists.” 

This non-violent approach put Luxemburg and Liebknecht at odds with bloody-minded revolutionaries like Lenin, still in exile in Switzerland, who hoped that the war would first trigger the collapse of the old regimes in violent national uprisings and class warfare, with peace following only once the bourgeoisie and elite of each nation had been more or less “liquidated.” Lenin was also willing to act unilaterally, beginning with revolution in one country, Russia, even if there were no complementary uprisings abroad. 

Strikes In Russia

The situation in Russia was unquestionably growing worse, triggering increasingly harsh measures by the Tsarist regime to suppress dissent. On January 11, 1916, strikes erupted at the Black Sea naval base of Nikolayevsk, followed on January 22 by another strike by 45,000 workers in Petrograd, commemorating the “Bloody Sunday” massacre in the 1905 revolution. Then on January 26, 1916, 55,000 workers across Russia went on strike to protest rising prices and shortages. 

The Tsarist okhrana or secret police acted swiftly to crush the workers’ movements by arresting scores of activists including the entire central committee of the Bolshevik Party, on January 13, 1916. This was a major setback for Lenin’s plans in Russia, but the general situation was undoubtedly becoming more favorable for a revolution, as reflected in letters from the Estonian revolutionary Alexander Kesküla to his contacts in the German government, who were considering increasing their funding to Lenin’s organization. On January 9, 1916 Kesküla wrote urging their support for more organization: 

Today, or in the next few days, some highly interesting revolutionary documents from Russia are  being sent to Lenin… They call for an armed rising  and for the organization of military mutinies… On the ideological side, the present Russian revolutionary movement must be regarded, in its essentials, as being perfectly mature and ready. All that can possibly remain to be done is some further formulation of details. The transformation of the revolutionary movement into an active one is now only a question of agitation and, above all, of organization. 

Individual accounts from Allied observers corroborated Kesküla’s belief that anger was growing among soldiers and peasants as well as industrial workers. Thousands of miles away, in February 1916 the British correspondent Philips Price talked with Russian soldiers on the Caucasian front, including one who declared that landlords were using the war to keep the peasants down: 

“This is good for our lords and masters, because it keeps us from getting strong at home”; and then he treated us to a long story of how in his village on the Volga his brother peasants had only so many dessatines of land; how the landlord’s land lay all around, and how the peasants worked for a few kopecks a day, the produce all going to the landlords; how all power was in the hands of the zemsky nachalnik [government-appointed land overseer] who was under the thumb of the landlords. “Is it not likely that they want us to fight?” he added. “If we stay home, we think about all this too much.” 

See the previous installment or all entries.

The 15 Best TV Series Finales of All Time

Ursula Coyote, AMC
Ursula Coyote, AMC

What makes a great TV series finale? It depends on the show, of course. But no matter what series you may be watching, you want a finale that ties up loose ends without being annoyingly completist, gives you heart without seeming overly sentimental, and of course makes you feel just as happy, sad, thrilled, or compelled as you did with each previous episode. It’s a very tricky needle to thread, and some series have undoubtedly done it better than others.

In celebration of what it takes to deliver a great final episode, here are (some of) the greatest series finales of all time.

1. The Sopranos // “Made In America”

“Made In America” is, infamously, the episode of television that made millions of viewers briefly think that their cable had just gone out at some crucial moment, when in reality what happened was creator David Chase simply decided one seemingly random moment was the exact second where Tony Soprano’s journey would end. The series finale of The Sopranos spent the better part of its runtime wrapping up a mob war that crippled the family, and then devoted its final minutes to a family dinner set to Journey. Fans still debate the meaning and merits of the final scene, but the sense of palpable unease Chase built up in those last moments—signifying Tony’s perpetual state of watching his back—were a brilliant way to end a show that began as a meditation on existential dread in the first place.

2. Six Feet Under // “Everyone’s Waiting”

The final minutes of “Everyone’s Waiting” are among the most famous in the history of television, and even if the rest of the episode had been a disappointment, they would still rank among the greatest farewells in the medium. As it is, Six Feet Under's final episode with the Fisher family is a gripping, heartfelt, and bitterly funny gem, all building to that last montage. As Sia’s "Breathe Me" plays, we see the deaths of every member of the main cast, which reminds us that death takes many forms beyond mere tragedy, all culminating in the last breaths of Claire. Just thinking about it is enough to make fans of the show burst into tears.

3. Breaking Bad // “Felina”

Few series finales have ever faced such high expectations and managed to rise to meet them so powerfully as Breaking Bad did with its final episode in 2013. “Felina” has everything you could ever want from a Breaking Bad send-off: Walt’s final conversation with Skyler, that incredible revenge shoot-out featuring the rigged machine gun, Jesse’s defiant cry of freedom as he drives away, Walt’s collapse, and that little smile of victory on his face. Some series finales deliver what you want; others deliver what you need. “Felina” somehow manages to do both.

4. M*A*S*H // “Goodbye, Farewell and Amen”

M*A*S*H was on longer than the Korean War was actually fought, and was more than 250 episodes into its run by the time “Goodbye, Farewell and Amen” aired and became one of the most-watched television events in the history of the medium. You’d think the staff of the 4077th might have run out of things to say after such a run, but the series finale manages to be absolutely jam-packed, featuring everything from Hawkeye’s dark repressed memories to Klinger’s wedding. It all builds to that final shot of “GOODBYE” written in stones, which still ranks as one of the most iconic moments in TV history.

5. The Americans // “START”

The Americans quietly became one of the best shows on TV before finally winning a bunch of awards for its final season, and with good reason. The final adventures of Philip and Elizabeth Jennings as they contemplated a return to Russia and an end to their double lives in America were among the best the series ever delivered, all building to a final episode that stuck the landing in every possible way, from the thrills of their final escape to the emotional payoff of their daughter Paige’s big decision.

6. The Wire // "-30-"

The Wire was never going to end anything in a clean, cut-and-dried way, but its series finale did mange to wield the various talents at play in the series to end everything on an ambitious and fairly comprehensive note. The finale reckoned with many of the same questions the entire series did—from the nature of justice to the fragility of power systems and how far people will go to keep them in place—as it worked to resolve the homeless serial killer hoax, illegal wiretapping, and the all-important future of Tommy Carcetti. One last montage reminds us that life goes on in Baltimore, whether the show’s characters have reshaped it for the better or not.

7. Seinfeld // “The Finale”

The series finale of Seinfeld is also among the most divisive in the history of television, and it all begins with an amusing swerve. The show leads off by making us think Jerry and George are about to embark on a typical sitcom sendoff, bidding New York City farewell as they head to California to make a television series, but then the real plot kicks in as the show’s quartet of main characters is arrested for literally doing nothing as a man is carjacked.

The brilliance of the show’s protagonists getting in trouble for the very same thing they’d been doing for nine seasons in a “show about nothing” then pivots to a trial that does play by the sitcom rule of allowing old fan-favorite characters to come back as witnesses, then launches into a wrap-up that mocks the characters, the show’s fans, and the show’s own place of seeming importance in the pop culture landscape. Sitcom finales are usually more like curtain calls; "The Finale" was a provocative final joke.

8. Battlestar Galactica // “Daybreak Parts 1-3”

The finale of Battlestar Galactica might be a little too metaphysical in nature for some viewers, but there’s something about the sense of totality running through it that makes it a perfect sendoff for a series that always placed everything on the line with every single story it told. As the surviving humans of the fleet finally defeat their Cylon enemies, Starbuck sends them to a new home, and they agree to abandon all of their old technology and live among the primitive humans already present on what turns out to be our Earth. It’s a beautiful blending of victory, bittersweet goodbyes, seismic changes to everyone’s lives, angels, the future, and—believe it or not—“All Along the Watchtower.”

9. Star Trek: The Next Generation // “All Good Things…”

“Encounter at Farpoint,” the series premiere of Star Trek: The Next Generation, is a famously slow, bloated affair that was a sign of things to come for the relatively weak first season. “All Good Things…” brilliantly repurposes that story as a time travel saga in which Captain Picard (Patrick Stewart) learns that Q, the alien being who put humanity on trial back in the premiere, is continuing his test of the human race by placing Picard in three different eras of his life. It’s a brilliant conceit that makes an elegant circle out of the series while also allowing Picard to give viewers a grand tour of the series’ entire history, including his own future.

10. Buffy the Vampire Slayer // “Chosen”

Buffy the Vampire Slayer spent weeks setting up its series finale, laying out a last stand that would either end Buffy and her gang of allies forever or wipe Sunnydale off the face of the Earth—or both. The final battle itself has since been dwarfed by more epic series like Game of Thrones, but what makes “Chosen” so magical isn’t its fight scenes, but its heart. With her own army of potential Slayers at her back, Buffy asks Willow to perform a spell that will give them all the powers of a Slayer, leading to one of the most empowering montages in the history of television. Then, even while mourning absent friends, Buffy is able to look toward tomorrow.

11. Newhart // “The Last Newhart”

So many sitcom series finales are all about final goodbyes. Very often characters leave their longtime TV homes for somewhere new, leading to tearful farewells or at least a final moment for everyone to spend one last day together. Newhart absolutely blew that premise up with a twisty, joke-filled finale that includes the entire town being turned into a resort, a five-year time jump, and that brilliant final scene which reveals all of Newhart to have been the dream of Dr. Bob Hartley, Newhart’s character from The Bob Newhart Show. The level of ambition is admirable. That the ambition translated to genuine laughs is wonderful.

12. Twin Peaks: The Return // “Part 17 and Part 18”

Twin Peaks famously ended its early ’90s run with a cliffhanger, which then led to the joyous reception that accompanied The Return, an 18-hour monument to creative freedom which everyone hoped would finally provide some answers. In true David Lynch fashion, though, the answers we got were often difficult to parse. And by the time it was all over, we were left with even more questions. The final two hours of The Return are among the most mind-meltingly intense episodes of television ever devised, all building to a daring and stunning final scene that still has fans talking.

13. The West Wing // “Tomorrow”

The West Wing played the long game with its series finale thanks to a year-long election storyline, which meant that its final episode was always going to be the combination of both an end and a beginning. The intense election story—which included a live debate episode—culminated in the inauguration of a new president, and a farewell to Martin Sheen’s President Josiah Bartlet, but the sense of transition inherent in the plot managed to imbue the series with a new sense of potential energy as it made the turn toward home. Watching “Tomorrow,” you can’t help but fantasize about what it will be like for Josh Lyman and Sam Seaborn to be together in the White House again, changing the world in all new ways. That emotional weight meant that, after seven years, we actually all felt like we could use a little more of The West Wing.

14. Halt and Catch Fire // “Ten of Swords”

Mackenzie Davis as Cameron Howe in Halt and Catch Fire
Bob Mahoney, AMC

Halt and Catch Fire never got the audience it deserved when it was airing, which means many people likely don’t know just how brilliant and daring the show got in its final seasons, which included a time jump, a shocking death, and the dawn of the internet age. “Ten of Swords” is all about closing old chapters and starting new ones, and sends the show’s trinity of remaining major characters in promising new directions, even as they all come to terms with the fact that they can never again recapture what they once had.

15. 30 Rock // “Last Lunch”

30 Rock was one of the most acclaimed comedies of its era in part because of its outright refusal to ever be straightforward about anything. Every plot was jokes on top of jokes and references on top of references, creating a show that rewards viewers who can’t get enough of rapid fire wit (and deserves rewatching). “Last Lunch” continued that tradition while also managing to inject some genuine emotion into the affair, as Jack Donaghy (Alec Baldwin) and Liz Lemon (Tina Fey) reconcile their friendship in a half hour packed with so many gags and callbacks you could watch it half a dozen times and still not catch everything.

10 Surprising Facts About J.R.R. Tolkien

Phil Romans via Flickr // CC BY-NC-ND 2.0
Phil Romans via Flickr // CC BY-NC-ND 2.0

There are plenty of things even the most ardent fans don't know about The Lord of the Rings author John Ronald Reuel Tolkien. In honor of Tolkien Reading Day (March 25th), here are 10 of them.

1. Tolkien had a flair for the dramatic.

As a linguist and expert on Old English and Old Norse literature, Tolkien was a professor at Oxford University from 1925 until 1959. He was also a tireless instructor, teaching between 70 and 136 lectures a year (his contract only called for 36). But the best part is the way he taught those classes. Although quiet and unassuming in public, Tolkien wasn't the typical stodgy, reserved stereotype of an Oxford don in the classroom. He went to parties dressed as a polar bear, chased a neighbor dressed as an axe-wielding Anglo-Saxon warrior, and was known to hand shopkeepers his false teeth as payment. As one of his students put it, "He could turn a lecture room into a mead hall."

2. Tolkien felt many of his fans were "lunatics."

Tolkien saw himself as a scholar first and a writer second. The Hobbit and The Lord of the Rings were largely Tolkien's attempt to construct a body of myth, and their success caught him largely unaware. In fact, he spent years rejecting, criticizing, and shredding adaptations of his work that he didn't believe captured its epic scope and noble purpose. He was also utterly skeptical of most LOTR fans, who he believed were incapable of really appreciating the work, and he probably would have been horrified by movie fandom dressing up like Legolas.

3. Tolkien loved his day job.

To Tolkien, writing fantasy fiction was simply a hobby. The works he considered most important were his scholarly works, which included Beowulf: The Monsters and the Critics, a modern translation of Sir Gawain and the Green Knight, and A Middle English Vocabulary.

4. He was quite romantic.

At age 16, Tolkien fell in love with Edith Bratt, three years his senior. His guardian, a Catholic priest, was horrified that his ward was seeing a Protestant and ordered the boy to have no contact with Edith until he turned 21. Tolkien obeyed, pining after Edith for years until that fateful birthday, when he met with her under a railroad viaduct. She broke off her engagement to another man, converted to Catholicism, and the two were married for the rest of their lives. At Tolkien's instructions, their shared gravestone has the names "Beren" and "Luthien" engraved on it, a reference to a famous pair of star-crossed lovers from the fictional world he created.

5. Tolkien's relationship with C.S. Lewis was complicated.

Tolkien's fellow Oxford don C.S. Lewis (author of The Chronicles of Narnia) is often identified as his best friend and closest confidant. But the truth is, the pair had a much more troubled relationship. At first, the two authors were very close. In fact, Tolkien's wife Edith was reportedly jealous of their friendship. And it was Tolkien who convinced Lewis to return to Christianity. But their relationship cooled over what Tolkien perceived as Lewis's anti-Catholic leanings and scandalous personal life (he had been romancing an American divorcee at the time). Although they would never be as close as they were before, Tolkien regretted the separation. After Lewis died, Tolkien wrote in a letter to his daughter that, “So far I have felt ... like an old tree that is losing all its leaves one by one: this feels like an axe-blow near the roots.”

6. Tolkien enjoyed clubbing.

Well, the extra-curricular, after-school sort. Wherever Tolkien went, he was intimately involved in the formation of literary and scholarly clubs. As a professor at Leeds University, for example, he formed the Viking Club. And during his stint at Oxford, he formed the Inklings, a literary discussion group.

7. He wasn't blowing smoke about those war scenes.

Tolkien was a veteran of the First World War, and served as a second lieutenant in the 11th (Service) Battalion of the British Expeditionary Force in France. He was also present for some of the most bloody trench fighting of the war, including the Battle of the Somme. The deprivations of Frodo and Sam on their road to Mordor may have had their origins in Tolkien's time in the trenches, during which he contracted a chronic fever from the lice that infested him and was forced to return home. He would later say that all but one of his close friends died in the war, giving him a keen awareness of its tragedy that shines through in his writing.

8. Tolkien invented languages for fun.

A philologist by trade, Tolkien kept his mind exercised by inventing new languages, many of which (like the Elvish languages Quenya and Sindarin) he used extensively in his writing. He even wrote songs and poems in his fictional languages. In addition, Tolkien worked to reconstruct and write in extinct languages like Medieval Welsh and Lombardic. His poem "BagmÄ“ BlomÄ" ("Flower of the Trees") might be the first original work written in the Gothic language in over a millennium.

9. Tolkien been published almost as prolifically posthumously as he was when he was alive.

Most authors have to be content with the works they produce during their lifetime, but not Tolkien. His scribblings and random notes, along with manuscripts he never bothered to publish, have been edited, revised, compiled, redacted, and published in dozens of volumes after his death, most of them produced by his son Christopher. While Tolkien's most famous posthumous publication is The Silmarillion, other works include The History of Middle Earth, Unfinished Tales, The Children of Hurin, and The Legend of Sigurd and Gudrún.

10. Tolkien called Hitler a "ruddy little ignoramus."

Tolkien's academic writings on Old Norse and Germanic history, language, and culture were extremely popular among the Nazi elite, who were obsessed with recreating ancient Germanic civilization. But Tolkien was disgusted by Hitler and the Nazi party, and made no secret of the fact. He considered forbidding a German translation of The Hobbit after the German publisher, in accordance with Nazi law, asked him to certify that he was an "Aryan." Instead, he wrote a scathing letter asserting, among other things, his regret that he had no Jewish ancestors. His feelings are also evidenced in a letter he wrote to his son: "I have in this War a burning private grudge—which would probably make me a better soldier at 49 than I was at 22: against that ruddy little ignoramus Adolf Hitler ... Ruining, perverting, misapplying, and making for ever accursed, that noble northern spirit, a supreme contribution to Europe, which I have ever loved, and tried to present in its true light."

This piece originally ran in 2017.

SECTIONS

arrow
LIVE SMARTER