History

‘Whig and Tory Scratch and Bite’, by Aaron Hill Whig and Tory scratch and bite, Just as hungry dogs we see: Toss a bone 'twixt two, they fight, Throw a couple, they agree. Tribal party politics are three-hundred years old in Britain. So is the fashion for satire which aspires to rise above it all. The British people have been dealing with political parties since the 1670s. It was then that a faction led by the Earl of Shaftesbury tried to have Parliament pass a law to prevent Charles II’s brother James from succeeding to the throne. Charles had no legitimate children so James was next in line.

Just as the classical world was built around the Mediterranean, the modern world was built around the Atlantic. The Romans called the Med ‘Mare Nostrum’ – Our Sea. The Atlantic, on the other hand, was a place of contest for centuries. European nations fought for supremacy and plunder upon it, traded for wealth across it, and scrambled for territory around it. According to John K. Thornton, author of A Cultural History of the Atlantic World 1250-1820, the creation of an ‘Atlantic World’ was driven by the hunger of European states for hard cash. Money was needed to support the fantastically expensive armies which, from the late Middle Ages onwards, European nations were obliged to maintain as they engaged in a prolonged arms race.

In his new book Classified: Secrecy and The State In Modern Britain, Dr Christopher Moran gives an account of the British state's long obsession with secrecy, and the various methods it used to prevent information leaking into the public domain. Using a number of hitherto declassified documents, unpublished letters, as well as various interviews with key officials and journalists, Moran’s book explores the subtle approach used by the British government in their attempt to silence members of the civil service, and journalists, from speaking out about information that was deemed classified.

Some thirty-five years ago, in 1977 to be exact, I first published A Savage War of Peace, a definitive history of France’s war in Algeria. The war dragged on from 1954 to 1962, torpedoed six French governments, and the Fourth Republic itself, bringing de Gaulle to power. It also introduced a new meaning to the word ‘insurgence.’ Thanks to the indolence of my publishers, the book was allowed to go out of print. When the Iraq War began, to my fury I learned that it was changing hands on the free market in Washington at over $200 a copy, with quantities being bought by the Pentagon.

The bare statistics of the Great Irish Famine are chilling enough: in 1845-55 more than a million people died of starvation and disease and a further two million emigrated. Ireland’s population fell by more than a third. John Kelly does an excellent job of sketching the background in The Graves are Walking: massive population growth (the Irish population doubled in the second half of the eighteenth century and almost doubled again in the first four decades of the nineteenth), division of land into ever smaller plots and consequent dependence on the potato, exploitative landlords, resentment at rule by London. When blight struck the potato crop in 1845, it was not as if the British government was unaware of the danger ‒ ‘If the potato fails . . .

There are quite a few candidates competing for the title of the first novel in English literature. You can make a strong case for Robinson Crusoe, published in 1719, or Gulliver’s Travels of 1726, or even – at a push – argue for Sir Philip Sidney’s Countess of Pembroke’s Arcadia, issued over a hundred years before, but one of the super-heavyweight contenders will always be Samuel Richardson’s 1740 novel-in-letters, Pamela. When it first appeared Pamela was as much of a sensation as the X Factor and Fifty Shades rolled into one, a genuine ‘multi-media event’ more than two hundred years before that phrase was even coined.

‘The German sense of humour,’ Mark Twain famously observed, ‘Is no laughing matter.’ Although many Greeks, stretched on the Euro's rack at Berlin's behest, may be inclined to agree, Rudolph Herzog's intriguing study of humour in and against Hitler's Germany, Dead Funny: Telling Jokes in Hitler's Germany, proves conclusively that the Teutonic funny bone, while it may be difficult to locate, definitely exists.

‘To the Grave’ Unclasp thy womb, thou mortuary shrine, And take the worst part of the best we had. Thou hast no harbourage for things divine, That thou had'st any part was yet too bad. Graves, for the grave, are fit, unfit for thee Was our sweet branch of youthful royalty. Thou must restore each atom back again When that day comes that stands beyond all night. His fame (meanwhile) shall here on earth remain, Lo thus we have divided our delight: Heaven keeps his spirit stalled amongst the just, We keep his memory, and thou his dust. Prince Henry was the eldest son of James I and VI (that’s first of England, sixth of Scotland). In 1612 he died at the age of eighteen. An extraordinary period of spontaneous popular mourning followed.

David Priestland is worried. Towards the end of his recently published book Merchant, Soldier, Sage, he warns: ‘[The crash of] 2008 has set the world on a course towards potential conflict, and the domestic and international forces that brought us the violence of the 1930s and 1940s are with us today – albeit still in embryonic form.’ It is fashionable, especially in heavily indebted Europe, to compare the uncertainties of the present with those of the 1930s. The Second World War is passing out of living memory and entering popular historical consciousness. Angela Merkel appeals to this when she warns that only the European project can guarantee peace; and Greek protesters who equate her with the Nazis assert the opposite view.

Literary pseudonyms have been on my mind lately, for a couple of reasons. The first is Salman Rushdie’s revelation that he chose ‘Joseph Anton’ as his cover name when in hiding during his fatwa, in tribute to Messrs Conrad and Chekhov. The second (and brace yourself, because this is going to hurt like pluggery) is that my own literary alter ego, Charlie Croker, has a new book out. Why do writers use pseudonyms, and how does it feel to see a book you’ve written get published with someone else’s name on the cover? Strictly speaking this isn’t what happened to Rushdie. Joseph Anton was his actual pseudonym rather than his literary one; his fictional books continued to appear under his real name, while his real life was lived under a fictional one.

The Roman orator Quintilian offered some practical advice to the budding politician: don’t move too languidly, flick your fingers, or tilt your neck in a feminine way if you want to master the art of rhetoric. Doing all or any of these things could make you seem unmanly. You might have been born a man, but masculinity was definitely something you had to work at. I dare say little has changed there, though perhaps any decision to bolster one’s masculinity today comes less from the kind of external pressures put upon men by society in antiquity, than personal reactions to what is deemed a societal norm (to wax or not to wax that back?). Surprisingly, this sort of comparison between the ancient and modern world is not the type of legacy with which Brooke Holmes is concerned.

‘The Maidenhead’ Have you not in a chimney seen A sullen faggot wet and green, How coyly it receives the heat, And at both ends does fume and sweat? So fares it with the harmless maid When first upon her back she’s laid; But the well-experienced dame, Cracks and rejoices in the flame. Rochester is a favourite of A-level students because he writes about sex and uses rude words. That in itself would not make him an accomplished poet. Sex is not an obscure subject and there are lots of words which rhyme with ‘prick’. But there are good reasons to read Rochester. One is that he had a knack for creating effects which we have come to associate with literary authenticity and originality.