Punch Goes to War: The End of Appeasement

As fears of another World War approached in the late 1930s, the British satirical magazine Punch published cartoons that depict the shift in Britain against the policy of appeasement of the fascist dictators, particularly of Hitler. A few of the cartoons are included here.

In "Still Hope" below, the artist depicts British Prime Minister Neville Chamberlain as an angel of peace flying to Germany at the time of the Munich Crisis in September 1938. Hitler was demanding that Czechoslovakia cede the Sudetenland, an area bordering Germany inhabited by a largely German population. 

The demand followed hard on the heels of the German occupation of Austria in May 1938. Hitler had justified that annexation on the grounds that the Austrians were Germans. Hitler himself had been born in Austria. The Western Allies, France and Britain, did nothing, as they had done nothing when Hitler broke several sections of the Versailles Treaty that had ended World War I.

"Still Hope" reflects the view that appeasement of Hitler might yet work. Appeasement flowed from the belief that Germany had legitimate grievances stemming from the peace settlement after the Great War of 1914-18. A few concessions to Hitler, appeasers argued, could satisfy him and preserve European peace. 

British public opinion generally favored appeasement at this point. Few people wanted another Great War, and many believed Germany had been treated too harshly after the First World War. At Munich, Chamberlain and the French Premier Edouard Daladier agreed to Hitler's demands. Chamberlain returned to Britain claiming he had secured "peace for our time."

That time proved short. Within a few months, Germany occupied the rest of Czechoslovakia and began making territorial demands on Poland. The British and French governments finally stiffened, announcing they would defend Poland against German attack. 

The shift is reflected in "An Old Story Retold" from the Spring of 1939. Hitler assures his skeptical ally Mussolini that the British, represented by the dog guarding the gate, are all bark and no bite. The artist is Bernard Partridge, who had done many cartoons for Punch during World War I.

In "-- -- and the Seven Dwarves" the same artist, Bernard Partridge, presents Hitler in the guise of Snow White, the title character of Disney's popular animated film of 1938. "Adolf White" already has "Czechy" in hand and is beckoning to the other six dwarves to follow him. Each of the dwarves represents one of the states of Eastern Europe.

The next cartoon, "Popular Misconceptions (in Germany) -- the English," is also from April 1939. The artist is reacting to German accusations that the English are trigger happy warmongers. 

Another cartoon from early 1939 "Germany Shall Never Be Encircled" portrays Hitler as a megalomaniac intent on world conquest. Hitler was ready for war over Poland but his generals insisted he avoid the First World War scenario: a two-front war with France and Britain in the west and Russia (now the Soviet Union) in the east. 

Hitler often ignored his generals' advice but in this case, he sent a delegation to Moscow, headed by Foreign Minister von Ribbentrop. The British and French were already wooing Stalin to help defend Poland. "The Calculating Bear" (Russia) is considering the offers made by both sides.

In the end, Stalin accepted Hitler's offer: stay out of the war and help yourself to eastern Poland. The Nazi-Soviet Pact of August 1939 was quickly followed by the German invasion of Poland on September 1. Britain and France declared war on Germany two days later. It did nothing to help the Poles, whose armies were overwhelmed swiftly by the German Blitzkrieg, then by Soviet invasion from the east

In the Spring of 1940, German armies overran much of Western Europe, including France. Britain now faced Germany alone, as well as its ally Italy, which entered the war once France's defeat was certain. 

During the battle for France, Winston Churchill, who had long opposed appeasement, had replaced Chamberlain as Prime Minister. In the summer and autumn of 1940, Britain narrowly survived the air war known as the Battle of Britain and avoided invasion. 

As the new year 1941 dawned, Punch published the rather optimistic cartoon, "The Dragon-Slayer," with Churchill as the title character. One would almost think the war was near its finish, but it had more than four horrific years to run. Churchill himself said of the British victory in the Battle of Britain, that it was "not the beginning of the end, but the end of the beginning." So it proved.

As it happened, 1941 was to prove a turning point for Britain, as it acquired powerful allies. In June Hitler broke his pact with Stalin and invaded Russia. In December German's ally Japan attacked the United States base at Pearl Harbor. Hitler declared war on the USA.

For an interesting, blackly comic take on the events leading to World War II, I recommend: Eric Vuillard, The Order of the Day (2017). 

Punch Goes to War: World War I

The British humorous and satirical magazine Punch began its long and influential run of publication in 1841. Among other things Punch helped give the word "cartoon" its modern meaning as a humorous picture. Cartoons were a mainstay of Punch as it commented on the events of the day. Some may not seem funny today. Some were racist or xenophobic. But the cartoons were generally designed to raise laughter among the magazine's readers.

As Europe moved towards what would become a world war just before and during 1914, however, its cartoons became increasingly serious in tone and message. As the war unfolded, Punch would become an important tool of British propaganda. 

The cartoon below, "The Boiling Point," appeared in Punch in October 1912.  It was reacting to the dangerous situation created by the first of two Balkan Wars in 1912-13. The wars were related to the long decline of Ottoman Turkish power in the region. Several countries, including Serbia, Montenegro, Bulgaria, Greece, had won their independence from the Ottoman Empire during the 19th century. They were intent on expanding their new states at the expense of the Ottomans, and then each other.

The cartoon reflects fears, correct as it turned out, that the Balkan conflict might spill over and ignite a wider war. In the foreground, left to right, Russia, Germany, and Austria-Hungary strive to keep the lid on the boiling pot. Behind them, Britain and France look on anxiously. 

Within less than two years these fears had materialized. As is well known, the spark that ignited what became The Great War was the assassination of the heir to the Austro-Hungarian throne, Franz -Ferdinand, in the Bosnian capital, Sarajevo, on August 28, 1914. The assassin, Gavrilo Princip, was a Bosnian Serb with links to an extremist Serbian nationalist organization. 

Serbian nationalists had long sought to unite the South Slavs or Yugoslavs into a Greater Serbia. The territory they craved included Bosnia-Herzogovina, Slovenia, and Croatia, all currently part of the Austro-Hungarian Empire. 

Austrian leaders sought to use the assassination as a pretext to destroy the Serbian nationalist movement. They issued an ultimatum to Serbia that led to war at the end of July, a war that quickly engulfed all the great European powers. The cartoon below, "The Power Behind" shows the Austrian double-headed eagle about to pounce on the defiant Serbian cock, while the Russian bear emerges from behind a rock. 

Russian determination to protect Serbia brought Germany into the war on behalf of its Austrian ally. Germany also declared war on Russia's ally France, a move dictated by the war plan of the German High Command, the Schlieffen Plan. Meanwhile, Germany virtually assured Britain's entry into the war by invading France through neutral Belgium on August 4. 

The German government had asked Belgium permission to cross their country. Belgium refused. The German Army, committed to its war plan, marched into Belgium. Britain demanded an immediate withdrawal, then declared war on Germany when the demand was ignored. 

Punch applauded Belgium for its defiance in the cartoon, "Bravo Belgium," published on August 12. The farm boy represents "Little Belgium" protecting his farm from the German brigand, identified by the sausages hanging from his pocket.

In order to whip up British support for the war, the British government and media reported many instances of German "atrocities" in Belgium. Some were real; others invented. 

Punch contributed numerous cartoons to the patriotic effort, including the two below. In the first, from August 23, 1914, Kaiser Wilhelm II stands over Belgian civilians he has just shot, holding the German Imperial flag. His revolver is still smoking. The illustrator, Bernard Partridge, had long produced unflattering images of the Kaiser and that would continue throughout the war.

The second cartoon portrays Germany as a barbaric ogre who has torn Belgian neutrality to shreds, protesting he had to attack Belgium in self-defense. The sign behind him says: "World Power or Decline," reflecting the view of Germany's leaders that they were encircled by enemies intent on their destruction. Both cartoons feature burning and destroyed buildings in the background. 

Though the Belgians put up stiff resistance, the German Army overwhelmed them. Within days, the small British Expeditionary Force had arrived to aid the Belgians and French. They fought their first engagement at Mons in Belgium on August 23. During the next two weeks, they and their French allies were 

pushed back by superior German numbers to the outskirts of Paris. 

Reinforced by additional French troops, the allies counterattacked along the River Marne on September 6. Over the next week they pushed the German Army back about 40 miles (65km). The Battle of the Marne was a major victory for the Allies, but the Germans reformed their lines along the River Aisne and began to dig trenches. The Allies followed suit. The line of battle would soon stretch from the Belgian coast to the Alps and would not shift significantly for the next four years. A war of movement became a war of stalemate and attrition, with millions of casualties.  

Punch seemingly made light of the horrors of the war in "The Incorrigibles," by Frederick Henry Townshend. A new soldier arrving at the British trench line is greeted by an "Old Hand" in a waterlogged trench, who assures him that he will have a jolly good time at the front. 

This cartoon (and others) show Punch retained some of its old sense of humor. But the humor was becoming darker. Was Townshend simply trying to boost morale in a dire situation? Or was he cynically poking fun at the British stiff upper lip syndrome? Despite the soldiers' words and smiles, it seems hard to believe anyone would consider their situation enjoyable. As the realities of trench warfare sank in over the next four years, the soldiers themselves would produce much dark and cynical humor of their own. 

Nations and Nationalism: Myth and Reality

“Getting its history wrong is part of being a nation.” Ernest Renan, What is a Nation? (1882)

Nationalism as a political phenomenon is real, powerful, and often destructive. But historical myths lie at its core. To nationalists, historical facts are peripheral, to be used, distorted, or ignored as required. For them, nationalism is a religion of sorts, built largely on faith.

Nationalism claims to express spontaneous and primordial feelings of national community. In fact, it is a modern ideology that requires persistent propaganda to maintain itself.

The roots of nationalism lie in the concept of a nation. Dictionaries define a nation as “a people who share common customs, origins, history, and often language.” (American Heritage Dictionary)

British historian Eric Hobsbawm mocked this standard view: “A nation is a group of people with a misapprehension about their common origins and a common antipathy towards their neighbours.” (Nationalism, 1990)

Nationalism as a conscious ideology began to emerge in the 18^th century. One of the early theorists, Johann Gottfried Herder, defined a nation culturally: “a group defined by a homogeneous national culture” by which he meant, language, customs, traditions. (Reflections on the Philosophy of the History of Mankind, 1784-91)

Popularized, Herder’s ideas were especially important – and explosive -- in Central and Eastern Europe, where divided "nations" and multi-ethnic states held sway. Dozens of “nationalities” were mixed together in the Hapsburg, Russian, and Ottoman Empires. When they began to gain a consciousness of their "national identity" in the 19th century, they began to dream of creating their own “nation-states.”

Many early nationalists viewed such a development as part of God’s design, which kings and aristocrats had defiled. This is how Italian nationalist Giuseppe Mazzini explained it: 

“God divided Humanity into distinct groups upon the face of our globe, and this planted the seeds of nations. Bad governments have disfigured the design of God, which you may see clearly marked out, as far as, at least as regards Europe, by the course of the great rivers, by the lines of the lofty mountains, and by other geographical conditions; they have disfigured it by conquest, by greed, by jealousy of the just sovereignty of others…. But the divine design will infallibly be fulfilled.” (The Duties of Man, 1860)

For Mazzini and most nationalists, nations (and hence nation-states) are a natural development. Modern students of nationalism tend to take a different view: that nations are “created”, not by God, but by men, for political reasons. As Benedict Anderson put it in 1983, “A nation is an imagined political community.” (Imagined Communities)

In the same year, Ernest Gellner gave this definition of nation: “Nations as a natural, God-given way of classifying men, as an inherent … political destiny, are a myth: nationalism, which sometimes takes pre-existing cultures and turns them into nations, sometimes invents them, and often obliterates pre-existing cultures: that is a reality.” (Nations and Nationalism, 1983)

In his 1992 history of nations and nationalism, Hobsbawm came up with a useful if working definition of a nation: “any sufficiently large body of people whose members regard themselves as a ‘nation’ will be treated as such.” (Nations and Nationalism since 1780: Myth and Reality)

In other words, ‘nations’ (and nation-states) are a matter of perception; they are essentially constructed. An Italian nationalist put it bluntly in 1860, when the new United Kingdom of Italy was proclaimed: “We have made Italy, now we have to make Italians.” (Speech to the first meeting of the parliament of Italy, 1860)

The same process was going on in the German states, most of which united together in to the German Empire in 1871 under the leadership of Prussia and its Iron Chancellor, Otto von Bismarck. For the conservative Bismarck, a united Germany was a political necessity, and the process had to be guided from above, through a policy of "blood and iron." (read: "war" -- three wars to be exact)

In much of Central and Eastern Europe creating nation-states would prove even  messier, as the ethnic maps below, from just before the First World War, show. The first is the Austro-Hungarian or Hapsburg Empire, the second the "Hungarian" portion of the same empire.

Sorting this melange out into viable nation-states would prove a herculean task, and one providing many an excuse for war, helping to make the 20th century the bloodiest in human history. Nationalism also spread beyond Europe. The story is not yet finished.