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9781785333071 03-Ch3 Chapter 3 ‘A Lively School of Writing’ George Gleig, Moyle Sherer and the Romantic Military Memoir Neil Ramsey KL The genre of the military memoir has come to be regarded by historians and literary critics as a distinct and significant cultural form. Viewed as central to the formation of cultural memories and the commemoration of wars, attention has also been drawn to the ways in which memoirs of war are themselves shaped by cultural narratives, tropes and discourses.1 Although there have, accordingly, been a number of studies that describe and anal- yse the generic form of military memoirs, it has only been comparatively recently that attention has been directed towards memoirs from before the two world wars.2 In his work on the genre, Yuval Noah Harari has not only documented the long development of European military memoirs from the seventeenth century through to the present day, but has also demonstrated that the genre underwent key changes from the late eighteenth to the early nineteenth century. Such changes were, he argues, far more crucial in estab- lishing the genre’s modern form than the impact of the world wars. Shaped by the cultural influences of sentimentalism and Romanticism, a new form of military memoir emerged, one that was no longer concerned with im- personal historical narrative but which instead described the personal ex- perience of war and its unique significance for the individual.3 This earlier period was thus central to the formation of the modern military memoir’s view of war as a revelatory or Bildung experience, in which the soldier nar- rates his experience of combat and suffering as a process of personal devel- opment leading to forms of enlightenment or disillusionment.4 48 ‘A Lively School of Writing’ 49 Because he considers these changes over such a long duration, however, Harari is only able to provide a relatively general overview. He thus largely conflates sentimental and Romantic treatments of war. Although agreeing with his analysis of developments in the military memoir during the period, this chapter offers a more fine grained examination of this transformation by arguing that it can partly be understood as a change from a sentimental to a distinctly Romantic form of memoir. In particular, it focuses on the influen- tial changes introduced into the genre at the start of the 1820s by the military memoirs of two junior ranking British officers, Moyle Sherer’s Recollections of the Peninsula (1823) and George Gleig’s The Subaltern (1825).5 By drawing attention to their authorial role, their utilisation of the aesthetic of the pic- turesque and their affinities with what Anne Frey has recently theorised as the State Romanticism of British literary culture during the late 1820s and 1830s, this chapter shows how they transformed the focus on suffering that characterised sentimental forms of the military memoir.6 While still viewing war in terms of hardship, they also associated their experience of soldiering with the restorative powers of nature and rustic simplicity. They transformed the painful experience of war by insisting that it provided an unparalleled source of inspiration for the individual soldier. Regarded by contemporaries as having made military writing popular, these two books were central to the establishment of the modern form of the military memoir.7 THE SENTIMENTAL MILITARY MEMOIR As a generic form, the military memoir had become well established in European culture by the seventeenth century. Influenced by classical forms of military memoir, such as Julius Caesar’s Commentaries on the Gallic War, and by the common practice among early modern soldiers of composing ‘accounts of services rendered’ for their employers, military memoirs were written by generals, nobles and military officers as histories of campaigns in which they had participated.8 The genre, however, had little to say about the personal experience of war. Rather, it formed what Tim Travers refers to as a ‘narrative campaign style of history’ that provided impersonal and chrono- logical narratives of major military campaigns.9 As The New and Enlarged Military Dictionary (1802) explained: ‘[m]emoirs, in military literature’ were ‘written by persons who had some share in the transactions they relate’. As a genre, however, it should be understood as a ‘species of history’ resembling Caesar’s Commentaries.10 Military memoirs were written with little sense at all that the personal experience of war could, in itself, be worthy of recording for a public audience. 50 Neil Ramsey During the latter half of the eighteenth century, however, military memoirs began to focus some of their attention on the military experiences of individuals. This change can largely be attributed to the influence of the culture of sentimentality, which not only prompted public interest in forms of autobiographical writing more generally, but which also introduced new ideas into military theories and training practices that placed increasing value on soldiers’ feelings. Sentimentalism emerged out of wide-reaching developments in eighteenth-century moral philosophy, physiology, medi- cine and literature.11 Although achieving its height in the age of sensibility of the late eighteenth century, sentimentality had far-reaching effects on the understanding of feeling and personal experience right across British literary culture of the late eighteenth and early nineteenth centuries.12 With its roots in a ‘sensationist psychology’ derived from John Locke and in Scottish Enlightenment moral philosophy, concerned with understanding the sociability of human nature, sentimentalism established feelings as the basis of morality and social cohesion.13 As Smith argued in his Theory of Moral Sentiments (1759), by entering imaginatively into another’s feelings, by experiencing sympathy or compassion for their suffering, we will feel compelled to take moral action on their behalf. Many forms of writing dur- ing the period thus began to use sentimental literary techniques in their ef- forts to cultivate a reader’s sensibilities and moral virtue.14 Genres that were traditionally concerned solely with factual reportage, such as histories and travel writing, began to record individual feelings and include tales of suf- fering in order to engage readers in ‘more inward and sentimental terms’.15 The generic boundaries between forms of writing were increasingly eroded by this shared impulse to stimulate readers’ emotions by focusing on per- sonal experiences.16 Military themes were common in sentimental writing because of the emotional intensity associated with war’s suffering.17 Sentimental writing often confronted its readers with images of war’s victims, whether war wid- ows, orphans or broken soldiers. Not only did such writing help render the soldier a more sympathetic figure, but, as Harari argues, sentimental culture also impacted directly upon the military realm by influencing the army’s perception of soldiers and its approaches to military training. Eighteenth- century armies functioned according to strict hierarchies that treated the soldier as a cog within a clockwork mechanism.18 Soldiers were drilled in massed formations and expected to follow their officers’ commands as un- thinking automatons. Under the influence of sentimental culture, however, the late eighteenth century witnessed a growing concern with the sensibili- ties and capacities of ordinary individuals, leading to educational reforms across nearly all sectors of society.19 New approaches to education saw an ‘A Lively School of Writing’ 51 emphasis placed on the cultivation of soldiers’ personal initiative, particu- larly in relation to the training of soldiers in light regiments tasked with in- dependent missions and supporting roles within the army.20 Such concerns also intersected with the growing nationalistic emphasis of warfare that saw changes in recruitment practices and far greater interest in the soldiers’ personal motivation in defence of the nation.21 As the eighteenth century progressed, therefore, military memoirs began to incorporate sentimental elements that offered a sympathetic por- trayal of the soldier, even at times focusing in unprecedented detail on the protagonist. The Journals of Major Robert Rogers (1765), for example, recorded Rogers’ personal exploits with the British Army in America during the Seven Years’ War (1757–63).22 Robert Lawson-Peebles has suggested the Journals represents the first modern military memoir because of its insis- tence upon communicating personal experience, which Lawson-Peebles attributes to the more irregular and independent nature of warfare in America and Rogers’ role as a scout.23 Military memoirs also made increas- ing use of emotional details that drew upon sentimental techniques for eliciting a reader’s sympathies. John Simcoe’s A Journal of the Operations of the Queen’s Rangers, from the End of the Year 1777, to the Conclusion of the Late American War (1789) is almost wholly written in the campaign narrative tra- dition as an impersonal historical narrative of his regiment’s actions during the American Revolutionary War (1775–83).24 However, Simcoe also inter- rupts his narrative to draw a very brief, sentimental account of the ‘dread- fully mangled and mortally wounded’ Lieutenant Rynd and the ‘horror’ of his painful transportation from the field of battle.25 A more sustained sentimental approach is apparent in the anonymous Memoirs of the Late War in Asia (1788) or James Bristow’s Narrative of the Sufferings of James Bristow,
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