Elizabeth Vandiver examines the ways in which British poets of the First World War used classical literature, culture, and history as a source of images, ideas, and even phrases for their own poetry. Vandiver argues that classics was a crucial source for writers from a wide variety of backgrounds, from working-class poets to those educated in public schools, and for a wide variety of political positions and viewpoints. Poets used references to classics both to support and to oppose the war from its beginning all the way to the Armistice and after. By exploring the importance of classics in the poetry of the First World War, Vandiver offers a new perspective on that poetry and on the history of classics in British culture.

Situating First World War poetry in a truly global context, this book reaches beyond the British soldier-poet canon. A History of World War One Poetry examines popular and literary, ephemeral and enduring poems that the cataclysm of 1914-1918 inspired. Across Europe, poets wrestled with the same problem: how to represent a global conflict, dominated by modern technology, involving millions of combatants and countless civilians. For literary scholars this has meant discovering and engaging with the work of men and women writing in other languages, on other fronts, and from different national perspectives. Poems are presented in their original languages and in English translations, some for the very first time, while a Coda reflects on the study and significance of First World War poetry in the wake of the Centenary. A History of World War One Poetry offers a new perspective on the literary and human experience of 1914-1918.

Lord Kitchener and Lord Haig are two monumental figures of the First World War. Their reputations, both in their lifetimes and after their deaths, have been attacked and defended, scrutinized and contested. They have been depicted in film, print and public memorials in Britain and the wider world, and new biographies of both men appear to this day. The material representations of Haig and Kitchener were shaped, used and manipulated for official and popular ends by a variety of groups at different times during the twentieth century. The purpose of this study is not to discover the real individual, nor to attack or defend their reputations, rather it is an exploration of how both men have been depicted since their deaths and to consider what this tells us about the nature and meaning of First World War commemoration. While Haig's representation was more contested before the Second World War than was Kitchener's, with several constituencies trying to fashion and use Haig's memory - the Government, the British Legion, ex-servicemen themselves, and bereaved families - it was probably less contested, but overwhelmingly more negative, than Kitchener's after the Second World War. The book sheds light on the notion of 'heroic' masculinity - questioning, in particular, the degree to which the image of the common soldier replaced that of the high commander in the popular imagination - and explores how the military heritage in the twentieth century came into collision with the culture of modernity. It also contributes to ongoing debates in British historiography and to the larger debates over the social construction of memory, the problematic relation between what is considered 'heritage' and 'history', and the need for historians to be sensitive and attentive to the interconnections between heritage and history and their contexts.