Read The Battle of Blenheim Online

Authors: Hilaire Belloc

Tags: #Azizex666

The Battle of Blenheim (13 page)

 

 

IN A GERMAN PENSION

BY KATHERINE MANSFIELD

Crown
8
vo. Cloth.
6
s.

DELIGHTFUL LITERARY NOVELTY

Never before have Germans, from a social standpoint, been written about with so much insight, or their manners and habits described with such malicious naiveté and minute skill. Miss Mansfield’s power of detailed observation is shown in numerous little touches of character painting which enable us to realise almost as visibly as the authoress herself, the heart, mind, and soul of the quaint Bavarian people. The occasional cynicism and satiric strokes serve to heighten but not to distort the general effect. The one or two chapters which might be called Bavarian short stories rather than sketches are written in a most uncommon—indeed thoroughly individual—vein, both in form and substance. Miss Mansfield’s style is almost French in its clearness, and her descriptions will remind the reader of Russian masters like Turguenieff.

London: STEPHEN SWIFT & CO., LTD., 10 John St., Adelphi

 

 

MOTLEY AND TINSEL

A Story of the Stage

BY J. K. PROTHERO

Crown
8
vo. Cloth.
6
s.

A BOOK WITH DISTINGUISHED NAMES

This story in serial form was the subject of an action for libel founded on the coincidence of the plaintiff’s name with that of one of the characters. As a protest against the absurd state of the law, the author, in revising the novel for publication in book form, has used the names of distinguished writers and journalists who have kindly given their consent. George Bernard Shaw represents a stage door keeper. George R. Sims, in consenting to drive a hansom, fears there may be cabbies of the same name. Edgar Jepson is disguised as an irascible old gentleman of seventy, while Robert Barr officiates as stage manager, with Pett Ridge as call-boy! Hilaire Belloc is a benevolent entrepreneur, and Cecil Chesterton a fiery tempered lover. We meet Frank Lamburn, the editor of
Pearson’s Weekly
, as a distinguished actor, while Barry Pain has kindly divided his name between an aged man of weak intellect and his dead son.

This by no means exhausts the list we find; we meet the names of well-known journalists and men of letters on every page.

London: STEPHEN SWIFT & CO., LTD., 10 John St., Adelphi

 

 

LOVE IN MANITOBA

BY E. A. WHARTON GILL

Crown
8
vo. Cloth.
6
s.

A FRESH FIELD IN FICTION

The writer has opened a fresh field of fiction and has presented a striking picture of life in the Swedish settlements of Western Canada—a district hitherto largely neglected by novelists. The Author is intimately acquainted with the life of these colonists, and has studied his characters on the spot; while his local colour is in every way admirable. He knows the West and its people. And the people in his story are typical of those to be met with in every settlement throughout the West.

London: STEPHEN SWIFT & CO., LTD., 10 John St., Adelphi

 

 

TORY DEMOCRACY

BY J. M. KENNEDY

Crown
8
vo. Cloth.
3
s.
6
d. net

LORDS, GOVERNMENT, LIBERALISM

There are unmistakable indications that the system of politics at present pursued by the two chief political parties is not meeting with the approval of the electorate as a whole, though this electorate, as a result of the Caucus methods, finds it increasingly difficult to give expression to its views. In his book on Tory Democracy, Mr J. M. Kennedy, who is already favourably known through his books on modern philosophical and sociological subjects, sets forth the principles underlying a system of politics which was seriously studied by men so widely different as Disraeli, Bismarck, and Lord Randolph Churchill. Mr Kennedy not only shows the close connection still existing between the aristocracy and the working classes, but he also has the distinction of being the first writer to lay down a constructive Conservative policy which is independent of Tariff Reform. Apart from this, the chapters of his work which deal with Representative Government, the House of Lords, and “Liberalism at Work” throw entirely new light on many vexed questions of modern politics. The book, it may be added, is written in a style that spares neither parties nor persons.

London: STEPHEN SWIFT & CO., LTD., 10 John St., Adelphi

 

 

Footnotes:

[1]
It was this success which to Marlborough’s existing earldom added the high dignity of Duke, by letters patent of December 16, 1702.

[2]
As the French dispatch goes, 7500 men, every horse, and all the waggons, save 120, which had got into difficulties on the way; Fortescue’s note suggesting that 1500 men only reached the Franco-Bavarians (vol. i. p. 42) is based on Quincy.

[3]
It is, of course, an error to say, as is too often done in our school histories and the official accounts of our universities, that the French commanders had no idea of a march upon the Danube. A child could have seen that the march upon the Danube was one of the possible plans open to Marlborough, and Villeroy expressly mentions the alternative in his letter of the 30th of May. The whole point of Marlborough’s manœuvres was to leave the enemy in doubt until the very last moment as to which of the three, the Danube, the Moselle, or Alsace, he would strike at; and to be well away upon the road to the former before the French had discovered his final decision.

[4]
It is worthy of remark that the opportunity for victory which the weak forces under Marcin and the Elector of Bavaria offered at this moment to the superior forces of the allies would have led to an immediate attack of the last upon the first when, two generations later, war had developed into something more sudden and less formal, through the efforts of the Revolution.

Marlborough and the Duke of Baden, with their superior forces, would have attacked Marcin and the Elector had they been their own grandsons. Napoleon, finding himself in such a situation as Marlborough’s a hundred years later, would certainly have fallen on the insufficient forces to his south, for it was known that reinforcements were coming over the Black Forest to save the Franco-Bavarian forces. To break up those forces before reinforcement should come was something which a sudden change of plan could have effected, but not even the genius of Marlborough was prepared, in his generation, for a movement necessitating so great a disturbance of calculations previously made. Donauwörth was his objective, and upon Donauwörth he marched, leaving intact this inferior hostile force which watched his advance from the south.

[5]
As a fact, the advance along this “isthmus” on to the Schellenberg is slightly downhill, and against artillery of modern range and power the Schellenberg could not be held.

[6]
Of seventeen officers of the Guards, twelve were hit; of the total British force at least a third fell; more than a third of these, again, were killed.

[7]
The railway from Ulm to Donauwörth follows the line of this road exactly, and is almost the only modern feature upon the field.

[8]
Mr Fortescue (vol. i. p. 436) writes as though this were not the case. He has overlooked Tallard’s letter to the minister of war of the 4th of September.

[9]
A small body was left at Unterglauheim, but withdrawn as the allies advanced; and outposts lay, of course, upon the line of Marlborough’s advance, and fell back before it.

[10]
Mr Fortescue gives the total force of cavalry under Marcin and the Elector at one hundred and eight squadrons and the infantry at forty-six battalions. The French official record gives forty-two battalions (not forty-six) and eighty-three squadrons in the place of one hundred and eight. Mr Fortescue gives no authority for his larger numbers; and, on the general principle that, in a contested action, each force knows best about its own organisation, I have followed these official records of the French as the most trustworthy.

[11]
It is essential to note this point. Mr Fortescue talks of the dragoons “trotting” to “seal up the space between the village and the Danube.” If they trotted it was as men trot in their boots, for they were on foot. The incident sufficiently proves the ravages which disease accompanying an insufficiently provided march had worked in Tallard’s cavalry.

[12]
Nearly all the English authorities and many of the French authorities speak of the whole twenty-seven battalions out of Tallard’s thirty-six as being in Blenheim from the beginning of the action, and Mr Fortescue adds the picturesque, but erroneous, touch that “Marlborough” (before the action) “had probably counted every one of the twenty-seven battalions into it” (Blenheim).

This error is due to the fact that at the close of the battle there actually were twenty-seven battalions within the village, but they were not there at the beginning of the action; and Marlborough cannot, therefore, have “counted” them going in. The numbers, as I have said, were first nine battalions, with four regiments of dismounted dragoons; then, a little later, another seven, making sixteen; then,
much later
, and when the French were hard pressed, yet another
eleven
, lying as a reserve
behind
Blenheim, were called into the village by the incompetence of Clérambault who commanded in Blenheim. He should have sent them to help the centre—as will be seen in the sequel.

[13]
1st battalion Royal Scots; 1st battalion First Guards; 8th, 20th, 16th, 24th, and 10th Foot; 3rd battalion 23rd Royal Welsh, 21st Royal Scots Fusiliers.

[14]
From one to three squadrons each of the 1st, 3rd, 5th, 6th, 17th Dragoon Guards, 5th Royal Irish Dragoons, and a squadron of the Scots Greys.

[15]
This is the number given by Eugene. Fortescue (p. 436) and most English authorities give fifty-two.

[16]
The 10th, 21st, 23rd, and 24th.

[17]
For some reason or other, the exaggeration of this feature—the marshiness of the banks of the Nebel—mars many an English account of the action. The Nebel, of course, was something of an obstacle, slight as it was, and in places the meadows on its bank widen out and are soft even in the dry weather which had as a whole distinguished the three weeks before Blenheim. But the crossing of that obstacle by the cavalry was nothing in the story of the battle. It was what the cavalry did
after they crossed
that counted.

[18]
Marlborough was at this moment fifty-four years and two months old.

 

 

Transcriber’s Note:

Spelling variations are presented as in the original text.

End of Project Gutenberg's The Battle of Blenheim, by Hilaire Belloc
*** END OF THIS PROJECT GUTENBERG EBOOK THE BATTLE OF BLENHEIM ***
***** This file should be named 32195-h.htm or 32195-h.zip *****
This and all associated files of various formats will be found in:
http://www.gutenberg.org/3/2/1/9/32195/
Produced by The Online Distributed Proofreading Team at
http://www.pgdp.net (This file was produced from images
generously made available by The Internet Archive/American
Libraries.)
Updated editions will replace the previous one--the old editions
will be renamed.
Creating the works from public domain print editions means that no
one owns a United States copyright in these works, so the Foundation
(and you!) can copy and distribute it in the United States without
permission and without paying copyright royalties. Special rules,
set forth in the General Terms of Use part of this license, apply to
copying and distributing Project Gutenberg-tm electronic works to
protect the PROJECT GUTENBERG-tm concept and trademark. Project
Gutenberg is a registered trademark, and may not be used if you
charge for the eBooks, unless you receive specific permission. If you
do not charge anything for copies of this eBook, complying with the
rules is very easy. You may use this eBook for nearly any purpose
such as creation of derivative works, reports, performances and
research. They may be modified and printed and given away--you may do
practically ANYTHING with public domain eBooks. Redistribution is
subject to the trademark license, especially commercial
redistribution.
*** START: FULL LICENSE ***
THE FULL PROJECT GUTENBERG LICENSE
PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK
To protect the Project Gutenberg-tm mission of promoting the free
distribution of electronic works, by using or distributing this work
(or any other work associated in any way with the phrase "Project
Gutenberg"), you agree to comply with all the terms of the Full Project
Gutenberg-tm License (available with this file or online at
http://gutenberg.net/license).
Section 1. General Terms of Use and Redistributing Project Gutenberg-tm
electronic works
1.A. By reading or using any part of this Project Gutenberg-tm
electronic work, you indicate that you have read, understand, agree to
and accept all the terms of this license and intellectual property
(trademark/copyright) agreement. If you do not agree to abide by all
the terms of this agreement, you must cease using and return or destroy
all copies of Project Gutenberg-tm electronic works in your possession.
If you paid a fee for obtaining a copy of or access to a Project
Gutenberg-tm electronic work and you do not agree to be bound by the
terms of this agreement, you may obtain a refund from the person or
entity to whom you paid the fee as set forth in paragraph 1.E.8.
1.B. "Project Gutenberg" is a registered trademark. It may only be
used on or associated in any way with an electronic work by people who
agree to be bound by the terms of this agreement. There are a few
things that you can do with most Project Gutenberg-tm electronic works
even without complying with the full terms of this agreement. See
paragraph 1.C below. There are a lot of things you can do with Project
Gutenberg-tm electronic works if you follow the terms of this agreement
and help preserve free future access to Project Gutenberg-tm electronic
works. See paragraph 1.E below.
1.C. The Project Gutenberg Literary Archive Foundation ("the Foundation"
or PGLAF), owns a compilation copyright in the collection of Project
Gutenberg-tm electronic works. Nearly all the individual works in the
collection are in the public domain in the United States. If an
individual work is in the public domain in the United States and you are
located in the United States, we do not claim a right to prevent you from
copying, distributing, performing, displaying or creating derivative
works based on the work as long as all references to Project Gutenberg
are removed. Of course, we hope that you will support the Project
Gutenberg-tm mission of promoting free access to electronic works by
freely sharing Project Gutenberg-tm works in compliance with the terms of
this agreement for keeping the Project Gutenberg-tm name associated with
the work. You can easily comply with the terms of this agreement by
keeping this work in the same format with its attached full Project
Gutenberg-tm License when you share it without charge with others.
1.D. The copyright laws of the place where you are located also govern
what you can do with this work. Copyright laws in most countries are in
a constant state of change. If you are outside the United States, check
the laws of your country in addition to the terms of this agreement
before downloading, copying, displaying, performing, distributing or
creating derivative works based on this work or any other Project
Gutenberg-tm work. The Foundation makes no representations concerning
the copyright status of any work in any country outside the United
States.
1.E. Unless you have removed all references to Project Gutenberg:
1.E.1. The following sentence, with active links to, or other immediate
access to, the full Project Gutenberg-tm License must appear prominently
whenever any copy of a Project Gutenberg-tm work (any work on which the
phrase "Project Gutenberg" appears, or with which the phrase "Project
Gutenberg" is associated) is accessed, displayed, performed, viewed,
copied or distributed:
This eBook is for the use of anyone anywhere at no cost and with
almost no restrictions whatsoever. You may copy it, give it away or
re-use it under the terms of the Project Gutenberg License included
with this eBook or online at www.gutenberg.net
1.E.2. If an individual Project Gutenberg-tm electronic work is derived
from the public domain (does not contain a notice indicating that it is
posted with permission of the copyright holder), the work can be copied
and distributed to anyone in the United States without paying any fees
or charges. If you are redistributing or providing access to a work
with the phrase "Project Gutenberg" associated with or appearing on the
work, you must comply either with the requirements of paragraphs 1.E.1
through 1.E.7 or obtain permission for the use of the work and the
Project Gutenberg-tm trademark as set forth in paragraphs 1.E.8 or
1.E.9.
1.E.3. If an individual Project Gutenberg-tm electronic work is posted
with the permission of the copyright holder, your use and distribution
must comply with both paragraphs 1.E.1 through 1.E.7 and any additional
terms imposed by the copyright holder. Additional terms will be linked
to the Project Gutenberg-tm License for all works posted with the
permission of the copyright holder found at the beginning of this work.
1.E.4. Do not unlink or detach or remove the full Project Gutenberg-tm
License terms from this work, or any files containing a part of this
work or any other work associated with Project Gutenberg-tm.
1.E.5. Do not copy, display, perform, distribute or redistribute this
electronic work, or any part of this electronic work, without
prominently displaying the sentence set forth in paragraph 1.E.1 with
active links or immediate access to the full terms of the Project
Gutenberg-tm License.
1.E.6. You may convert to and distribute this work in any binary,
compressed, marked up, nonproprietary or proprietary form, including any
word processing or hypertext form. However, if you provide access to or
distribute copies of a Project Gutenberg-tm work in a format other than
"Plain Vanilla ASCII" or other format used in the official version
posted on the official Project Gutenberg-tm web site (www.gutenberg.net),
you must, at no additional cost, fee or expense to the user, provide a
copy, a means of exporting a copy, or a means of obtaining a copy upon
request, of the work in its original "Plain Vanilla ASCII" or other
form. Any alternate format must include the full Project Gutenberg-tm
License as specified in paragraph 1.E.1.
1.E.7. Do not charge a fee for access to, viewing, displaying,
performing, copying or distributing any Project Gutenberg-tm works
unless you comply with paragraph 1.E.8 or 1.E.9.
1.E.8. You may charge a reasonable fee for copies of or providing
access to or distributing Project Gutenberg-tm electronic works provided
that
- You pay a royalty fee of 20% of the gross profits you derive from
the use of Project Gutenberg-tm works calculated using the method
you already use to calculate your applicable taxes. The fee is
owed to the owner of the Project Gutenberg-tm trademark, but he
has agreed to donate royalties under this paragraph to the
Project Gutenberg Literary Archive Foundation. Royalty payments
must be paid within 60 days following each date on which you
prepare (or are legally required to prepare) your periodic tax
returns. Royalty payments should be clearly marked as such and
sent to the Project Gutenberg Literary Archive Foundation at the
address specified in Section 4, "Information about donations to
the Project Gutenberg Literary Archive Foundation."
- You provide a full refund of any money paid by a user who notifies
you in writing (or by e-mail) within 30 days of receipt that s/he
does not agree to the terms of the full Project Gutenberg-tm
License. You must require such a user to return or
destroy all copies of the works possessed in a physical medium
and discontinue all use of and all access to other copies of
Project Gutenberg-tm works.
- You provide, in accordance with paragraph 1.F.3, a full refund of any
money paid for a work or a replacement copy, if a defect in the
electronic work is discovered and reported to you within 90 days
of receipt of the work.
- You comply with all other terms of this agreement for free
distribution of Project Gutenberg-tm works.
1.E.9. If you wish to charge a fee or distribute a Project Gutenberg-tm
electronic work or group of works on different terms than are set
forth in this agreement, you must obtain permission in writing from
both the Project Gutenberg Literary Archive Foundation and Michael
Hart, the owner of the Project Gutenberg-tm trademark. Contact the
Foundation as set forth in Section 3 below.
1.F.
1.F.1. Project Gutenberg volunteers and employees expend considerable
effort to identify, do copyright research on, transcribe and proofread
public domain works in creating the Project Gutenberg-tm
collection. Despite these efforts, Project Gutenberg-tm electronic
works, and the medium on which they may be stored, may contain
"Defects," such as, but not limited to, incomplete, inaccurate or
corrupt data, transcription errors, a copyright or other intellectual
property infringement, a defective or damaged disk or other medium, a
computer virus, or computer codes that damage or cannot be read by
your equipment.
1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the "Right
of Replacement or Refund" described in paragraph 1.F.3, the Project
Gutenberg Literary Archive Foundation, the owner of the Project
Gutenberg-tm trademark, and any other party distributing a Project
Gutenberg-tm electronic work under this agreement, disclaim all
liability to you for damages, costs and expenses, including legal
fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT
LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE
PROVIDED IN PARAGRAPH F3. YOU AGREE THAT THE FOUNDATION, THE
TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE
LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR
INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH
DAMAGE.
1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a
defect in this electronic work within 90 days of receiving it, you can
receive a refund of the money (if any) you paid for it by sending a
written explanation to the person you received the work from. If you
received the work on a physical medium, you must return the medium with
your written explanation. The person or entity that provided you with
the defective work may elect to provide a replacement copy in lieu of a
refund. If you received the work electronically, the person or entity
providing it to you may choose to give you a second opportunity to
receive the work electronically in lieu of a refund. If the second copy
is also defective, you may demand a refund in writing without further
opportunities to fix the problem.
1.F.4. Except for the limited right of replacement or refund set forth
in paragraph 1.F.3, this work is provided to you 'AS-IS' WITH NO OTHER
WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO
WARRANTIES OF MERCHANTIBILITY OR FITNESS FOR ANY PURPOSE.
1.F.5. Some states do not allow disclaimers of certain implied
warranties or the exclusion or limitation of certain types of damages.
If any disclaimer or limitation set forth in this agreement violates the
law of the state applicable to this agreement, the agreement shall be
interpreted to make the maximum disclaimer or limitation permitted by
the applicable state law. The invalidity or unenforceability of any
provision of this agreement shall not void the remaining provisions.
1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the
trademark owner, any agent or employee of the Foundation, anyone
providing copies of Project Gutenberg-tm electronic works in accordance
with this agreement, and any volunteers associated with the production,
promotion and distribution of Project Gutenberg-tm electronic works,
harmless from all liability, costs and expenses, including legal fees,
that arise directly or indirectly from any of the following which you do
or cause to occur: (a) distribution of this or any Project Gutenberg-tm
work, (b) alteration, modification, or additions or deletions to any
Project Gutenberg-tm work, and (c) any Defect you cause.
Section 2. Information about the Mission of Project Gutenberg-tm
Project Gutenberg-tm is synonymous with the free distribution of
electronic works in formats readable by the widest variety of computers

Other books

Improbable Eden by Mary Daheim
Heroes at Odds by Moore, Moira J.
The Great Cat Massacre by Gareth Rubin
Washington and Caesar by Christian Cameron
Little Darlings by Jacqueline Wilson
ChangingPaths by Marilu Mann
Rebel by Mike Resnick