The Making of Tommy Atkins

BUT sure enough, a few years after, the soldiers thought, and talked, and expressed themselves exactly like Rudyard Kipling had taught them in his stories! He would get a stray word here, or a stray expression there, and weave them into general soldier talk, in his priceless stories.

Rudyard Kipling made the modern soldier. Other writers have gone on with the good work, and they have between them manufactured the cheery, devil-may-care, lovable person enshrined in our hearts as Thomas Atkins.* Before he had learnt from reading stories about himself that he, as an individual, also possessed the above attributes, he was mostly ignorant of the fact. My own recollections of the British soldier are of a bluff, rather surly person, never the least jocose or light-hearted, except perhaps when he had too much beer. He was brave always, but with a sullen, stubborn bravery. No Tipperary or kicking footballs about it.* To Rudyard Kipling and his fellow-writers the Army owes a great debt of gratitude for having produced the splendid type of soldier who now stands as the English type.

abridged

Abridged from ‘A Soldier’s Memories in Peace and War’ (1917), by Major-General Sir George John Younghusband (1859-1944). Additional material from ‘Tommy’ in ‘Ballads and Barrack-Room Ballads’ (1892) by Rudyard Kipling (1865-1936).

* The origins of this generic name for the common British soldier are hotly debated: historian John Laffin summarised current thinking in Tommy Atkins: The Story of the English Soldier (1966, 2011). ‘Mr Tommy Atkins’ was selected by the War Office for use in specimen forms in 1815. It was surely given impetus by the dying words of one Thomas Atkins at the Battle of Boxtel in 1794, who told Arthur Wellesley “It’s alright, sir, it’s all in the day’s work”. Another brave Tommy Atkins was a popular toast during the Indian Mutiny of 1857. All these undoubtedly helped cement the name in military minds. But a letter dated to 1743 praised the conduct of troops in an attempted mutiny, saying that “except for those from N. America ye Marines and Tommy Atkins behaved splendidly”. So far the generic name has been traced back no further than this.

* ‘It’s a Long Way to Tipperary’ was a music-hall song originally written and performed by Jack Judge in 1915, and sung, whistled and hummed by ‘Tommy Atkins’ throughout the War, much to the chagrin of some. See My Heart’s Right There. ‘Kicking footballs’ is a reference to the Christmas Truce of December 24th-26th, 1914, during which many opposing forces spontaneously stopped fighting and in some cases even played football. The games seem to have been sparked and played chiefly by the British — only the British would take along a football to the trenches anyway — but to the immense credit of both sides Germans joined in.

Précis
Almost overnight, said Younghusband, his men began to talk like the soldiers in Kipling’s stories, though they had never done so before. ‘Tommy Atkins’ changed from a rather sullen and pugnacious man into a light-hearted, perky fellow, a change that Younghusband had no hesitation in crediting to Kipling, and which he regarded as a priceless boon to Britain’s armed forces.
Questions for Critics

1. What is the author aiming to achieve in writing this?

2. Note any words, devices or turns of phrase that strike you. How do they help the author communicate his ideas more effectively?

3. What impression does this passage make on you? How might you put that impression into words?

Based on The English Critic (1939) by NL Clay, drawing on The New Criticism: A Lecture Delivered at Columbia University, March 9, 1910, by J. E. Spingarn, Professor of Comparative Literature in Columbia University, USA.

Jigsaws

Express the ideas below in a single sentence, using different words as much as possible. Do not be satisfied with the first answer you think of; think of several, and choose the best.

Kipling wrote stories. Soldiers read them. They started talking like his characters.

See if you can include one or more of these words in your answer.

IAfter. IIImitate. IIIPick up.

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