Every war is ironic because every war is worse than expected. Every war constitutes an irony of situation because its means are so melodramatically disproportionate to its presumed ends. In the Great War eight million people were destroyed because two persons, the Archduke Francis Ferdinand and his Consort, had been shot. The Second World War offers even more preposterous ironies. Ostensibly begun to guarantee the sovereignty of Poland, that war managed to bring about Poland’s bondage and humiliation. Air bombardment, which was supposed to shorten the war, prolonged it by inviting those who were its targets to cast themselves in the role of victim-heroes and thus stiffen their resolve.
But the Great War was more ironic than any before or since. It was a hideous embarrassment to the prevailing Meliorist myth which had dominated the public consciousness for a century. It reversed the Idea of Progress. The day after the British entered the war Henry James wrote a friend:
The plunge of civilization into this abyss of blood and darkness … is a thing that so gives away the whole long age during which we have supposed the world to be, with whatever abatement, gradually bettering, that to have to take it all now for what the treacherous years were all the while really making for and meaning is too tragic for any words.
James’s essential point was rendered in rowdier terms by a much smaller writer, Philip Gibbs, as he remembered the popularity during the war of what today would be called Black Humor. “The more revolting it was,” he says, “the more … [people] shouted with laughter”:
It was … the laughter of mortals at the trick which had been played on them by ironical fate. They had been taught to believe that the whole object of life was to reach out to beauty and love, and that mankind, in its progress to perfection, had killed the beast instinct, cruelty, blood-lust, the primitive, savage, law of survival by tooth and claw and club and ax. All poetry, all art, all religion had preached this gospel and this promise. Now that ideal was broken like a china vase dashed to the ground. The contrast between That and This was devastating… The war-time humor of the soul roared with mirth at the sight of all that dignity and elegance despoiled.
— The Great War and Modern Memory, Paul Fussell