History of Friedrich II of Prussia — Volume 14 — Themes and Context

(0 User reviews)   1973
In Category - Modern Nations
Carlyle, Thomas, 1795-1881 Project Gutenberg 2008 Not confirmed
Social problems; Frederick II, King of Prussia, 1712-1786; Prussia (Germany) -- History -- Frederick II, 1740-1786 Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 59,543
Reading time 259 min
Text sections 7

The source record for History of Friedrich II of Prussia — Volume 14 — Themes and Context measures this digital text at 59,543 words, 4 hr 19 min estimated reading time, and 7 detected text sections.

The text analysis averages about 24.7 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “Social problems,” connecting these edition facts with the source record’s subject description.

Carlyle's narrative of the 1742-1744 war, focusing on the Battle of Dettingen and Grammont's fatal charge, with vivid diction and ironic commentary on military blunders.
Share
Editorial Edition Score 4.7/5

Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.

How this score is calculated
  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

There were fine fightings, in the interior too, under Generals of mark; General Browne doing feats, excellent old General Feldmarschall Traun, of whom we shall hear; Maillebois, Belleisle the Younger, of whom we have heard. There was Battle of Campo-Santo, new battle there (Traun's); there was Battle of Rottofreddo; of Piacenza (doleful to Maillebois),--followed by Invasion of Provence, by Revolt of Genoa and other things: which all readers have now forgotten. [Two elaborate works on the subject are said to be instructive to military readers: Buonamici (who was in it, for a while). _De Bello Italico Commentarii_ (in Works of Buonamici, Lyon, 1750); and Pezay, _Campagnes de Maillebois_ (our Westphalian friend again) _en Italie,_ 1745-1746 (Paris, 1775).] Readers are to imagine this Italian War, all along, as a fact very loud and real at that time, and continually pulsing over into our German Events (like half-audible thunder below the horizon, into raging thunder above), little as we can afford to say of it here. One small Scene from this Italian War;--one, or with difficulty two;--and if possible be silent about all the rest:

SCENE, ROADS OF CADIZ, October, 1741: BY WHAT ASTONISHING ARTIFICE THIS ITALIAN WAR DID, AT LENGTH, GET BEGUN.

... "The Spanish Court, that is, Termagant Elizabeth, who rules everybody there, being in this humor, was passionate to begin; and stood ready a good while, indignantly champing the bit, before the sad preliminary obstacles could be got over. At Barcelona she had, in the course of last summer, doubly busy ever since Mollwitz time, got into equipment some 15,000 men; but could not by any method get them across,--owing to the British Fleets, which hung blockading this place and that; blockading Cadiz especially, where lay her Transport-ships and War-ships, at this interesting juncture. Fleury's cunctations were disgusting to the ardent mind; and here now, still more insuperable, are the British Fleets; here--and a pest to him!--is your Admiral Haddock, blockading Cadiz, with his Seventy-fours!

"But again, on the other or Pragmatic side, there were cunctations. The Sardinian Majesty, Charles Emanuel of Savoy, holding the door of the Alps, was difficult to bargain with, in spite of British Subsidies;--stood out for higher door-fees, a larger slice of the Milanese than could be granted him; had always one ear open for France, too; in short, was tedious and capricious, and there seemed no bringing him to the point of drawing sword for her Hungarian Majesty. In the end, he was brought to it, by a stroke of British Art,--such to the admiring Gazetteer and Diplomatic mind it seemed;--equal to anything we have since heard of, on the part of perfidious Albion.

"One day, 'middle of October last,' the Seventy-fours of Haddock and perfidious Albion,--Spanish official persons, looking out from Cadiz Light-house, ask themselves, 'Where are they? Vanished from these waters; not a Seventy-four of them to be seen!'--Have got foul in the underworks, or otherwise some blunder has happened; and the blockading Fleet of perfidious Albion has had to quit its post, and run to Gibraltar to refit. That, I guess, was the Machiavellian stroke of Art they had done; without investigating Haddock and Company [as indignant Honorable Members did], I will wager, That and nothing more!

"In any case, the Termagant, finding no Seventy-fours there, and the wind good, despatches swiftly her Transports and War-ships to Barcelona; swiftly embarks there her 15,000, France cautiously assisting; and lands them complete, 'by the middle of December,' Haddock feebly opposing, on the Genoa coast: 'Have at the Milanese, my men!' Which obliges Charles Emanuel to end his cunctations, and rank at once in defence of that Country, [Adelung, ii. 535, 538 (who believes in the "stroke of art"): what kind of "art" it was, learn sufficiently in _Gentleman's Magazine,_ &c. of those months.] lest he get no share of it whatever. And so the game began. Europe admired, with a shudder, the refined stroke of art; for in cunning they equal Beelzebub, those perfidious Islanders;--and are always at it; hence their greatness in the world. Imitate them, ye Peoples, if you also would grow great. That is our Gazetteer Evangel, in this late epoch of Man's History."...

OTHER SCENE, BAY OF NAPLES, 19th-20th August, 1742: KING OF TWO SICILIES (BABY CARLOS THAT WAS), HAVING BEEN ASSISTING MAMMA, IS OBLIGED TO BECOME NEUTRAL IN THE ITALIAN WAR.

Readers will transport themselves to the Bay of Naples, and beautiful Vesuvian scenery seen from sea. The English-Spanish War, it would appear, is not quite dead, nor carried on by Jenkins and the Wapping people alone. Here in this Bay it blazes out into something of memorability; and gives lively sign of its existence, among the other troubles of the world.

Carlyle opens Volume 14 with a characteristic blend of sardonic humor and precise military detail, as seen in his account of the Battle of Dettingen. He describes the Pragmatic Army 'jammed so against the Spessart Hills' and forced to deploy in six or eight lines, a formation 'unsatisfactory to the military mind.' The narrative zeroes in on Grammont's impetuous charge, which Carlyle frames as a cascade of errors: 'Grammont breaks orders! Thrice-blamable Grammont!' The author's voice is unmistakable—colloquial, judgmental, and theatrical—as he dramatizes the French cavalry's 'right Gallic frenzy' and the English foot's premature volley.

Carlyle's Ironic Voice in Battle Narration

Carlyle's diction consistently undercuts martial heroism. He describes the French cavalry as 'blazing up uncontrollable' and their charge as 'covering itself with glory,—for a short while.' The dash and italics mimic a speaker's emphasis, while phrases like 'Well, yes, that is true, M. le Marechal; but that is not so important' inject a conversational, almost mocking tone. This technique distances the reader from glorified warfare, instead highlighting human folly. The author's use of exclamation points and rhetorical questions—'Enough of that, MESSIEUR'S LES ANGLAIS!'—creates a sense of immediate, ironic commentary.

Structural Choices: The Set-Piece Battle

The Dettingen account is structured as a classical set-piece, with clear phases: deployment, crisis, and aftermath. Carlyle builds tension through temporal markers ('seven mortal hours,' '2 P.M.') and spatial details ('jammed so against the Spessart Hills'). He then pivots to a decisive moment—Grammont's charge—and dissects it with almost forensic precision. The narrative breaks into short, punchy paragraphs, each focusing on a single action or reaction. This structure mirrors the chaos of battle while imposing a clear causal chain: Grammont's impatience leads to a breach of orders, which leads to a ruined cavalry and a lost field.

Recurring Motifs: Orders and Their Violation

A persistent theme in this excerpt is the violation of orders. Grammont 'breaks orders' by crossing the Hollow Way prematurely, and Noailles wrings his hands over the disobedience. Carlyle emphasizes the consequences: the French infantry 'had no luck anywhere' after the charge. The motif extends to the English foot, who 'gave their volley too soon,' a parallel lapse. This focus on discipline and its failure recurs throughout Carlyle's history, framing battles as tests of command rather than mere clashes of arms. The author's language—'thrice-blamable,' 'natural impatience'—moralizes these breaches, turning tactical errors into character flaws.

Dialogue and Reported Speech as Characterization

Carlyle uses reported speech and imagined exclamations to animate his historical actors. Noailles's lament—'Grammont breaks orders! Thrice-blamable Grammont!'—is rendered as direct, emotional speech, while the English soldiers' grim thought—'Too much of it, a great deal!'—is given as internal monologue. This technique blurs the line between documented fact and authorial invention, lending immediacy to the narrative. Carlyle also ventriloquizes the French cavalry's presumed mindset: 'Let us finish it wholly, now that our hand is in!' Such passages reveal his method: he treats historical figures as dramatic characters, using their (imagined) words to drive the story.

Readers approaching this volume should attend to Carlyle's distinctive narrative voice, which treats military history as a stage for human error and irony. His diction—colloquial, judgmental, and vivid—transforms dry maneuvers into dramatic episodes. The excerpts here offer a concentrated sample of his method: the set-piece battle, the motif of broken orders, and the use of imagined speech. These elements recur throughout the work, rewarding attention to how Carlyle shapes his material rather than merely reporting it.

There’s a strange tenderness in how Carlyle watches Grammont’s charge unravel, the pride before the stumble. It stayed with me long after I closed it. History of Friedrich II of Prussia — Volume 16 — Themes and Context carries that same quiet ache, like recognizing a familiar ache in an old friend’s voice.

There are no reviews for this eBook.

0
0 out of 5 (0 User reviews )

Add a Review

Your Rating *
There are no comments for this eBook.

Reader reflection

Before you leave, reflect on the book

Use these questions to collect your thoughts before moving on.

Your progress 0 / 10
1

Where are you in your reading?

2

How did the book work for you overall?

3

How likely are you to recommend this book?

4

How demanding did the text feel?

Related eBooks