And then, a day or two later, a heavy British air-raid, the first of the campaign, fell on Maidos at the Narrows. Seven 100-lb. bombs, an unheard-of kind of missile in the Mediterranean at this time, set the town on fire.

After this there was silence again. No more ships attempted to enter the straits and no gun was fired on either side. The weather continued to be unsettled and cold. Among the Turks, who had now been given almost five weeks in which to prepare their defences, nothing remained to be done but to wait — to post their watchers on the hill tops and the cliffs, to keep gazing out to sea by day and sweeping the straits with their searchlights at night. The dread of the coming invasion was everywhere about them; but where it would fall, and at what hour of the day or night, and what it would look like when it came — of all this they had no notion at all.

THERE was a fever of excitement about the ‘Constantinople Expedition’ among young men in England. ‘It’s too wonderful for belief,’ Rupert Brooke wrote as he was setting out. ‘I had not imagined Fate could be so kind… Will Hero’s Tower crumble under the 15-inch guns? Will the sea be polyphloisbic and wine-dark and unvintageable? Shall I loot mosaics from St. Sophia, and Turkish Delight and carpets? Should we be a Turning Point in History? Oh God! I’ve never been quite so happy in my life I think. Never quite so pervasively happy; like a stream flowing entirely to one end. I suddenly realize that the ambition of my life has been — since I was two — to go on a military expedition against Constantinople.’

Rupert Brooke, with his romanticism, his eagerness and his extreme physical beauty, is the symbolic figure in the Gallipoli campaign. One feels that he was destined to be there, that among all these tens of thousands of young men this was the one who was perfectly fitted to express their exuberance, their secret devotion, their ‘half joy of life and half readiness to die’.[8]

He was just twenty-seven at this time, and the circumstances of his life were almost too good to be true. There had been his lyrical schooldays at Rugby, where he was liked by everybody and where he was in all the teams, and all the literary honours were his. Then Cambridge with the dabblings in socialism, the amateur theatricals, the sittings-up all night, the ramblings through the countryside talking of Oscar Wilde and singing all the way. Like T. E. Lawrence later on he had met and captivated almost everyone who counted in London, from the Asquiths and the Churchills to the Shaws and Henry James. He had travelled everywhere (though always at the end of a thread that tied him to England), and just before the war had been searching for lost Gauguins in Tahiti in the South Pacific. It was Churchill who had obtained for him his commission in the Royal Naval Division which had gone first to Antwerp and was now committed to Gallipoli. More than ever, on the eve of this new adventure, the poet was the hero of Mrs. Cornford’s poem:

Brooke’s own war sonnets were soon to be on everybody’s lips:

All this — the charmed life, the beauty, the immense promise of his talents — was now to be risked in battle in the classical Ægean. It was indeed almost too wonderful for belief.

As always, Brooke was surrounded by his friends. There was young Arthur Asquith, the Prime Minister’s son; Aubrey Herbert, the orientalist who ‘went to the East by accident as a young man may go to a party, and find his fate there’; others like Charles Lister and Denis Browne who would certainly have been something in the world had they not been about to die. To these, new friends were constantly being added; men like Bernard Freyberg, who was in California when war broke out and came back to England to enlist. He joined the Naval Division.

Soon they were all together in Egypt, living in tents, driving out to the desert to see the pyramids by moonlight, a dedicated group ringed about with its own code and its excitement in the adventure that lay ahead; and they were completely happy. Then Rupert Brooke went down with sunstroke, and the Commander-in-Chief (whom of course he had known in England) called on him in his tent. When Hamilton offered him a place on the headquarters staff Brooke refused; he wanted to be at the landing on Gallipoli with his men.

‘He looked extraordinarily handsome,’ Hamilton wrote in his diary, ‘quite a knightly presence stretched out there on the sand with the only world that counts at his feet.’

Compton Mackenzie in his Gallipoli Memories relates how he too was caught up in the Gallipoli fever. He was living at Capri at the time, had just published Sinister Street (which had made his name), and was working on the concluding chapters of Guy and Pauline. Directly he heard of the expedition he was in a frenzy of impatience to get to Egypt. Friends in Whitehall found him a job on Hamilton’s staff, and presently he was off down the Mediterranean on the first available boat out of Naples, appalled that as yet he had no uniform, and beset with anxiety that he would not arrive in time.

Almost all these young men — and thousands of others less imaginative but just as ardent — were facing the prospect of battle for the first time, and their letters and diaries reveal how strongly the sense of adventure communicated itself through the Army. For the moment the constricting fear of the unknown was overlaid by the newness and the excitement of the occasion, the feeling that they were isolated together here in this remote place and entirely dependent upon one another. They were determined to be brave. They were convinced that they were committed to something which was larger and grander than life itself, perhaps even a kind of purification, a release from the pettiness of things.

‘Once in a generation,’ Hamilton wrote in his diary, ‘a mysterious wish for war passes through the people. Their instinct tells them that there is no other way of progress and of escape from habits that no longer fit them. Whole generations of statesmen will fumble over reforms for a lifetime which are put into full-blooded execution within a week of a declaration of war. There is no other way. Only by intense sufferings can the nations grow, just as a snake once a year must with anguish slough off the once beautiful coat which has now become a strait jacket.’

In the long tradition of British poet-generals Hamilton remains an exception of an extremely elusive kind. One knows everything and nothing about him. Whether one is dealing with the poet or the general at any given point it is almost impossible to tell. Somewhere about this time — April 1915—there was a remarkable photograph taken of the General on board the Triad, and this perhaps reveals him more intimately than all the diaries and the opinions of his friends. One recognizes the other figures in the group at once. Admiral de Robeck stands with his feet firmly planted on the deck, his arms clasped behind his back, and his steady, carved, admiral’s face belongs to gales at sea. Keyes at his side, is exactly as he ought to be: a slim, angular figure, alas not a beautiful face with those big ears, but most engaging. Braithwaite, the Chief of Staff, is the handsome professional; he fills his uniform like a soldier and he knows where he is. But it is upon Hamilton that one inevitably fixes one’s eye. Everything about him is wrong. He has adopted an almost mincing attitude, his shoulders half-turned in embarrassment towards the camera, one hand resting on a stanchion in a curiously feminine way and the other grasping what appears to be a scarf or a piece of material at his side. The fingers are long, shapely and intensely sensitive, the face quite firm and patrician but somehow nervous and ill-at-ease. His uniform does not fit him — or rather he gives the impression that he ought not to be in uniform at all. His cap is a disaster. Braithwaite has the right kind of cap and it suits him; Hamilton’s perches like a pancake on his head, his tunic is bus-conductorish, his breeches too tight for his wilting bow legs. Physically he is the last possible man one can imagine as a commander-in-chief. He simply does not inspire confidence.