A Student in Arms: Second Series — Context and Discussion
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This digital edition of A Student in Arms: Second Series — Context and Discussion is described by source-level measurements including 34,667 words, 2 hr 31 min estimated reading time, and 5 detected text sections.
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Donald was the apple of his eye, and he was quick to note a certain lack of vitality about the little boy--especially when he was growing fast--and a certain natural timidity. His letters from school are full of messages to and instructions concerning Donald's physical training, and from Sandhurst he would long to "run over and see after his boxing." He called him Don Diego, a name that suited the rather stately little fellow, and he used to fear sometimes that Donald was "getting too polite" and say he must "knock it out of him in the holidays." Needless to say, his handling of him was always very gentle.
The other over-vital brother, if a prime amuser, was also a prime tease, and being nearer Donald in age was also much less gentle.
Before very long these great personages took themselves off "zum neuen taten." But their Odysseys came home in the shape of letters, which, with their descriptions of strange countries and peoples and records of adventures--often the realization of boyish dreams--and also of difficulties overcome, were well calculated to appeal to Donald's childish imagination, and to increase his admiration for the writers--and also his feeling of impotence, and of the impossibility of being able to follow in the tracks of such giants among men!
His mother, however, was his never-failing confidante and friend. His love and admiration for her were unbounded, as for her courage, unselfishness and constant thought for others, more especially for the poor and insignificant among her neighbours. Though the humblest minded of women, she could, when occasion demanded, administer a rebuke with a decision and a fire that must have won the heartfelt admiration of her diffident little son.
He was not easily roused himself, but there is one instance of his being so that is eminently characteristic. He had come back from school evidently very perturbed, and at first his sister could get nothing out of him. But at last he flared up. His face reddened, his eyes burned like coals and, in a voice trembling with rage, he said, "---- (naming a school-fellow) talks about things that I won't even _think_!"
At the age of about 14 he, too, went to Rugby, and there is an interesting prophecy about him by his brother Hugh belonging to this time. Hugh had by now earned a certain right to pronounce judgment, having already started to fulfil his early promise by making some mark as a soldier and a linguist. He had been invited to join the Egyptian Army at a critical time in the campaign of 1897-98, thanks to his proficiency in Arabic. His work was cut short by serious illness, the long period of convalescence after which he had utilized in working for and passing the Army Interpreter's examination in Turkish as well as the higher one in Arabic and his promotion exam. All of which achievements had been of use in helping him to wring out of the War Office a promise of certain distinguished service in China. In a letter home he writes:--
2ND BATT. THE ROYAL WARWICKSHIRE, REGT., THE CAMP, COLCHESTER. 28th Sept., 1899.
I packed Donald off to school to-day in good time and cold-less.... He was wonderfully calm and collected. He was more at his ease in our mess than I should have been in a strange mess, and made himself agreeable to his neighbours without being forward. Also he looked very clean and smart, and was altogether quite a success.
That child has a future before him if his energy is up to form, which I hope. His philosophy is most amazing. He looks remarkably healthy, and is growing nicely....
Shortly after this letter was written the South African War broke out, and before six months were over the writer was killed in action, at the age of 27, whilst serving with the Mounted Infantry at Paardeberg.
Donald Hankey's A Student in Arms: Second Series opens with a biographical sketch that immediately establishes a tension between the romantic and the real. The writer describes Hankey's life as 'a Romance of the most noble and beautiful kind,' yet the narrative quickly moves to a childhood incident where a neighbor's baby knocks the young Donald to the ground. This juxtaposition of idealization and blunt physicality recurs throughout the volume, which collects essays and dialogues written during the First World War. The excerpts reveal a writer who treats soldiering not as a backdrop for heroics but as a crucible for examining belief, fear, and the strange bonds formed between men under fire.
Voices in Dialogue
The volume makes extensive use of dramatic dialogue, particularly in the 'Imaginary Conversations' sections. In one excerpt, soldiers Dodd, Whiston, and a Lance-Corporal debate presentiments of death. Dodd admits he has been 'absolutely certain that I was not for it,' while Whiston calls such fatalism 'a damnable doctrine.' The Lance-Corporal offers a middle ground: 'I think you goes when your time comes.' This exchange captures a central tension in the book—between the need to act responsibly and the desire to surrender to fate. The dialogue form allows Hankey to present conflicting viewpoints without resolving them, letting the reader overhear the arguments that soldiers actually had.
The Cost of Survival
A later dialogue between Hancock and Smith dramatizes the psychological aftermath of loss. Hancock, grieving the deaths of Dodd and Whiston, cries out, 'Why just the fellows we can't afford to lose?' Smith responds with pragmatic cynicism: 'What the hell's the good of going on like that?' The exchange escalates into a bitter argument about courage and worth. Hancock insists that the dead are 'the lucky ones,' having 'earned' their end, while Smith accuses him of being 'frightened into religion.' Hankey does not side with either man; instead, he exposes the raw, unprocessed grief that survival can bring. The scene is notable for its refusal to offer comfort, ending instead with Hancock's fierce contempt for Smith's self-preservation.
Recurring Motifs: Romance and Reality
The word 'Romance' appears prominently in the prefatory material, but the excerpts repeatedly undercut any simple idealism. The biographical sketch calls Hankey's life 'a Romance,' yet the same paragraph recounts a literal knockdown. Later, the dialogues show soldiers using religious language—'Resurrection and life and Heaven'—alongside profanity and sarcasm. This pattern suggests that Hankey is interested in how men hold onto meaning in a setting that seems to deny it. The tension between the romantic framing and the gritty dialogue is not a flaw but a deliberate structural choice, forcing the reader to question whether romance can survive the trenches.
Readers approaching this second series should attend to the way Hankey uses multiple voices—the biographical narrator, the essayist, and the characters in dialogue—to create a polyphonic account of war. The excerpts do not reveal the full arc of the book, but they suggest a writer more interested in asking questions than in providing answers. The tensions between faith and doubt, duty and self-preservation, are left unresolved, inviting the reader to sit with the discomfort that the soldiers themselves could not escape.
The muddy fatalism Hankey records—men joking about death because crying was useless—reminded me of an old journal I kept during a long illness. That same hollow calm returned when I later read The Story of a Siberian Exile; Followed by a Narrative of Recent Events in Poland — Reading Notes. Both books whisper the same truth: endurance isn't heroic, it's just what remains when hope has quietly left the room.
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