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class="RubricLk-gRWSOU fgWnkQ bric__lk" href="/books/page-turner"><span class="RubricName-fVtemz cLxcNi">Page-Turner</span></a></div></div></div><h1 data-ttid="ContentHearHed" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearHed-NCyCC iUEiRd NbxED hpJvIc">The Te Story of Rupert Brooke</h1></div><div class="ContentHearAccredatn-lfctVB cKRKZx ntent-hear__accredatn" data-ttid="ContentHearAccredatn"><div class="ContentHearByle-kmPyCa gvUmxJ"><div class="ContentHearByleContent-dpPmNn DRFq"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl ContentHearByl-cZqgyJ bqbBYQ"><p class="ByleWrapper-jWHrLH ivtvgj byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span><a class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BaseLk-eNWuiM ByleLk-gEnFiw iUEiRd ggMZaT cXqSTL eErqIx byle__name-lk button" href="/ntributors/joanna-scutts">Joanna Scutts</a></span></span></p></div><time data-ttid="ContentHearPublishDate" dateTime="2015-04-23T07:02:00-04:00" class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ ContentHearPublishDate-eIBicG iUEiRd kYZrFA kEBrdf">April 23, 2015</time></div></div></div></div></div></hear></div><div data-attribute-verso-pattern="article-body" class="ArticlePageContentBackGround-cNiFNN kbAoLA article-body__ntent"><div class="ActnBarWrapperContent-lasBkU cAHp"><div class="ActnBarWrapperComponent-cjwxLS bEeSLb"><div data-attr-viewport-monor="" class="ActnBarWrapper-dhxmQh kNjTbQ viewport-monor-anchor"><button id="bookmark" aria-label="Save this story" class="ActnBarButton-dyFOZU hQrwCF bookmark large-screen"><span class="ActnBarSendaryButtonPrimaryIn-isbvyN cAwccV bookmark-button-in"><svg class="in in-bookmark" width="24" height="24" viewBox="0 0 24 24" fill="none" xmlns="><tle>Save this story</tle><path 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kGxnNB rponsive-asset AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset"><picture class="RponsiveImagePicture-cWuUZO KhjZz AssetEmbedRponsiveAsset-cXBNxi eCxVQK asset-embed__rponsive-asset rponsive-image rponsive-image--expandable"><noscript><img alt="W. B. Yeats dubbed famoly dubbed Brooke “the handsomt young man England.”" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src=" srcSet=" 120w, 240w, 320w, 640w, 960w, 1280w, 1600w, 1920w, 2240w" siz="100vw"/></noscript></picture></span></div><div class="CaptnWrapper-jSZdqE iTuhkZ ptn AssetEmbedCaptn-fNQBPI fmQnYP asset-embed__ptn"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnText-bHjzlu iUEiRd hWyo iXWezO ptn__text">W. B. Yeats dubbed famoly dubbed Brooke “the handsomt young man England.”</span><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ CaptnCred-ejegDm iUEiRd iicloT jbIJNS ptn__cred">Photograph by Culture Club / Getty</span></div></figure></div><p class="has-dropp has-dropp__lead-standard-headg">Among other qutsentially English anniversari—<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Shakpeare’s birthday</a>, St. Gee’s Day—April 23rd marks a hundred years sce the ath of Rupert Brooke, who for most of the past century has ranked among Bra’s bt-known and most beloved cultural figur. A poet of the First World War who never saw actn, he is famo maly for one son, “The Soldier,” om a sequence of five, and then maly for s openg l: “If I should die, thk only this of me: / That there’s some rner of a foreign field / That is forever England.” Upper-class and stiff-upper-lipped, blond-haired and blue-eyed, eager to sacrifice youth and bety for kg and untry, Brooke embodied a romantic and remarkably tenac natnal fantasy. He was a mor celebry before he died and a monstro one afterward, holdg on, to this day, to his fame and a rather tattered glory.</p><p class="paywall">By the centennial of the First World War, Brooke ought to have fad to a scholarly footnote, along wh other war-romanticizg poets such as Julian Grenfell and Vera Brta’s fiancé, Roland Leighton. His 1914 sons and their torrent of imatns, published daily newspapers along wh the sualty lists, later me to reprent the llo idcy of the generals and policians who blunred through the war until lns of people were ad. But the ia that Brookish nocence vanished at the first sight of a rat-bten rpse a trench is, of urse, much too simple, and nceals a ntug battle over the war’s meang. As recently as last January, the U.K.’s Conservative tn secretary, Michael Gove, <a href=">attacked the “left-wg myths</a>,” tght Brish schools, that the war was a “misbegotten shambl.” Unqutng, self-sacrificg patrtism of the kd Brooke reprented remas a powerful right-wg myth—never md that the poet was a mted Fabian socialist for much of his life. As so often happens, the tth about Rupert Brooke is more tertg than the polil and bgraphil myths that have followed him.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Brooke enlisted almost as soon as the war broke out, like most young men of his class, and fagled an officer’s missn the Royal Naval Divisn unr the mand of Wston Churchill. He posed the “1914” sons October, durg the evacuatn of the Belgian fortified cy of Antwerp—a bloodls actn by the later standards of the Wtern Front, although the sight of lumns of refuge fleeg the cy shook him. In the end, to Brooke and his classilly ted fellow officers, Belgium was nothg: they were sailg to Troy. In the sprg of 1915, Brooke was on his way to the Dardanell, the strategilly sential waterway between Europe and Asia known to the ancient Greeks as the Hellpont. Homer and Herodot were his guis, Brooke wrote to his mother, as he sailed over the “sapphire sea, swept by ghost of trirem and ququerem.” On April 25th, Allied troops would make a muddled, bloody landg on the Gallipoli pensula, the start of a disastro ne-month mpaign. Brooke missed by two days—a mosquo be and a blood fectn sent him down among the Greek ghosts. He was buried an olive grove on the island of Skyros the sapphire-blue Aegean.</p><p class="paywall">In the library of Kg’s College, Cambridge, Brooke’s alma mater, there is a <a href=">privately prted acunt</a> of his ath and burial, based on the log of the French hospal ship where he died. Over eleven excciatg pag (“Oh pale, pale, English face that no one will look on ever aga! Face of passn, of dreams, and of torment!”), tablish the tw pol of the Brooke myth, patg him as a lerary hero, for dyg Greece like Byron, and as a figure of natnal polil importance—he was attend throughout his illns and ath by the Prime Mister’s son, his ra Arthur “Oc” Asquh. His ath, which me barely three weeks after the an of St. Pl’s Cathedral reced “The Soldier” durg the Easter Sunday service, seemed like the fulfillment of the poem’s prophecy. Its particular unmartial circumstanc quickly ceased to matter—an <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">obuary</a> by Wston Churchill, which ran the London <em>Tim</em>_,__ _attributed his ath to sunstroke. The symbolism was all. When the Brish me to lay out their war cemeteri, the anizatn charge ma Brooke’s poem e lerally te: stead of gatherg the ad to vast ossuari, as the French did, the Brish tablished grave plots of varyg siz at the rners of “foreign fields.” Through a technil land-lease agreement, they beme, forever, English.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">Churchill’s brief obuary was part of a longer remembrance of Brooke by the polician’s private secretary, Edward Marsh, a patron of the arts who beme Brooke’s lerary executor. Marsh had bee fatuated wh the young poet after seeg him on stage, drsed a thigh-grazg blue tunic, a productn of “The <em>Eumenis”</em>_ <em>durg his first term at Cambridge. In July 1918, after three years of battlg Brooke’s formidable mother, Marsh published the first, highly sanized acunt of Brooke’s life. It was the start of a reverent bgraphil trajectory that reached s apotheosis Christopher Hassall’s fiftieth-anniversary door-stopper, published 1964, which lavished attentn on Brooke’s early life but uld not draw on the sheav of sndalo letters Brooke’s rrponnce, which were strictly embargoed by the tste of his tate. The first llectn of Brooke’s letters, eded by his old iend Geofey Keyn and published 1968, was also heavily censored. After Hassall, most of the bgraphil work on Brooke has been a procs of <a href=">dismantlg the goln-boy myth</a> as new letters and new lovers have appeared. Jt last month, the publitn of several prevly unseen letters and of a memoir by Phyllis Gardner, one of several women wh whom Brooke was volved the years before the war, prompted one of his recent bgraphers to <a href=">brand him a “vic sadist” the <em>Daily Mail</em></a></em>._</p><div class="Contaer-bkChBi byNLHx"></div><p class="paywall">Brooke was born 1887, the send of three boys. He was six years younger than Richard, an alholic who died durg Rupert’s first year at Cambridge, and three years olr than Aled, who was killed actn two months after Rupert’s ath. Between Richard and Rupert there was a dghter who died fancy, and their mother apparently often told Rupert that he ought to have been a girl, stillg him a profound anxiety about his sexualy. His father was a schoolmaster at Rugby, the English public school where Thomas Arnold veloped an stere and btal system that was tend to mold boys to imperial lears. Handsome, sportg and lerary, Rupert acquted himself cently. At the prep school he attend om age eight to thirteen, he beme close wh Jam Strachey, the younger brother of the more famo Lytton Strachey, and later, at Rugby, he was good iends wh Geofey Keyn, the younger brother of the more famo John Maynard Keyn. He once wrote Jam Strachey, who was love wh him, a notor letter tailg a sexual enunter wh a iend om Rugby. (Strachey went on to bee a psychoanalyst and, wh his wife, Alix, the preëment translator of Frd.) Brooke was well aware of his appeal to both men and women—he uld hardly fail to be. Jt about everyone who met him scribed his physil appearance rapturo terms. “That is exactly what Adonis mt have looked like the ey of Aphrode,” Leonard Woolf wrote. Yeats dubbed him “the handsomt young man England.”</p><p class="paywall">Brooke’s female admirers were hardly ls effive; he spired a poem by his iend Franc Cornford that begs, “A young Apollo, goln-haired.” Around the same time that he was romancg Phyllis Gardner, he was also wrg arnt letters to fifteen-year-old Noël Olivier ( of Lrence), tormentg his voted pann Kathere (Ka) Cox, and settg his sights on the succsful stage actrs Cathleen Nbt. In 1912, his plited love life triggered a severe emotnal breakdown, durg which he broke bterly wh the so-lled “buggers” of Bloomsbury and went to Tahi to recuperate (where he may have fathered a child). The war, when me, appeared to him a relief. In the first and most disturbg of his 1914 sons, “Peace,” the speaker thanks God for the moral purifitn of the war, toward which recs sh like “swimmers to cleanns leapg.” (Brooke was notor for his love of naked swimmg, and went skny-dippg wh most of his iends, cludg Virgia Woolf.)</p><p class="paywall">Brooke’s ath and his elevatn to in swept this history as clean as he hoped the war would sweep his soul, leavg all of the bety and none of the bterns. In a seri of portra photographs taken by Sherrill Schell a year before Brooke died, there is one (which his iends jokgly referred to as “<a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">Your Favore Actrs</a>”) that shows him profile, bare-chted, swan-necked, wh his famo goln hair swept back. It was ed as the ontispiece to “<em>1914 and Other Poems</em>,” and then, 1919, was <a data-offer-url=" class="external-lk" data-event-click="{"element":"ExternalLk","outgogURL":"" href=" rel="nofollow noopener" target="_blank">reproduced stone for a memorial</a> the chapel at Rugby School, above a rvg of “The Soldier.” Image and poem together fix Brooke as the young ialist who knows so ltle of the war that he believ the ground where he’s buried will stay undisturbed by heavy artillery. But ’s worth rememberg that Brooke’s origal tle for this poem was “The Rec,” which acknowledg that the speaker has no real ia what he’s talkg about. The Brish recment mpaigns the early months of the war were unpromisg. Posters and advertisements shamed men to enlistg, threateng their masculy and cizenship, and told women that any man who was “unfahful” to his untry would be jt as duplico to his girl. After the battl of Mons and Ypr and Gallipoli, enlistment cled; nscriptn was not troduced until 1916. Rupert Brooke’s heroic sacrifice, mosquo or no mosquo, was an valuable boost to a flaggg mpaign.</p><p class="has-dropp has-dropp__lead-standard-headg paywall">For a long time, the history of the First World War has been unrstood via the symbolic transn om Brooke to Wiled Owen, om posh idt natnalist to heroic wns. That simple narrative obscur the extent to which Owen worshipped Brooke the early days and jt how long Brooke remaed the war’s most famo poet. Until the neteen-sixti, when the “left-wg myths” about the war gaed purchase, Brooke’s sons and his image still seemed to reprent somethg te and fortg. In the mid-neti, an anthology of the natn’s hundred favore poems clud three each by Brooke and Owen, although only one of Brooke’s, “The Soldier,” was a war poem. At the hundredth anniversary of his ath, as more letters and lovers are revealed, Brooke is makg more headl as a famo playboy than as a poet or patrt.</p><p class="paywall">It’s impossible to know what Brooke might have wrten if he had seen what the other war poets saw, or what he might have bee if he’d survived his own goln age. In his small body of work, the war sons are anomalo—his verse is ually more playful, ls po-faced. Like his ntemporari the pre-war poetry scene, he was preoccupied wh tryg to shake off the long Victorian haner. (Several s later, T. S. Elt wrote, “The suatn of poetry 1909 or 1910 was stagnant to a gree difficult for any young poet of today to image.”) Brooke wanted to shock and to shake thgs up, but dog so was almost too easy—he lost a fight over the tle of a poem lled “Lt,” which his publisher sisted on elevatg to “Libido.” Dcribg bodily functns wh any gree of realism—as he did the wty son “A Channel Passage,” graphilly equatg lovickns and seasickns—uld make you notor.</p><p class="paywall">As wh the work of many wrers whose worlds have so thoroughly vanished and whose liv have sunk to myth, n be hard to grasp the humor and the lightns Brooke’s wrg. Some of his bt wrg is ntaed “Letters om Ameri,” a llectn of says wrten 1913 for the <em>Wtmster Gazette</em>_,_ one of which begs, wh characteristic boldns, “In five thgs Ameri excels morn England—fish, archecture, jok, drks, and children’s cloth.” The rerd of his first enunters wh the alien maelstrom of New York and the vast landsp of the Wt are blunt and funny and startlg their immediacy, as if a statue bent down and tapped on your shoulr to pot out a billboard on Broadway. Jt for a send, you might even thk the man on the pestal was real.</p></div></div></div><div class="GridItem-buujkM fVLMby grid--em grid-layout__asi"><asi class="PersistentAsiWrapper-VGrR daRVRt persistent-asi" style="posn:absolute;top:to;height:to" data-ttid="PersistentAsiWrapper"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box ArticlePageSplAdRail-OyjwD jikppc"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="ArticlePageSplAdRailContent-jsltpq iZDmmY spl-ad-rail-ntent"><div class="ArticlePageSplAdRailTop-jUrrVY jzzFg"><div class="StickyBoxWrapper-jfYB jxBcTH sticky-box"><div class="StickyBoxPrimary-dzWDWL cdhYoN sticky-box__primary"><div class="AdWrapper-dQtivb fZrssQ ad ad--rail"><div class="ad__slot ad__slot--rail" data-no-id="e7g6nk"></div></div><div class="ConsumerMarketgUnThemedWrapper-iUTMTf jssHut nsumer-marketg-un nsumer-marketg-un--display-rail" role="prentatn" aria-hidn="te"><div class="nsumer-marketg-un__slot 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class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Gee Packer</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--article summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href="/books/page-turner/two-wars-and-the-long-twentieth-century" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-2" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset 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data-recirc-id="em-hed-2" data-recirc-pattern="summary-em" href="/books/page-turner/two-wars-and-the-long-twentieth-century" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">Two Wars and the Long Twentieth Century</div></a><div class="SummaryItemByleWrapper-boCfbi cuRXdL summary-em__byle-date-in"><div class="SummaryItemBaseByle-fFbXkY cgDBtc summary-em__byle"><div class="summary-em__byle__ntent"><div data-ttid="BylWrapper" class="BylWrapper-KIudk irTIfE byl"><p class="ByleWrapper-jWHrLH dSEWiO byle byl__byle" data-ttid="ByleWrapper" emProp="thor" emType="><span emProp="name" class="ByleNamWrapper-jbHncj fuDQVo"><span data-ttid="ByleName" class="ByleName-kwmrLn cYaBaU byle__name"><span class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ BylePreamble-iJolpQ iUEiRd jslZfG gnILss byle__preamble">By </span>Drew Gilp Fst</span></span></p></div></div></div></div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-3" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="Briefly Noted" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">Books</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-3" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">Briefly Noted</div></a><div class="BaseWrap-sc-gjQpdd BaseText-ewhhUZ SummaryItemDek-CRfsi iUEiRd kxnNhB jDyfzW summary-em__k">“Fir the Dark,” “A Madman’s Will,” “Elsewhere,” and “Snow Road Statn.”</div></div></div><div class="SummaryItemWrapper-iwvBff hNpSyX summary-em summary-em--ARTICLE summary-em--no-in summary-em--text-align-left summary-em--layout-placement-text-below summary-em--layout-posn-image-left summary-em--layout-proportns-50-50 summary-em--si-by-si-align-center summary-em--si-by-si-image-right-mobile-false summary-em--standard SummaryCollectnGridSummaryItem-WColm hKqhyj" role="button" tabx="0"><div class="SummaryItemAssetContaer-gwhFFH VOyg summary-em__asset-ntaer"><a class="SummaryItemImageLk-dshqxb cPpCwE summary-em__image-lk summary-em-trackg__image-lk" href=" aria-hidn="te" tabx="-1" data-ponent-type="recirc-river" data-recirc-id="em-image-4" data-recirc-pattern="summary-em" target="_self"><span class="SpanWrapper-umhxW kGxnNB rponsive-asset SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image"><div data-tt="aspect-rat-ntaer" class="AspectRatContaer-bJHpJz jMoLpX"><div class="aspect-rat--overlay-ntaer"><picture class="RponsiveImagePicture-cWuUZO dUOtEa SummaryItemRponsiveAsset-hjGIGg bDvSkO summary-em__image rponsive-image"><noscript><source media="(max-width: 767px)" srcSet=" 120w, 240w, 320w, 640w" siz="100vw"/><source media="(m-width: 768px)" srcSet=" 120w, 240w, 320w" siz="100vw"/><img alt="An Oedipal Fish Story on Broadway" class="RponsiveImageContaer-eybHBd fptoWY rponsive-image__image" src="></noscript></picture></div></div></span></a></div><div class="SummaryItemContent-eiDYMl XMZX summary-em__ntent"><div class="RubricWrapper-dKmCNX kImuKS bric bric--disvery SummaryItemRubric-dguGKN lapGFj summary-em__bric"><span class="RubricName-fVtemz cLxcNi">The Boards</span></div><a class="SummaryItemHedLk-civM dVrbhU summary-em-trackg__hed-lk summary-em__hed-lk" data-ponent-type="recirc-river" data-recirc-id="em-hed-4" data-recirc-pattern="summary-em" href=" target="_self"><div class="SummaryItemHedBase-hiFYpQ fzzTdh summary-em__hed" data-ttid="SummaryItemHed">An Oedipal Fish Story on Broadway</div></a><div 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