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"The Grand Old Duke of York" (also sung as The Noble Duke of York) is an English children's nursery rhyme, often performed as an action song. The eponymous.
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As the same time, Napoleonic strategy and technological advances led to transformations in the ways these armies fought. Yet his involvement in those wars started inauspiciously. When war broke out between Britain and France in , York was put in charge of a military expedition to Flanders. His troops — a mixture of British and Hanoverian forces — performed well but were outnumbered three to one, losing their siege guns during the retreat.

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Over the following months, he marched his army back and forth between ineffective minor actions, inspiring the nursery rhyme. Meanwhile, Britain and her allies lost control of Flanders, and in July York and his troops were evacuated. The position of Commander-in-Chief was not a permanent one as it is now, nor was it supported by a staff corps. Instead, it was a temporary position, filled in times of war.

Oh! The Noble Duke Of York (TTBB): Arr. (N.F. Byng Johnson): TTBB

York saw the need to reform the army in response to changing times. And so, despite the complicated tangle of authority and the need to carefully negotiate many changes, he set about turning the British army into something more modern. The British army of the s faced two fundamental problems — coping with sudden growth, and a lack of professionalism among the officers. The growth problem came from the sudden onset of war, and from the way the army was usually maintained. Britain had a long tradition of distrusting standing armies, and so tried to keep the number of soldiers down during times of peace.

Old units were reformed and 30 new regiments were created in quick succession. It was a lot for a small establishment to deal with. Tradition was also responsible for the officer problem. Officer positions were bought and sold rather than being granted to the most worthy men.

7 Facts About The Grand Old Duke of York: A British Military Reformer

The officers were, therefore, men from wealthy aristocratic backgrounds like York himself, but often without his military experience or competence. In dealing with the vast number of recently recruited soldiers, he sought to make conditions more bearable, reducing the strain of running a large, demoralized force.

Rations and barracks were improved and the penal code was made less brutal. Symons seemed to be under the impression that he and Barzun disagreed on everything, which certainly is not true Barzun even included Symons' The Narrowing Circle in his crime fiction classics series.

Humdrum seems to have come to mean to Symons any writer he personally found boring.

The Noble Duke Of York (Mixed Metre) | My Song File

Hence his inclusion of Gladys Mitchell as a Humdrum. It would be hard indeed to find a writer more far removed in style from the so-called by Symons King of the Humdrums, Freeman Wills Crofts. But then Symons never discusses any Humdrum writer in detail besides Crofts. I know he reviewed Street novels in the late s and, as I mention in my book, his use of the word Humdrum, goes back to that period, when he refers to Street as having become, with the death of Crofts, the reigning master of the humdrum.

Since Symons never discusses these writers in detail, all we have to go on with Symons is Symons' word. But in the case of Wade, the categorization is baseless and I would say it is so as well with Mitchell. By Symons own admission, he only read a few of her books, all from the s. If he had read Speedy Death, say, or St. Any category that is stretched to include both Gladys Mitchell and Freeman Crofts is elastic indeed.

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Even with Street, how much of his work before the s had Symons actually read? Who knows?

The Noble Duke of York

If you want to know about Street's books in any informed way you'll have to read my book, not Symons' opus. It certainly hasn't been displaced by P. James' impressionistic and skimpy if typically elegant Talking about Detective Fiction or, in terms of readability, by Stephen Knight's Crime Fiction. And Lehman, in an appendix devoted to "recommended titles," does cite Wade's "Heir Presumptive.

Hopefully you enjoy Wade-- I know I absolutely love him. I have reviewed my copy of Symons's Mortal Consequences. I cannot find that he mentioned Henry Wade anywhere in the book. Walling, J. Fletcher, and G. Symons may have addressed Wade somewhere else in his writings, but I can't find it in Mortal Consequences, or for that matter, any lengthy discussion by Symons of the so-called humdrums.

Raymond Chandler spoke well of Crofts, and I respect his critical acumen much more than that of Symons. I think the best thing we can do is to drop Mortal Consequences in the trash bin of history where it belongs and get someone else to write a modern general history and critique of the mystery field.

Wade was an adult writer in a field that too often caters to the adolescent. His Mist on the Saltings is that rare book, a first-rate mainstream novel and a first rate fair-play detective novel, a book fully the equal of Chandler's The Long Goodbye. It's why I simply cannot believe that Symons ever read Wade in the first place-- the sentences were added in the second edition, after ACOC praised the likes of Wade along with John Rhode. I know Chandler liked Crofts, but he also liked Dr. Thorndyke-- and anyone who likes him cannot be all that bad!

Symons, however, IIRC, called his stories rather like "dry straw". Patrick, glad you didn't look at the cover! I think this is the first of Wade's really mature novels and I wish everyone had a chance to read it. It was reprinted in pb in the s but even those editions are disappearing. But I far prefer my library's edition, even though it has no dust-jacket of any sort. But it's still kind of annoying to try locating it. A frightening thought, that! We really are in desperate need of reprints. Someone contact the Langtail Press!