The Art of War in the Middle Ages A.D. 378-1515 — John Shaqi
The Art of War in the Middle Ages A.D. 378-1515Oman, Charles
History
The Art of War in the Middle Ages A.D. 378-1515
Oman, Charles
Military art and science -- History -- Medieval, 500-1500; Military history, Medieval
Cold and rainy weather was also distasteful to the Oriental invader:
at times, when it prevailed, he did not display his ordinary firmness
and daring, and could be attacked at great advantage. Much could also
be done by delivering a vigorous raid into his country, and wasting
Cilicia and Northern Syria, the moment his armies were reported to
have passed north into Cappadocia. This destructive practice was very
frequently adopted, and the sight of two enemies each ravaging the
other’s territory without attempting to defend his own, was only too
familiar to the inhabitants of the borderlands of Christendom and
Islam. Incursions by sea supplemented the forays by land. ‘When the
Saracens of Cilicia have gone off by the passes, to harry the country
north of Taurus,’ says Leo, ‘the commander of the Cibyrrhœot Theme
should immediately go on shipboard with all available forces, and
ravage their coast. If, on the other hand, they have sailed off to
attempt the shore districts of Pisidia, the Klissurarchs of Taurus can
lay waste the territories of Tarsus and Adana without danger.’
Nothing can show more clearly than these directions the high average
skill of the Byzantine officer. Leo himself was not a man of any
great ability, and his ‘Tactica’ are intended to codify an existing
military art, rather than to construct a new one. Yet still the book is
one whose equal could not have been written in Western Europe before
the sixteenth century. One of its most striking points is the utter
difference of its tone from that of contemporary feeling in the rest of
Christendom. Of chivalry there is not a spark in the Byzantine, though
professional pride is abundantly shown. Courage is regarded as one of
the requisites necessary for obtaining success, not as the sole and
paramount virtue of the warrior. Leo considers a campaign successfully
concluded without a great battle as the cheapest and most satisfactory
consummation in war. He has no respect for the warlike ardour which
makes men eager to plunge into the fray: it is to him rather a
characteristic of the brainless barbarian, and an attribute fatal to
any one who makes any pretension to generalship. He shows a strong
predilection for stratagems, ambushes, and simulated retreats. For an
officer who fights without having first secured all the advantages
to his own side, he has the greatest contempt. It is with a kind of
intellectual pride that he gives instructions how _parlementaires_ are
to be sent to the enemy without any real object except that of spying
out the number and efficiency of his forces. He gives, as a piece
of most ordinary and moral advice, the hint that a defeated general
may often find time to execute a retreat by sending an emissary to
propose a surrender (which he has no intention of carrying out) to the
hostile commander[46]. He is not above employing the old-world trick
of addressing treasonable letters to the subordinate officers of the
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