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
The next series of campaigns in which the English bowman was to take
part, were directed against an enemy different in every respect from
the sturdy spearman of the Lowlands. In France those absurd perversions
of the art of war which covered themselves under the name of Chivalry
were more omnipotent than in any other country of Europe. The strength
of the armies of Philip and John of Valois was composed of a fiery
and undisciplined aristocracy, which imagined itself to be the most
efficient military force in the world, but was in reality little
removed from an armed mob. A system which reproduced on the battlefield
the distinctions of feudal society, was considered by the French noble
to represent the ideal form of warlike organization. He firmly believed
that, since he was infinitely superior to any peasant in the social
scale, he must consequently excel him to the same extent in military
value. He was, therefore, prone not only to despise all descriptions
of infantry, but to regard their appearance on the field against him
as a species of insult to his class-pride. The self-confidence of the
French nobility--shaken for the moment by the result of Courtray--
had re-asserted itself after the bloody days of Mons-en-Puelle and
Cassel. The fate which had on those occasions befallen the gallant but
ill-trained burghers of Flanders, was believed to be only typical of
that which awaited any foot-soldier who dared to match himself against
the chivalry of the most warlike aristocracy in Christendom. Pride
goes before a fall, and the French noble was now to meet infantry of a
quality such as he had never supposed to exist.
Against these presumptuous cavaliers, their mercenaries, and the
wretched band of half-armed villains whom they dragged with them to the
battlefield, the English archer was now matched. He was by this time
almost a professional soldier, being usually not a pressed man, but
a volunteer, raised by one of those barons or knights with whom the
king contracted for a supply of soldiers. Led to enlist by sheer love
of fighting, desire for adventures, or national pride, he possessed
a great moral ascendancy over the spiritless hordes who followed
the French nobility to the wars. Historians, however, have laid too
much stress on this superiority, real as it was. No amount of mere
readiness to fight would have accounted for the English victories of
the fourteenth century. Self-confidence and pugnacity were not wanting
in the Fleming at Rosbecque or the Scot at Falkirk, yet they did not
secure success. It was the excellent armament and tactics of our
yeomanry, even more than their courage, which made them masters of the
field at Creçy or Poictiers.
Public-domain text, read in full here on John Shaqi.
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