Word: spirited
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Dates: during 1930-1939
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...with diametrically opposed attitude toward propaganda. Defeated Germans, unwilling to believe in military defeat, believed that Allied cleverness in propaganda, their own clumsiness in it, was largely responsible. On the subject both Generals Ludendorff and Hindenburg were almost pathological. Manifestoed Hindenburg: "The enemy . . . seeks to poison our spirit. . . . His airmen throw down leaflets which are intended to kill the soul...
...foreign consumption Field Marshal Goring adroitly suggested that Germany would consider peace negotiations. But "you will not dictate another Versailles to us, my dear Britons. . . . Do not mistake our offer of peace for weakness. We have a deep will to peace. It is greater and deeper in the spirit of the Führer...
...World War I and the methods of totalitarian governments later gave the word a new meaning, linked it to organized, wide-scale lying, the deliberate manufacture of atrocity stories, misrepresentation of enemy aims, minimizing of enemy successes, exaggeration of enemy defeats, the conscious manipulation of sentiments to arouse war spirit, hatred of the enemy at home and sympathy among neutrals abroad. The pattern of propaganda remains the same, though varying in degree and accent according to the country it comes from. The threefold task of propaganda ministries will still be in World War II as it was in World...
...made in the U. S. in 1918, year before Nurse Cavell was reinterred by the British in Norwich Cathedral and Germany took the villain's rap at Versailles. In 1928 British Producer Herbert Wilcox presented in Dawn a more objective edition in keeping with the forgive-&-forget spirit of Locarno. The third, made in Hollywood this year by Producer Wilcox and his brightest star, Anna Neagle (Victoria the Great, Sixty Glorious Years), was apparently designed as the appeasement or Munich, version. Released last week, it seemed likely, by grace of the times and its air of Chamberlainish understatement...
...years of research and stylistic analysis," writes Kenneth Clark, "we have at last reached some sort of general agreement as to which pictures and drawings are really by Leonardo. We must [now again] look at pictures as creations not simply of the human hand, but of the human spirit...