Author Description

There was a time when the world had no need for operational art, a time when sovereigns led their armies in the field and where the yoking of war to politics was their personal undertaking. It was the sovereign who chose whether or not to fight, where to fight, how long to fight, and it was they who were constantly balancing opportunities and threats, risks and returns, costs and benefits. In the era of "strategies of a single point," the connections between tactics and statecraft were immediate and intimate. As modern states emerged, their economic and social organization enabled them to deploy and sustain armies of ever increasing size. Big armies needed more space, and the theater of operations grew along with them. This increasingly removed the actions of those armies from the direct scrutiny of the sovereign, and the connection between war and politics became unacceptably stretched. The idea of the campaign was expanded to redress this widening gap, and it gained a geographic meaning in addition to its traditional temporal one. The campaign became the pursuit of the war's objectives by an independent commander acting beyond the immediate scrutiny of his sovereign. The framework provided by the campaign objectives, geographic boundaries, resources, and other guidance provided by the sovereign determined the freedom of action available to the campaign commander. Within those freedoms, he was able to sequence battles as he thought necessary in order to achieve the objectives that had been provided to him. Most likely a number of tactical action sequences connected by a unifying idea, i.e., "operations," each directed at somehow setting the conditions for the next step, would be necessary. The cascading hierarchy of objectives-political, strategic, campaign, operational, and tactical reconnected tactical action to the political purposes of the war. These thoughts had emerged by the late-19th century and were further developed and adorned as the experience of total