The Telegram That Ended a War (With a Typo)

The Telegram That Ended a War (With a Typo)

Words are powerful. We know this instinctively. A single compliment can make a day; a harsh criticism can ruin it. But can a few edited words start a war? Can the careful omission of context and the deliberate crafting of a blunter tone reshape a continent? In 1870, a single, strategically altered telegram did exactly that. This is the story of the Ems Dispatch, a masterclass in linguistic manipulation that proves how changing a message’s tone isn’t just a matter of style—it can be an act of war.

The Stage is Set: A Throne and a Tense Europe

To understand the telegram, we must first understand the tinderbox that was 1870s Europe. The Kingdom of Prussia, under the shrewd and ambitious Minister President Otto von Bismarck, was on the rise. Bismarck’s ultimate goal was to unite the disparate German states into a single, powerful German Empire, and he knew that a common enemy was the fastest way to forge a common identity. The perfect enemy? France.

France, led by Emperor Napoleon III, watched Prussia’s growing power with alarm. The spark came from an unlikely place: Spain. The Spanish throne was vacant, and the offer went to Prince Leopold of Hohenzollern, a cousin of Prussia’s King Wilhelm I. To France, a German-allied monarch on its southern border was an intolerable threat of encirclement.

Paris erupted in protest. Under immense diplomatic pressure, Prince Leopold’s candidacy was withdrawn. A crisis was averted. For King Wilhelm I, a man who preferred peace, the matter was settled. For Otto von Bismarck, who desperately wanted his war, this peaceful resolution was a frustrating diplomatic defeat.

The Original Message: Politeness and Protocol

The French, however, decided to push their advantage. They sent their ambassador, Count Vincent Benedetti, to intercept King Wilhelm I, who was vacationing at the spa town of Bad Ems. On a public promenade, Benedetti approached the king with a new, audacious demand: he wanted the King to personally guarantee that a Hohenzollern would never again be a candidate for the Spanish throne.

This was a step too far. A king could not make such a binding promise for all time. Wilhelm, though surprised by the impertinence of the demand, handled it with aristocratic grace. He politely but firmly refused. He later sent a duty adjutant to inform Benedetti that he had received confirmation of Leopold’s withdrawal and now considered the matter closed. It was a standard, if slightly cool, diplomatic dismissal.

Following this exchange, a report of the day’s events was telegraphed to Bismarck in Berlin. The original telegram, drafted by the king’s advisor Heinrich Abeken, was a detailed, dispassionate account. Here is a close translation of its crucial passage:

“His Majesty the King writes to me: ‘Count Benedetti intercepted me on the promenade to demand of me, in a very importunate manner, that I should authorize him to telegraph at once that I bound myself for all future time never again to give my consent if the Hohenzollerns should renew their candidature.’ His Majesty refused to do this, at last somewhat sternly, as it is neither right nor possible to enter into engagements of this kind à tout jamais [forever]. His Majesty told him that he had as yet received no news and, as Benedetti was earlier informed… than he was, he could see that his government was once more ahead of him. His Majesty then… decided not to receive Count Benedetti again, but only to have him informed through an aide-de-camp that His Majesty had now received from the Prince confirmation of the news which Benedetti had already received from Paris, and had nothing further to say to the ambassador.”

Note the linguistic cues here. The text is descriptive and contextual. It explains why the king refused (“somewhat sternly”), mentions the French ambassador was “very importunate” (pushy), and clarifies that the refusal to meet again was a logistical matter—the king simply had no new information to give. The tone is that of an internal government report: factual, a little bureaucratic, and certainly not a public insult.

The Editor’s Pen is Mightier Than the Sword

Bismarck was at dinner with his top generals when this telegram arrived. They were dejected, believing their chance for German unification through war had evaporated. But as Bismarck read the message, he saw not an ending, but a beginning. He asked his generals if they were ready to fight. They were. Then, with their approval, he took his “editor’s pencil” to the king’s polite report.

Bismarck’s genius lay not in what he added, but in what he took away. He was a master of pragmatics—the study of how context contributes to meaning. By surgically removing all the context, he fundamentally changed the message’s meaning.

Here is the version Bismarck released to the press and all Prussian embassies:

“After the news of the renunciation of the Prince von Hohenzollern had been officially communicated to the Imperial Government of France by the Royal Government of Spain, the French Ambassador at Ems further demanded of His Majesty the King that he would authorize him to telegraph to Paris that His Majesty the King bound himself for all future time never again to give his consent if the Hohenzollerns should renew their candidature. His Majesty the King thereupon decided not to receive the French Ambassador again, and sent to tell him through the aide-de-camp on duty that His Majesty had nothing further to communicate to the Ambassador.”

Let’s analyze the linguistic butchery:

  • Deletion of Justification: Bismarck cut all references to why the king refused to meet again. Gone is the mention that the king had no new information. All that remains is the blunt fact: “His Majesty the King thereupon decided not to receive the French Ambassador again.”
  • Omission of Tone: The original describes the king’s refusal as “somewhat sternly” and the ambassador’s demand as “importunate.” Bismarck removes these modifiers. The new version presents the events as a cold, hard sequence of facts, making the king’s actions seem like a calculated snub rather than a reaction to provocation.
  • Conciseness as Aggression: The original is a lengthy, narrative description. The edited version is short, sharp, and reads like a final, non-negotiable decree. By stripping the diplomatic language, Bismarck made the king sound imperious and the French ambassador sound like he’d been summarily dismissed like a servant.

A Red Rag to the Gallic Bull

Bismarck himself later boasted that his edit would be “a red rag to the Gallic bull.” He was right. When this version hit the newspapers in Paris on Bastille Day (July 14), the French public was incensed. To them, it read as if their ambassador had been publicly and contemptuously humiliated by the Prussian king. National honor was at stake. Crowds in Paris chanted “À Berlin!” (“To Berlin!”).

Simultaneously, the German public read the same text and had the opposite reaction. To them, the French demands seemed impossibly arrogant, and their king’s sharp, decisive response was a source of immense national pride. Bismarck had masterfully crafted a single text that insulted two nations at once, making each feel that the other was the aggressor.

Pressured by a furious public and his own government, Napoleon III declared war on Prussia on July 19, 1870. This was exactly what Bismarck wanted. The southern German states, seeing France as the aggressor, immediately sided with Prussia.

The Franco-Prussian War was swift and decisive. Prussia and its allies crushed the French army. Napoleon III was captured, his empire collapsed, and in the ultimate humiliation for France, the German Empire was proclaimed in the Hall of Mirrors at the Palace of Versailles. All because a shrewd statesman understood that omitting a few words can be as powerful as deploying an army.

The Ems Dispatch is a timeless lesson in the power of language. It demonstrates that communication is more than the literal meaning of words; it is shaped by tone, context, and omission. A diplomatic report can become a declaration of war with just a few keystrokes—or, in 1870, the scratch of an editor’s pencil.