Christine is a 1917 novel written by Elizabeth von Arnim using the pen-name Alice Cholmondeley. It is the only novel von Arnim wrote under that name. It is written in the style of a compilation of letters from Christine, an English girl studying in Germany, to her mother in Britain. It covers the period of May–August 1914. In the letters Christine is a witness to the mood in Germany leading up World War I. The book was initially marketed as non-fiction. Two of von Arnim's daughters, Beatrix and Felicitas, were living in Germany during World War I. Felicitas died in Bremen in 1916, aged 16. She died of pneumonia, as does the character Christine in the novel. Christine as propaganda Since the beginning of World War I, propaganda has played an important role in exploiting the opposition. The credibility of propaganda can be determined by analyzing the source and comparing it with documents that are factual. In particular, British propaganda in World War I used Christine, a series of letters written by Elizabeth von Arnim, pen name Alice Cholmondeley, to promote Anti-German sentiment propaganda. When comparing the Christine letters to authentic war time letters, they were found to be fabricated. Christine, while playing on the existing prejudices against the Germans, was also a small part of a larger British plan to induce the United States into entering the Great War. Other sections of this British plan included the Bryce Commission (also known as the Committee on Alleged German Outrages), the propaganda surrounding Edith Cavell and Gilbert Parker, and the Zimmermann Telegram. During World War I, the British government sought assistance from the United States who had been skeptical about entering European wars up to that point. Christine was published in 1917, the same year the British convinced the United States to enter the war. The novel utilized the rhetorical framework laid out by Aristotle that focused on pathos, ethos, and logos as a means to persuade the audience. Von Arnim mostly appeals to Pathos in the letters, which focuses on and plays on the emotions of the audience. The novel's foreword begins with a sentimental summary of the supposed origin of the letters: My daughter Christine, who wrote me these letters, died at a hospital in Stuttgart on the morning of August 8th, 1914, of acute double pneumonia. I have kept the letters private for nearly three years, because, apart