Letters of a Soldier, 1914-1915 Part 1

Letters of a Soldier.

by Anonymous.

INTRODUCTION

I have been asked to write an Introduction to these letters; and I do so, in spite of the fact that M. Chevrillon has already written one, because they are stranger to me, an Englishman, than they could be to him a Frenchman; and it seems worth while to warn other English readers of this strangeness. But I would warn them of it only by way of a recommendation. We all hope that after the war there will be a growing intimacy between France and England, that the two countries will be closer to each other than any two countries have ever been before. But if this is to happen we must not be content with admiring each other.

Mere admiration will die away; indeed, some part of our present admiration of the French has come from our failure to understand them.

There is a surprise in it which they cannot think flattering, and which ought never to have been. Perhaps they also have been surprised by us; for it is certain that we have not known each other, and have been content with those loose general opinions about each other which are the common result of ignorance and indifference.

What we need then is understanding; and these letters will help us to it. They are, as we should have said before the war, very French, that is to say, very unlike what an Englishman would write to his mother, or indeed to any one. Many Englishmen, if they could have read them before the war, would have thought them almost unmanly; yet the writer distinguished himself even in the French army. But perhaps unmanly is too strong a word to be put in the mouth even of an imaginary and stupid Englishman. No one, however stupid, could possibly have supposed that the writer was a coward; but it might have been thought that he was utterly unfitted for war. So the Germans thought that the whole French nation, and indeed every nation but themselves, was unfitted for war, because they alone willed it, and rejoiced in the thought of it. And certainly the French had a greater abhorrence of war even than ourselves; how great one can see in these letters. The writer of them never for a moment tries or pretends to take any pleasure in war. His chief aim in writing is to forget it, to speak of the consolations which he can still draw from the memories of his past peaceful life, and from the peace of the sky and the earth, where it is still unravaged. He is, or was, a painter (one cannot say which, for he is missing), and the moment he has time to write, he thinks of his art again. It would hardly be possible for any Englishman to ignore the war so resolutely, to refuse any kind of consent to it; or, if an Englishman were capable of such refusal, he would probably be a conscientious objector. We must romanticise things to some extent if we are to endure them; we must at least make jokes about them; and that is where the French fail to understand us, like the Germans. If a thing is bad to a Frenchman, it is altogether bad; and he will have no dealings with it. He may have to endure it; but he endures gravely and tensely with a sad Latin dignity, and so it is that this Frenchman endures the war from first to last. For that reason the Germans, after their failure on the Marne, counted on the nervous exhaustion of the French. It was a favourite phrase with them--one of those formulae founded on knowledge without understanding which so often mislead them.--Their formula for us was that we cared for nothing but football and marmalade.--But reading these letters one can understand how they were deceived. The writer of them seems to be always enduring tensely. It is part of his French sincerity never to accept any false consolation. He will not try to believe what he knows to be false, even so that he may endure for the sake of France. Yet he does endure, and all France endures, in a state of mind that would mean weakness in us and utter collapse in the Germans. The war is to him like an incessant noise that he tries to forget while he is writing. He does not write as a matter of duty, and so that his mother may know that he is still living; rather he writes to her so that he may ease a little his desire to talk to her. We are used to French sentiment about the mother; it is a commonplace of French eloquence, and we have often smiled at it as mere sentimental plat.i.tude; but in these letters we see a son's love for his mother no longer insisted upon or dressed up in rhetoric, but naked and unconscious, a habit of the mind, a need of the soul, a support even to the weakness of the flesh. Such affection with us is apt to be, if not shamefaced, at least a little off-hand. Often it exists, and is strong; but it is seldom so constant an element in all joy and sorrow. The most loving of English sons would not often rather talk to his mother than to any one else; but one knows that this Frenchman would rather talk to his mother than to any one else, and that he can talk to her more intimately than to any woman or man. One can see that he has had the long habit of talking to her thus, so that now he does it easily and without restraint. He tells her the deepest thoughts of his mind, knowing that she will understand them better than any one else. That foreboding which the mother felt about her baby in Morris's poem has never come true about him:

'Lo, here thy body beginning, O son, and thy soul and thy life, But how will it be if thou livest and enterest into the strife, And in love we dwell together when the man is grown in thee, When thy sweet speech I shall hearken, and yet 'twixt thee and me Shall rise that wall of distance that round each one doth grow, And maketh it hard and bitter each other's thought to know?'

This son has lived and entered into the strife indeed; but the wall of distance has not grown round him; and, as we read these letters, we think that no French mother would fear the natural estrangement which that English mother in the poem fears. The foreboding itself seems to belong to a barbaric society in which there is a more animal division of the s.e.xes, in which the male fears to become effeminate if he does not insist upon his masculinity even to his mother. But this Frenchman has left barbarism so far behind that he is not afraid of effeminacy; nor does he need to remind himself that he is a male. There is a philosophy to which this forgetfulness of masculinity is decadence. According to that philosophy, man must remember always that he is an animal, a proud fighting animal like a bull or a c.o.c.k; and the proudest of all fighting animals, to be admired at a distance by all women unless he condescends to desire them, is the officer. No one could be further from such a philosophy than this Frenchman; he is so far from it that he does not seem even to be aware of its existence. He hardly mentions the Germans and never expresses anger against them. The worst he says of them almost makes one smile at its nave gentleness. 'Unfortunately, contact with the German race has for ever spoilt my opinion of those people.' They are to him merely a nation that does not know how to behave. He reminds one of Talleyrand, who said of Napoleon after one of his rages: 'What a pity that so great a man should have been so badly brought up.' But there was malice in that understatement of Talleyrand's; and there is none in the understatement of this Frenchman. He has no desire for revenge; his only wish is that his duty were done and that he could return home to his art and his mother. To the philosophy I have spoken of that would seem a pitiable state of mind. No one could be less like a Germanic hero than this French artist; and yet the Germans were in error when they counted on an easy victory over him and his like, when they made sure that a conscious barbarism must prevail over an unconscious civilisation.

These letters reveal to us a new type of soldier, a new type of hero, almost a new type of man; one who can be brave without any animal consolations, who can endure without any romantic illusions, and, what is more, one who can have faith without any formal revelation. For there is nothing in the letters more interesting than the religion constantly expressed or implied in them. The writer is not a Catholic. Catholic fervour on its figurative side, he says, will always leave him cold. He finds the fervour of Verlaine almost gross. He seems afraid to give any artistic expression to his own faith, lest he should falsify it by over-expression, lest it should seem to be more accomplished than it is.

He will not even try to take delight in it; he is almost fanatically an intellectual ascetic; and yet again and again he affirms a faith which he will hardly consent to specify by uttering the name of G.o.d. He is shy about it, as if it might be refuted if it were expressed in any dogmatic terms. So many victories seem to have been won over faith in the modern world that his will not throw down any challenge. If it is to live, it must escape the notice of the vulgar triumphing sceptics, and even of the doubting habits of his own mind. Yet it does live its own humble and hesitating life; and in its hesitations and its humility is its strength. He could not be acclaimed by any eager bishop as a lost sheep returning repentant to the fold; but he is not lost, nor is the universe to him anything but a home and the dear city of G.o.d even in the trenches.

His expression of this faith is always vague, tentative, and inconclusive. He is certain of something, but he cannot say what; yet he knows that he is certain, although, if he were to try to express his certainty in any old terms, he would reject it himself. He knows; but he cannot tell us or himself what he knows. There are sentences in which, as M. Chevrillon says, he speaks like an Indian sage; but I do not think that Indian philosophy would have satisfied him, because it is itself satisfied. For he is in this matter of faith a primitive, beginning to build a very small and humble temple out of the ruins of the past. He has no science of theology, nothing but emotions and values, and a trust in them. They are for a reality that he can scarcely express at all; and yet he is the more sure of its existence because of the torment through which he is pa.s.sing. He uses that word _torment_ more than once. The war is to him a martyrdom in which he bears witness to his love, not only for France, but also for that larger country which is the universe. The torment makes him more sure of it than ever before; it heightens his sense of values; and he knows that what matters to a man is not whether he is joyful or sorrowful, but the quality of his joy and his sorrow.

There are times when, like an Indian sage, he thinks that all life is contemplation; but this thought is only the last refuge of the spirit against a material storm. He is not one of those who would go into the wilderness and lose themselves in the depths of abstract thought; he is a European, an artist, a lover, one for whom the visible world exists, and to whom the Christian doctrine of love is but the expression of his own experience. For a century or more our world, confident in its strength, its reason, its knowledge, has been undermining that doctrine with every possible heresy. In sheer wilfulness it has tried to empty life of all its values. It has made us ashamed of loving anything; for all love, it has told us, is illusion produced by the will to live, or the will to power, or some other figment of its own perverse thought.

And now, as a result of that perversity, the storm breaks upon us when we seem to have stripped ourselves of all shelter against it. The doctrine of the struggle for life becomes a fact in this war; but, if it were true, what creature endowed with reason would find life worth struggling for? Certainly not the writer of these letters. He fought, not only for his country, but to maintain a contrary doctrine; and we see him and a thousand others pa.s.sing through the fiercest trial of faith at the moment when the mind of man has been by its own perverse activity stripped most bare of faith. So he cannot even express the faith for which he is ready to die; but he is ready to die for it. A few years ago he would have been sneered at for the vagueness of his language, but no one can sneer now. The dead will not spoil the spring, he says No, indeed: for by their death they have brought a new spring of faith into the world.

A. CLUTTON-BROCK.

LETTERS OF A SOLDIER

AUGUST 1914-APRIL 1915

PREFACE BY ANDRe CHEVRILLON

PREFACE BY ANDRe CHEVRILLON

The letters that follow are those of a young painter who was at the front from September [1914] till the beginning of April [1915]; at the latter date he was missing in one of the battles of the Argonne. Are we to speak of him in the present tense or in the past? We know not: since the day when the last mud-stained paper reached them, announcing the attack in which he was to vanish, what a close weight of silence for those who during eight months lived upon these almost daily letters! But for how many women, how many mothers, is a grief like this to-day a common lot!

In the studio and amid the canvases upon which the young man had traced the forms of his dreams, I have seen, piously placed in order on a table, all the little papers written by his hand. A silent presence--I was not then aware what manner of mind had there expressed itself--revisiting this hearth: a mind surely made to travel far abroad and cast its lights upon mult.i.tudes of men.

It was the mind of a complete artist, but of a poet as well, that had lurked under the timid reserves of a youth who at thirteen years of age had left school for the studio, and who had taught himself, without help from any other, to translate the thoughts that moved him into such words as the reader will judge of. Here are tenderness of heart, a fervent love of Nature, a mystical sense of her changing moods and of her eternal language: all those things of which the Germans, professing themselves heirs of Goethe and of Beethoven, imagine they have the monopoly, but of which we Frenchmen have the true perception, and which move us in the words written by our young countryman for his most dearly beloved and for himself.

It is singularly touching to find in the spiritual, grave, and religious temper of these letters an affinity to the spirit of many others written from the front. During those weeks, those endless months of winter in the mud or the frost of the trenches, in the daily sight of death, in the thought of that death coming upon them also, closing upon them to seal their eyes for ever, these boys seem to have faced the things of eternity with a deeper insight and a keener feeling, as each one, in the full strength of life and youth, dwelt upon the thought of beholding the world for the last time:

'Et le monde allait donc mourir Avec mes yeux, miroir du monde.'

Solemn thought for the man who has watched through a long night in some advance-post, and who, beyond the grey and silent plain where lurks the enemy, sees a red sun rise yet once more upon the world! 'O splendid sun, I wish I could see you again!' wrote once, on the evening of his advance upon French ground, a young Silesian soldier who fell upon the battlefield of the Marne, and whose Journal has been published. Suddenly breaks in this mysterious cry in the course of methodical German notes on food and drink, stages of the march, blistered feet, the number of villages set on fire. And in how many French letters too have we found it--that abrupt intuition! It is always the same, in many and various words: in those of the agriculturist of the Seine-et-Marne, whom I could name, and who for perhaps the first time in his life takes an interest in the sunset; in those of the young middle-cla.s.s Parisian who had seemed incapable of speech save in terms of unbelief and burlesque; in those of the artist who utters his emotion in poetry and lifts it up to the heights of stoical philosophy. Through all unlikenesses, in the hearts of all--peasant, citizen, soldier, German schoolmaster--one prevailing thought is revealed; the living man, pa.s.sing away, feels, at the approach of eternal night, an exaltation of his sense of the splendour of the world. O miracle of things! O divine peace of this plain, of these trees, of these hillsides! And how keenly does the ear listen for this infinite silence! Or we hear of the immensities of night where nothing remains except light and flame: far off, the smouldering of fires; far up, the sparkle of stars, the shapes of constellations, the august order of the universe. Very soon the rattle of machine-guns, the thunder of explosives, the clamour of attack will begin anew; there will again be killing and dying. What a contrast of human fury and eternal serenity! More or less vaguely, and for a brief moment, there comes into pa.s.sing life a glimpse of the profound relation of the simple things of heaven and earth with the mind of him who contemplates them.

Does man then guess that all these things are indeed himself, that his little life and the life of the tree yonder, thrilling in the shiver of dawn, and beckoning to him, are bound together in the flood of universal life?

For the artist of whom we are now reading, such intuitions and such visions were the delight of long months in the trenches. Under the free sky, in contact with the earth, in face of the peril and the sight of death, life seemed to him to take a sudden and strange expansion. 'From our life in the open air we have gained a freedom of conception, an amplitude of thought, which will for ever make cities horrible to those who survive the war.' Death itself had become a more beautiful and a more simple thing; the death of soldiers on whose dumb shapes he looked with pious eyes, as Nature took them back into her maternal care and mingled them with her earth. Day by day he lived in the thought of eternity. True, he kept a feeling heart for all the horror, and compa.s.sion for all the pain; as to his duty, the reader will know how he did that. But, suffering 'all the same,' he took refuge in 'the higher consolations.' 'We must,' he writes to those who love him and whom he labours--with what constant solicitude!--to prepare for the worst, 'we must attain to this--that no catastrophe whatsoever shall have power to cripple our lives, to interrupt them, to set them out of tune. . . . Be happy in this great a.s.surance that I give you--that up till now I have raised my soul to a height where events have had no empire over it.'

These are heights upon which, beyond the differences of their teachings and their creeds, all great religious intuitions meet together; upon which illusions are no more, and the soul rejects the pretensions of self, in order to accept what _is_. 'Our sufferings come from our small human patience taking the same direction as our desires, n.o.ble though they may be. . . . Do not dwell upon the personality of those who pa.s.s away and of those who are left; such things are weighed only in the scales of men. We should gauge in ourselves the enormous value of what is better and greater than humanity.' In truth, death is impotent because it too is illusory, and 'nothing is ever lost.' So this young Frenchman, who has yet never forgone the language of his Christianity, rediscovers amid the terrors of war the stoicism of Marcus Aurelius--that virtue which is 'neither patience nor too great confidence, but a certain faith in the order of all things, a certain power of saying of each trial, "It is well."' And, even beyond stoicism, it is the sublime and antique thought of India that he makes his own, the thought that denies appearances and differences, that reveals to man his separate self and the universe, and teaches him to say of the one, 'I am not _this_,' and of the other, '_that_, I am.' Wonderful encounter of thoughts across the distance of ages and the distance of races! The meditation of this young French soldier, in face of the enemy who is to attack on the morrow, resumes the strange ecstasy in which was rapt the warrior of the _Bhagavad Gita_ between two armies coming to the grapple.

He, too, sees the turbulence of mankind as a dream that seems to veil the higher order and the Divine unity. He, too, puts his faith in that 'which knows neither birth nor death,' which is 'not born, is indestructible, is not slain when this body is slain.' This is the perpetual life that moves across all the shapes it calls up, striving in each one to rise nearer to light, to knowledge, and to peace. And that aim is a law and a command to every thinking being that he should give himself wholly for the general and final good. Thence comes the grave satisfaction of those who devote themselves, of those who die, in the cause of life, in the thought of a sacrifice not useless. 'Tell ---- that if fate strikes down the best, there is no injustice; those who survive will be the better men. You do not know the things that are taught by him who falls. I do know.' And even more complete is the sacrifice when the relinquishment of life, when the renunciation of self, means the sacrifice of what was dearer than self, and would have been a life's joy to serve. There was the 'flag of art, the flag of science,' that the boy loved and had begun to carry--with what a thrill of pride and faith! Let him learn to fall without regrets. 'It is enough for him to know that the flag will yet be carried.'

A simple, a common obedience to the duty at hand is the practical conclusion of that high Indian wisdom when illusions are past. Not to retreat into the solitude, not to retire into the inaction, that he has known and prized; to fight at the side of his brothers, in his own rank, in his own place, with open eyes, without hope of glory or of gain, and because such is the law: this is the commandment of the G.o.d to the warrior Arjuna, who had doubted whether he were right in turning away from the Absolute to take part in the evil dream of war. 'The law for each is that he should fulfil the functions determined by his own state and being. Let every man accept action, since he shares in that nature the methods of which make action necessary.' Plainly, it is for Arjuna to bend his bow among the other Kshettryas. The young Frenchman had not doubted. But it will be seen by his letters how, in the horror of carnage, as in the tedious and patient duties of the mine and the trench, he too had kept his eyes upon eternal things.

I would not insist unduly upon this union of thought. He had hardly gained, through a few extracts from the _Ramayana_, a glimpse of the august thought of ancient Asia. Yet, with all the modern shades of ideas, with all the very French precision of form, the soul that is revealed in these letters, like that of Amiel, of Michelet, of Tolstoi, of Sh.e.l.ley, shows certain profound a.n.a.logies with the tender and mystical genius of the Indies. Strange is that affinity, bearing witness as it does not only to his profound need of the Universal and the Absolute, but to his intuitive sympathy with the whole of life, to his impulses of love for the general soul of fruitfulness and for all its single and mult.i.tudinous forms. 'Love'--this is one of the words most often recurring in these letters. Love of the country of battle; love of the plain over which the mornings and the evenings come and go as the emotions come and go over a sensitive face; love of the trees with their almost human gesture--of one tree, steadfast and patient in its wounds, 'like a soldier'; love of the beautiful little living creatures of the fields which, in the silence of earliest morning, play on the edges of the trench; love of all things in heaven and earth--of that tender sky, of that French soil with its clear and severe outlines; love, above all, of those whom he sees in sufferings and in death at his side; love of the good peasants, the mothers who have given their sons, and who hold their peace, dry their tears, and fulfil the tasks of the vineyard and the field; love of those comrades whose misery 'never silenced laughter and song'--'good men who would have found my fine artistic robes a bad enc.u.mbrance in the way of their plain duty'; love of all those simple ones who make up France, and among whom it is good to lose oneself; love of all men living, for it is surely not possible to hate the enemy, human flesh and blood bound to this earth and suffering as we too suffer; love of the dead upon whom he looks, in the impa.s.sive beauty, silence, and mystery revealed beneath his meditative eyes.

It is by his close attention to the interior and spiritual significance of things that this painter is proved to be a poet, a religious poet who has sight, in this world, of the essence of being, in ineffable varieties: painter, and poet, and musician also, for in the trenches he lives with Beethoven, Handel, Schumann, Berlioz, carrying in his mind their imaginings and their rhythms, and conceiving also within himself 'the loveliest symphonies fully orchestrated.' Secret riches, intimate powers of consolation and of joy, able, in the gloomiest hours, in the dark and the mud of long nights on guard, to speak closely to the soul, or s.n.a.t.c.h it suddenly and swiftly to distances and heights. Schumann, Beethoven: between those two immortal spirits that made music for all human ears, and the harsh pedants, the angry protagonists of Germanism, who have succeeded in transforming a people into a war-machine, what likeness is there? Have we not made the genius of those two ours by understanding them as we understand them, and by so taking them into our hearts? Are they not friends of ours? Do they not walk with us in those blessed solitudes wherein our truest self awakens, and where our thoughts flow free?

It is the greatest of all whom a certain group of our soldiers invoke in those days before the expected battle in which some of them are to fall.

They are in the depths of a dug-out. 'There, in complete darkness, night was awaited for the chance to get out. But once my fellow non-commissioned officers and I began humming the nine symphonies of Beethoven. I cannot tell what great thrill woke those notes within us.'

That almost sacred song, those heroic inspirations at such a moment--how do they not give the lie to German theories as to the limitations of French sensibility! And what poet of any other race than ours has ever looked upon Nature with more intimate eyes, with a heart more deeply moved, than his whose inner soul is here expressed?

These letters, despatched day by day from the trench or the billet, follow each other progressively as a poem does, or a song. A whole life unfolds, the life of a soul which we may watch through the monotony of its experiences, overcoming them all, or, again, rapt at the coming of supreme trials (as in February and in April) into perfect peace. It is well that we should trace the spiritual progress of such a dauntless will. No history of an interior life was ever more touching. That will is set to endurance, and terrible at times is the effort to endure; we divine this beneath the simple everyday words of the narrative. Here is an artist and a poet; he had chosen his life, he had planned it, by no means as a life of action. His whole culture, his whole self-discipline, had been directed to the further refining of a keen natural sensibility.

Necessarily and intentionally he had turned towards solitude and contemplation. He had known himself to be purely a mirror for the world, tarnishable under the breath of the crowd. But now it was for him to lead a life opposed to his former law, contrary to his plan; and this not of necessity but by a completely voluntary act. That _ego_ he had so jealously sheltered, in face of the world yet out of the world, he was now to yield up, to cast without hesitation or regret into the thick of human wars; he was no longer to spend his days apart from the jostling and the shouldering and the breath of troops; he was to bear his part in the mechanism that serves the terrible ends of war. And the close of a life which he would have p.r.o.nounced, from his former point of view, to be slavery--the close might be speedy death. He had to bring himself to look upon his old life--the life that was lighted by his visions and his hopes, the life that fulfilled his sense of universal existence--as a mere dream, perhaps never to be dreamed again.

That is what he calls 'adapting himself.' And how the word recurs in his letters! It is a word that teaches him where duty lies, a duty of which the difficulty is to be gauged by the difference of the present from the past, of the bygone hope from the present effort. 'In the fulness of productiveness,' he confesses, 'at the hour when life is flowering, a young creature is s.n.a.t.c.hed away, and cast upon a barren soil where all he has cherished fails him. Well, after the first wrench he finds that life has not forsaken him, and sets to work upon the new ungrateful ground. The effort calls for such a concentration of energy as leaves no time for either hopes or fears. And I manage it, except only in moments of rebellion (quickly suppressed) of the thoughts and wishes of the past. But I need my whole strength at times for keeping down the pangs of memory and accepting what is.'

Indeed, strength was called for day by day. This 'adaptation' was no transformation. But by a continuous act of vital energy he a.s.similated all that he drew from his surroundings. Thus he fed his heart, and kept his own ideals. This was a way to renounce all things, and by renunciation to keep the one thing needful, to remain himself, to live, and not only to live but to flourish; to have a part in that universal life which produces flowers in nature, art and poetry in man. To gain so much, all that was needed was to treasure, unaltered by the terrors of war, a heart eager for all shapes of beauty. For this most religious poet, beauty was that divine spirit which shines more or less clearly in all things, and which raises him who perceives it higher than the accidents of individual existence. And he receives its full influence, and is rid of all anxiety, who is able to bid adieu to the present and the past, to regret nothing, to desire nothing, to receive from the pa.s.sing moment that influence in its plenitude. 'I accept all from the hands of fate, and I have captured every delight that lurks under cover of every moment.' In this state of simplicity, which is almost a state of grace, he enters into communion with the living reality of the world. 'Let us eat and drink to all that is eternal, for to-morrow we die to all that is of earth.'

That emanc.i.p.ation of the soul is not achieved in a day. The earlier letters are beautiful, but what they teach is learnt by nearly all our soldiers. In these he tells of the spirit of the men, their fire of enthusiasm, their imperious sense of duty, their resolve to carry 'an undefiled conscience as far as their feet may lead.' Yet already he is seeking to maintain control of his own private self amid all the excitement of numbers. And he succeeds. He guards himself, he separates himself, 'as much as possible,' in the midst of his comrades, he keeps his intellectual life intact. Meanwhile he is within barrack walls, or else he is jotting down his letters at a railway station, or else he is in the stages of an interminable journey, 'forty men to a truck.' But to know him completely, wait until you see him within the zone of war, in billets, in the front line, on guard, when he has returned to contact with the very earth. As soon as he breathes open air, his instincts are awake again, the instinct 'to draw all the beauty out,' and--in the shadow where the future hides--'to draw out the utmost beauty as quickly as may be.' 'I picked flowers in the mud; keep them in remembrance of me,' he will write in a day of foreboding. A most significant trait is this--in the tedium of trench days, or when imminent peril silences the idle tongues, he gathers the greatest number of these magical flowers.

In those moments when speech fails, his soul is serene, it has free play, and we hear its own fine sounds. Hitherto we had heard the repet.i.tion of the word of courage and of brotherhood uttered by all our gathering armies. But here, in battle, face to face with the eternities, that spirit of his sounds like the chord of an instrument heard for the first time in its originality and its infinite sensibility. Nor are these random notes; they soon make one harmonious sound and acquire a most touching significance, until by daily practice he learns how to abstract himself altogether from the most wretched surroundings. A quite impersonal _ego_ seems then to detach itself from the particular _ego_ that suffers and is in peril; it looks impartially upon all things, and sees its other self as a pa.s.sing wave in the tide that a mysterious Intelligence controls. Strange faculty of double existence and of vision! He possesses it in the midst of the very battle in which his active valour gained him the congratulations of his commanding officer.

In the furnace in which his flesh may be consumed he looks about him, and next morning he writes, 'Well, it was interesting.' And he adds, 'what I had kept about me of my own individuality was a certain visual perceptiveness that caused me to register the setting of things--a setting that dramatised itself as artistically as in any stage-management. During all these minutes I never relaxed in my resolve to see _how it was_.' He then, too, became aware of the meaning of violence. His tender and meditative nature had always held it in horror.

And, perhaps for that very reason, he sought its explanation. It is by violence that an imperfect and provisional state of things is shattered, and what was lax is put into action again. Life is resumed, and a better order becomes possible. Here again we find his acceptance, his submission to the Reason that directs the universe; confidence in what _takes place_--that is his conclusion.

Such times for him are times of observation properly so called, of purer thought in which the impulses of the painter and the poet have no share.

That kind of observation is not infrequent with him, when he is dealing with the world and with human action. It awakes at a war-spectacle, at a trait of manners, at the reading of a book, at a recollection of history or art; it is often to the Bible that he turns, and, amid the worst clamours, to the beautiful plastic images of Greece. Admirable is such serene energy of a spirit able to live purely as a spirit. It is admirable, but it is not unique; great intellectual activity is not uncommon with the French; others of our soldiers are philosophers among the sh.e.l.ls. What does set these letters in a place apart is something more profound and more organic than thought, and that is sentiment; sentiment in its infinite and indefinite degrees, its relation to the aspects of nature--in a word, that poetic faculty which is akin to the musical, proceeding as they both do from the primitive ground-work of our being, and uniting in the inflexions of rhythm and of song. I have already named Sh.e.l.ley in connexion with the poet we are considering.

And it is a Sh.e.l.leyan union with the most intimate, the most inexpressible things in nature that is revealed in such a note as the following: 'A nameless day, a day without form, yet a day in which the Spring most mysteriously begins to stir. Warm air in the lengthening days; a sudden softening, a weakening of nature.' In describing this atmosphere, this too sudden softness, he uses a word frequent in the vocabulary of Sh.e.l.ley--'fainting.' In truth, like the great English poet, whom he seems not to have known, he seeks from the beauty of things a faculty of self-forgetfulness in lyrical poetry, an inexpressible and blissful pa.s.sing of the poet's being into the thing he contemplates. What he makes his own in the course of those weeks, what he remembers afterwards, and what he would recall, never to lose it again, is the culminating moment in which he has achieved self-forgetfulness and reached the ineffable. The simplest of natural objects is able to yield him such a moment; see, for instance, this abrupt intuition: 'I had lapsed from my former sense of the benediction of G.o.d, when suddenly the beauty--all the beauty--of a certain tree spoke to my inmost heart; and then I understood that an instant of such contemplation is the whole of life.' And still more continuous, still more vibrant, is at times his emotion, as when the bow draws out to the utmost a long ecstatic tone from a sensitive violin. 'What joy is this perpetual thrill in the heart of Nature! That same horizon of which I had watched the awakening, I saw last night bathe itself in rosy light; and then the full moon went up into a tender sky, fretted by coral and saffron trees.' It is very nearly ecstasy with him in that astonishing Christmas night which no one then at the front can ever forget--a solemn night, a blue night, full of stars and of music, when the order and the divine unity of the universe stood revealed to the eyes of men who, free for a moment from the dream of hatred and of blood, raised one chant along six miles, 'hymns, hymns, from end to end.'

Of the carnage in February there are a few precise notes, sufficient to suggest the increasing horror. The narrative grows quicker; the reader is aware of the pulse and the impetus of action, the imperious summons of duty; the young sergeant is in charge of men, and has to execute terrible tasks. But ever across the tumult and the slaughter, there are moments of recollection and of compa.s.sion; and, in the evening of a day of battle, what infinite tranquillity among the dead! At this period there are no more notes of landscape effects; the description is of the war, technical; otherwise the writer's thought is not of earth at all.

Once only, towards the end, we find a sorrowful recollection of himself, a profound lamentation at the remembrance of bygone hopes, of bygone work, of the immensity of the sacrifice. 'This war is long, too long for those who had something else to do in the world! Why am I so sacrificed, when so many others, not my equals, are spared? Yet I had something worth doing to do in the world!' Most touching is that sigh, even more touching than the signs of greatness in his soul, for it suddenly breathes an anguish long controlled. It is a human weakness--our own weakness--that is at last confessed, on the eve of a Pa.s.sion, as in the Divine example. At rare times such a question, in the constant sight of death, in fatigue and weariness, in the long distress of rain and mud, checks in him the impulse of life and of spiritual desire. He was himself the young plant of which he writes, growing, creating fragrance and breaking into flower, sure of G.o.d, feeling Him alive within itself.

But all at once it knows frost is coming and the threat of unpitying things. What if the universe were void, what if in the infinity of the exterior world there were nothing, across the splendid vision, but an insensate fatality? What if sacrifice itself were also a delusion? 'Dark days have come upon me, and nothingness seems the end of all, whereas all that is in my being had a.s.sured me of the plenitude of the universe.' And he asks himself the anxious question, 'Is it even sure that moral effort bears any fruit?' It is something like abandonment by G.o.d. But that darkening of his lights pa.s.ses quickly away. He comes again to the regions of tranquil thought, and leaves them thenceforward only for the work in hand. 'I hope,' he writes, 'that when you think of me you will have in mind all those who have left everything behind, and how their nearest and dearest think of them only in the past, and say of them, "We had once a brother, who, many years ago, withdrew from this world."' How strange is the serenity of these lofty thoughts, how entirely detached from self and from all human things is this spirit of contemplation. Two slight traits give us signs: One night, on a battlefield 'scattered with fragments of men' and with burning dwellings, under a starry sky, he makes his bed in an excavation, and lies there watching the crescent moon, and waits for dawn; now and again a sh.e.l.l bursts, earth falls about him, and then silence returns to the frozen soil: 'I have paid the price, but I have had moments of solitude full of G.o.d.' Again, one evening, after five days of horror ('we have no officers left--they all died as brave men'), he suddenly comes upon the body of a friend; 'a white body, splendid under the moon. I lay down near him.' In the quietness, by the side of the dead man, nothing remains but beauty and peace.

These letters are to be anonymous, at least so long as any hope remains that he who was lost may return. It is enough to know that they were written by a Frenchman who, in love and faith, bore his part in the general effort, the common peril, glad to renounce himself in the pain and the devotion of his countrymen. By a happy fortune that he did not foresee when he left his clean solitude for the sweat, the servitude, and the throng, he no doubt produced the best of himself in these letters; and it may be doubted whether, in the course of a successful artist's life, it would have been given to him to express himself with so much completeness. This is a thought that may strengthen those who love him to accept whatever has come to pa.s.s. His soul is here, a more essential soul perhaps, and a more beautiful, than they had known. It was in war that Marcus Aurelius also wrote his thoughts. Possibly the worst is needful for the manifestation of the whole of human greatness.

We marvel how the soul can so discover in itself the means to oppose suffering and death. Thus have many of our sons revealed themselves in the day of trial, to the wonder of France, until then unaware of all that she really was. That is how these pages touch us so closely. He who wrote them had attuned himself with his countrymen. Through the more mystical acts of his mind we perceive the sublime message sent to us from the front, more or less explicitly, by others of our brothers and our sons--the high music that goes up still from the whole of France at war. In all his comrades a.s.sembled for the great task, he too had recognised the best and the deepest things that his own heart held, and so he speaks of them constantly--especially of the simplest of the men--with so great respect and love. Far from ordinary ambitions and cares, the things that this rough life among the eternities brings into all hearts with a heretofore unknown amplitude are serenity of conscience and a freshness of feeling in perpetual touch with the harmonies of nature. These men do but reflect nature. Since they have renounced themselves and given themselves, all things have become simple for them. They have the transparence of soul and the lights of childhood. 'We spend childish days. We are children.' . . .

This new youthfulness of heart under the contemned menace of death, this innocence in the daily fulfilment of heroic duty, is a.s.sured by a spiritual state akin to sanct.i.ty.