He struck himself on the head with his fist. He was dragged into the house, howling at the top of his voice. Soon the garden was empty. By degrees the lights were extinguished and the noise was stilled, except for the distant artillery fire. The patrol which had helped to take the madman back into the hospital repa.s.sed, with the old corporal in the rear, hanging his head. From afar off came the flash of an explosion, followed by a prolonged rumbling. The old man stood still, listened, shook his fist, spat disgustedly, and muttered:

"Oh, h.e.l.l!"

I have given lengthy extracts from this story, for I wished to convey a notion of the author's pulsating, vibrant, and impa.s.sioned style. There is more of the drama here than of the novel, and an elemental fierceness like that of Shakespearean drama. It would be well if these pages, so profound in the bitterness of their injustice, were to become widely known. It would be well if the poor women who, in all love as a rule, adopt a superhuman pose, could be made to realise, by means of this madman's outpourings, the secret thoughts which no man will dare to tell them, to understand the mute and almost shamefaced appeal to their poor human kindliness, to their simple and motherly compa.s.sion.

I shall deal more briefly with the other episodes.

The second, "Baptism of Fire" (Feuertaufe), is long, perhaps too long, but full of pity and of pain. Almost the whole scene is played within the soul of Captain Marschner, a man of fifty, who is leading his company to the front-line trench under the enemy's fire. He is not a professional soldier. As a young man he had been an officer, but at the age of thirty he had gone to school again, wishing to quit the trade of war and to become a civil engineer. Now the war had brought him back to the army. He had been in Vienna only the day before yesterday. His men were fathers of families, stonemasons, peasants, factory hands, and so on. None of them had any patriotic enthusiasm. He read their minds, and felt ashamed of himself because he was leading to certain death these poor fellows who trusted him. Beside him marched Weixler, a young lieutenant, cold, ruthless, inhuman--as one so often is at twenty years of age "when one has had no time yet to learn the value of life." The hardness of this man (an irreproachable officer) arouses in Marschner mingled anger and suffering. By degrees a fierce but unspoken feud arises between them. At the very end, just when open war is about to break out between the two, a huge sh.e.l.l bursts in their trench and both are buried under the wreckage. The captain comes to himself with a shattered skull. At a few paces' distance lies the implacable lieutenant, his entrails trailing on the ground beside him. They exchange a last look. Marschner sees a face that is almost strange to him, pale and sad, with timid eyes. The whole expression is gentle and plaintive; there is an unforgettable air of tender, anxious resignation.

"He is suffering!" flashed through the captain's mind. "He is suffering!" Marschner is transported with joy. And therewith he dies.

"My Comrade" (Der Kamarad) is the diary of a soldier in hospital. This man has been driven mad by the terrible sights at the front, and above all by the vision of a wounded man in the death agony, a poor wretch whose face had been torn away by a grapnel. The sight was seared upon his brain. The image never left him by day or by night. It sat down beside him at meals; went to bed with him; got up with him in the morning. It had become "My Comrade." The description is positively hallucinating, and this story contains some of the most forceful pa.s.sages in the book, directed against the warmongers and against the humbugs of the press.

"A Hero's Death" (Heldentod) describes the death in hospital of First Lieutenant Otto Kadar. He has a fractured skull. While the regimental officers were listening to a gramophone playing the Rakoczy march, a bomb exploded among them. The dying man never stops talking of the Rakoczy march. He imagines that he is looking at the corpse of a young officer whose head has been carried away, and in place of the head, screwed into the neck, is the gramophone disc. In his growing delirium, he fancies that the same thing has happened to all the common soldiers, to all the officers, to himself; that in each one the head has been replaced by a gramophone disc. That is why it is so easy to lead them to the slaughter. The dying man makes a frantic effort to tear away the disc from his own neck, and as he does so all is over. The old major looking on says in a voice vibrating with respect: "He died like a true Hungarian--singing the Rakoczy march."

"Home Again" (Heimkehr) tells of the homecoming of Johann Bogdan, who had been the handsomest man in his native village. He returns from the war hopelessly disfigured. In hospital his face has been remade for him by means of a number of plastic operations. But when he looks at himself in the gla.s.s he is horror-stricken. No one in the village recognises him. The only exception is a hunchback whom he had looked on with contempt, and who now greets him familiarly. The countryside has been transformed by the building of a munition factory. Marcsa, Bogdan's betrothed, works there, and has become the factory owner's mistress.

Bogdan sees red, and stabs the man, to be struck down dead himself a moment later.--In this story the growth of the revolutionary spirit is manifest. Bogdan, a dull conservative by nature, is inspired with it against his will. We have a threatening vision of the return of the soldiers from all the armies, and of how they will take vengeance upon those who sent others to death while remaining at home to enjoy life and to grow rich by speculation.

I have kept the third story to the last, for it contrasts with the others by the sobriety of its emotion. It is ent.i.tled "The Victor" (Der Sieger). In the other episodes, the tragic element is nude and bleeding.

Here tragedy is veiled with irony, and is all the more formidable.

Revolt simmers beneath the calm words; the butchers are pilloried by the bitter satire.

The victor is His Excellency the Commander-in-Chief, the renowned Generalissimo X., universally known in the press as "The Victor of * *

*." He is there in all his glory, in the princ.i.p.al square of the town which is now the military headquarters. Here he is absolute master. Here there is nothing which he cannot do or undo at his will. The band is playing, on a fine autumn afternoon. His Excellency sits out of doors in front of a cafe, amid smart officers and elegantly dressed ladies. It is nearly forty miles from the front. Strict orders have been given that no wounded or convalescent soldier, or any man whose appearance might have a depressing effect on the general war enthusiasm or might trouble the comfort of those who are at ease, shall be allowed out of hospital. We are told how much His Excellency is enjoying himself. He finds the war splendid. People have never had a jollier time. "Did you notice the young fellows back from the front? Sunburnt, healthy, happy!... I a.s.sure you the world has never been so healthy as it is now." The whole company chimes in to celebrate the beneficial effects of the war. His Excellency meditates upon his good luck, his t.i.tles, his decorations, harvested in a single year of war, after he had vegetated for nine-and-thirty years in peace and mediocrity. It has been a perfect miracle. He is now a national hero. He has his motor, his country mansion, his chef, delicate fare, a lordly retinue of servants--and he has not to pay a penny for it. Only one thing troubles his reflections, the thought that the whole fairy tale may vanish as suddenly as it came, and that he may relapse into obscurity. What if the enemy were to break through? But he rea.s.sures himself. All is going well. The great enemy offensive, which has been expected for the last three months, and which actually began twenty-four hours ago, hurls itself vainly against a wall of iron. "The human reservoir is full to overflowing. Two hundred thousand young stalwarts of exactly the right age are ready to be caught up in the whirl of the dance, until they sink in a marish of blood and bones." His Excellency's agreeable reverie is interrupted by an aide-de-camp, who informs him that the correspondent of an influential foreign newspaper has requested an interview. This scene is brilliantly described. The general does not allow the journalist to get a word in. He has his speech ready:

"He delivered it now, speaking with emphasis, and pausing occasionally to recall what came next. First of all, he referred to his gallant soldiers, lauding their courage, their contempt for death, their doings glorious beyond description. He went on to express regret that it was impossible to reward all these heroes according to their deserts.

Raising his voice, he invoked the fatherland's eternal grat.i.tude for such loyalty and self-renunciation even unto death. Pointing to the heavy crop of medals on his chest, he explained that the distinctions conferred on him were really a tribute to his men. Finally he interwove a few well-chosen remarks anent the military calibre of the enemy and the skilled generalship displayed by the other side. His last words conveyed his inviolable confidence in ultimate victory."

When the oration was finished, the general became the man of the world.

"You are going to the front now?" he asked with a courteous smile, and responded to the journalist's enthusiastic "yes" with a melancholy sigh.

"Lucky man! I envy you. You see, the tragedy in the life of the modern general is that he cannot lead his men personally into the fray. He spends his whole life making ready for war; he is a soldier in body and mind, and yet he knows the excitement of battle only from hearsay."

Of course the correspondent is delighted that he will be able to depict this all-powerful warrior in the sympathetic role of renunciation.

The agreeable scene is disturbed by the intrusion of an infantry captain who is out of his mind and has escaped from hospital. His Excellency, though in a towering rage, controls his temper for the sake of appearances, and has the inconvenient visitor sent back in his own car.

He turns the incident to account by uttering a few touching phrases concerning the impossibility for a general to do his duty if he had to witness all the misery at the front. He evades the correspondent's final question, "When does Your Excellency hope for peace?" by pointing across the square to the old cathedral, saying, "The only advice I can give you is to go over there and ask our Heavenly Father. No one else can answer that question."--Then His Excellency descends upon the hospital like a whirlwind, bl.u.s.ters at the old staff-surgeon, and reiterates the order to keep all the patients safely under lock and key. His wrath by now is slightly a.s.suaged, but it is revived by a message from the front. A brigadier-general reports terrible losses, and declares that he cannot hold the line without reinforcements. It was part of His Excellency's plan that this brigade should be wiped out, after resisting the attack as long as possible. But he is angry that his victims should have any advice to offer, and sends curt orders, "The sector is to be held."--At length, the day's work being over, the great man drives home in his motor, still fiercely excogitating the correspondent's idiotic question, "When does Your Excellency hope for peace?"

"Hope!... How tactless!... Hope for peace! What good has a general to expect from peace? Could not this civilian understand that a commander-in-chief is only a commander-in-chief in war-time, and that in peace-time he is nothing more than a professor with a collar of gold braid?"

The general is annoyed once more when the car pulls up because it is necessary to close the hood on account of the rain. But during the pause His Excellency hears the sound of distant firing. His eyes brighten.--Thank G.o.d, there was still war.

My quotations have been enough to show the emotional force and the trenchant irony of Latzko's book. It scorches. It is a torch of suffering and revolt. Both its merits and its defects are sib to this frenzy. The author is master of the writer's art, but he is not always master of his own feelings. His memories are still open wounds. He is possessed by his visions. His nerves vibrate like violin strings. Almost without exception, his a.n.a.lyses of emotion are tremulous monologues. His shattered spirit cannot find repose.

Doubtless he will be criticised for the preponderant place a.s.sumed in his book by physical pain. The work is full of it. Pain monopolises the reader's mind and wearies his eyes. Not until we have read _Men in Battle_ do we fully appreciate Barbusse's chariness in the use of material effects. If Latzko is persistent in their employment, this is not merely because he is haunted by memories of pain. He wishes, deliberately wishes, to communicate these impressions to others, for he has suffered greatly from others' insensibility.

In very truth, such insensibility has been the saddest of all our experiences during this war. We knew man to be stupid, mediocre, selfish: we knew that on occasions man could be extremely cruel. But though we had few illusions, we had never believed that man could remain so monstrously indifferent to the cries of millions of victims.

We had never believed that there could be a smile such as we have witnessed upon the lips of the young fanatics and of the old demoniacs who, from their safe seats, are never weary of looking on at the mutual slaughter of the nations, of those who kill one another for the pleasure, the pride, the ideas, and the interests of the onlookers. All the rest, all the crimes, we can tolerate; but this aridity of soul is the worst of all, and we feel that Latzko has been overwhelmed by it.

Like one of his own characters, who is regarded as a sick man because he cannot forget the sufferings he has witnessed, Latzko cries to the apathetic public:

"Sick!... No! It is the others that are sick. They are sick who gloat over news of victories and see conquered miles of territory arise resplendent above mountains of corpses. They are sick who stretch a barrier of many-coloured bunting between themselves and their better feelings, lest they should see what crimes are being committed against their brothers in the beyond that they call 'the front.' Every man is sick who can still think, talk, argue, sleep, knowing that other men, holding their own entrails in their hands, are crawling like half-crushed worms across the furrows in the fields, and are dying like animals before they can reach the ambulance station, while somewhere, far away, a woman with longing in her heart is dreaming beside an empty bed. All those are sick who fail to hear the moaning, the gnashing of teeth, the howling, the crashing and bursting, the wailing and cursing and agonising in death, because their ears are filled with the murmur of everyday affairs. These blind and deaf ones are sick, not I. Sick are those dumb beings whose soul can give voice neither to compa.s.sion nor to anger...." ("My Comrade").

The author's aim is to arouse these sick beings from their torpor, to treat them with the actual cautery of pain. This aim is portrayed in the person of Captain Marschner ("Baptism of Fire"), who, when his company is in the thick of the slaughter, suffers from nothing so intensely as from the harsh impa.s.sivity of his lieutenant, but who, himself at the point of death, finds it a positive solace to see on Weixler's stern face a shadow of pain, brotherly pain.

"Thank G.o.d," he thinks. "At last he knows what suffering is!"

"Through sympathy to knowledge," sings the mystical chorus of _Parsifal_.

This "suffering with others" (sympathy, Mitleid), this "pain which unites," overflows from the work of Andreas Latzko.

_November 15, 1917._

"Les Tablettes," Geneva, December, 1917.

XIX

VOX CLAMANTIS....[43]

After the glacial torpor of the early days of the war, mutilated art begins to bloom anew. The irrepressible song of the soul wells up out of suffering. Man is not merely, as he is apt to boast, a reasoning animal (he might, with better ground, term himself an unreasoning one); he is a singing animal; he can no more get on without singing than without bread. We learn it amid the very trials through which we are pa.s.sing to-day. Although the general suppression of liberty in Europe has doubtless deprived us of the deeper music, of the most intimate confessions, we nevertheless hear great voices rising from every land.

Some of these, coming from the armies, sing in sad and epic strains.

See, for example, _Under Fire_ by Henri Barbusse, and the heart-rending tales issued by Andreas Latzko under the collective t.i.tle of _Men in Battle_. Others express the pain and horror of those who, remaining at home, look on at the butchery without taking part in it, and who, being inactive, suffer all the more from the torments of thought. To this category belong the impa.s.sioned poems of Marcel Martinet[44] and P. J.

Jouve.[45] Paying less attention to suffering and more concerned with understanding, the English novelists, H. G. Wells[46] and Douglas Goldring,[47] give a faithful a.n.a.lysis of the distressing errors amid which they move and which they themselves by no means escape. Yet others, finally, taking refuge in the contemplation of the past, rediscover there the same circle of misfortunes and of hopes--rediscover the "eternal cycle." They cloak their grief in the fashions of other days, thus enn.o.bling it and despoiling it of its poisoned dart. From the lofty eyrie of the ages, set free by art, the soul contemplates suffering as in a vision, no longer aware whether that suffering belongs to the present or to the past. Stefan Zweig's _Jeremias_ is the finest contemporary specimen known to me of this august melancholy which, looking beyond the b.l.o.o.d.y drama of to-day, is able to see in it the eternal tragedy of mankind.

Not without struggle can such serene regions be attained. A friend of Zweig before the war, his friend to-day, I have witnessed all that was endured by this free European spirit whom the war robbed of that which he had held most dear; robbed him of his artistic and humanist faith, thereby depriving him of any reason for existence. The letters he wrote me during the first year of the war reveal his agonising torments in all their tragical beauty. By degrees, however, the immensity of the catastrophe, communion with the universal sorrow, restored to him the calm which resigns itself to destiny; for he came to see that destiny leads to G.o.d, who is the union of souls. Of the Hebrew race, he has drawn his inspiration from the Bible. It was easy to find there a.n.a.logous instances of national madness, of the fall of empires, and of heroic patience. One figure, above all, attracted him, that of the great forerunner, Jeremiah the persecuted prophet, foretelling the woeful peace which was to flourish upon the ruins.

Zweig devotes to Jeremiah a dramatic poem, which I propose to a.n.a.lyse, making extensive quotations. The work consists of nine scenes. It is written in prose mingled with verse, sometimes free, sometimes rhymed, the transition from prose to verse occurring when emotion breaks from control. The form is ample and rhetorical. There is a majestic balance in the exposition of the thought; but the poem would perhaps have been better for condensation, for this would have left more to the reader's imagination. The common people play a leading part in the action. Their sallies and counter-sallies jostle one another; but at the close their voices unite in measured choruses, breathing the thoughts of the prophet, the guardian of Israel. Zweig has steered his course skilfully between the dangers of archaism and anachronism. We rediscover our preoccupations of the moment in this epic of the fall of Jerusalem; but we find them as the faithful of recent centuries found day by day in their Bible the light which lightened their road in hours of difficulty--sub specie aeternitatis.

"Jeremiah is our prophet," Stefan Zweig said to me. "He has spoken for us, for our Europe. The other prophets came at their due time. Moses spoke and acted. Jesus died and acted. Jeremiah spoke in vain. His people failed to understand him. The times were not ripe. He could only prophesy, and bewail the approaching doom. He could do nothing to prevent what was to happen. Ours is a like fate."

But there are defeats more fruitful than victories; there are griefs more illuminating than joys. Zweig's poem shows this magnificently. At the end of the drama, Israel has been crushed. The Jews, leaving their ruined city, going into exile, pa.s.s towards the future filled with an inward radiance never known to them before, strong by reason of the sacrifices which have revealed to them their mission.

SCENE ONE

THE PROPHET'S AWAKENING.

A night in early spring. All is quiet. Jeremiah, awakened with a start by a vision of Jerusalem in flames, goes up to the terrace which overlooks his dwelling and the town. He is "poisoned" by dreams, obsessed by the oncoming storm, although peace still broods over the scene. He does not understand the fierce energy which surges up in him; but he knows that it comes from G.o.d and he awaits his orders, uneasy and under the spell of hallucination. His mother calls to him, and at first he imagines her voice to be the voice of G.o.d. To the terrified woman he foretells the ruin of Jerusalem. She implores him to be silent; his words seem to her sacrilegious and arouse her anger; to close his mouth, she tells him he will have her curse if he makes his sinister dreams known to others. But Jeremiah is no longer his own man. He follows the unseen Master.