It was the gas ward. I had held a vesper service that evening and had had a strange experience. Just before the service I had been introduced to a lad who said to the chaplain who introduced me that he was a member of my denomination.
The boy could not speak above a whisper. He was gassed horribly, and in addition to his lungs being burned out and his throat, his face and neck were scarred.
"I have as many scars on my lungs as I have on my face," he said quite simply. I had to bend close to hear him. He could not talk loud enough to have awakened a sleeping child.
He said to me: "I used to be leader of the choir at home. At college I was in the glee-club, and whenever we had any singin' at the fraternity house they always expected me to lead it. Since I came into the army the boys in my outfit have depended upon me for all the music. In camp back home I led the singing. Even the Y. M. C. A. always counted on me to lead the singing in the religious meetings. Many's the time I have cheered the boys comin' over on the transport and in camp by singin' when they were blue. But I can't sing any more. Sometimes I get pretty blue over that. But I'll be at your meeting this evening, anyway, and I'll be right down on the front seat as near the piano as I can get. Watch for me."
And sure enough that night, when the vesper service started, he was right there. I smiled at him and he smiled back.
I announced the first hymn. The crowd started to sing. Suddenly I looked toward him. We were singing "Softly Now the Light of Day Fades Upon My Sight Away." His book was up, his lips were moving, but no sound was coming. That sight nearly broke my heart. To see that boy, whose whole passion in the past had been to sing, whose voice the cruel gas had burned out, started emotions throbbing in me that blurred my eyes. I couldn't sing another note myself. My voice was choked at the sight. A lump came every time I looked at him there with that book up in front of him, a lump that I could not get out of my throat. I dared not look in his direction.
After the service was over I went up to him. I knew that he needed a bit of laughter now. I knew that I did, too. So I said to him: "Lad, I don't know what I would have done if you hadn't helped us out on the singing this evening."
He looked at me with infinite pathos and sorrow in his eyes. Then a look of triumph came into them, and he looked up and whispered through his rasped voice: "I may not be able to make much noise any more, and I may never be able to lead the choir again, but I'll always have singing in my soul, sir! I'll always have singing in my soul!"
And so it is with the whole American army in France—it always has singing in its soul, and courage, and manliness, and daring, and hope. That kind of an army can never be defeated. And no army in the world, and no power, can stand long before that kind of an army.
That kind of an army doesn't have to be sent into battle with a barrage of shells in front of it and a barrage of shells back of it to force it in, as the Germans have been doing during the last big offensive, according to stories that boys at Château-Thierry have been telling me. The kind of an army that, in spite of wounds and gas, "still has singing in its soul" will conquer all hell on earth before it gets through.
Then there is the memory of the boys in the shell-shock ward at this same hospital. I had a long visit with them. They were not permitted to come to the vesper service for fear something would happen to upset their nerves. But they made a special request that I come to visit them in their ward. After the service I went. I reached their ward about nine, and they arose to greet me. The nurse told me that they were more at ease on their feet than lying down, and so for two hours we stood and talked on our feet.
"How did you get yours?" I asked a little black-eyed New Yorker.
"I was in a front-line trench with my 'outfit,' down near Amiens," he said. "We were having a pretty warm scrap. I was firing a machine-gun so fast that it was red-hot. I was afraid it would melt down, and I would be up against it. They were coming over in droves, and we were mowing them down so fast that out in front of our company they looked like stacks of hay, the dead Germans piled up everywhere. I was so busy firing my gun, and watching it so carefully because it was so hot, that I didn't hear the shell that suddenly burst behind me. If I had heard it coming it would never have shocked me."
"If you hear them coming you're all right?" I asked.
"Yes. It's the ones that surprise you that give you shell-shock. If you hear the whine you're ready for them; but if your mind is on something else, as mine was that day, and the thing bursts close, it either kills you or gives you shell-shock, so it gets you both going and coming." He laughed at this.
"I was all right for a while after the thing fell, for I was unconscious for a half-hour. When I came to I began to shake, and I've been shaking ever since."
"How did you get yours?" I asked another lad, from Kansas, for I saw at once that it eased them to talk about it.
"I was in a trench when a big Jack Johnson burst right behind me. It killed six of the boys, all my friends, and buried me under the dirt that fell from the parapet back of me. I had sense and strength enough to dig myself out. When I got out I was kind of dazed. The captain told me to go back to the rear. I started back through the communication-trench and got lost. The next thing I knew I was wandering around in the darkness shakin' like a leaf."
Then there was the California boy. I had known him before. It was he who almost gave me a case of shell-shock. The last time I saw him he was standing on a platform addressing a crowd of young church people in California. And there he was, his six foot three shaking from head to foot like an old man with palsy, and stuttering every word he spoke. He had been sent to the hospital at Amiens with a case of acute appendicitis. The first night he was in the hospital the Germans bombed it and destroyed it. They took him out and put him on a train for Paris. This train had only gotten a few miles out of Amiens when the Germans shelled it and destroyed two cars.
"After that I began to shake," he said simply.
"No wonder, man; who wouldn't shake after that?" I said. Then I asked him if he had had his operation yet.
"It can't be done until I quit shaking."
"When will you quit?" I asked, with a smile.
"Oh, we're all getting better, much better; we'll be out of here in a few months; they all get better; 90 per cent of us get back in the trenches."
And that is the silver lining to this Silhouette Spiritual. The doctors say that a very large percentage of them get back.
"We call ourselves the 'First American Shock Troops,'" my friend from the West said with a grin.
"I guess you are 'shock troops,' all right. I know one thing, and that is that you would give your folks back home a good shock if they saw you."
Then we all laughed. Laughter was in the air. I have never met anywhere in France such a happy, hopeful, cheerful crowd as that bunch of shell-shocked boys. It was contagious. I went there to cheer them up, and I got cheered up. I went there to give them strength, and came away stronger than when I went in. It would cheer the hearts of all Americans to take a peep into that room; if they could see the souls back of the trembling bodies; if they could get beyond the first shock of those trembling bodies and stuttering tongues. And, after all, that is what America must learn to do, to get beyond, and to see beyond, the wounds, into the soul of the boy; to see beyond the blinded eyes, the scarred faces, the legless and armless lads, into the glory of their new-born souls, for no boy goes through the hell of fire and suffering and wounds that he does not come out new-born. The old man is gone from him, and a new man is born in him. That is the great eternal compensation of war and suffering.
I have seen boys come out of battles made new men. I have seen them go into the line sixteen-year-old lads, and come out of the trenches men. I saw a lad who had gone through the fighting in Belleau Woods. I talked with him in the hospital at Paris. His face was terribly wounded. He was ugly to look at, but when I talked with him I found a soul as white as a lily and as courageous as granite.
"I may look awful," he said, "but I'm a new man inside. What I saw out there in the woods made me different, somehow. I saw a friend stand by his machine-gun, with a whole platoon of Germans sweeping down on him, and he never flinched. He fired that old gun until every bullet was gone and his gun was red-hot. I was lying in the grass where I could see it all. I saw them bayonet him. He fought to the last against fifty men, but, thank God, he died a man; he died an American. I lay there and cried to see them kill him, but every time I think of that fellow it makes me want to be more of a man. When I get back home I'm going to give up my life to some kind of Christian service. I'm going to do it because I saw that man die so bravely. If he can die like that, in spite of my face I can live like a man."
The boys in the trenches live a year in a month, a month in a week, a week in a day, a day in an hour, and sometimes an eternity in a second. No wonder it makes men of them overnight. No wonder they come out of it all with that "high look" that John Oxenham writes about. They have been reborn.
Another wounded boy who had gone through the fighting back of Montdidier said to me in the hospital:
"I never thought of anybody else at home but myself. I was selfish. Sis and mother did everything for me. Everything at home centred in me, and everything was arranged for my comfort. With this leg gone I might have some right now, according to the way they think, to that attention, but I don't want it any longer. I can't bear the thoughts of having people do for me. I want to spend the rest of my life doing things for other folks.
"Back of Noyon I saw a friend sail into a crowd of six Germans with nothing but his bayonet and rifle. They had surrounded his captain, and were rushing him back as a prisoner. They evidently had orders to take the officers alive as prisoners. That big top-sergeant sailed into them, and after killing two of them, knocking two more down, and giving his captain a chance to escape, the last German shot him through the head. He gave his life for the captain. That has changed me. I shall never be the same again after seeing that happen. There's something come into my heart. I'm going back home a Christian man."
Yes, America must learn to see beyond the darkness, beyond the disfigured face, to the soul of the boy. And America will do it. America is like that. And so back of these shaking bodies and these stuttering tongues of the shell-shocked boys I saw their wonderful souls. And after spending that two hours with them I can never be the same man again.
I could, as Donald Hankey says, "get down on my knees and shine their boots for them any day," and thank God for the privilege. I think that this is the spirit of any non-combatant in France who has any immediate contact with our men on the battle-front or in the hospitals. They are so brave and so true.
"How do the Americans stand dressing their wounds and the suffering in the hospitals?" a friend of mine asked a prominent surgeon.
"They bear their suffering like Frenchmen. That is the highest compliment I can pay them," he replied.
And so back of their wounds are their immortal, undying, unflinching souls. And back of the tremblings of these boys that night, thank God, I had the glory of seeing their immortal souls, and to me the soul of an American boy under fire and pain is the biggest, finest, most tremendous thing on earth. I bow before it in humility. It dazzled mine eyes. All I could think of as I saw it was:
"Mine eyes have seen the glory of the coming of the Lord."
That night I said, just before I left: "Boys, it's Sunday evening, and they wouldn't let you come to my meeting! Would you like for me to have a little prayer with you?"
"Yes! Sure! That's just what we want!" were the stammered words that followed.
"All right; we'll just stand, if it's easier for you."
Then I prayed the prayer that had been burning in my heart every minute as we stood there in that dimly lit ward, talking of home and battle and the folks we all loved across the seas. All that time there had been hovering in the background of my mind a picture of a cool body of water named Galilee, and of a Christ who had been sleeping in a boat on that water with some of his friends, when a storm came up. I had been thinking of how frightened those friends had been of the storm; of the tossing, tumbling, turbulent waves. I had thought of how they had trembled with fear, and then of how they had appealed to the Master. I told the boys simply that story, and then I prayed:
"O Thou Christ who stilled the waves of Galilee, come Thou into the hearts of these boys just now, and still their trembling limbs and tongues. Bring a great sense of peace and quiet into their souls."
"Oh, ye of little faith!" When I looked up from that prayer, much to my own astonishment, and to the astonishment of the friend who was with me, the tremblings of those fine American boys had perceptibly ceased. There was a great sense of quiet and peace in the ward.
The nurse told me the next day that after I had gone the boys went quietly to bed; that there was little tossing that night and no walking the floors, as there had been before. A doctor friend said to me: "After all, maybe your medicine is best, for while we are more or less groping in the dark as to our treatment of shell-shock, we do know that the only cure will be that something comes into their souls to give them quiet of mind and peace within."
"I know what that medicine is," I told him. "I have seen it work."
"What is it?" he asked.
Then I told him of my experience.
"You may be right."
And so it is all over France; where I have worked in some twenty hospitals—from the first-aid dressing-stations back through the evacuation hospitals to the base hospitals—and have found that the reaction of our boys to wounds and suffering is always a spiritual reaction. I know as I know no other thing, that the boys of America are to come back, wounded or otherwise, a better crowd of men than they went away. They are men reborn, and when they come back, when it's "over, over there," there is to be a nation reborn because of the leaven that is within their souls.
During the last year there has come into French art a new era of the silhouette. In every art store in Paris one sees wonderful silhouettes which tell the story of the horror of the Hun better than any words can paint it, and when one attempts to paint it he must attempt it in word silhouettes.
The silhouette catches the picture better than color. Gaunt, naked, ruined cathedrals, homes, towers, and forests are better pictured in black silhouettes than any other way. There is nothing much left in some places in France but silhouettes.
Those who have seen Rheims know that the best reproduction of its ruins has been conveyed by the simple silhouette of the artist. There it stands outlined against the sky. Rheims that was once the wonder of the world is now naked ruins, tottering walls, with its towers still standing, looming against the sky like tottering trees. And when, during the past year, the walls fell, they:
"Left a lonesome place against the sky"
of all the world.
The church at Albert was like that. Only a silhouette can describe or picture it. There it stood against the sky by day and night, with the figure on its top leaning. The old legend of the soldiers that when the figure of the Virgin fell to the earth the war would end has been dissipated, for during the last drive that figure fell, and the tower with it. But forever (although it has fallen to dust and debris, because of descriptions we have seen of it) it shall stand out in our memories like a lonely, toppling tree against a crimson sunset!
Every day on the Toul line we used to drive through a village that had been shelled until it was in ruins. Only the tower and the walls of a beautiful little church remained. Every other house in the village was razed to the ground. Nothing else remained.
There it stands to this day, for when I saw it last in June it was still standing as it was in January. Every evening about sunset we used to drive down that way, taking supplies to the front-line huts. Many things stand out in one's memory of a certain road over which he drives night after night and day after day. There is the cross at the forks of the roads. There is the old monastery, battered and in ruins, that stood out like a gaunt ghost of the vandal Hun. There was the little God's acre along the road which we passed every day. There were always the observation-balloons against the evening sky. There were always the fleet-winged birds of the air outlined against the evening. There were always the marching men and the ambulance trains. But standing out above them all, etched with the acid of regret and anger and horror, stood that lonely tower. Night after night we approached it with a beautiful sunset off to the west where the Germans lay buried in their trenches. Coming back from the German lines we would see this church-tower outlined against the crimson sky like a finger pointing God-ward, and declaring to all the world that the God above would avenge this silent, accusing Silhouette of Sacrilege.
There has been a good deal of discussion over a certain book entitled "I Accuse." I never saw that finger pointing into the sky as we drove through this village that it did not cry out to the heavens and across the short miles to the German Huns, looking down, as it did, at its feet where the ruined homes lay, the village that it had mothered and fathered, the village that had worshipped within its simple walls, the village that had brought its joys and sorrows there, the village that had buried the dead within its shadows, the village that had brought its young there to be married and its aged to be buried; there it stood, night after night, against the crimson sky sometimes, against the golden sky at other times; against the rose, against the blue, against the purple sunsets; and ever it thundered: "I accuse! I accuse! I accuse!"
Then there is that Silhouette of Sacrilege up on the Baupaume Road. This is called "the saddest road in Christendom," because more men have been killed along its scarred pathway than along any other road in all the world. Not even the road to Calvary was as sad as this road.
Along this road when the French held it, during the first year of the war, they gathered their dead together and buried them in a little cemetery. Above the sacred remains of their comrades these French soldiers erected a simple bronze cross as a symbol not only of the faith of the nation, but a symbol also of the cause in which they had died.
A few months later when the Germans had recaptured this spot, and it had been fought over, and the bronze cross still stood, the Hun, too, gathered his dead together and buried them side by side with the French. Then he did a characteristic thing. He got a large stone as a base and mounted a cannon-ball on top of this stone, and left it there, side by side with the French cross.
Whether he meant it or not, his sacrilege stands as a fitting expression of his philosophy, the philosophy of the brute, the religion of the granite rock and the iron cannon-ball.
He told his own story here. Side by side in those two monuments the contrast is made, the causes are placed. One is the cause of the cross, the cause of men willing to die for brotherhood; the other is the cause of those who are willing to kill to conquer.
And these two monuments, side by side on the Baupaume Road, stand out as one of the Silhouettes of Sacrilege.
Then there is St. Gervais. On Good Friday afternoon a Hun shell pierced the side of this beautiful cathedral as the spear-thrust pierced the side of the Master so long ago. On the very hour that Jesus was crucified back on that other and first Good Friday the Hun threw his bolt of death into the nave of this church, and crucified seventy-five people kneeling in memory of their Saviour's death.
I was in that church an hour after this terrible sacrilege happened. Never can one forget the scene. I dare not describe it here in its awful details.
The entire arches of stone that held up the roof had fallen in from the concussion of the gases of the shell. Three feet of solid stones covered the floor. Men and women were being carried out. Silk hats, canes, shoes, hats, baby clothes, an expensive fur, lay buried in the stone and dirt.
As I stood horrified, looking on this scene of death and destruction, the phrase came into my heart:
"And the veil of the temple was rent in twain."
And this scene, too, shall remain as one of the Silhouettes of Sacrilege.
But perhaps the worst Silhouette of Sacrilege that the film of one's memory has brought away from France is that of a certain afternoon in Paris.
I happened to be walking along the Boulevard to my hotel. The big gun had been throwing its shells into the city all day. Suddenly one fell so close to where I was walking that it broke the windows around me, and I was nearly thrown to my feet. In my soul I cursed the Hun, as all who have lived in Paris finally come to be doing as each shell bursts. But I had more reason to curse than I knew at that moment.
The people were running into a side street, the next one toward which I was approaching. I followed the crowd. My uniform got me past the gendarmes in through a little court, up a pair of stairs where the shell had penetrated the walls of a maternity hospital.
What I saw there in that room shall make me hate the Hun forever.
New-born babes had been killed, a nurse and two mothers. When I thought of the expectant homes into which those babes had come, when I thought of the fathers at the front who would never see again either their wives or those new babies, when I saw the blood that smeared the plaster and floors of that room, when I saw the little twisted baby beds, a flush of hatred swept over me, as it did over all who saw it, a new birth of hatred that could never die until those little babies and those mothers and the nurse are avenged. That is a Silhouette of Sacrilege that makes the gamut complete.
There was the desecration of the holy sanctuaries; there was the desecration of the graves of brave soldiers of France; there was the derision of his bronze cross; there was the desecration of the most sacred day in Christendom, Good Friday, and then the desecration of little children, mothers of new-born babes, and nurses. Could the case be more complete? Could Silhouettes of Sacrilege cover a wider gamut of hatred and disgust than these silhouettes picture?
Two o'clock in the morning on the sea is sometimes cold and disagreeable, and sometimes it is glorious with wonder and beauty. But whether it is beautiful or whether it is cold and disagreeable, at that exact hour in the war zone on every American transport, now, every boy is summoned on deck until daylight. This is only one of the many precautions that the navy is taking to save life in case of a U-boat attack. One thing that ought to comfort every mother and father in America is the care that is manifested and the precautions that are taken by the navy in getting the soldiers to France. One of the most thrilling chapters of the history of this war, when it is written, will be that chapter. And one of the most wonderful, the most colossal feats will be the safe transportation overseas of those millions of soldiers with so little loss of life while doing it.
And one of the best precautions is this of getting every boy up out of the hold and out of the staterooms, officers and all, on deck, standing by the assigned life-boats and rafts. Not a single boy remains below in the war zone.
Day is just breaking across the sea. It is a beautiful dawning. Five thousand American boys line the railings of a certain great transport. They are not allowed to smoke. They do not sing. They do not talk much. Some of them are sleepy, for the average American boy is not used to being awakened at two in the morning. They just stand and wait and watch through five hours of silence as the great ship plunges its way defiantly through the danger zone, saying in so many words: "We're ready for you!"
And the silhouette of that great ship, lined with khaki-clad American boys, waiting, watching, as seen from another transport, where the watcher who writes this story stands, is a sight never to be equalled in art or story. To see the huge bulk of a great transport just a stone's throw away, moving forward, without a sound from its rail-lined, soldier-packed deck, is one of the striking Silhouettes of Silence.
Thomas Carlyle once said of man: "Stands he not thereby in the centre of Immensities, in the conflux of Eternities?" One day I saw the American army standing "in the centre of immensities, in the conflux of eternities," at the focus of histories. One day I saw the American army in France march in answer to General Pershing's offer to the Allies at the beginning of the big drive, march to its place in history beside its Allies, the English and the French.
The news came. The first division of American troops was to leave overnight and march overland into the Marne line. Our Allies needed us. They had called. We were answering.
As a tribute to the efficiency of the American army, may I say that the one well-trained, seasoned division of troops that we had in a certain quiet sector picked up bag and baggage overnight and, like the Arabs, "silently stole away," and did it so well and so efficiently that not even the Y. M. C. A. secretaries, who had been living with this division intimately for months, knew that they were gone, and that a new division had taken its place, until the next morning. Talk about German efficiency—that phrase, "German efficiency," has become a bugaboo to frighten the world. American efficiency is just as great, if not greater.
I saw that division marching overland. It was a thrilling sight. Coming on it suddenly, and looking down upon its marching columns from the brow of a hill, and then riding past it in a Ford camionet all day long with Irving Cobb, riding past its ammunition-wagons, past its machine-gun battalion, past its great artillery company, past its hundreds of infantrymen, past its trucks, past its clean-cut officers astride their horses, past its supply-trains, past its flags and banners, past its kitchen-wagons, seeing it stop to eat, seeing it shoulder its rifles, seeing its ambulances and its Red Cross groups, seeing its khaki-clad American boys wind through the valleys and up the hills and over the bridges (the white stone bridge), through its villages, many in which American soldiers had never been seen before; welcomed by the people as the saviors of France, seeing its way strewn with the flowers of spring by little children, and with the welcome and the tears of French mothers and daughters clad in black, seeing it march along the French streams from early morning until late at night, this was a sight to stir the pride of any American to the point of reverence.
But all day as we rode along that winding trail I thought of the song that the soldiers are singing, "There's a Long, Long Trail Awinding to the Land of Our Dreams," and when I looked into the faces of those American boys I saw there the determination that the trail that they were taking was a trail that, although it was leading physically directly away from home, and toward Berlin, yet it was, to their way of thinking, the shortest way home. The trail that the American army took that day as it marched into the Marne line was the "home trail," and every boy marched that road with the determination that the sooner they got that hard job ahead over with, the sooner they would get home. I talked with many of them as they stopped to rest and found this sentiment on every lip.
But it was a silent army. I heard no singing all day long—not a song. Men may sing as they are marching into training-camps; they may sing when they board the boats for France now; they may sing as they march into rest-billets, but they were not singing that day as they marched into the great battle-line of Europe.
I heard no laughter. I heard no loud talking, I heard no singing; I heard only the tramp, tramp, tramp of marching feet, and the crunching of the great motor-trucks, and the patter of horses as the officers galloped along their lines. That army of American men knew that the job on which they were entering was not child's play. They knew that democracy depended upon what they did in that line. They knew that many of them would never come back. They knew that at last the real thing was facing them. They were not like dumb, driven beasts. They were men. They were American men. They were thinking men. They were silent men. They were brave men.
They were marching to their place in history unafraid, and unflinching, but thoughtful and silent.
Another Silhouette of Silence. It was after midnight on the Toul line. We were driving back from the front. The earth was covered with a blanket of snow. Everything was white. We were moving cautiously because with the snow over everything it was hard to tell where the icy road left off and the ditches began; and those ditches were four feet deep, and a big truck is hard to get out of a hole. Then there were no lights, for we were too near the Boche batteries.
"Halt!" rang out suddenly in the night, and a sentry stepped into the middle of the road.
I got down to see what he wanted.
"There are fifty truck-loads of soldiers going into the trenches to-night, and they are coming this way. Drive carefully, for it is slippery."
In a few moments we came to the first truck filled with soldiers, and passed it. A hundred yards farther we came to the second one, loaded down with American boys. Their rifles were stacked in the front of the truck, and their helmets made a solid steel covering over the trucks. One by one, fifty trucks loaded with American soldiers passed us. One can hardly imagine that many American boys anywhere without some noise, but the impressive thing about that scene was that not a single word, not a sound of a human voice, came from a single one of those fifty trucks. The only sound to be heard breaking the silence of the night was the crunching of the chained wheels of the heavy trucks in the snow. We watched that strangely silent procession go up over a snow-covered hill and disappear. Not a single sound of a human voice had broken the silence.
Another Silhouette of Silence: It is an operating-room in an evacuation hospital. The boy was brought in last night. An operation was immediately imperative. I had known the boy, and was there by courtesy of the major in charge of the hospital. The boy had asked that I come.
For just one hour they worked, two skilled American surgeons, whose names, if I were to mention them, would be recognized as two of America's greatest specialists. France has many of them who have given up their ten-thousand-dollar fees to endure danger to save our boys. During that hour's stress and strain, with sweat pouring from their brows, they worked. Now and then there was a nod to a nurse, who seemed to understand without words, and a motion of a hand, but not three words were spoken. It made a Silhouette of Silence that saved a boy's life.
The next scene is a listening-post. Two men are stretched on their stomachs in the brown grass. A little hole, just enough to conceal their bodies, has been dug there. The upturned roots of an old tree that a bursting shell had desecrated was just in front. "Tap! Tap! Tap!" came the sounds of Boches at work somewhere near and underground. It is needless to say that this was a Silhouette of Silence, and that a certain Y. M. C. A. secretary was glad when it was all over and he got back where he belonged.
The upturned roots of an old tree were just in front.[Illustration: The upturned roots of an old tree were just in front.]
The upturned roots of an old tree were just in front.[Illustration: The upturned roots of an old tree were just in front.]
The beautiful columns of the Madeleine bask under the moonlight. Paris was never so quiet. The silence of eternity seemed to have settled down over her. As one looked at the Madeleine under that magical white moonlight he imagined that he had been transported back to Athens, and that he was no longer living in modern times and in a world at war. It was all so quiet and peaceful, with a great moon floating in the skies——
But what is that awful wail that suddenly smites the stillness as with a blow? It seems like the wailing of all the lost souls of the war. It sounds like the crying of the more than five million sorrowing women there are left comfortless in Europe. It is the siren. An air-raid is on. The "alert" is sounding. The bombs begin to fall. The Boches have gotten over even before the barrage is up. Hell breaks loose for an hour. No battle on the front ever heard more terrific cannonading than the next hour. The barrage was the heaviest ever sent up over Paris. The six Gothas that got over the city dropped twenty-four bombs.
The terrific bombardment, however, now as one looks back, only serves to make the preceding silence stand out more emphatically, and the Madeleine, basking in the moonlight the hour before, more beautiful in its silhouette of grace and bulk against the golden light.
A month on the front lines with thunder beating always, a month of machine-gun racket, a month of bombing by Gothas every night, a month of crunching wheels, a month of pounding motors and rumbling trucks, a month of marching men, a month of the pounding of horses' hoofs on the hard roads of France, a month of sirens and clanging church-bells in thetocsin, and then a day in the valley of vision, down at Domremy where Jeanne d'Arc was born, was a contrast that gave a Silhouette of Silence to me.
One day on the Toul line, a train by night, and the next morning so far away that all you could hear was the singing of birds. Peasants quietly tended their flocks. Children played in the roads. The valley was beautiful under the sunlight of as warm and as beautiful a spring day as ever fell over the fields of France. I stood on the very spot where the peasant girl of Orleans caught her vision. I looked down over the valley with "the green stream streaking through it," with silence brooding over it, a bewildering contrast with the day and the month that had just preceded; and it all stands out as one of the Silhouettes of Silence.
Another day, another hour, another part of France. They call it "Calvaire." It covers several acres. The peasants go there to worship in pilgrimage every year. There is a Garden of Gethsemane, with marvellous statues built life-size. Then through the woods there is a worn pathway to the Sanhedrin. This is of marble. Jesus is here before his accusers in marble statuary.
As his accusers question him and he answers them not, they wonder. But those who have seen "Calvaire" in France do not wonder, for from that room there is a clean swath of trees cut, and a quarter of a mile away looms, on a hill, a real Calvary, with the tree crosses silhouetted against the sky, and Jesus is seeing down the pathway the hill of the cross.
Then there is "The Way of the Cross," built by peasant hands. It is a road covered with flintstones as sharp as knives. This flint road must be a mile long, and it winds here and there leading to Calvary, and along its way are the various stations of the cross in life-size figures. Jesus is seen at every step of this agony bearing his cross until relieved by Simon. Over this flintstone every year the people come by thousands, and crawl on their naked knees or walk on their naked feet. Every stone is stained with blood; stumbling, cruelly hurt, bleeding, they go "The Way of the Cross," and I have no doubt but that they go back to their homes better men and women for having done so.
The day that we went to "Calvaire" it was a fitful June afternoon. As we walked along "The Way of the Cross," across the field, past the living, almost breathing, statues of the Master bearing his cruel cross, past the sneering figures of those who hated him, and past the weeping figures of those who loved and would aid him, and as we came to the hill itself, suddenly black clouds gathered behind it and rain began to pour.
"I am glad the clouds are there back of Calvary. I am glad it is raining as we climb the hill of Calvary. I am willing to be soaked. It seems more fitting so, with the black clouds there and all. It reminds me of 'The Return from Calvary' in the painting," one of the party said impressively.
Up the winding hill we climbed, and there gaunt and cruel against a sombre sky stood the three crosses, just as we have always imagined them. The hill was so high that it overlooked as beautiful a valley as I had seen in all France. It was in Brittany, as yet untouched by the war as far as its fields are concerned (not so its men and its women and its homes); but on that spring day as we looked down from the hill of Calvary we could see off in the distance the tomb, with the stone rolled away, and life-size angels standing there with uplifted wings. Then farther along the road, perhaps another quarter mile away, on another hill, were the figures of the disciples, and the women watching the ascension with rapt faces, and a glory shone round about them all.
And as we stood there on that Calvary, built in memory of the crucifixion and resurrection and ascension of their Master by the peasants, and looked down over the earth, bright with crimson poppies everywhere in field and hill, brilliant with the old-gold blossom of the broom flower, as we stood there, our hearts subdued to awe and wonder, looking down, suddenly the rain ceased and the sun shone in its full glory and lighted anew the white marble of the figures of the ascension far below us in the field.
As we stood there the thought came to me:
"So is the Christian world standing today on the hill of 'Calvaire.' The storms have been black about the Christian world. The clouds have seemed impenetrable. The earth has been desolate. We have walked on our hands and knees and in our bare feet up the flinty road of Baupaume, 'the saddest road in Christendom,' and along this road we have borne the cross. We, the Christian world, the mothers, the fathers, the little children, have bled. We have stumbled and fallen along the way. And when we climbed the hill of Calvary, as we have been doing for these years of war, the clouds darkened and we saw only the ominous silhouettes of the three crosses.
"But the sun is now breaking the clouds, and it shall burn its way to a glorious day. Across the fields we see the open tomb and the resurrection is about to dawn; the day of brotherhood, democracy, justice, love, and peace forever.
"Hope is in the world, hope brooding, hope dominant, hope triumphant, hope in its supreme ascension."
One could not see this Silhouette of Silence, this "Calvaire" of the French nation, and not come away knowing the full meaning of the war. It is "The New Calvary" of the world.
A newspaper paragraph in a Paris paper said: "Dale was last seen in a village just before the Germans entered it, gathering together a crowd of little French children, trying to get them to a place of safety."
Dale has never been seen since, and that was two months ago. Whether he is dead or alive we do not know, but those who knew this manly American lad best, say unanimously: "That was just like Dale; he loved kids, and he was always talking about his own and showing us their pictures."
No monument will ever be erected to Dale, for he was just a common soldier; but I for one would rather have had the monument of that simple paragraph in the press despatches; I for one would rather have it said of me, "The last seen of Dale he was gathering together a crowd of little children"; I would rather have died in such a service than to have lived to be a part of the marching army that is one day to enter the streets of Berlin. That was a man's way to die; dying while trying to save a crowd of little children from the cowardly Hun.
"The last seen of Dale he was gathering together a crowd of little children."[Illustration: "The last seen of Dale he was gathering togethera crowd of little children."]
"The last seen of Dale he was gathering together a crowd of little children."[Illustration: "The last seen of Dale he was gathering togethera crowd of little children."]
If I had died in that kind of service, in my dying moments I could have heard the words of John Masefield from "The Everlasting Mercy" singing in my heart:
"Whoever gives a child a treatMakes joybells ring in Heaven's street;Whoever gives a child a home,Builds palaces in Kingdom Come;Whoever brings a child to birth,Brings Saviour Christ again to earth."
Or, better, I would have seen the Master blessing little children, taking them up in His arms and saying to the Hebrew mothers that stood about with wondering eyes: "Suffer the little children to come unto me, and forbid them not, for of such is the kingdom of heaven."
And perhaps I should have heard the echo of Joaquin Miller's sweet interpretation of that scene, for when men die, strange, sweet memories, old hymns and verses, old faces, all come back:
"Then lifting His hands He said lowly,Of such is my Kingdom, and thenTook the little brown babes in the holyWhite hands of the Savior of men;Held them close to His breast and caressed them;Put His face down to theirs as in prayer;Put His cheek to their cheeks; and so blessed themWith baby hands hid in His hair."