Letters of a Soldier, 1914-1915. Eugène Emmanuel Lemercier

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 Shelley—'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 passing 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 God, 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 compassion; 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 Passion, 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 God, 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 assured 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 God. But that darkening of his lights passes 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 shell 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 God.' 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 pass. 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 assembled 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 assured by a spiritual state akin to sanctity.

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LETTERS OF A SOLDIER

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