The New Book of Martyrs

Titel: The New Book of Martyrs

von Oliver Goldsmith, Samuel Pepys, William Dean Howells, John Burroughs, William Harmon Norton, L. Mühlbach, Franklin Knight Lane, Walter Pater, Jonathan Swift, Augusta J. Evans, Trumbull White, Kathleen Thompson Norris, Matthew Arnold, Charles W. Colby, Shakespeare, James Fenimore Cooper, D. H. Lawrence, James Joyce, Ada Cambridge, Philip E. Muskett, Catherine Helen Spence, Rolf Boldrewood, Ernest Scott, Fergus Hume, H. G. Wells, Victor [pseud.] Appleton, Roald Amundsen, Max Simon Nordau, Henry David Thoreau, E. Phillips Oppenheim, Richard Wagner, Franz Liszt, Charlotte Mary Yonge, Charles Henry Eden, Charles Babbage, T. R. Malthus, Unknown, Joseph Ernest Morris, Robert Southey, Isabella L. Bird, Charles James Fox, Thomas Hariot, Cyrus Thomas, Bart Haley, Christopher Morley, Edgar Saltus, Marie Corelli, Edmund Lester Pearson, Robert Browning, John Aubrey, Benjamin Nathaniel Bogue, John McElroy, John Galsworthy, Henry James, Hamilton Wright Mabie, Mina Benson Hubbard, Elizabeth Cleghorn Gaskell, John Keble, Henry Lindlahr, Richard Henry Dana, Annie Wood Besant, Immanuel Kant, John Habberton, Baron Edward John Moreton Drax Plunkett Dunsany, T. B. Ray, Isabel Ecclestone Mackay, Frank C. Haddock, William John Locke, baron Arthur Léon Imbert de Saint-Amand, Ralph Centennius, United States, Library of Congress. Copyright Office, James Otis, George Hartmann, Sir Arthur Conan Doyle, George Gissing, John Henry Tilden, Thomas Wright, Frederick Samuel Dellenbaugh, Anonymous, J. Clontz, David Hume, Margot Asquith, Elmer Ulysses Hoenshel, Byron J. Rees, Lida B. McMurry, Georges Duhamel

ISBN 978-3-7429-4183-1

Alle Rechte vorbehalten.

Es ist ohne vorherige schriftliche Erlaubnis nicht gestattet, dieses Werk im Ganzen oder in Teilen zu vervielfältigen oder zu veröffentlichen.

THE NEW BOOK OF MARTYRS

By Georges Duhamel

Translated by Florence Simmonds

Contents

THE NEW BOOK OF MARTYRS THROUGHOUT OUR LAND THE STORY OF CARRE AND LERONDEAU MEMORIES OF THE MARTYRS THE DEATH OF MERCIER VERDUN THE SACRIFICE THE THIRD SYMPHONY GRACE NIGHTS IN ARTOIS

THE NEW BOOK OF MARTYRS

THROUGHOUT OUR LAND

From the disfigured regions where the cannon reigns supreme, to the mountains of the South, to the ocean, to the glittering shores of the inland sea, the cry of wounded men echoes throughout the land, and a vast kindred cry seems to rise responsive from the whole world.

There is no French town in which the wounds inflicted on the battle-field are not bleeding. Not one which has not accepted the duty of assuaging something of the sum of suffering, just as it bears its part in the sum of mourning; not one which may not hear within its own walls an echo of the greater lamentation swelling and muttering where the conflict seems to rage unceasingly. The waves of war break upon the whole surface of the country, and like the incoming tide, strew it with wreckage.

In the beds which the piety of the public has prepared on every side, stricken men await the verdict of fate. The beds are white, the bandages are spotless; many faces smile until the hour when they are flushed with fever, and until that same fever makes a whole nation of wounded tremble on the Continent.

Some one who had been visiting the wounded said to me: "The beds are really very white, the dressings are clean, all the patients seem to be playing cards, reading the papers, eating dainties; they are simple, often very gentle, they don't look very unhappy. They all tell the same story... The war has not changed them much. One can recognise them all."

Are you sure that you recognise them? You have just been looking at them, are you sure that you have seen them?

Under their bandages are wounds you cannot imagine. Below the wounds, in the depths of the mutilated flesh, a soul, strange and furtive, is stirring in feverish exaltation, a soul which does not readily reveal itself, which expresses itself artlessly, but which I would fain make you understand.

In these days, when nothing retains its former semblance, all these men are no longer those you so lately knew. Suffering has roused them from the sleep of gentle life, and every day fills them with a terrible intoxication. They are now something more than themselves; those we loved were merely happy shadows.

Let us lose none of their humble words, let us note their slightest gestures, and tell me, tell me that we will think of them together, now and later, when we realise the misery of the times and the magnitude of their sacrifice.

THE STORY OF CARRE AND LERONDEAU

They came in like two parcels dispatched by the same post, two clumsy, squalid parcels, badly packed, and damaged in transit. Two human forms rolled up in linens and woollens, strapped into strange instruments, one of which enclosed the whole man, like a coffin of zinc and wire.

They seemed to be of no particular age; or rather, each might have been a thousand and more, the age of swaddled mummies in the depths of sarcophagi.

We washed, combed, and peeled them, and laid them very cautiously between clean sheets; then we found that one had the look of an old man, and that the other was still a boy.

Their beds face each other in the same grey room. All who enter it notice them at once; their infinite misery gives them an air of kinship. Compared with them, the other wounded seem well and happy. And in this abode of suffering, they are kings; their couches are encircled by the respect and silence due to majesty.

I approach the younger man and bend over him.

"What is your name?"

The answer is a murmur accompanied by an imploring look. What I hear sounds like: Mahihehondo. It is a sigh with modulations.

It takes me a week to discover that the boyish patient is called Marie Lerondeau.

The bed opposite is less confused. I see a little toothless head. From out the ragged beard comes a peasant voice, broken in tone, but touching and almost melodious. The man who lies there is called Carre.

They did not come from the same battlefield, but they were hit almost at the same time, and they have the same wound. Each has a fractured thigh. Chance brought them together in the same distant ambulance, where their wounds festered side by side. Since then they have kept together, till now they lie enfolded by the blue radiance of the Master's gaze.

He looks at both, and shakes his head silently; truly, a bad business! He can but ask himself which of the two will die first, so great are the odds against the survival of either.

The white-bearded man considers them in silence, turning in his hand the cunning knife.

We can know nothing till after this grave debate. The soul must withdraw, for this is not its hour. Now the knife must divide the flesh, and lay the ravage bare, and do its work completely.

So the two comrades go to sleep, in that dreadful slumber wherein each man resembles his own corpse. Henceforth we enter upon the struggle. We have laid our grasp upon these two bodies; we shall not let them be snatched from us easily.

The nausea of the awakening, the sharp agony of the first hours are over, and I begin to discover my new friends.

This requires time and patience. The dressing hour is propitious. The man lies naked on the table. One sees him as a whole, as also those great gaping wounds, the objects of so many hopes and fears.

The afternoon is no less favourable to communion, but that is another matter. Calm has come to them, and these two creatures have ceased to be nothing but a tortured leg and a screaming mouth.

Carre went ahead at once. He made a veritable bound. Whereas Lerondeau seemed still wrapped in a kind of plaintive stupor, Carre was already enfolding me in a deep affectionate gaze. He said:

"You must do all that is necessary."

Lerondeau can as yet only murmur a half articulate phrase:

"Mustn't hurt me."

As soon as I could distinguish and understand the boy's words, I called him by his Christian name. I would say:

"How are you, Marie?" or "I am pleased with you, Marie."

This familiarity suits him, as does my use of "thee" and "thou" in talking to him. He very soon guessed that I speak thus only to those who suffer most, and for whom I have a special tenderness. So I say to him: "Marie, the wound looks very well today." And every one in the hospital calls him Marie as I do.

When he is not behaving well, I say:

"Come, be sensible, Lerondeau."

His eyes fill with tears at once. One day I was obliged to try "Monsieur Lerondeau," and he was so hurt that I had to retract on the spot. However, he now refrains from grumbling at his orderly, and screaming too loudly during the dressing of his wound, for he knows that the day I say to him "Be quiet, Monsiuer"—just Monsiuer—our relations will be exceedingly strained.

From the first, Carre bore himself like a man. When I entered the dressing ward, I found the two lying side by side on stretchers which had been placed on the floor. Carre's emaciated arm emerged from under his blanket, and he began to lecture Marie on the subject of hope and courage.... I listened to the quavering voice, I looked at the toothless face, lit up by a smile, and I felt a curious choking in my throat, while Lerondeau blinked like a child who is being scolded. Then I went out of the room, because this was a matter between those two lying on the ground, and had nothing to do with me, a robust person, standing on my feet.

Since then, Carre has proved that he had a right to preach courage to young Lerondeau.

While the dressing is being prepared, he lies on the ground with the others, waiting his turn, and says very little. He looks gravely round him, and smiles when his eyes meet mine. He is not proud, but he is not one of those who are ready to chatter to every one. One does not come into this ward to talk, but to suffer, and Carre is bracing himself to suffer as decently as possible.

When he is not quite sure of himself, he warns me, saying:

"I am not as strong as usual to-day."

Nine times, out of ten, he is "as strong as usual," but he is so thin, so wasted, so reduced by his mighty task, that he is sometimes obliged to beat a retreat. He does it with honour, with dignity. He has just said: "My knee is terribly painful," and the sentence almost ends in a scream. Then, feeling that he is about to howl like the others, Carre begins to sing.

The first time this happened I did not quite understand what was going on. He repeated the one phrase again and again: "Oh, the pain in my knee!" And gradually I became aware that this lament was becoming a real melody, and for five long minutes Carre improvised a terrible, wonderful, heart-rending song on "the pain in his knee." Since then this has become a habit, and he begins to sing suddenly as soon as he feels that he can no longer keep silence.

Among his improvisations he will introduce old airs. I prefer not to look at his face when he begins: "Il n'est ni beau ni grand mon verre." Indeed, I have a good excuse for not looking at it, for I am very busy with his poor leg, which gives me much anxiety, and has to be handled with infinite precautions.

I do "all that is necessary," introducing the burning tincture of iodine several times. Carre feels the sting; and when, passing by his corner an hour later, I listen for a moment, I hear him slowly chanting in a trembling but melodious voice the theme: "He gave me tincture of iodine."

Carre is proud of showing courage.

This morning he seemed so weak that I tried to be as quick as possible and to keep my ears shut. But presently a stranger came into the ward. Carre turned his head slightly, saw the visitor, and frowning, began to sing:

"Il n'est ni beau ni grand mon verre."

The stranger looked at him with tears in his eyes but the more he looked, the more resolutely Carre smiled, clutching the edges of the table with his two quivering hands.

Lerondeau has good strong teeth. Carre has nothing but black stumps. This distresses me, for a man with a fractured thigh needs good teeth.

Lerondeau is still at death's door, but though moribund, he can eat. He attacks his meat with a well-armed jaw; he bites with animal energy, and seems to fasten upon anything substantial.

Carre, for his part, is well-inclined to eat; but what can he do with his old stumps?

"Besides," he says, "I was never very carnivorous."

Accordingly, he prefers to smoke. In view of lying perpetually upon his back, he arranged the cover of a cardboard box upon his chest; the cigarette ash falls into this, and Carre smokes without moving, in cleanly fashion.

I look at the ash, the smoke, the yellow, emaciated face, and reflect sadly that it is not enough to have the will to live; one must have teeth.

Not every one knows how to suffer, and even when we know, we must set about it the right way, if we are to come off with honour. As soon as he is on the table, Carre looks round him and asks:

"Isn't there any one to squeeze my head to-day?"

If there is no answer, he repeats anxiously:

"Who is going to squeeze my head to-day?"

Then a nurse approaches, takes his head between her hands and presses.... I can begin; as soon as some one is "squeezing his head" Carre is good.

Lerondeau's method is different. He wants some one to hold his hands. When there is no one to do this, he shrieks: "I shall fall."

It is no use to tell him that he is on a solid table, and that he need not be afraid. He gropes about for the helpful hands, and cries, the sweat breaking out on his brow: "I know I shall fall." Then I get some one to come and hold his hands, for suffering, at any rate, is a reality....

Each sufferer has his characteristic cry when the dressing is going on. The poor have only one, a simple cry that does service for them all. It makes one think of the women who, when they are bringing a child into the world, repeat, at every pain, the one complaint they have adopted.

Carre has a great many varied cries, and he does not say the same thing when the dressing is removed, and when the forceps are applied.

At the supreme moment he exclaims: "Oh, the pain in my knee!"

Then, when the anguish abates, he shakes his head and repeats:

"Oh, that wretched knee!"

When it is the turn of the thigh, he is exasperated.

"Now it's this thigh again!"

And he repeats this incessantly, from second to second. Then we go on to the wound under his heel, and Carre begins:

"Well, what is wrong with the poor heel?"

Finally, when he is tired of singing, he murmurs softly and regularly:

"They don't know how that wretched knee hurts me... they don't know how it hurts me."

Lerondeau, who is, and always will be, a little boy compared with Carre, is very poor in the matter of cries. But when he hears his complaints, he checks his own cries, Borrows them. Accordingly, I hear him beginning:

"Oh, my poor knee!... They don't know it hurts!"

One morning when he was shouting this at the top of his voice, I asked him gravely:

"Why do you make the same complaints as Carre?"

Marie is only a peasant, but he showed me a face that was really offended:

"It's not true. I don't say the same things."

I said no more, for there are no souls so rugged that they cannot feel certain stings.

Marie has told me the story of his life and of his campaign. As he is not very eloquent, It was for the most part a confused murmur with an ever-recurring protestation:

"I was a good one to work, you know, strong as a horse."

Yet I can hardly imagine that there was once a Marie Lerondeau who was a robust young fellow, standing firm and erect between the handles of a plough. I know him only as a man lying on his back, and I even find it difficult to picture to myself what his shape and aspect will be when we get him on his feet again.

Marie did his duty bravely under fire. "He stayed alone with the wagons and when he was wounded, the Germans kicked him with their heavy boots." These are the salient points of the interrogatory.

Now and again Lerondeau's babble ceases, and he looks up to the ceiling, for this takes the place of distance and horizon to those who lie upon their backs. After a long, light silence, he looks at me again, and repeats:

"I must have been pretty brave to stay alone with the wagons!"

True enough, Lerondeau was brave, and I take care to let people know it. When strangers come in during the dressings, I show them Marie, who is making ready to groan, and say:

"This is Marie—Marie Lerondeau, you know. He has a fractured thigh, but he is a very brave fellow. He stayed alone with the wagons."

The visitors nod their heads admiringly, and Marie controls himself. He blushes a little, and the muscles of his neck swell with pride. He makes a sign with his eyes as if to say: "Yes, indeed, alone, all alone with the wagons." And meanwhile, the dressing has been nearly finished.

The whole world must know that Marie stayed alone with the wagons. I intend to pin a report of this on the Government pension certificate.

Carre was only under fire once, and was hit almost immediately. He is much annoyed at this, for he had a good stock of courage, and now he has to waste it within the walls of a hospital.

He advanced through a huge beetroot field, and he ran with the others towards a fine white mist. All of a sudden, crack, he fell! His thigh was fractured. He fell among the thick leaves, on the waterlogged earth.

Shortly afterwards his sergeant passed again, and said to him:

"We are going back to our trench, they shall come and fetch you later."

Carre merely said:

"Put my haversack under my head."

Evening was coming on; he prepared, gravely, to spend the night among the beetroots. And there he spent it, alone with a cold drizzling rain, meditating seriously until morning.