It was through red ears of corn, in that summer of ’15, that one found one’s way to many of the trenches that marked the boundary-lines of the year’s harvesting, and in Belgium (by Kemmel Hill) the shells of our batteries, answered by German guns, came with their long-drawn howls of murder across the heads of peasant women who were gleaning, with bent backs.
In Plug Street Wood the trees had worn thin under showers of shrapnel, but the long avenues between the trenches were cool and pleasant in the heat of the day. It was one of the elementary schools where many of our soldiers learned the A.B.C. of actual warfare after their training in camps behind the lines. Here one might sport with Amaryllis in the shade, but for the fact that country wenches were not allowed in the dugouts and trenches, where I found our soldiers killing flies in the intervals between potshots at German periscopes.
The enemy was engaged, presumably, in the same pursuit of killing time and life (with luck), and sniping was hot on both sides, so that the wood resounded with sharp reports as though hard filbert nuts were being cracked by giant teeth. Each time I went there one of our men was hit by a sniper, and his body was carried off for burial as I went toward the first line of trenches, hoping that my shadow would not fall across a German periscope. The sight of that dead body passing chilled one a little. There were many graves in the bosky arbors—eighteen under one mound—but some of those who had fallen six months before still lay where the gleaners could not reach them.
I used to peer through the leaves of Plug Street Wood at No Man’s Land between the lines, where every creature had been killed by the sweeping flail of machine-guns and shrapnel. Along the harvest-fields there were many barren territories like that, and up by Hooge, along the edge of the fatal crater, and behind the stripped trees of Zouave Wood there was no other gleaning to be had but that of broken shells and shrapnel bullets and a litter of limbs.
XV
For some time the War Office would not allow military bands at the front, not understanding that music was like water to parched souls. By degrees divisional generals realized the utter need of entertainment among men dulled and dazed by the routine of war, and encouraged “variety” shows, organized by young officers who had been amateur actors before the war, who searched around for likely talent. There was plenty of it in the New Army, including professional “funny men,” trick cyclists, conjurers, and singers of all kinds. So by the summer of ’15 most of the divisions had their dramatic entertainments: “The Follies,” “The Bow Bells,” “The Jocks,” “The Pip-Squeaks,” “The Whizzbangs,” “The Diamonds,” “The Brass Hats,” “The Verey Lights,” and many others with fancy names.
I remember going to one of the first of them in the village of Acheux, a few miles from the German lines. It was held in an old sugar-factory, and I shall long remember the impressions of the place, with seven or eight hundred men sitting in the gloom of that big, broken, barn-like building, where strange bits of machinery looked through the darkness, and where through gashes in the walls stars twinkled.
There was a smell of clay and moist sugar and tarpaulins and damp khaki, and chloride of lime, very pungent in one’s nostrils, and when the curtain went up on a well-fitted stage and “The Follies” began their performance, the squalor of the place did not matter. What mattered was the enormous whimsicality of the Bombardier at the piano, and the outrageous comicality of a tousle-haired soldier with a red nose, who described how he had run away from Mons “with the rest of you,” and the lightheartedness of a performance which could have gone straight to a London music-hall and brought down the house with jokes and songs made up in dugouts and front-line trenches.
At first the audience sat silent, with glazed eyes. It was difficult to get a laugh out of them. The mud of the trenches was still on them. They stank of the trenches, and the stench was in their souls. Presently they began to brighten up. Life came back into their eyes. They laughed! … Later, from this audience of soldiers there were yells of laughter, though the effect of shells arriving at unexpected moments, in untoward circumstances, was a favorite theme of the jesters. Many of the men were going into the trenches that night again, and there would be no fun in the noise of the shells, but they went more gaily and with stronger hearts, I am sure, because of the laughter which had roared through the old sugar-factory.
A night or two later I went to another concert and heard the same gaiety of men who had been through a year of war. It was in an open field, under a velvety sky studded with innumerable stars. Nearly a thousand soldiers trooped through the gates and massed before the little canvas theater. In front a small crowd of Flemish children squatted on the grass, not understanding a word of the jokes, but laughing in shrill delight at the antics of soldier-Pierrots. The corner-man was a funny fellow, and his byplay with a stout Flemish woman round the flap of the canvas screen, to whom he made amorous advances while his comrades were singing sentimental ballads, was truly comic. The hit of the evening was when an Australian behind the stage gave an unexpected imitation of a laughing-jackass.
There was something indescribably weird and wild and grotesque in that prolonged cry of cackling, unnatural mirth. An Australian by my side said: “Well done! Exactly right!” and the Flemish children shrieked with joy, without understanding the