Behind the Scenes in Warring GermanyFox, Edward Lyell
History
Behind the Scenes in Warring Germany
Fox, Edward Lyell
World War, 1914-1918 -- Personal narratives
Above the shelf that runs across the end of the room, just so high that
the Colonel who is sitting beside me, can reach up and take from it what
he wants, stands a large square mirror. It seems also to be doing
service as a visiting card tray, for stuck in the frame are five or six
cards bearing the names of officers and their regiments. Somebody is
taking good care of the Colonel--I imagine he's married--for the shelf
is filled with luxuries, boxes of cigars and cigarettes, bottles of
liquor, and there's a quart of sparkling Moselle! Strewn in a long row
are all varieties of those wonderful food pastes that Germany began to
put up so extensively in tubes, since the war--Strassburg gooselivers,
anchovies, rum chocolate. Colonel, you're living well down here!
It's queer how you can, in a few minutes, learn the tastes and habits of
a man in a place like this. The Colonel is religious. There is a
crucifix fastened to the burlap over my head. The Colonel must sleep on
this bench. At the ends of his shelf, I see two other crucifixes, and
there, standing on the top of a box of cigars, is a colored print, a
Station of the Cross. I begin to know the Colonel better than if I had
observed him for months in his Bavarian home. As I gaze at him now,
bending over the map, that in his preoccupation he has pushed farther
across the table, the lamp's yellow glow shows me his face in relief
against the shadowed walls. It is a strong face, and kind; the chin is
grim and square, but the eyes are big and gentle, grayish though, the
color of a fighter. The gray mustache almost hides it, but reveals
enough of the full mouth of one who is not ascetic. As for the
crucifixes and the picture; they belong to the eyes. A seasoned man, the
Colonel.
With a nervous start, that seems incongruous with his broad shoulders,
the Colonel looks up. Then, appearing suddenly to remember something, he
pushes the map towards me. I see it is a map of his position.
"There," he says, running his finger the length of a broken line in the
upper right hand corner, "are the French trenches." "There," and he
points to lines paralleling them, "is our position. Here," and his
finger travels down the map, to rest on a group of oblongs and squares,
"is where we are now. This _unterstand_," and he makes a mark beside the
smallest square, "was dug next to the shed where the farmer kept his
wagons. This place is known as...." Were I to name this place, it would,
upon publication, be cabled to France, and telephoned out to the French
artillery positions. "Now," and the Colonel smiles and runs his finger
along a thick blue line that makes an angle and then disappears at the
lower end of the map, "that is the road by which you came from Houthem,
and at this point you were fired upon. Notice the curve that the French
trenches make. From the extremity of that trench," and the Colonel
indicates an imaginary line sweeping a section of the road, "it is not a
thousand meters, easy for a sharpshooter."
Public-domain text, read in full here on John Shaqi.
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