A touring company of mouth-organ musicians was having a great success in the war zone. But, apart from all those organized methods of mirth, there was a funny man in every billet who played the part of court jester, and clowned it whatever the state of the weather or the risks of war. The British soldier would have his game of “house” or “crown and anchor” even on the edge of the shell-storm, and his little bit of sport wherever there was room to stretch his legs. It was a jesting army (though some of its jokes were very grim), and those who saw, as I did, the daily tragedy of war, never ceasing, always adding to the sum of human suffering, were not likely to discourage that sense of humor. A successful concert with mouth-organs, combs, and tissue-paper and penny whistles was given by the Guards in the front-line trenches near Loos. They played old English melodies, harmonized with great emotion and technical skill. It attracted an unexpected audience. The Germans crowded into their front line--not far away--and applauded each number. Presently, in good English, a German voice shouted across: “Play 'Annie Laurie' and I will sing it.” The Guards played “Annie Laurie,” and a German officer stood up on the parapet--the evening sun was red behind him--and sang the old song admirably, with great tenderness. There was applause on both sides. “Let's have another concert to-morrow!” shouted the Germans. But there was a different kind of concert next day, and the music was played by trench-mortars, Mills bombs, rifle-grenades, and other instruments of death in possession of the Guards. There were cries of agony and terror from the German trenches, and young officers of the Guards told the story as an amusing anecdote, with loud laughter. XVI It was astonishing how loudly one laughed at tales of gruesome things, of war's brutality-I with the rest of them. I think at the bottom of it was a sense of the ironical contrast between the normal ways of civilian life and this hark-back to the caveman code. It made all our old philosophy of life monstrously ridiculous. It played the “hat trick” with the gentility of modern manners. Men who had been brought up to Christian virtues, who had prattled their little prayers at mothers' knees, who had grown up to a love of poetry, painting, music, the gentle arts, over-sensitized to the subtleties of half-tones, delicate scales of emotion, fastidious in their choice of words, in their sense of beauty, found themselves compelled to live and act like ape-men; and it was abominably funny. They laughed at the most frightful episodes, which revealed this contrast between civilized ethics and the old beast law. The more revolting it was the more, sometimes, they shouted with laughter, especially in reminiscence, when the tale was told in the gilded salon of a French chateau, or at a mess-table.