On the Edge of the War Zone: From the Battle of the Marne to the Entrance of the Stars and StripesAldrich, Mildred
History
On the Edge of the War Zone: From the Battle of the Marne to the Entrance of the Stars and Stripes
Aldrich, Mildred
World War, 1914-1918 -- Personal narratives
We had all agreed to get up to see them start. It seemed the least we
could do. So, well wrapped up in our big coats, against the chill of four
o'clock, we went to the little square in front of the church, from which
they were to start, and where the long line of grey cannon, grey
ammunition, camions, grey commissary wagons were ready, and the
men, sac au dos, already climbing into place--one mounted on each
team of four horses, three on each gun-carriage, facing the horses,
with three behind, with their backs to the team. The horses of the
officers were waiting in front of the little inn opposite, from which the
officers emerged one by one, mounted and rode to a place in front of
the church. We were a little group of about twenty women and
children standing on one side of the square, and a dead silence hung
over the scene. The men, even, spoke in whispers.
The commander, in front of his staff, ran his eyes slowly over the line,
until a sous-officier approached, saluted, and announced, "All ready,"
when the commander rode to the head of the line, raised one hand
above his head, and with it made a sharp forward gesture--the
unspoken order "en avant"--and backed his horse, and the long grey
line began to move slowly towards the Forêt de Crécy, the officers
falling into place as it passed.
Some of the men leaned down to shake hands as they went by,
some of the men saluted, not a word was spoken, and the silence
was only broken by the tramp of the horses, the straining of the
harnesses, and rumble of the wheels.
It was all so different--as everything in this war has been--from
anything I had ever dreamed when I imagined war. Yet I suppose that
the future dramatist who uses this period as a background can get his
effects just the same, without greatly falsifying the truth. You know I
am like Uncle Sarcey--a really model theatre audience. No effect,
halfway good, passes me by. So, as I turned back at the garden gate
to watch the long grey line winding slowly into the forest, I found that I
had the same chill down my back and the same tightness over my
eyes and in my throat, which, in the real theatre-goers, announce that
an effect has "gone home."
The only other thing I have done this month which could interest you
was to have a little tea-party on the lawn for the convalescent boys of
our ambulance, who were "personally conducted" by one of their
nurses.
Of course they were all sorts and all classes. When I got them
grouped round the table, in the shade of the big clump of lilac bushes,
I was impressed, as I always am when I see a number of common
soldiers together, with the fact that no other race has such intelligent,
such really well-modelled faces, as the French. It is rare to see a fat
face among them. There were farmers, blacksmiths, casters,
workmen of all sorts, and there was one young law student, and the
mixed group seemed to have a real sentiment of fraternity.
Public-domain text, read in full here on John Shaqi.
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