The challenge of the dead : $b A vision of the war and the life of the common soldier in France, seen two years afterwards between August and November, 1920Graham, Stephen
History
The challenge of the dead : $b A vision of the war and the life of the common soldier in France, seen two years afterwards between August and November, 1920
Graham, Stephen
World War, 1914-1918
The Somme country was an extension of the British line. As our army
doubled, trebled, quadrupled, so it multiplied the extent of France
which it defended. From the flats of Flanders and Northern France we
gradually progressed to a more diversified country of long ridges and
downs, pleasanter in peace but equally terrible in war. As you approach
it now by train the cemeteries roll into view on every hand. The dead
are as it were drawn up in solid columns to greet you as you pass, as it
were one live man were monarch o'er all the dead. The Army that went to
guard the line is still there, still on duty--in Plot A, Plot B, Plot C,
Plot Z, of multitudinous war-cemeteries marked now by map-references.
The dead challenge the living in choruses of silence from broad fields
of burial. The hills remain like great mounds in the mist, the same bare
ridges of Cæsar's wars two thousand years ago, the same o'er which
perchance mankind will climb to death as many centuries hence,
antediluvian hummocks of old earth, somnolent, green, indifferent. Earth
suggests itself constantly as something mightier than man. It is not the
prostrate earth of Ypres Salient, but one which war has much less power
to sear. Man's habitations and cities topple down, forests are fired
away, but the elemental lines and contours of the hills remain unbroken
and as it were indifferent both to time and history. These rivers too,
by which men name their battles, flow on, flow away without a conscious
memory even of a yesterday. The innocence of the Somme, the virginity
of the Ancre, these have overcome all hate and blood, and lightly
forgotten them.
Public-domain text, read in full here on John Shaqi.
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