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
As you step from the train at Paris you realise that everyone is out for
gaiety even before the gaiety has commenced. The Parisians are holding
on to one another, humming and singing baby-song, making believe to
stumble as they walk. Gone are the care and solemnity of the weekday
Paris crowd. A heaviness has been shed, everyone feels light as if there
was quicksilver in his heels. Evening is just turning to night and all
houses are giving forth their people, and they stream to the centre in
ever increasing crowds--all gay, all light-hearted, all without a
thought of ever coming home. The city is cleverly decorated with massed
flags, arcades of flags, but without those strings of bunting which so
often look like coloured washing hanging out to dry. The illuminations
are to be most elaborate. Hundreds of thousands of francs are being
spent in coloured light effects. There will be a torchlight procession,
massed bands, and street dancing till morning. Long lines of men and
women holding on to one another plunge through the crowds, and scream,
and break, and join again. Everyone is wearing a little flag of the
Republic. Men and women are to be seen carrying little red paper
lanterns on bamboo sticks. Every restaurant and café is crammed and
jammed with people with flushed faces. The waiters, having lost control,
bring you dishes you have not ordered, but you graciously accept them
faute de mieux. Hawkers keep bellowing the last editions of the papers,
especially of _L'intransigeant_, which says that the meaning of the
festivity is that the Allies are agreed to force Germany to fulfil the
treaty to the letter. Night meanwhile has become night with no stars
above and all the stars below.
Public-domain text, read in full here on John Shaqi.
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