The Diary of a French Private: War-Imprisonment, 1914-1915Riou, Gaston
History
The Diary of a French Private: War-Imprisonment, 1914-1915
Riou, Gaston
National characteristics, German; World War, 1914-1918 -- Prisoners and prisons
The splendid reds of autumn flame on the great oaks along the border of
the pine-wood—a strategic wood, designed to mask the west battery. The
parapets are packed with soldiers, fine blue-and-red spots upon a dull
yellowish-green ground. Some, chisel in hand, silently bent over their
work, are carving pebbles. Others are wearing out their finger-nails
and wearing down the corner stones in polishing tablets of white chalk
destined for employment as ex votos. The cries of men playing at ball
and at prisoner’s base resound from the ramparts. At the foot of a slope
adorned with a clump of birches, men are busily engaged in cooking
their extra provender. There is a circle round each improvized kitchen:
some dry and break up the small branches rifled from the trees of the
fort; some tend the refractory fire, for the wood will not flame; some
agitate the contents of the mess-tins—fragments of stolen meat, choice
morsels of vegetable peelings, coffee dregs begged from the kitchen,
potatoes pocketed when the dinner was being prepared, edible snails found
on the grass on rainy mornings and kept fasting in an old cigar-box,
cheese-rind, plum mushrooms, wild chicory. Soldier-priests walk up and
down reading their breviaries. On one of the slopes, a crowd surrounds Le
Second, who is displaying his latest cubist composition; at the “kitchen
windows” a number of poor devils whose stomachs are empty are patiently
sniffing the thin odours that rise from the cooking-pots. Here and there
are to be seen the dealers, their wares hidden beneath their coats,
passing from group to group, and offering for sale at three or four times
its value a cigarette, a lump of sugar, or a stick of chocolate. The
blue-and-red ants have all emerged from the subterranean galleries of
their ant-hill. On this October afternoon they produce a sad impression
of mingled gaiety and wretchedness.
Public-domain text, read in full here on John Shaqi.
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