The Little Moment of HappinessKelland, Clarence Budington
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The Little Moment of Happiness
Kelland, Clarence Budington
Man-woman relationships -- Fiction; World War, 1914-1918 -- Fiction
Kendall leaned far back in his car and smoked and found his thoughts
disturbing company. He was not used to facing questions of big
importance, but he saw now that for weeks he had been drifting toward a
day when he would have to meet and reply to the first soul-modifying
question that had ever been propounded to him.... The thing was
inevitable. He was moving toward facts that could not be brushed
aside.... Strangely enough, though he was heavy with apprehension,
nevertheless there was a certain exultation.... This was living—living
not in a circumscribed area, but in the unbounded world. This was
_life_—this was _experience_—something big, worthy of the consideration
of a man. There were happiness and misery in it.... He was beginning to
see that he could not win through with happiness intact; it was his hope
to win through with happiness preponderant.... The day he landed in
France he had been a boy; less than two months had passed—and he had
become a man.... France had done that for him.
CHAPTER XII
On the fourth evening after his departure from Paris Captain Ware stood
at the entrance to the Metro on the Place de la Concorde, just across
the road from the headquarters of the American Red Cross, waiting for
Andree. At his left the Obelisk arose like a great needle; he could see
the Metz and Strasburg statues green with wreaths, and beyond other
pieces of sculpture deemed of sufficient artistic value to protect with
sandbags from the menace of German bombs. Somehow this made him feel
that he had not seen Paris, that it would be necessary for him to come
back again when the base of the Vendôme Column should not be concealed
by sand and concrete, when the carvings on the Arc de Triomphe should
not be hidden under scaffoldings and stacked sandbags, when the once
despised and criticized statue at the extreme right of the face of the
Opéra—now the single piece of sculpture of all that adorned the building
considered worth careful protection—should be exposed to view.
Public-domain text, read in full here on John Shaqi.
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