The Romance of Modern Sieges: Describing the personal adventures, resource and daring of besiegers and beseiged in all parts of the worldGilliat, Edward
History
The Romance of Modern Sieges: Describing the personal adventures, resource and daring of besiegers and beseiged in all parts of the world
Gilliat, Edward
Adventure and adventurers; Battles; Sieges; War
“We lit our lanterns,” he says, “and went cautiously into the valley.
There were Prussian sharpshooters in the wood beyond, and I confess I
was very nervous at first: the still night, the errand we were on, all
awed one. But so soon as we reached the outskirts of the battle-field
all personal feelings gave way to others. Here at every turn we found
our aid was wanted. Thousands of dead and wounded were around us, and
we, a few strangers sent by the International Society of London, were
all that were present to help them. Plugging and bandaging such wounds
as were hopeful of cure, giving a life-saving drink here and there,
moving a broken limb into a more easy position, and speaking a word
of encouragement where the heart was failing--this was all we could
do. But all that night each worked his utmost, and when our water
failed two of us walked back four miles to Gravelotte and brought a
bucketful. We can dress, but not remove, the wounded now. Often have
I been tempted to put a poor fellow out of his pain; it seems kinder,
wiser, and more Christian to blow out the flickering lamp than let
it smoulder away in hours of anguish. Daylight begins to dawn, and
we seek carriages--that is, jolting unhung carts--to convey some of
the wounded. Now, as we raise them up and torture their poor wounds
by moving them, for the first time we hear a cry. The groans of the
dying, the shrieks of the wounded, are absent from the battle-field,
but far more dreadful and awe-inspiring is the awful stillness of that
battle-field at night. There is a low, quivering moan floats over
it--nothing more; it is a sound almost too deep for utterance, and it
thrills through one with a strange horror. Hardly a word is uttered,
save only a half-wailed-out cry of ‘Ohé! ma pauvre mère!’ Nothing is
more touching, nothing fills one’s eyes with tears more, than this
plaintive refrain chanted out as a death-chant by so many sons who
never more on this side the grave will see again that longed-for
mother--‘Ohé! ma mère, ma pauvre mère!’
Public-domain text, read in full here on John Shaqi.
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