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One ray of sunlight does not make the sky clear, nor is the voice of one soldier the voice of an army. The armies of to-day are nations; and in such armies, as in every nation, there must doubtless conflict and mingle many different currents. Barbusse's story is that of a single squad, almost entirely composed of workers and peasants.
Barbusse's book bears powerful witness to the fact. We have other testimonies from the front, less known but no less moving. All of those to which I shall refer have been published. It is my rule, as long as the war lasts, to make no use of personal confidences, oral or written. Things I have been told by friends, known or unknown, are a sacred trust.
There reigns over Barbusse's book a specious impersonality. Despite the multitude and the sharp outline of the figures on his stage, not one of them has a commanding role. We see no hero of romance. Consequently, the reader feels less intimately associated with the hardships recounted on every page; and these hardships, like their causes, have an elemental character.
Not until we have read Men in Battle do we fully appreciate Barbusse's chariness in the use of material effects. If Latzko is persistent in their employment, this is not merely because he is haunted by memories of pain. He wishes, deliberately wishes, to communicate these impressions to others, for he has suffered greatly from others' insensibility.
Romain Rolland's Au-Dessus de la Melee, written in exile in Switzerland; Barbusse's terrible Le Feu; Duhamel's bitter Civilization; Bourget's strangely fascinating novel The Meaning of Death.
Yesterday we were listening to the sublime and gloomy plaint which breathes from Barbusse's Under Fire. Although they hail from the other camp, I will wager that most of our bellicose readers in France and Navarre will flee from them with stopped ears. For these tones would be a shock to their sensibilities. Under Fire is more tolerable to these carpet-warriors.
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