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Updated: May 3, 2025
This moral carved-work, or chasing, as of a precious metal, revealing the rarity and value of spiritual surfaces, is characteristic of the journals of Paul Lintier, of the beauty of which we have already spoken. His art expends itself in the effect of outward things on the soul. He speaks of mysterious sights, half-witnessed in the gloaming, of sinister noises which have to be left unexplained.
This wonderful book, "Ma Pièce," was written by the young gunner, night after night, on his knee, during seven weeks of inconceivable intensity of emotion, and it is by this revelation of his genius that his memory will be preserved. The style of Paul Lintier is one of the miracles of art.
The record kept by the friends of Paul Lintier and those others whom I am presently to mention, and by innumerable persons to whose memory justice cannot here be done, will keep fresh in the history of France the idealism of a splendid generation. Now we see, and for a long time past have seen, a different attitude on the fields of Champagne and Picardy.
Truth, the simple unvarnished truth, has been the object of these various writers in setting down their impressions, but the result exemplifies the difference between what is, and what is not, durable as literature. For this purpose, it is well to turn from Lintier's pages to those of the honest writers of whom Dupont is the type, and then back again to Lintier.
Not all of them, of course, have contributed, or would have contributed, durable additions to the store of the literature of France. We see them, excusably, in the rose-light of their sunset. But, for this very reason, we are inclined to give the closer attention to Paul Lintier, who not only promised well but adequately fulfilled that promise.
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