Chapter VIII: The Soul Of Paris (2)

"Sapristi! une Taube! ... Attention, mon vieux!" In some side streets of Paris a hard thing hit the earth and opened it with a crash. A woman crossing the road with a little girl--she had just slipped out of her courtyard to buy some milk--felt the ground rise up and hit her in the face. It was very curious. Such a thing had never happened to her before. "Suzette?" She moaned and cried, "Suzette?" But Suzette did not answer. The child was lying sideways, with her face against the kerbstone. Her white frock was crimsoning with a deep and spreading stain. Something had happened to one of her legs. It was broken and crumpled up, like a bird's claw.

"Suzette! Ma petite! O, mon Dieu!" A policeman was bending over little Suzette. Then he stood straight and raised a clenched fist to the sky. "Sale Boche! ... Assassin! ... Sale cochon!" People came running up the street and out of the courtyards. An ambulance glided swiftly through the crowd. A little girl whose name was Suzette was picked up from the edge of the kerbstone out of a pool of blood. Her face lay sideways on the policeman's shoulder, as white as a sculptured angel on a tombstone. It seemed that she would never walk again, this little Suzette, whose footsteps had gone dancing through the streets of Paris. It was always like that when a Taube came. That bird of death chose women and children as its prey, and Paris cursed the cowards who made war on their innocents.

But Paris was not afraid. The women did not stay indoors because between one street and another they might be struck out of life, without a second's warning. They glanced up to the sky and smiled disdainfully. They were glad even that a Taube should come now and then, so that they, the women of Paris, might run some risks in this war and share its perils with their men, who every day in the trenches là-bas, faced death for the sake of France. "Our chance of death is a million to one," said some of them. "We should be poor things to take fright at that!"

12

But there were other death-ships that might come sailing through the sky on a fair night without wind or moon. The enemy tried to affright the soul of Paris by warnings of the destruction coming to them with a fleet of Zeppelins. But Paris scoffed. "Je m'en fiche de vos Zeppelins!" said the spirit of Paris. As the weeks passed by and the months, and still no Zeppelins came, the menace became a jest. The very word of Zeppelin was heard with hilarity. There were comic articles in the newspapers, taunting the German Count who had made those gas-bags. There were also serious articles proving the impossibility of a raid by airships. They would be chased by French aviators as soon as they were sighted. They would be like the Spanish Armada, surrounded by the little English warships, pouring shot and shell into their unwieldy hulks. Not one would escape down the wind.

The police of Paris, more nervous than the public, devised a system of signals if Zeppelins were sighted. There were to be bugle-calls throughout the city, and the message they gave would mean "lights out!" in every part of Paris. For several nights there were rehearsals of darkness, without the bugle-calls, and the city was plunged into abysmal gloom, through which people who had been dining in restaurants lost themselves in familiar streets and groped their way with little shouts of laughter as they bumped into substantial shadows.

Paris enjoyed the adventure, the thrill of romance in the mystery of darkness, the weird beauty of it. The Tuileries gardens, without a single light except the faint gleams of star-dust, was an enchanted place, with the white statues of the goddesses very vague and tremulous in the shadow world above banks of invisible flowers which drenched the still air with sweet perfumes. The narrow streets were black tunnels into which Parisians plunged with an exquisite frisson of romantic fear. High walls of darkness closed about them, and they gazed up to the floor of heaven from enormous gulfs. A man on a balcony au cinquième was smoking a cigarette, and as he drew the light made a little beacon-flame, illumining his face before dying out and leaving a blank wall of darkness. Men and women took hands like little children playing a game of bogey-man. Lovers kissed each other in this great hiding-place of Paris, where no prying eyes could see. Women's laughter, whispers, swift scampers of feet, squeals of dismay made the city murmurous. La Ville Lumière was extinguished and became an unlighted sepulchre thronged with ghosts. But the Zeppelins had not come, and in the morning Paris laughed at last night's jest and said, "C'est idiot!"

But one night--a night in March--people who had stayed up late by their firesides, talking of their sons at the front or dozing over the Temps, heard a queer music in the streets below, like the horns of elf-land blowing. It came closer and louder, with a strange sing-song note in which there was something ominous.

"What is that?" said a man sitting up in an easy-chair and looking towards a window near the Boulevard St. Germain.

The woman opposite stretched herself a little wearily. "Some drunken soldier with a bugle. . . . Good gracious, it is one o'clock and we are not in bed!"

The man had risen from his chair and flung the window open.

"Listen! ... They were to blow the bugles when the Zeppelins came... Perhaps..."

There were other noises rising from the streets of Paris. Whistles were blowing, very faintly, in far places. Firemen's bells were ringing, persistently.

"L'alerte!" said the man. "The Zeppelins are coming!"

The lamp at the street corner was suddenly extinguished, leaving absolute darkness.

"Fermez vos rideaux!" shouted a hoarse voice.

Footsteps went hurriedly down the pavement and then were silent.

"It is nothing!" said the woman; "a false alarm!" "Listen!"

Paris was very quiet now. The bugle-notes were as faint as far-off bells against the wind. But there was no wind, and the air was still. It was still except for a peculiar vibration, a low humming note, like a great bee booming over clover fields. It became louder and the vibration quickened, and the note was like the deep stop of an organ. Tremendously sustained was the voice of a great engine up in the sky, invisible. Lights were searching for it now. Great rays, like immense white arms, stretched across the sky, trying to catch that flying thing. They crossed each other, flying backwards and forwards, travelled softly and cautiously across the dark vault as though groping through every inch of it for that invisible danger. The sound of guns shocked into the silence, with dull reports. From somewhere in Paris a flame shot up, revealing in a quick flash groups of shadow figures at open windows and on flat roofs.

"Look!" said the man who had a view across the Boulevard St. Germain.

The woman drew a deep breath.

"Yes, there is one of them! ... And another! ... How fast they travel!"

There was a black smudge in the sky, blacker than the darkness. It moved at a great rate, and the loud vibrations followed it. For a moment or two, touched by one of the long rays of light it was revealed--a death-ship, white from stem to stern and crossing the sky like a streak of lightning. It went into the darkness again and its passage could only be seen now by some little flames which seemed to fall from it. They went out like French matches, sputtering before they died.

In all parts of Paris there were thousands of people watching the apparition in the sky. On the heights of the Sacré Cur inhabitants of Montmartre gathered and thrilled to the flashing of the searchlights and the bursting of shrapnel.

The bugle-calls bidding everybody stay indoors had brought Paris out of bed and out of doors. The most bad-tempered people in the city were those who had slept through the alerte, and in the morning received the news with an incredulous "Quoi? Non, ce n'est pas possible! Les Zeppelins sont venus? Je n'ai pas entendu le moindre bruit!"

Some houses were smashed in the outer suburbs. A few people had been wounded in their beds. Unexploded bombs were found in gardens and rubbish heaps. After all, the Zeppelin raid had been a grotesque failure in the fine art of murder, and the casualty list was so light that Paris jeered at the death-ships which had come in the night. Count Zeppelin was still the same old blagueur. His precious airships were ridiculous.

A note of criticism crept into the newspapers and escaped the censor. Where were the French aviators who had sworn to guard Paris from such a raid? There were unpleasant rumours that these adventurous young gentlemen had taken the night off with the ladies of their hearts. It was stated that the telephone operator who ought to have sent the warning to them was also making la bombe, or sleeping away from his post. It was beyond a doubt that certain well- known aviators had been seen in Paris restaurants until closing time... Criticism was killed by an official denial from General Galièni, who defended those young gentlemen under his orders, and affirmed that each man was at the post of duty. It was a denial which caused the scandalmongers to smile as inscrutably as Mona Lisa.

13

The shadow of war crept through every keyhole in Paris, and no man or woman shut up in a high attic with some idea or passion could keep out the evil genii which dominated the intellect and the imagination, and put its cold touch upon the senses, through that winter of agony when the best blood in France slopped into the waterlogged trenches from Flanders to the Argonne. Yet there were coteries in Paris which thrust the Thing away from them as much as possible, and tried to pretend that art was still alive, and that philosophy was untouched by these brutalities. In the Restaurant des Beaux-Arts and other boîtes where men of ideas pander to the baser appetites for 1 franc 50 (vin compris), old artists, old actors, sculptors whose beards seemed powdered with the dust of their ateliers, and littérateurs who will write you a sonnet or an epitaph, a wedding speech, or a political manifesto in the finest style of French poesy and prose (a little archaic in expression) assembled nightly just as in the days of peace. Some of the youngest faces who used to be grouped about the tables had gone, and now and then there was silence for a second as one of the habitués would raise his glass to the memory of a soldier of France (called to the colours on that fatal day in August) who had fallen on the Field of Honour. The ghost of war stalked even into the Restaurant des Beaux-Arts, but his presence was ignored as much as might be by these long-haired Bohemians with grease- stained clothes and unwashed hands who discussed the spirit of Greek beauty, the essential viciousness of women, the vulgarity of the bourgeoisie, the prose of Anatole France, the humour of Rabelais and his successors, and other eternal controversies with a pretext of their old fire. If the theme of war slipped in it was discussed with an intellectual contempt, and loose-lipped old men found a frightful mirth in the cut-throat exploits of Moroccans and Senegalese, in the bestial orgies of drunken Boches, and in the most revolting horrors of bayonet charges and the corps-à-corps. It was as though they wanted to reveal the savagery of war to the last indescribable madness of its lust. "Pah!" said an old cabotin, after one of these word-pictures. "This war is the last spasm of the world's barbarity. Human nature will finish with it this time. . . . Let us talk of the women we have loved. I knew a splendid creature once--she had golden hair, I remember--"

One of these shabby old gentlemen touched me on the arm.

"Would Monsieur care to have a little music? It is quite close here, and very beautiful. It helps one to forget the war, and all its misery."

I accepted the invitation. I was more thirsty for music than for vin ordinaire or cordiale Médoc. Yet I did not expect very much round the corner of a restaurant frequented by shabby intellectuals... That was my English stupidity.

A little group of us went through a dark courtyard lit by a high dim lantern, touching a sculptured figure in a far recess.

"Pas de bruit," whispered a voice through the gloom.

Up four flights of wooden stairs we came to the door of a flat which was opened by a bearded man holding a lamp.

"Soyez les bienvenus!" he said, with a strongly foreign accent.

It was queer, the contrast between the beauty of his salon into which we went and the crudeness of the restaurant from which we had come. It was a long room, with black wall-paper, and at the far end of it was a shaded lamp on a grand piano. There was no other light, and the faces of the people in the room, the head of a Greek god on a pedestal, some little sculptured figures on an oak table, and some portrait studies on the walls, were dim and vague until my eyes became accustomed to this yellowish twilight. No word was spoken as we entered, and took a chair if we could find one. None of the company here seemed surprised at this entry of strangers--for two of us were that--or even conscious of it. A tall, clean-shaven young man with a fine, grave face--certainly not French--was playing the violin, superbly; I could not see the man at the piano who touched the keys with such tenderness. Opposite me was another young man, with the curly hair and long, thin face of a Greek faun nursing a violoncello, and listening with a dream in his eyes. A woman with the beauty of some northern race sat in an oak chair with carved arms, which she clasped tightly. I saw the sparkle of a ring on her right hand. The stone had caught a ray from the lamp and was alive with light. Other people with strange, interesting faces were grouped about this salon, absorbed in that music of the violin, which played something of spring, so lightly, so delicately, that our spirit danced to it, and joy came into one's senses as on a sunlit day, when the wind is playing above fields of flowers. Afterwards the cellist drew long, deep chords from his great instrument, and his thin fingers quivered against the thick strings, and made them sing grandly and nobly. Then the man at the piano played alone, after five minutes of silence, in which a few words were spoken, about some theme which would work out with strange effects.

"I will try it," said the pianist. "It amuses me to improvise. If it would not worry you--"

It was not wearisome. He played with a master-touch, and the room was filled with rushing notes and crashing harmonies. For a little time I could not guess the meaning of their theme. Then suddenly I was aware of it. It was the tramp of arms, the roar of battle, the song of victory and of death. Wailing voices came across fields of darkness, and then, with the dawn, birds sang, while the dead lay still.

The musician gave a queer laugh. "Any good?"

"C'est la guerre!" said a girl by my side. She shivered a little.

They were Danes, Norwegians, and Swedes in that room, with a few Parisians among them. Students to whom all life is expressed in music, they went on with their work in spite of the war. But war had touched their spirit too, with its great tragedy, and found expression in their art. It was but one glimpse behind the scenes of Paris, in time of war, and in thousands of other rooms, whose window-curtains were drawn to veil their light from hostile aircraft, the people who come to Paris as the great university of intellect and emotion, continued their studies and their way of life, with vibrations of fiddle-strings and scraping of palettes and adventures among books.

Even the artists' clubs had not all closed their doors, though so many young painters were mixing blood with mud and watching impressionistic pictures of ruined villages through the smoke of shells. Through cigarette smoke I gazed at the oddest crowd in one of these clubs off the Boulevard Saint-Germain. Slavs with matted hair, American girls in Futurist frocks, Italians like figures out of pre- Raphaelite frescoes, men with monkey faces and monkey manners, men with the faces of mediaeval saints a little debauched by devilish temptations, filled the long bare room, spoke in strange tongues to each other, and made love passionately in the universal language and in dark corners provided with ragged divans. A dwarf creature perched on a piano stool teased the keys of an untuned piano and drew forth adorable melody, skipping the broken notes with great agility. ... It was the same old Paris, even in time of war.

14

The artists of neutral countries who still kept to their lodgings in the Quartier Latin and fanned the little flame of inspiration which kept them warm though fuel is dear, could not get any publicity for their works. There was no autumn or spring salon in the Palais des Beaux- Arts, where every year till war came one might watch the progress of French art according to the latest impulse of the time stirring the emotions of men and women who claim the fullest liberties even for their foolishness. War had killed the Cubists, and many of the Futurists had gone to the front to see the odd effects of scarlet blood on green grass. The Grand Palais was closed to the public. Yet there were war pictures here, behind closed doors, and sculpture stranger than anything conceived by Marinetti. I went to see the show, and when I came out again into the sunlight of the gardens, I felt very cold, and there was a queer trembling in my limbs.

The living pictures and the moving statuary in the Grand Palais exhibited the fine arts of war as they are practised by civilized men using explosive shells, with bombs, shrapnel, hand-grenades, mitrailleuses, trench-mines, and other ingenious instruments by which the ordinary designs of God may be re-drawn and re-shaped to suit the modern tastes of men. I saw here the Spring Exhibition of the Great War, as it is catalogued by surgeons, doctors, and scientific experts in wounds and nerve diseases.

It was not a pretty sight, and the only thing that redeemed its ugliness was the way in which all those medical men were devoting themselves to the almost hopeless task of untwisting the contorted limbs of those victims of the war spirit, and restoring the shape of man botched by the artists of the death machines.

In the Great Hall through which in the days of peace pretty women used to wander with raised eyebrows and little cries of "Ciel!" (even French women revolted against the most advanced among the Futurists), there was a number of extraordinary contrivances of a mechanical kind which shocked one's imagination, and they were being used by French soldiers in various uniforms and of various grades, with twisted limbs, and paralytic gestures. One young man, who might have been a cavalry officer, was riding a queer bicycle which never moved off its pedestal, though its wheels revolved to the efforts of its rider. He pedalled earnestly and industriously, though obviously his legs had stiffened muscles, so that every movement gave him pain. Another man, "bearded like the bard," sat with his back to the wall clutching at two rings suspended from a machine and connected with two weights. Monotonously and with utterly expressionless eyes, he raised and lowered his arms a few inches or so, in order to bring back their vitality, which had been destroyed by a nervous shock. Many wheels were turning in that great room and men were strapped to them, as though in some torture chamber, devilishly contrived. In this place, however, the work was to defeat the cruelties of War the Torturer, after it had done its worst with human flesh.

The worst was in other rooms, where poor wrecks of men lay face downwards in hot-air boxes, where they stayed immovable and silent as though in their coffins, or with half their bodies submerged in electrolysed baths. Nurses were massaging limbs which had been maimed and smashed by shell-fire, and working with fine and delicate patience at the rigid fingers of soldiers, some of whom had lost their other arms, so that unless they could use their last remaining fingers, three or four to a hand, they would be useless for any work in the world. But most pitiable of all were the long rows of the paralysed and the blind, who lay in the hospital ward, motionless and sightless, with smashed faces. In the Palace of Fine Arts this statuary might have made the stones weep.

15

At last the spring song sounded through the streets of Paris with a pagan joy.

There was a blue sky over the city--so clear and cloudless that if any Zeppelin came before the night, it would have been seen a mile high, as a silver ship, translucent from stem to stern, sailing in an azure sea. One would not be scared by one of these death-ships on such a day as this, nor believe, until the crash came, that it would drop down destruction upon this dream city, all aglitter in gold and white, with all its towers and spires clean-cut against the sky.

It was hard to think of death and war; because spring had come with its promise of life. There was a thrill of new vitality throughout the city. I seemed to hear the sap rising in the trees along the boulevards. Or was it only the wind plucking at invisible harp-strings, or visible telephone wires, and playing the spring song in Parisian ears?

In the Tuileries gardens, glancing aslant the trees, I saw the first green of the year, as the buds were burgeoning and breaking into tiny leaves. The white statues of goddesses--a little crumbled and weather-stained after the winter--were bathed in a pale sunshine. Psyche stretched out her arms, still half-asleep, but waking at the call of spring. Pomona offered her fruit to a young student, who gazed at her with his black hat pushed to the back of his pale forehead.

Womanhood, with all her beauty carved in stone, in laughing and tragic moods, in the first grace of girlhood, and in full maturity, stood poised here in the gardens of the Tuileries, and seemed alive and vibrant with this new thrill of life which was pulsing in the moist earth and whispering through the trees, because spring had come to Paris.

There was no doubt about it. The flower girls who had been early to les Halles came up the rue Royale one morning with baskets full of violets, so that all the street was perfumed as though great ladies were passing and wafting scent in their wake. Even the old cocher who drove me down the rue Cambon had put on a new white hat. He had heard the glad tidings, this old wrinkled man, and he clacked his whip to let others know, and gave the glad-eye--a watery, wicked old eye--to half a dozen midinettes who came dancing along the rue St. Honoré. They knew without his white hat, and the clack of his whip. The ichor of the air had got into their blood. They laughed without the reason for a jest, and ran, in a skipping way, because there was the spring-song in their feet.

Along the Champs Elysées there was the pathway of the sun. Through the Arc de Triomphe there was a glamorous curtain of cloth of gold, and arrows of light struck and broke upon the golden figures of Alexander's Bridge. Looking back I saw the dome of the Invalides suspended in space, like a cloud in the sky. It was painted over to baffle the way of hostile aircraft, but the paint was wearing off, and the gold showed through again, glinting and flashing in the air-waves.

The Seine was like molten liquid and the bridges which span it a dozen times or more between Notre Dame and the Pont de l'Aima were as white as snow, and unsubstantial as though they bridged the gulfs of dreams. Even the great blocks of stone and the balks of timber which lie on the mud banks below the Quai d'Orsay--it is where the bodies of suicides float up and bring new tenants to the Morgue-- were touched with the beauty of this lady day, and invited an artist's brush.

The Eiffel Tower hung a cobweb in the sky. Its wires had been thrilling to the secrets of war, and this signal station was barricaded so that no citizens might go near, or pass the sentries pacing there with loaded rifles. But now it was receiving other messages, not of war. The wireless operator with the receiver at his ears must have heard those whispers coming from the earth: "I am spring... The earth is waking... I am coming with the beauty of life... I am gladness and youth..."

Perhaps even the sentry pacing up and down the wooden barricade heard the approach of some unseen presence when he stood still that morning and peered through the morning sunlight. "Halt! who goes there?" "A friend." "Pass, friend, and give the countersign."

The countersign was "Spring," and where the spirit of it stepped, golden crocuses had thrust up through the warming earth, not far from where, a night or two before, fire-balls dropped from a hostile air- craft.

Oh, strange and tragic spring, of this year 1915! Was it possible that, while Nature was preparing her beauty for the earth, and was busy in the ways of life, men should be heaping her fields with death, and drenching this fair earth with blood?

One could not forget. Even in Paris away from the sound of the guns which had roared in my ears a week before, and away from the moan of the wounded which had made my ears ache worse than the noise of battle, I could not forget the tragedy of all this death which was being piled up under the blue sky, and on fields all astir with the life of the year.

In the Tuileries gardens the buds were green. But there were black figures below them. The women who sat there all the afternoon, sewing, and knitting, or with idle hands in their laps, were clothed in widows' black. I glanced into the face of one of these figures as I passed. She was quite a girl to whom the spring-song should have called with a loud, clear note of joy. But her head drooped and her eyes were steadfast as they stared at the pathway, and the sunshine brought no colour into her white cheeks... She shivered a little, and pulled her crêpe veil closer about her face.

Down the broad pathway between the white statues came a procession of cripples. They wore the uniforms of the French army, and were mostly young men in the prime of life, to whom also the spring should have brought a sense of vital joy, of intense and energetic life. But they dragged between their crutches while their lopped limbs hung free. A little further off in a patch of sunshine beyond the wall of the Jeu de Paumes, sat half a dozen soldiers of France with loose sleeves pinned to their coats, or with only one leg to rest upon the ground. One of them was blind and sat there with his face to the sun, staring towards the fountain of the nymphs with sightless eyes. Those six comrades of war were quite silent, and did not "fight their battles o'er again." Perhaps they were sad because they heard the spring-song, and knew that they could never step out again to the dance-tune of youth.

And yet, strangely, there was more gladness than sadness in Paris now that spring had come, in spite of the women in black, and the cripples in the gardens. Once again it brought the promise of life. "Now that the spring is here," said the old cab-driver in the white hat, "France will soon be free and the war will soon be over."

This hopefulness that the fine weather would end the war quickly was a splendid superstition which buoyed up many hearts in France. Through the long, wet months of winter the women and the old people had agonized over the misery of their soldiers in the trenches. Now that the earth was drying again, and the rain clouds were vanishing behind a blue sky, there was new hope, and a wonderful optimism in the spirit of the people. "The spring will bring victory to France" was an article of faith which comforted the soul of the little midinette who sang on her way to the Rue Lafayette, and the French soldier who found a wild flower growing in his trench.

16

I have written many words about the spirit of Paris in war. Yet all these little glimpses I have given reveal only the trivial characteristics of the city. Through all these episodes and outward facts, rising above them to a great height of spirituality, the soul of Paris was a white fire burning with a steady flame. I cannot describe the effect of it upon one's senses and imagination. I was only conscious of it, so that again and again, in the midst of the crowded boulevards, or in the dim aisles of Notre Dame, or wandering along the left bank of the Seine, I used to say to myself, silently or aloud: "These people are wonderful! They hold the spirit of an unconquerable race... Nothing can smash this city of intellect, so gay, and yet so patient in suffering, so emotional and yet so stoical in pride and courage!"

There was weakness, and vanity, in Paris. The war had not cleansed it of all its vice or of all its corruption, but this burning wind of love for La Patrie touched the heart of every man and woman, and inflamed them so that self-interest was almost consumed, and sacrifice for the sake of France became a natural instinct. The ugliest old hag in the markets shared this love with the most beautiful woman of the salons; the demi-mondaine with her rouged lips, knelt in spirit, like Mary Magdalene before the cross, and was glad to suffer for the sake of a pure and uncarnal love, symbolized to her by the folds of the Tricolour or by the magic of that word, "La France!" which thrilled her soul, smirched by the traffic of the streets. The most money-loving bourgeois, who had counted every sou and cheated every other one, was lifted out of his meanness and materialism and did astounding things, without a murmur, abandoning his business to go back to the colours as a soldier of France, and regarding the ruin of a life's ambitions without a heartache so that France might be free.

There were embusqués in Paris-perhaps hundreds, or even thousands of young men who searched for soft jobs which would never take them to the firing-line, or who pleaded ill-health with the successful influence of a family or political "pull." Let that be put down honestly, because nothing matters save the truth. But the manhood of Paris as a whole, after the first shudder of dismay, the first agonies of this wrench from the safe, familiar ways of life, rose superbly to the call of la Patrie en danger! The middle-aged fathers of families and the younger sons marched away singing and hiding their sadness under a mask of careless mirth. The boys of eighteen followed them in the month of April, after nine months of war, and not a voice in Paris was raised to protest against this last and dreadful sacrifice. Paris cursed the stupidity of the war, cried "How long, O Lord, how long?" as it dragged on in its misery, with accumulating sums of death, was faint at the thought of another winter campaign, and groaned in spirit when its streets were filled with wounded men and black-garbed women. But though Paris suffered with the finer agonies of the sensitive intelligence, it did not lose faith or courage, and found the heart to laugh sometimes, in spite of all its tears.

City of beauty, built out of the dreams of great artists and great poets, I have watched you through this time of war, walking through your silent streets in the ordeal of most dreadful days, mingling with your crowds when a multitude of cripples dragged their lopped limbs thiough the sunlight, studying your moods of depression, and hopefulness, and passionate fervour, wandering in your churches, your theatres and your hospitals, and lingering on mild nights under the star-strewn sky which made a vague glamour above your darkness; and always my heart has paid a homage to the spirit which after a thousand years of history and a thousand million crimes, still holds the fresh virtue of ardent youth, the courage of a gallant race, and a deathless faith in the fine, sweet, gentle things of art and life. The Germans, however great their army, could never have captured the soul of Paris.