Soldier Silhouettes on our Front Part 1

Soldier Silhouettes on our Front.

by William L. Stidger.

FOREWORD

Some human experiences that one has in France stand out like the silhouettes of mountain peaks against a crimson sunset. I have tried in this book to set down some of those experiences. I have had but one object in so doing, and that object has been to give the father and mother, the brother and sister, the wife and child and friend of the boys "Over There" an accurate heart-picture. I have not attempted the too great task of showing the soul of the soldier, although I have tried to picture him at some of his great moments when he forgets himself and rises to glorious heights, just as he might do at home if the opportunity called.

I have tried to show his experiences on the transports, when he lands in France, his welcome there, the reactions of the trench life; something of his self-sacrifice, his willingness to serve even unto the end; his courage, his suns.h.i.+ne. I have also given some other pictures of France that aim to show his heart-relations to his allies and to the folks at home.

If I have done this, sufficient shall be my reward.

I

SILHOUETTES OF SONG

The great transport was cutting its st.u.r.dy way through three dangers: the submarine zone, a terrific storm beating from the west against its prow, and a night as dark as Erebus because of the storm, with no lights showing.

I had the midnight-to-four-o'clock-in-the-morning "watch" and on this night I was on the "aft fire-control." Below me on the aft gun-deck, as the rain pounded, the wind howled, and the s.h.i.+p lurched to and fro, I could see the bulky forms of the boy gunners. There were two to each gun, two standing by, with telephone pieces to their ears, and six sleeping on the deck, ready for any emergency. The greatcoats made them look like gaunt men of the sea as they huddled against their guns, watching, waiting. I wondered what they could see in that impenetrable darkness, if a U-boat could even survive in that storm; but Uncle Sam never sleeps in these days, and this transport was especially worth watching, for it carried a precious cargo of wounded officers and men back to the homeland, west bound.

For an hour I had heard no sound from the boys on the gun-deck below me. When I was on watch in the daylight I knew them to be just a great crowd of fine, buoyant, happy American lads, full of pranks and play and laughter, but they were strangely silent to-night as the s.h.i.+p ploughed through the storm. The storm seemed to have made men of them.

They were just boys, but American boys in these days become men overnight, and acquit themselves like men.

I watched their silent forms below me with a great feeling of wonderment and pride. The s.h.i.+p lurched as it swung in its zigzag course. Then suddenly I heard a sweet sound coming from one of the boys below me. I think that it was big, raw-boned "Montana" who started it. It was low at first and, with the storm and the vibrations of the s.h.i.+p, I could not catch the words. The music was strangely familiar to me. Then the boy on the port gun beside "Montana" took the old hymn up, and then the two reserve gunners who were standing by, and then the gunners on the starboard side, and I caught the old words of:

"Jesus, Saviour, pilot me Over life's tempestuous sea; Unknown waves before me roll Hiding rock and treacherous shoal; Chart and compa.s.s came from Thee; Jesus, Saviour, pilot me."

Above the creaking and the vibrations of the great s.h.i.+p, above the beating of the storm, the gunners on the deck below, all unconsciously, in that storm-tossed night were singing the old hymn of their memories, and I think that I never heard that wonderful hymn when it sounded sweeter to me than it did then, as the second verse came sweetly from the lips and hearts of those gunners:

"As a mother stills her child Thou canst hush the ocean wild; Boistrous waves obey Thy will When Thou sayst to them, 'Be still.'

Wondrous Sovereign of the sea, Jesus, Saviour, pilot me."

We hear a good deal of how our boys sing "Hail! Hail! The Gang's All Here" and "Where Do We Go From Here, Boys?" as a s.h.i.+p is sinking. I know American soldiers pretty well. I do not know what they sang when the _Tuscania_ went down, but I am glad to add my picture to the other and to say that I for one heard a crowd of American gunners singing "Jesus, Saviour, Pilot Me Over Life's Tempestuous Sea." The mothers and fathers of America must know that the average American boy will have the lighter songs at the end of his lips, but buried down deep in his heart there is a feeling of reverence for the old hymns, and whether he sings them aloud or not they are there singing in his heart; and sometimes, under circ.u.mstances such as I have described, he sings them aloud in the darkness and the storm.

If you do not believe this because you have been told so often by magazine correspondents, who see only the surface things, that all the boys sing is ragtime, let Bishop McConnell, of the Methodist Episcopal Church, tell you of that Sunday evening when, at the invitation of General Byng, he addressed, under the auspices of the Y. M. C. A., a great regiment of the Scottish Guards. That night, in a sh.e.l.l-destroyed stone theatre, he spoke to them on "How Men Die." In a week from that night more than two-thirds of them had been killed.

When Bishop McConnell asked them what they would like to sing, this great crowd of st.u.r.dy, bare-kneed soldiers of democracy, who had borne the brunt of battle for three years, asked for "O G.o.d, Our Help in Ages Past."

Yes, I know that the boys sing the rag-time, but this must not be the only side of the picture. They sing the old hymns, too, and memories of nights "down the line," when I have heard them in small groups and in great crowds singing the old, old hymns of the church, have burned their silhouettes into my memory never to die.

One night I remember being stopped by a sentry at "Dead Man's Curve,"

because the Boche was sh.e.l.ling the curve that night, and we had to stop until he "laid off," as the sentry told us. Between sh.e.l.ls there was a great stillness on the white road that lay like a silver thread under the moonlight. The shattered stone buildings, with a great cathedral tower standing like a gaunt ghost above the ruins, were tragically beautiful under that mellow light. One almost forgot there was war under the charm of that scene until "plunk! plunk! plunk!" the big sh.e.l.ls fell from time to time. But the thing that impressed me most that waiting hour was not the beauty of the village under the moonlight, but the fact that the lone sentry who had stopped us, and who amid the sh.e.l.ling stood silently, was unconsciously singing an old hymn of the church, "Rock of Ages, Cleft for Me." I got down from my truck and walked over to where he was standing.

"Great old hymn, isn't it, lad?"

"I'll say so," was his laconic reply.

"Belong to some church back home?" I asked him.

"Folks do; Presbyterians," he replied.

"Like the old hymns?" I asked.

"Yes, it seems like home to sing 'em."

I didn't get to talk with him for a few minutes, for he had to stop another truck. Then he came back.

"Folks at home, Sis and Bill and the kid, mother and father, used to gather around the piano every Sunday evening and sing 'em. Didn't think much of them then, but liked to sing. But they mean a lot to me over here, especially when I'm on guard at nights on this 'Dead Man's Curve.' Seems like they make me stronger." As I walked away I still heard him humming "Rock of Ages, Cleft for Me."

One of the most vivid song silhouettes that I remember is that of a great crowd of negroes singing in a Y. M. C. A. hut. There must have been a thousand of them. I was to speak to them on "Lincoln Day." I remember how their white teeth shone through the semidarkness of that candle-lighted hut, and how their eyes gleamed, and how their bodies swayed as they sang the old plantation melodies.

The first song startled me with the universality of its simple expression. It was an adaptation of that old melody which the negroes have sung for years, "It's the Old-Time Religion."

A boy down front led the singing. A curt "Sam, set up a tune," from the Tuskegee colored secretary started it.

This boy sat with his back to the audience. He didn't even turn around to face them. Low and sweetly he started singing. You could hardly hear him at first. Then a few boys near him took up the music. Then a few more. Then it gradually swept back over that crowd of men until every single negro was swaying to that simple music, and then it was that I caught the almost startlingly appropriate words:

"It is good for a world in trouble; It is good for a world in trouble; It is good for a world in trouble; And it's good enough for me.

It's the old-time religion; It's the old-time religion; It's the old-time religion; And it's good enough for me.

It was good for my old mother; It was good for my old mother; It was good for my old mother; And it's good enough for me."

Then much to my astonishment they did something that I have since learned is the very way that these songs grew from the beginning. They extemporized a verse for the day, and they did it on the spot. I made absolutely certain of that by careful investigation. They sang this extra verse:

"It was good for ole Abe Lincoln; It was good for ole Abe Lincoln; It was good for ole Abe Lincoln; And it's good enough for me."

"That first verse, 'It is good for a world in trouble,' is certainly a most appropriate one for these times in France," I said aside to the secretary.

"Yes," he replied; "if ever this pore ole worl' needed the sustainin'

power of the religion of the Christ, it does now; an' if ever this pore ole worl' was in trouble, that time suttinly is right now," he added with fervor.

And now I can never think of the world, nor of the folks back here at home, nor of the millions of our boys over there that I do not hear the sweet voices of that crowd of negroes singing reverently and fervently:

"It is good for a world in trouble; It is good for a world in trouble; It is good for a world in trouble; And it's good enough for me."

Another Silhouette of Song that stands out against the background of memory is that of a hymn that I heard in Doctor Charles Jefferson's church just before I sailed for France. I was lonely. I walked into that great city church a stranger, as thousands of boys who have sailed from New York have done. I never remember to have been so unutterably lonely and homesick. It was cold in the city, and I was alone. I turned to a church. Thousands of boys have done the same, may the mothers and fathers of America know, and they have found comfort. If the parents of this great nation could know how well their boys are guarded and cared for in New York City before they sail, they would have a feeling of comfort.

I sat down in this great church. I was thinking more of other Sabbath mornings at home, with my wife and baby, than anything else. A hymn was announced. I stood up mechanically, but there was no song in my throat. There was a great lump of loneliness only. But suddenly I listened to the words they were singing. Had they selected that hymn just for me? It seemed so. It so answered the loneliness in my heart with comfort and quiet. That great congregation was singing:

"Peace, perfect peace; With loved ones far away; In Jesus' keeping, we are safe; and they."