Having concluded my examination I crept out back to the wood and took a look at it all from there. "Yes," I thought to myself, "it's all very nice, but, by Gad, we'll have to look out that they don't see us, and get to think we're in this village, or they'll give us a warm time." It had gone very much against my thought-out views on trench warfare, coming to this house at all, for I had learnt by the experiences of others that the best maxim to remember was "Don't live in a house."
The reason is not far to seek. There is something very attractive to artillery about houses. They can range on them well, and they afford a more definite target than an open trench. Besides, if you can spot a house that contains, say, half a dozen to a dozen people, and just plop a "Johnson" right amidships, it generally means "exit house and people," which, I suppose, is a desirable object to be attained, according to twentieth century manners.
However, we had decided to live in the house, but as I crept back from the wood, I determined to take a few elementary and common-sense precautions. Hudson had returned when I got back, and together we discussed the house, the position, and everything we could think of in connection with the business, as we sat on the floor and had our midday meal of bully beef and biscuits, rounded up by tea and plum and apple jam spread neat from the tin on odd corners of broken biscuits. We thoroughly talked over the question of possible fortifications and precautions. I said, "What we really want is an emergency exit somewhere, where we can stand a little chance, if they start to shell us."
He agreed, and we both decided to pile up all the odd bricks, which were lying outside at the back of the house, against the perforated wall, and then sleep there in a little easier state of mind. We contented ourselves with this little precaution to begin with, but later on, as we lived in that house, we thought of larger and better ideas, and launched out into all sorts of elaborate schemes, as I will show when the time comes.
Anyway, for the first couple of sessions spent in that house in St. Yvon, we were content with merely making ourselves bullet proof. The whole day had to be spent with great caution indoors; any visit elsewhere had to be conducted with still greater caution, as the one great thing to be remembered was "Don't let 'em see we're in the village." So we had long days, just lying around in the dirty old straw and accumulated dirt of the cottage floor.
We both sat and talked and read a bit, sometimes slept, and through the opening beneath the sack across the back door we watched the evenings creeping on, and finally came the night, when we stole out like vampires and went about our trench work. It was during these long, sad days that my mind suddenly turned on making sketches. This period of my trench life marked the start of Fragments from France, though it was not till the end of February that a complete and presentable effort, suitable for publication in a paper, emerged. It was nothing new to me to draw, as for a very long time before the war I had drawn hundreds of sketches, and had spent a great amount of time reading and learning about all kinds of drawing and painting. I have always had an enormous interest in Art; my room at home will prove that to anyone. Stacks of bygone efforts of mine will also bear testimony to this. Yet it was not until January, 1915, that I had sufficiently resigned myself to my fate in the war, to let my mind turn to my only and most treasured hobby. In this cottage at St. Yvon the craving came back to me. I didn't fight against it, and began by making a few pencil scribbles with a joke attached, and pinned them up in our cracked shell of a room. Jokes at the expense of our miserable surroundings they were, and these were the first "Fragments." Several men in the local platoon collared these spasms, and soon after I came across them, muddy and battered, in various dug-outs near by. After these few sketches, which were done on rough bits of paper which I found lying about, I started to operate on the walls. With some bits of charcoal, I made a mess on all the four walls of our back room. There was a large circular gash, made by a spent bullet I fancy, on one of the walls, and by making it appear as though this mark was the centre point of a large explosion, I gave an apparent velocity to the figure of a German, which I drew above.
These daubs of mine provoked mirth to those who lived with me, and others who occasionally paid us visits. I persisted, and the next "masterpiece" was the figure of a soldier (afterwards Private Blobs, of "Fragments") sitting up a tree staring straight in front of him into the future, whilst a party of corpulent Boches are stalking towards him through the long grass and barbed wire. He knows there's something not quite nice going on, but doesn't like to look down. This was called "The Listening Post," and the sensation described was so familiar to most that this again was apparently a success. So what with scribbling, reading and sleeping, not to mention time occupied in consuming plum and apple jam, bully, and other delicacies which a grateful country has ordained as the proper food for soldiers, we managed to pull through our days. Two doses of the trenches were done like this, and then came the third time up, when a sudden burst of enthusiasm and an increasing nervousness as to the safety of ourselves and our house, caused us to launch out into really trying to fortify the place. The cause of this decision to do something, to our abode was, I think, attributable to the fact that for about a fortnight the Germans had taken to treating us to a couple of dozen explosions each morning—the sort of thing one doesn't like just before breakfast; but if you've got to have it, the thing obviously to do is to try and defend yourself; so the next time, up we started.