There were times during his illness and depression when we sat about Boon very much after the fashion of Job’s Comforters. And I remember an occasion when Wilkins took upon himself the responsibility for a hopeful view. There was about Wilkins’s realistic sentimentality something at once akin and repugnant to Boon’s intellectual mysticism, so that for a time Boon listened resentfully, and then was moved to spirited contradiction. Wilkins declared that the war was like one of those great illnesses that purge the system of a multitude of minor ills. It was changing the spirit of life about us; it would end a vast amount of mere pleasure-seeking and aimless extravagance; it was giving people a sterner sense of duty and a more vivid apprehension of human brotherhood. This ineffective triviality in so much of our literary life of which Boon complained would give place to a sense of urgent purpose….
“War,” said Boon, turning his face towards Wilkins, “does nothing but destroy.”
“All making is destructive,” said Wilkins, while Boon moved impatiently; “the sculptor destroys a block of marble, the painter scatters a tube of paint….”
Boon’s eye had something of the expression of a man who watches another ride his favourite horse.
“See already the new gravity in people’s faces, the generosities, the pacification of a thousand stupid squabbles——”
“If you mean Carsonism,” said Boon, “it’s only sulking until it can cut in again.”
“I deny it,” said Wilkins, warming to his faith. “This is the firing of the clay of Western European life. It stops our little arts perhaps—but see the new beauty that comes…. We can well spare our professional books and professional writing for a time to get such humour and wonder as one can find in the soldiers’ letters from the front. Think of all the people whose lives would have been slack and ignoble from the cradle to the grave, who are being twisted up now to the stern question of enlistment; think of the tragedies of separation and danger and suffering that are throwing a stern bright light upon ten thousand obscure existences….”
“And the noble procession of poor devils tramping through the slush from their burning homes, God knows whither! And the light of fire appearing through the cracks of falling walls, and charred bits of old people in the slush of the roadside, and the screams of men disembowelled, and the crying of a dying baby, in a wet shed full of starving refugees who do not know whither to go. Go on, Wilkins.”
“Oh, if you choose to dwell on the horrors——!”
“The one decent thing that we men who sit at home in the warm can do is to dwell on the horrors and do our little best to make sure that never, never shall this thing happen again. And that won’t be done, Wilkins, by leaving War alone. War, war with modern machines, is a damned great horrible trampling monster, a filthy thing, an indecency; we aren’t doing anything heroic, we are trying to lift a foul stupidity off the earth, we are engaged in a colossal sanitary job. These men who go for us into the trenches, they come back with no illusions. They know how dirty and monstrous it is. They are like men who have gone down for the sake of the people they love to clear out a choked drain. They have no illusions about being glorified. They only hope they aren’t blood-poisoned and their bodies altogether ruined. And as for the bracing stir of it, they tell me, Wilkins, that their favourite song now in the trenches is—