"Tiens, old man," says Tulacque, as he comes up. "Look at this."
Tulacque is magnificent. He is wearing a lemon-yellow coat made out of an oilskin sleeping-sack. He has arranged a hole in the middle to get his head through, and compelled his shoulder-straps and belt to go over it. He is tall and bony. He holds his face in advance as he walks, a forceful face, with eyes that squint. He has something in his hand. "I found this while digging last night at the end of the new gallery to change the rotten gratings. It took my fancy off-hand, that knick-knack. It's an old pattern of hatchet."
It was indeed an old pattern, a sharpened flint hafted with an old brown bone—quite a prehistoric tool in appearance.
"Very handy," said Tulacque, fingering it. "Yes, not badly thought out. Better balanced than the regulation ax. That'll be useful to me, you'll see." As he brandishes that ax of Post-Tertiary Man, he would himself pass for an ape-man, decked out with rags and lurking in the bowels of the earth.
One by one we gathered, we of Bertrand's squad and the half-section, at an elbow of the trench. Just here it is a little wider than in the straight part where when you meet another and have to pass you must throw yourself against the side, rub your back in the earth and your stomach against the stomach of the other.
Our company occupies, in reserve, a second line parallel. No night watchman works here. At night we are ready for making earthworks in front, but as long as the day lasts we have nothing to do. Huddled up together and linked arm in arm, it only remains to await the evening as best we can.
Daylight has at last crept into the interminable crevices that furrow this part of the earth, and now it finds the threshold of our holes. It is the melancholy light of the North Country, of a restricted and muddy sky, a sky which itself, one would say, is heavy with the smoke and smell of factories. In this leaden light, the uncouth array of these dwellers in the depths reveals the stark reality of the huge and hopeless misery that brought it into being. But that is like the rattle of rifles and the verberation of artillery. The drama in which we are actors has lasted much too long for us to be surprised any more, either at the stubbornness we have evolved or the garb we have devised against the rain that comes from above, against the mud that comes from beneath, and against the cold—that sort of infinity that is everywhere. The skins of animals, bundles of blankets, Balaklava helmets, woolen caps, furs, bulging mufflers (sometimes worn turban-wise), paddings and quiltings, knittings and double-knittings, coverings and roofings and cowls, tarred or oiled or rubbered, black or all the colors (once upon a time) of the rainbow—all these things mask and magnify the men, and wipe out their uniforms almost as effectively as their skins. One has fastened on his back a square of linoleum, with a big draught-board pattern in white and red, that he found in the middle of the dining-room of some temporary refuge. That is Pepin. We know him afar off by his harlequin placard sooner even than by his pale Apache face. Here is Barque's bulging chest-protector, carven from an eiderdown quilt, formerly pink, but now fantastically bleached and mottled by dust and rain. There, Lamuse the Huge rises like a ruined tower to which tattered posters still cling. A cuirass of moleskin, with the fur inside, adorns little Eudore with the burnished back of a beetle; while the golden corselet of Tulacque the Big Chief surpasses all.
The "tin hat" gives a certain sameness to the highest points of the beings that are there, but even then the divers ways of wearing it—on the regulation cap like Biquet, over a Balaklava like Cadilhac, or on a cotton cap like Barque—produce a complicated diversity of appearance.
And our legs! I went down just now, bent double, into our dug-out, the little low cave that smells musty and damp, where one stumbles over empty jam-pots and dirty rags, where two long lumps lay asleep, while in the corner a kneeling shape rummaged a pouch by candle-light. As I climbed out, the rectangle of entry afforded me a revelation of our legs. Flat on the ground, vertically in the air, or aslant; spread about, doubled up, or mixed together; blocking the fairway and cursed by passers-by, they present a collection of many colors and many shapes—gaiters, leggings black or yellow, long or short, in leather, in tawny cloth, in any sort of waterproof stuff; puttees in dark blue, light blue, black, sage green, khaki, and beige. Alone of all his kind, Volpatte has retained the modest gaiters of mobilization. Mesnil Andre has displayed for a fortnight a pair of thick woolen stockings, ribbed and green; and Tirette has always been known by his gray cloth puttees with white stripes, commandeered from a pair of civilian trousers that was hanging goodness knows where at the beginning of the war. As for Marthereau's puttees, they are not both of the same hue, for he failed to find two fag-ends of greatcoat equally worn and equally dirty, to be cut up into strips.
There are legs wrapped up in rags, too, and even in newspapers, which are kept in place with spirals of thread or—much more practical—telephone wire. Pepin fascinated his friends and the passers-by with a pair of fawn gaiters, borrowed from a corpse. Barque, who poses as a resourceful man, full of ideas—and Heaven knows what a bore it makes of him at times!—has white calves, for he wrapped surgical bandages round his leg-cloths to preserve them, a snowy souvenir at his latter end of the cotton cap at the other, which protrudes below his helmet and is left behind in its turn by a saucy red tassel. Poterloo has been walking about for a month in the boots of a German soldier, nearly new, and with horseshoes on the heels. Caron entrusted them to Poterloo when he was sent back on account of his arm. Caron had taken them himself from a Bavarian machine-gunner, knocked out near the Pylones road. I can hear Caron telling about it yet—