I have not yet been able to learn just how far it was that he had to drop before he struck the snow; but, whatever the distance, I am perfectly certain that he kept right on singing all the way.
III
As regards the spirits of the Alpini, song is a barometer; as regards their health, a thermometer. An experienced officer will judge the mental or physical condition of one of his men by noting the way he is singing, or refraining from singing, just as a man determines his dog’s condition by feeling its nose to see if it is hot or cold. I remember standing for a half-hour on the wind-swept summit of a lofty Trentino pass with a distinguished major-general who had taken me out that afternoon in his little mountain-climbing motor to give me an idea of how the winter road was kept clear in a blizzard. The wind was driving through the notch of the pass at fifty miles an hour; the air was stiff with falling and drifting snow; and it was through the narrowed holes in our capuchos that we watched a battalion filing by on its way from the front-line trenches to the plains for a spell of rest in billets. Packs and cloaks were crusted an inch thick with frozen snow, eyebrows were frosted, beards and moustaches icicled; but, man after man (though sometimes, as a wind-blast swallowed the sound, one could only guess it by the rhythmically moving lips), they marched singing. Now and then, as the drifts permitted, they marched in lusty choruses of twos and threes; but for the most part each man was warbling on his own, many of them probably simply humming improvisations, giving vocal expression to their thoughts.
Suddenly the general stepped forward and, tapping sharply with his Alpenstock on the ice-stiff skirt of one of the marchers, brought him to a halt. The frost-rimmed haloes fringing the puckered apertures in the two hoods came close together and there was a quick interchange of question and answer between wind-muffled mouths. Then, with a clumsy pat of admonition, the general shoved the man back into the passing line.
“That boy wasn’t singing,” he roared into my ear in response to my look of interrogation as he stepped back into the drift beside me. “Knew something was wrong, so stopped him and asked what. Said he got thirsty—ate raw snow—made throat sore. Told him it served him quite right—an Arab from Tripoli would know better’n to eat snow.”
Three or four times more in the quarter-hour that elapsed before the heightening storm drove us to the shelter of a rifugio the general stopped men whose face or bearing implied that there was no song on their lips or in their hearts, and in each instance it transpired that something was wrong. One man confessed to having discarded his flannel abdominal bandage a couple of days before, and was developing a severe case of dysentery as a perfectly natural consequence of the chill which followed; another had just been kicked by a passing mule; and a third had received word that morning that his newly-born child was dead and its mother dangerously ill. The two former were shoved none too gently back into line with what appeared to be the regulation prescription in such cases: “Serves you right for your carelessness”; but I thought I saw a note slipped into the third man’s hand as the general pressed it in sympathy and promised to see that leave should be arranged for at once.
I was no less struck by the efficacy of this novel system of diagnosis than by the illuminative example its workings presented of the paternal attitude of even the highest of the Alpini officers toward the least of the men under them.
But it is not only the buoyant Alpini who pour out their souls in song. The Italian soldier, no matter from what part of the country he comes or on what sector of the front he is stationed, can no more work or fight without singing than he can without eating. Indeed, a popular song that is heard all along the front relates how, for some reason or other, an order went out to the army that there was to be no more singing in the trenches, and how a soldier, protesting to his officer, exclaimed, “But, captain, if I cannot sing I shall die of sadness; and surely it is better that I should die fighting the enemy than that I should expire of a broken heart!”
On many a drizzly winter morning, motoring past the painted Sicilian carts which form so important a feature of the Italian transport on the broken hills of the Isonzo front, I noted with sheer astonishment that the drivers were far and away likelier to be singing than swearing at the mules. To one who has driven mules, or even lived in a country where mules are driven, I shall not need to advance any further evidence of the Sicilian soldier’s love of song.
And on that stony trench-torn plateau of the Carso, where men live in caverns under the earth and where the casualties are multiplied two- or three-fold by the fragments of explosive-shattered rock; even there, on this deadliest and most repulsive of all the battle-fronts of Armageddon, the lilting melodies of sunny southern Italy, punctuated, but never for long interrupted, by the shriek and detonation of Austrian shells, are heard on every hand.