I am glad I am going. But the odd thing is that there is no excitement about it. It seems an entirely fit and natural thing that the vision should materialize, that I should see the shells battering the forts of Antwerp and hear the big siege-guns from Namur. For all its incredibility, the adventure lacks every element of surprise. It is simply what I came out for. For here in Belgium the really incredible things are the things that existed and happened before the War. They existed and happened a hundred years ago and the memory of them is indistinct; the feeling of them is gone. You have ceased to have any personal interest in them; if they happened at all they happened to somebody else. What is happening now has been happening always. All your past is soaking in the vivid dye of these days, and what you are now you have been always. I have been a War Correspondent all my life—blasée with battles. The Commandant orders me into the front seat beside the chauffeur Tom, so that I may see things. Even Tom's face cannot shake me in my conviction that I am merely setting out once more on my usual, legitimate, daily job.
It is all so natural that you do not wonder in the least at this really very singular extension of your personality. You are not aware of your personality at all. If you could be you would see it undergoing shrinkage. It is, anyhow, one of the things that ceased to matter a hundred years ago. If you could examine its contents at this moment you would find nothing there but that shining vision of danger, the siege of Antwerp, indistinct, impalpable, aerial.
Presently the vision itself shrinks and disappears on the north-west horizon. The car has shot beyond the streets into the open road, the great paved highway to Antwerp, and I am absorbed in other matters: in Car 1 and in the chauffeur Tom, who is letting her rip more and more into her top speed with every mile; in M. C——, the Belgian Red Cross guide, beside me on my left, and in the Belgian soldier sitting on the floor at his feet. The soldier is confiding some fearful secret to M. C—— about somebody called Achille. M. C—— bends very low to catch the name, as if he were trying to intercept and conceal it, and when he has caught it he assumes an air of superb mystery and gravity and importance. With one gesture he buries the name of Achille in his breast under his uniform. You know that he would die rather than betray the secret of Achille. You decide that Achille is the heroic bearer of dispatches, and that we have secret orders to pick him up somewhere and convey him in safety to Antwerp. You do not grasp the meaning of this pantomime until the third sentry has approached us, and M. C—— has stopped for the third time to whisper "Ach-ille!" behind the cover of his hand, and the third sentry is instantly appeased.
(Concerning sentries, you learn that the Belgian kind is amiable, but that the French sentry is a terrible fellow, who will think nothing of shooting you if your car doesn't stop dead the instant he levels his rifle.)
Except for sentries and straggling troops and the long trains of refugees, the country is as peaceful between Ghent and Saint Nicolas as it was last week between Ostend and Ghent. It is the same adorable Flemish country, the same flat fields, the same paved causeway and the same tall, slender avenues of trees. But if anything could make the desolation of Belgium more desolate it is this intolerable beauty of slender trees and infinite flat land, the beauty of a country formed for the very expression of peace. In the vivid gold and green of its autumn it has become a stage dressed with ironic splendour for the spectacle of a people in flight. Half the population of Antwerp and the country round it is pouring into Ghent.[8] First the automobiles, Belgian officers in uniform packed tight between women and children and their bundles, convoying the train. Then the carriages secured by the bourgeois (they are very few); then men and boys on bicycles; then the carts, and with the coming on of the carts the spectacle grows incredible, fantastic. You see a thing advancing like a house on wheels. It is a tall hay-wagon—the tallest wagon you have ever seen in your life—piled with household furniture and mattresses on the top of the furniture, and on top of the mattresses, on the roof, as it were, a family of women and children and young girls. Some of them seem conscious of the stupendous absurdity of this appearance; they smile at you or laugh as the structure goes towering and toppling by.
Next, low on the ground, enormous and grotesque bundles, endowed with movement and with legs. Only when you come up to them do you see that they are borne on the bowed backs of men and women and children. The children—when there are no bundles to be borne these carry a bird in a cage, or a dog, a dog that sits in their arms like a baby and is pressed tight to their breasts. Here and there men and women driving their cattle before them, driving them gently, without haste, with a great dignity and patience.
These, for all the panic and ruin in their bearing, might be pilgrims or suppliants, or the servants of some religious rite, bringing the votive offerings and the sacrificial beasts. The infinite land and the avenues of slender trees persuade you that it is so.
And wherever the ambulance cars go they meet endless processions of refugees; endless, for the straight, flat Flemish roads are endless, and as far as your eye can see the stream of people is unbroken; endless, because the misery of Belgium is endless; the mind cannot grasp it or take it in. You cannot meet it with grief, hardly with conscious pity; you have no tears for it; it is a sorrow that transcends everything you have known of sorrow. These people have been left "only their eyes to weep with." But they do not weep any more than you do. They have no tears for themselves or for each other.[9] This is the terrible thing, this and the manner of their flight. It is not flight, it is the vast, unhasting and unending movement of a people crushed down by grief and weariness, pushed on by its own weight, by the ceaseless impact of its ruin.
This stream is the main stream from Antwerp, swollen by its tributaries. It doesn't seem to matter where it comes from, its strength and volume always seem the same. After the siege of Antwerp it will thicken and flow from some other direction, that is all. And all the streams seem to flow into Ghent and to meet in the Palais des Fêtes.[10]
I forget whether it was near Lokeren or Saint Nicolas that we saw the first sign of fighting, in houses levelled to the ground to make way for the artillery fire; levelled, and raked into neat plots without the semblance of a site.