The theatres and music-halls of Paris opened one by one in the autumn of the first year of war. Some of the dancing girls and the singing girls found their old places behind the footlights, unless they had coughed their lungs away, or grown too pinched and plain. But for a long time it was impossible to recapture the old spirit of these haunts, especially in the music-halls, where ghosts passed in the darkness of deserted promenoirs, and where a chill gave one goose- flesh in the empty stalls,
Paris was half ashamed to go to the Folies Bergères or the Renaissance, while away là-bas men were lying on the battlefields or crouching in the trenches. Only when the monotony of life without amusement became intolerable to people who have to laugh so that they may not weep, did they wend their way to these places for an hour or two. Even the actors and actresses and playwrights of Paris felt the grim presence of death not far away. The old Rabelaisianism was toned down to something like decency and at least the grosser vulgarities of the music-hall stage were banned by common consent.
The little indecencies, the sly allusions, the candour of French comedy remained, and often it was only stupidity which made one laugh. Nothing on earth could have been more ridiculous than the little lady who strutted up and down the stage, in the uniform of a British Tommy, to the song of "Tipperary," which she rendered as a sentimental ballad, with dramatic action. When she lay down on her front buttons and died a dreadful death from German bullets, still singing in a feeble voice: "Good-bye, Piccadilly; farewell, Leicester Square," there were British officers in the boxes who laughed until they wept, to the great astonishment of a French audience, who saw no humour in the exhibition.
The kilted ladies of the Olympia would have brought a blush to the cheeks of the most brazen-faced Jock from the slums of Glasgow, though they were received with great applause by respectable French bourgeois with elderly wives. And yet the soul of Paris, the big thing in its soul, the spirit which leaps out to the truth and beauty of life, was there even in Olympia, among the women with the roving eyes, and amidst all those fooleries.
Between two comic "turns" a patriotic song would come. They were not songs of false sentiment, like those patriotic ballads which thrill the gods in London, but they had a strange and terrible sincerity, not afraid of death nor of the women's broken hearts, nor of the grim realities of war, but rising to the heights of spiritual beauty in their cry to the courage of women and the pity of God. They sang of the splendours of sacrifice for France and of the glory of that young manhood which had offered its blood to the Flag. The old Roman spirit breathed through the verses of these music-hall songs, written perhaps by hungry poets au sixième étage, but alight with a little flame of genius. The women who sang them were artists. Every gesture was a studied thing. Every modulation of the voice was the result of training and technique. But they too were stirred with a real emotion, and as they sang something would change the audience, some thrill would stir them, some power, of old ideals, of traditions strong as natural instinct, of enthusiasm for their country of France, for whom men will gladly die and women give their heart's blood, shook them and set them on fire.
10
The people of Paris, to whom music is a necessity of life, were not altogether starved, though orchestras had been abolished in the restaurants. One day a well-known voice, terrific in its muscular energy and emotional fervour, rose like a trumpet-call in a quiet courtyard off the Rue St. Honoré. It was the voice of "Bruyant Alexandre"—"Noisy Alexander"—who had new songs to sing about the little soldiers of France and the German vulture and the glory of the Tricolour. Giving part of his proceeds to the funds for the wounded, he went from courtyard to courtyard—one could trace his progress by vibration of tremendous sound—and other musicians followed him, so that often when I came up the Rue Royale or along quiet streets between the boulevards, I was tempted into the courts by the tinkle of guitars and women's voices singing some ballad of the war with a wonderful spirit and rhythm which set the pulses beating at a quicker pace. In the luncheon hour crowds of midinettes surrounded the singers, joining sometimes in the choruses, squealing with laughter at jests in verse not to be translated in sober English prose and finding a little moisture in their eyes after a song of sentiment which reminded them of the price which must be paid for glory by young men for whose homecoming they had waited through the winter and the spring.
11
No German soldier came through the gates of Paris, and no German guns smashed a way through the outer fortifications. But now and then an enemy came over the gates and high above the ramparts, a winged messenger of death, coming very swiftly through the sky, killing a few mortals down below and then retreating into the hiding- places behind the clouds. There were not many people who saw the "Taube"—the German dove—make its swoop and hurl its fire-balls. There was just a speck in the sky, a glint of metal, and the far- humming of an aerial engine. Perhaps it was a French aviator coming back from a reconnaissance over the enemy's lines on the Aisne, or taking a joy ride over Paris to stretch his wings. The little shop-girls looked up and thought how fine it would be to go riding with him, as high as the stars—with one of those keen profiled men who have such roguish eyes when they come to earth. Frenchmen strolling down the boulevards glanced skywards and smiled. They were brave lads who defended the air of Paris. No Boche would dare to poke the beak of his engine above the housetops. But one or two men were uneasy and stood with strained eyes. There was something peculiar about the cut of those wings en haut. They seemed to bend back at the tips, unlike a Blériot, with its straight spread of canvas.
"Sapristi! une Taube! … Attention, mon vieux!" In some side streets of Paris a hard thing hit the earth and opened it with a crash. A woman crossing the road with a little girl—she had just slipped out of her courtyard to buy some milk—felt the ground rise up and hit her in the face. It was very curious. Such a thing had never happened to her before. "Suzette?" She moaned and cried, "Suzette?" But Suzette did not answer. The child was lying sideways, with her face against the kerbstone. Her white frock was crimsoning with a deep and spreading stain. Something had happened to one of her legs. It was broken and crumpled up, like a bird's claw.