The road you traverse to the Somme altar is the road which hundreds of thousands of young men trod, marching to moments of destiny, moments of victory; the Manchesters to Montauban, South Africans to Delville, Royal Scots to Guillemont, the Guards to Les Boeufs, the Durham Light Infantry to the Butte of Warlencourt, the 47th Londons to Eaucourt l'Abbaye—and many others; they marched from the quiet places of the homeland and the empire, from Loos, from Laventie, from Flanders; defenders of Ypres and defenders of Arras, marching with their drums, marching with their bayonets, to Britain's quarrel and her mightiest enemy. Behind them were ranged the guns, and in front of them was Prussia. Now the desolation of Nature alone suggests what a desolation there was of men. The terrible woods are impressionist pictures of the ruined vitals of great regiments, and you can hold a forest in your mind as you would a skull in your hands and say—This was a forest. This was an army.
The generality of men and women however will not do that. The new-born generations mask their grief, and you will see if you walk into Bernafay Wood that a young Bernafay Wood is rising midst the dead masts of the old—self-sown. It will grow higher every year till the old is hidden. The masts will fall, will rot, will recede from this bright sunlight, and relapse into the shade which the new trees will give them, and then soon all will be forgotten. Near Bernafay too the crosses of the dead lie spread out like rows of pins, memorial crosses where there is no body, crosses for the unknown, more surely for the unknown British soldier than for the known. So also it will be with them. The babies are rising, the younger men are growing, growing to hide all and everything. The nakedness of reality which we see to-day will be hidden in the shade by and by. These brand-new cemeteries, looking often so fresh and rich in their masses of brown-stained wood, will pass. They will first be re-set-up in stone. 1921 will see them rolling out in new stone crosses, at first startlingly pallid and virginal, but as the months go on, getting gradually greyened and darkened, rain-washed, wind-blown, then falling a little from the straight. Flowers will bloom as new summers shine o'er the dead. Visitors will come. There will be a greater time of visiting the cemeteries and the battlefields than there yet has been. Gardeners will be conscientious, and then some less conscientious as the years roll by and visitors become less. Most of the cemeteries in the more obscure places will be half-forgotten and gone desolate. There must come a time when no more visit the burial-places of the great war than visit now the cemeteries of the Crimea. In 1914 the great cemetery above Sevastopol, kept by a German gardener, had become from a national point of view utterly unvisited and forgotten. A roll used to be kept there of the visitors who came in their hundreds after the Crimean war was over, dwindling to a score a year and then to less than ten, and then to twos and threes and ones. The living who survived the Crimea do not need to go to Russia now, for they have joined the dead long since. So it will be with us; we shall join the authentic dead, and the young ones will have forgotten whilst chattering of some other war.
Meanwhile look reverently at the graves of the men of the 32nd A.I.F., with little rising suns adorning the centre-posts of their crosses! See where lies Capt. Claude with his high memorial, or Private Harry who carried out an equal sacrifice with him.
Rusty old cans on ten-foot poles mark the limits of the burial-ground, and a notice says "Cemetery closed" as one might read outside a theatre at night—"Pit full" "Gallery full" "Stalls full." On the hillside above, sounds the laughter of men and the clatter of spades where a new acre of God is being dug, the foundations of a new theatre being laid. Here French Negroes, Flemings, and French peasants are at work under the guidance of British soldiers. Occasionally a car rushes up through the dust and a couple of British officers come forward to see how things are going on.
Passing on to Longueval you see the masts of Longueval Wood, but before you come to it there stands now at the cross-roads a "café-restaurant," an unpainted wooden hut. Here with the sun streaming full on their faces sit two Falstaffian wights with bottles labelled Malaga between them and glasses full. On their dewy red chins and necks there are three or four folds of flesh; red veins run down their necks like gutters at the side of a house. They hold hands and sing and make everyone in the tavern laugh—then swallow—swallow—swallow, the wine rolls down their exuberant gullets.
Suddenly there is a note of warning in the restaurant, whisperings about l'officier, to make it appear as if the men were drinking beer, the woman comes and takes the wine-bottles and pours their contents into metal tankards, sweeps the table clean of wine driblets, and reprimands the topers.
They pull themselves together and take on a sobered gait. One of them opens a sand-bag in his possession and brings out two enormous doorsteps of bread and butter. Silence reigns. There is a suspense. Someone evidently is expected. Will it be a dapper, constrained, politely inquisitive British officer? Hardly! Ah, here he is! Enter fiery British sergeant-major with bristling moustache and bright crown on his sleeve, stout, smart, and red.
"Na then," says he, darting upon the Falstaffs, "play the game, play the bloomin' game. Come on, travai in the cemetery. Officeer come, no bon pour moy, bon pour vous, no bon pour moy. Com' on now or I'll jolly well have to shift yer. The Belgiques and the Algerians know all about yer. It's all over the place."
"Ca ne fait rien."
"Ca-ne-fait-rien pour vous but not pour moy. Officeer bocu faché avec moy. You no catch it, I catch it, compris?"