Part 56

In normal times life is made up of the sum of little things, but at great moments the little things cease to count. How true this is in Paris today one may judge from the correspondence and records of the "Secours National"; they reveal an intense and widespread impulse of personal pride in self-denial, and prove that the heart of the Parisian bourgeoisie is sound to the core.

To a foreigner, accustomed to the Paris of literary and artistic traditions, perhaps the most remarkable feature in the life of the city today lies in the absence of articulate public opinion, and apparently of public interest, in everything outside the immediate issues of the war. With one or two exceptions, such as the Temps and the Debats, the press of the capital practically confines itself to recording the events and progress of the campaign; nothing else matters. So far as Paris is concerned, all the rest of the world, from China to Peru, might be non-existent. Neither the political nor the economic consequences of the war are seriously examined or discussed; the sole business of the newspapers consists in supplementing, to the best of their abilities, the meagre war news supplied through official channels. Some interest attaches, of course, to the attitude of Italy; but, beyond that, all things sublunary seem to have faded into a remote distance of unreality--sufficient unto the day is the evil thereof.

The explanation [Transcriber: original 'explaantion'] of this attitude of complete detachment lies, no doubt, chiefly in the fact that the men who make and exchange political opinions have gone to Bordeaux, while most of those who create and guide public (as distinct from political) opinion, have exchanged the pen for the sword. Just as Paris, for want of bakers, has only one kind of bread, so, for want of the men who usually inspire public opinion, her press has concentrated upon one absorbing idea, ecraser les allemands. Moreover, for want of printers and of advertisers, most of the daily papers have now dwindled to microscopic proportions. The virile intelligence of Paris journalism and the nimble and adventurous inquisitiveness, which are its normally distinguishing characteristics, have gone, like everything else, to the front. As the editor of the Gil Blas says in a farewell poster to his subscribers: "Youth has only one duty to perform in these days. Our chief and all the staff have joined the colors. Whenever events shall permit, Gil Blas will resume its cheerful way. A bien-tot."

*France and England As Seen in War Time*

*An Interview With F. Hopkinson Smith.*

F. Hopkinson Smith was in France when the war broke out, he spent September in London, and is now back in New York. He has brought home many sketches. Not sketches which suggest war in the least, but which were made with the thought of the war lurking in the background.

"Curiously enough," he said, without waiting for any opening question from THE TIMES reporter--Mr. Smith often interviews himself--"curiously enough, I was on my way to Rheims to make a sketch of the Cathedral when the war broke out. I had started out to make a series of sketches of the great European cathedrals. Not etchings, but charcoal sketches.

"Let me say here, too, that cathedrals for the most part ought not to be etched. You lose too many shadows, though you gain in line; but in the etching you have to cross-hatch so heavily with ink that the result is just ink, and not shadow at all. Charcoal gives you depth and transparency. I was eager to do a series of the cathedrals, as I had done a series for the Dickens and Thackeray books, and had planned to give my, entire Summer to it.

"I had been in London for some time. I had sketched in Westminster, in St. Bartholomew's. Everything peaceful and quiet. It seems now as if we ought to have felt--all of us, the people on the streets, I, shopkeepers, every one--the approach of this tremendous war. But we didn't, of course. No one in England had the faintest suspicion that this terrible inhuman thing was going to happen.

"I went on to France. I sketched Notre Dame, over which they exploded shells a month or so later. I did some work in the beautiful St. Etienne. I sauntered down into South Normandy and was stopping for a little color work at the Inn of William the Conqueror before going on to Rheims."

These water colors of French farms, French inns, and French gardens are glimpses caught at the very eleventh hour before France put on a totally different aspect.

"The war broke out. There at the quiet little French inn everything suddenly changed color. It was quick, it was quiet. There was a complete change in the snap of a finger. All the chauffeurs and the porters and the waiters--men who had been there for years and with whom we who visit there Summer after Summer have grown familiar--suddenly stopped work, gave up their jobs, were turned into soldiers. One hardly recognized them.

"We were all stunned. I realized that I could not go on to Rheims, that I probably should not get down into Italy. I scarcely realized at first what that meant. I could not conceive, none of us could conceive," Mr. Smith exploded violently, "that any one, under any necessity whatsoever, should lay hands on the Rheims Cathedral. It's too monstrous! The world will never forgive it, never!

"The world is divided, I tell you! It is not a Double Alliance and a Triple Entente; it is not a Germany and a Russia and a United States and an Italy and an England. That is not the division of the world just now. There are two sides, and only two sides. There is barbarism on the one hand, civilization on the other; there is brutality and there is humanity. And humanity is going to win, but the sacrifices are awful--awful!"

"How about the feeling in France, Mr. Smith?"

"I can't tell you how overwhelmingly pathetic it is--the sight of these brave Frenchmen. Every one has remarked it. Once and for all the tradition that the French are an excitable, emotional people with no grip on their passions and no rein on their impulses--that fiction is dead for all time.

"I saw that whole first act of France's drama. I saw the French people stand still on that first day and take breath. Then I saw France set to work. She was unprepared, but she was ready in spirit. There was no excitement, there were no demonstrations. The men climbed into their trains without any exhibitions of patriotism, without any outbursts. There were many women crying quietly, with children huddled about their skirts.

"The spirit of England is different, but there is the same lack of excitement. I chartered a motor bus when the war broke out and got to Paris, and then went back to London, where I sketched for a month, saw my friends, and talked war.

"Making sketches in war time is very different, by the way, from making sketches in time of peace. It is a business full of possibilities, when all manner of spy suspicions are afloat. I made up my mind to do a sketch of the Royal Exchange. Not as I should have done it a year before, mind you, nor even three months before, but now, with the thought of bomb-dropping Zeppelins in the back of my mind. It occurred to me when I was hurrying along one rainy evening in a taxi past the Stock Exchange, the Globe Insurance, the Bank of England. Everywhere cabs drawn up along the curbing, cabs slipping past, people, great moving crowds of people with their umbrellas up, moving off down Threadneedle and Victoria.

"A lot of human life and some very beautiful architecture and a good part of the world's business, all concentrated here. And I thought to myself what might happen should the cultured Germans get as far as London, and should the defenders of the world's civilization drop a bomb down into the heart of things here. I pictured to myself what havoc could be wrought.

"And I thought, too, of places like Southwark. Ever been in Southwark? Horrible. A year before, when I was making the sketches for my Dickens book, I spent a great deal of time in the Southwark section. Now, with the prospect of Zeppelins, I thought again of Southwark. A bomb in a Southwark street! Good Lord, can you imagine the horror of it! There fifty or sixty families are packed into a single tenement, and the houses in their turn are packed one against the next along streets so narrow that the buildings seem to be nodding to each other, touching foreheads almost. Desperately poor people, children swarming every moment of the day and night up and down these dark stairways, up and down these hideously dark streets. Now drop a bomb in the midst of it all. That is what Englishmen are thinking of now.

"I didn't go over into Southwark; I couldn't stand it. The next day I went back to the Stock Exchange to make my sketch. I've done sketches in London before--every nook and cranny of it--but this time I felt a little nervous when I got there with my umbrella and my little tools. But I managed it. I said to the bobby, I said--"

And then Mr. Smith, getting up from his chair and relapsing into the frown that always means he is going to tell a story, showed how he managed it. It is impossible to reproduce Mr. Smith's inimitable manner.

"'Are you, now?' said I.

"'Well, 'ow can I tell?' said he.

"'But if you're the excellent English bobby that I believe you to be,' said I, 'you'll see at once that I'm an honest American artist just here to do a little sketching.'

"'I tell you,' said he. W'y don't you just pop hup and see 'Is Lordship the Mayor?'

"And so I did pop up and I told the Lord Mayor my troubles, and he waved me a hearty wave of his hand and said he'd do anything to oblige an American, and I came down again, and here was the bobby still very upright but watching my approach from the tail of his eye. And I pretended I had never seen him, but as I went past I slipped him a cigar, and when I passed back again he twinkled his eye. Stuck between the buttons of his coat, there being no other place, was my fat cigar.