XIX
VOX CLAMANTIS…[1]
AFTER the glacial torpor of the early days of the war, mutilated art begins to bloom anew. The irrepressible song of the soul wells up out of suffering. Man is not merely, as he is apt to boast, a reasoning animal (he might, with better ground, term himself an unreasoning one); he is a singing animal; he can no more get on without singing than without bread. We learn it amid the very trials through which we are passing to-day. Although the general suppression of liberty in Europe has doubtless deprived us of the deeper music, of the most intimate confessions, we nevertheless hear great voices rising from every land. Some of these, coming from the armies, sing in sad and epic strains. See, for example, Under Fire by Henri Barbusse, and the heart-rending tales issued by Andreas Latzko under the collective title of Men in Battle. Others express the pain and horror of those who, remaining at home, look on at the butchery without taking part in it, and who, being inactive, suffer all the more from the torments of thought. To this category belong the impassioned poems of Marcel Martinet[2] and P. J. Jouve[3]. Paying less attention to suffering and more concerned with understanding, the English novelists, H. G. Wells[4] and
- ↑ Stefan Zweig, Jeremias, eine dramatische Dichtung in neun Bildern, Insel-Verlag, Leipzig, 1917.
- ↑ Les Temps maudits, "demain," Geneva.
- ↑ Vous êtes des hommes, "Nouvelle Revue Française," Paris; and Poème contre le grand crime, "demain," Geneva; above all the admirable Danse des Morts, "Les Tablettes," Geneva, republished by "L'Action Sociale," La-Chaux-de-Fonds.
- ↑ Mr. Britling sees it Through, Cassell, London, 1916.
