The Last Shot Part 1

The Last Shot.

by Frederick Palmer.

TO THE READER

This story of war grew out of my experience in many wars. I have been under fire without fighting; known the comrades.h.i.+p of arms without bearing arms, and the hards.h.i.+ps and the humors of the march with only an observer's incentive. A singular career, begun by chance, was pursued to the ends of the earth in the study of the greatest drama which the earth stages. Whether watching a small force of white regulars disciplining a primitive people, or the complex tactics of huge army against huge army; whether watching war in the large or in the small, I have found the same basic human qualities in the white heat of conflict working out the same illusions, heroisms, tragedies, and comedies.

The fellows.h.i.+p of campaigning made the cause of the force that I accompanied mine for the time being. Thus, one who settles in the town of A absorbs its local feeling of rivalry against the town of B in athletic games or character of citizens.h.i.+p. To A, B is never quite sportsmanlike; B is provincial and bigoted and generally inferior. But settle in B and your prejudices reverse their favor from A to B.

Yet in the midst of battle, with the detachment of a non-combatant marvelling at the irony of two lines of men engaged in an effort at mutual extermination, I have caught myself thinking with the other side.

I knew why my side was busy at killing. Why was the other? For the same reasons as ours.

I was seeing humanity against humanity. A man killed was a man killed, courage was courage, sacrifice was sacrifice, romance was romance, a heart-broken mother was a heart-broken mother, a village burned was a village burned, regardless of race or nation. Every war became a story in a certain set form: the rise of the war pa.s.sion; the conflict; victory and defeat; and then peace, in joyous relief, which the nations enjoyed before they took the trouble to fight for it.

But such thoughts have been a familiar theme to the poet, the novelist, the dramatist, the satirist, the dreamer, and the peace propagandist, while the world goes on arming. In want of their talent, I offer experience of the monstrous object of their gibes and imagination. To me, the old war novels have the atmosphere of smoke powder and antiquated tactics which still survived when I went on my first campaign sixteen years ago. These cla.s.sic masterpieces endure through their genius; the excuse of any plodder who chooses their theme to-day is that he deals with the material of to-day.

Methods of light and of motive power have not changed more rapidly in the forty-odd years since the last great European war than the soldier's weapons and his work. With all the symbols of economic improvement the public is familiar, while usually it thinks of war in the old symbols for want of familiarity with the new. My aim is to express not only war as fought to-day, soldiers of to-day under the fire of arms of to-day, but also the effects of war in the _n_th degree of modern organization and methods on a group of men and women, free in its realism from the wild improbabilities of some latter-day novelists who have given us wars in the air or regaled us with the decimation of armies by explosives dropped from dirigibles or their asphyxiation by noxious gases compounded by the hero of the tale.

The Russo-j.a.panese and the Balkan campaigns, particular in their nature, gave me useful impressions, but not the scene for my purpose. The world must think of those wars comparatively as second-rate and only partially ill.u.s.trative, when its fearful curiosity and more fearful apprehension centre on the possibility of the clash of arms between the enormous forces of two first-cla.s.s European land-powers, with their supreme training and precision in arms. What would such a war mean in reality to the soldiers engaged? What the play of human elements? What form the new symbols? Therefore have I laid my scene in a small section of a European frontier, and the time the present.

Identify your combatants, some friends insist. Make the Italians fight the Austrians or the French fight the Germans. As a spectator of wars, under the spell of the growing cosmopolitanism that makes mankind more and more akin, I could not see it in that way and be true to my experience. My soldiers exist for my purpose only as human beings. Race prejudices they have. Race prejudice is one of the factors of war. But make the prejudice English, Italian, German, Russian, or French and there is the temptation for reader and author to forget the story of men as men and war as war. Even as in the long campaign in Manchuria I would see a battle simply as an argument to the death between little fellows in short khaki blouses and big fellows in long gray coats, so I see the Browns and the Grays in "The Last Shot" take the field.

But, though the scene is imaginary, the characters are from life. Their actions and their sayings are those of men whom I have studied under the stress of danger and sudden emergency. The delightful, boyish confidence of Eugene Aronson has been at my elbow in a charge; Feller I knew in the tropics as an outcast who shared my rations; Dellarme's last words I heard from a dying captain; the philosophy of Hugo Mallin is no less familiar than the bragging of Pilzer or the transformation of Stransky, who whistled a wedding-march as he pumped bullets at the enemy. In Lanstron we have a type of the modern officer; in the elder Fragini a type of the soldier of another day. Each marches in his place and plays his part in the sort of spectacle that I have often watched. If there be no particular hero, then I can only say, in confidence behind the scenes, that I have found no one man, however heroic in the martial imagination of his country, to be a particular hero in fact. Take, for example, our trembling little Peterkin, who won the bronze cross for courage.

As for Marta and Minna, they speak for another element--for a good half of the world's population that does not bear arms. In a siege once I had glimpses of women under fire and I learned that bravery is not an exclusively masculine trait. The game of solitaire? Well, it occurred in a house in the midst of bursting sh.e.l.ls. But the part that Marta plays?

Is it extravaganza? Not in war. The author sees it as something very real.

FREDERICK PALMER.

THE LAST SHOT

I

A SPECK IN THE SKY

It was Marta who first saw the speck in the sky. Her outcry and her bound from her seat at the tea-table brought her mother and Colonel Westerling after her onto the lawn, where they became motionless figures, screening their eyes with their hands. The newest and most wonderful thing in the world at the time was this speck appearing above the irregular horizon of the Brown range, in view of a landscape that centuries of civilization had fertilized and cultivated and formed.

At the base of the range ran a line of white stone posts, placed by international commissions of surveyors to the nicety of an inch's variation. In the very direction of the speck's flight a spur of foot-hills extended into the plain that stretched away to the Gray range, distinct at the distance of thirty miles in the bright afternoon light. Faithful to their part in refusing to climb, the white posts circled around the spur, hugging the levels.

In the lap of the spur was La Tir, the old town, and on the other side of the boundary lay South La Tir, the new town. Through both ran the dusty ribbon of a road, drawn straight across the plain and over the glistening thread of a river. On its way to the pa.s.s of the Brown range it skirted the garden of the Gallands, which rose in terraces to a seventeenth-century house overlooking the old town from its outskirts.

They were such a town, such a road, such a landscape as you may see on many European frontiers. The Christian people who lived in the region were like the Christian people you know if you look for the realities of human nature under the surface differences of language and habits.

Beyond the house rose the ruins of a castle, its tower still intact.

Marta always referred to the castle as the baron; for in her girlhood she had a way of personifying all inanimate things. If the castle walls were covered with h.o.a.r frost, she said that the baron was s.h.i.+vering; if the wind tore around the tower, she said that the baron was groaning over the democratic tendencies of the time. On such a summer afternoon as this, the baron was growing old gracefully, at peace with his enemies.

Centuries older than the speck in the sky was the baron; but the pa.s.s road was many more, countless more, centuries older than he. It had been a trail for tribes long before Roman legions won a victory in the pa.s.s, which was acclaimed an imperial triumph. To hold the pa.s.s was to hold the range. All the blood shed there would make a red river, inundating the plain. Marta, a maker of pictures, saw how the legions, brown, sinewy, lean aliens, looked in their close ranks. They were no less real to her imagination than the infantry of the last war thirty years ago, or the Crusaders who came that way, or the baron in person and his s.h.a.ggy-bearded, uncouth, ignorant ruffians who were their own moral law, leaving their stronghold to plunder the people of the fertile plain of the fruits of their toil.

Stone axe, spear and bow, javelin and broadsword, blunderbuss and creaking cannon--all the weapons of all stages in the art of war--had gone trooping past. Now had come the speck in the sky, straight on, like some projectile born of the ether.

"Beside the old baron, we are parvenus," Marta would say. "And what a parvenu the baron would have been to the Roman aristocrat!"

"Our family is old enough--none older in the province!" Mrs. Galland would reply. "Marta, how your mind does wander! I'd get a headache just contemplating the things you are able to think of in five minutes."

The first Galland had built a house on the land that his king had given him for one of the most brilliant feats of arms in the history of the pa.s.s. He had the advantage of the baron in that he could read and write, though with difficulty. Marta had an idea that he was not presentable at a tea-table; however, he must have been more so than the baron, who, she guessed, would have grabbed all the cakes on the plate as a sheer matter of habit in taking what he wanted unless a stronger than he interfered.

Even the tower, raised to the glory of an older family whose descendants, if any survived, were unaware of their lineage, had become known as the Galland tower. The Gallands were rooted in the soil of the frontier; they were used to having war's hot breath blow past their door; they were at home in the language and customs of two peoples; theirs was a peculiar tradition, which Marta had absorbed with her first breath. Every detail of her circ.u.mscribed existence reminded her that she was a Galland.

Town and plain and range were the first vista of landscape that she had seen; doubtless they would be the last. Meanwhile, there was the horizon. She was particularly fond of looking at it. If you are seventeen, with a fanciful mind, you can find much information not in histories or encyclopaedias or the curricula of schools in the horizon.

There she had learned that the Roman aristocrat had turned his thumb down to a lot of barbarian captives because he had a fit of indigestion, and the next day, when his digestion was better, he had scattered coins among barbarian children; that Napoleon, who had also gone over the pa.s.s road, was a pompous, fat little man, who did not always wipe his upper lip clean of snuff when he was on a campaign; that the baron's youngest daughter had lost her eyesight from a bodkin thrust for telling her sister, who had her father's temper, that she was developing a double chin.

For the people of Maria's visions were humanly real to her, and as such she liked and understood them. If the first Galland were half a robber, to disguise the fact because he was her ancestor was not playing fair.

It made him only a lay figure of romance.

One or two afternoons a week Colonel Hedworth Westerling, commander of the regimental post of the Grays on the other side of the white posts, stretched his privilege of crossing the frontier and appeared for tea at the Gallands'. It meant a pleasant half-hour breaking a long walk, a relief from garrison surroundings. Favored in mind and person, favored in high places, he had become a colonel at thirty-two. People with fixed ideas as to the appearance of a soldier said that he looked every inch the commander. He was tall, strong-built, his deep, broad chest suggesting powerful energy. Conscious of his abilities, it was not without reason that he thought well of himself, in view of the order, received that morning, which was to make this a farewell call.

He had found Mrs. Galland an agreeable reflection of an aristocratic past. The daughter had what he defined vaguely as girlish piquancy. He found it amusing to try to answer her unusual questions; he liked the variety of her inventive mind, with its flashes of downright matter-of-factness.

Ascending the steps with his firm, regular tread, he suggested poise and confidence and, perhaps, vanity also in his fastidious dress. As Marta's slight, immature figure came to the edge of the veranda, he wondered what she would be like five years later, when she would be twenty-two and a woman. It was unlikely that he would ever know, or that in a month he would care to know. He would pa.s.s on; his rank would keep him from returning to South La Tir, which was a colonel's billet except in time of war.

Not until tea was served did he mention his new a.s.signment; he was going to the general staff at the capital. Mrs. Galland murmured her congratulations in conventional fas.h.i.+on.

"Into the very holy of holies of the great war machine, isn't it?" Marta asked.

"Yes--yes, exactly!" he replied.

Her chair was drawn back from the table. She leaned forward in a favorite position of hers when she was intensely interested, with hands clasped over her knee, which her mother always found aggravatingly tomboyish. She had a ma.s.s of l.u.s.trous black hair and a mouth rather large in repose, but capable of changing curves of emotion. Her large, dark eyes, luminously deep under long lashes, if not the rest of her face, had beauty. Her head was bent, the lashes forming a line with her brow now, and her eyes had the still flame of wonder that they had when she was looking all around a thing and through it to find what it meant.

Westerling knew by the signs that she was going to break out with one of her visions, rather than one of her whimsical ideas. She was seeing the Roman general, the baron, the first Galland, and the fat, pompous little man, no less in the life than Hedworth Westerling. She had fused them into one.

"Some day you will be chief of staff, the head of the Gray army!" she suddenly exclaimed.

Westerling started as if he had been surprised in a secret. Then he flushed slightly.

"Why?" he asked with forced carelessness. "Your reasons? They're more interesting than your prophecy."

"Because you have the will to be," she said without emphasis, in the impersonal revelations of thought. "You want power. You have ambition."

He looked the picture of it, with his square jaw, his well-moulded head set close to the shoulders on a st.u.r.dy neck, his even teeth showing as his lips parted in an unconscious smile.

"Marta, Marta! She is--is so explosive," Mrs. Galland remarked apologetically to the colonel.

"I asked for her reasons. I brought it on myself--and it is not a bad compliment," he replied. Indeed, he had never received one so thrilling.