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In such a mood as that there is no sense of terror or despair at the quick-coming onset of death; no more dread of what may be than there is when the hamlet, with its little roofs and tall trees, is folded in the arms of the night, as the sunset dies behind the hill. Beauty may be a terrible thing, as in the sheeted cataract, with all its boiling eddies, or in the falling of the lightning from the womb of the cloud. There is desolation behind that, gigantic movement, ruthless force; but charm comes like a signal of security and good-will, and even its inevitable end is lit with something of mercy and quietness. The danger of charm is that it is the mother of sentiment; and the danger of sentiment is not that it is untrue, but that it takes from us the sense of proportion; we begin to be unable to do without our little scenes and sunsets; and the eye gets so used to dwelling upon the flower-strewn pleasaunce, with its screening trees, that it cannot bear to face the far horizon, with its menace of darkness and storm.

In the old warfare a man was either stabbed, shot, or thrust through after an hour or so of excitement, and all the wounded on the field were either comfortably murdered or attended to before the dawn of the next day. One was killed by human hands, with understandable and tolerable injuries. But in this war the bulk of the dead--of the western Allies, at any rate--have been killed by machinery, the wounds have been often of an inconceivable horribleness, and the fate of the wounded has been more frightful than was ever the plight of wounded in the hands of victorious savages. For days multitudes of men have been left mangled, half buried in mud and filth, or soaked with water, or frozen, crying, raving between the contending trenches. The number of men that the war, without actual physical wounds, has shattered mentally and driven insane because of its noise, its stresses, its strange unnaturalness, is enormous. Horror in this war has overcome more men than did all the arrows of Cressy.


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