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RV 103 (WORK IN LONDON) temples overhung with smirchings of vapour. Great fields are covered with scraps of rusty iron and heaps of fluttering rags; dismal pools of water reflect on black waste grounds the dim skies. But all these things, if one is in the mood, one may find stimulating, because they tell of human toil, of human endeavour towards some end with some ideal at that end. But the other thing is sinister, since the other influences are working invisible, like malign and conscious fates, below the horizon.

To assist at the obsequies of one of these great works is more suggestive than to have seen the corpses in the snow of the retreat from Moscow. It is more horrible because the sufferers have fought in a fight much more blind and suffer inarticulately in the midst of their suffering children and in the face of their desolate homes. They suffer for no apparent principle, for no faith, for no fame, for no nation, for no glory; they suffer the shame of poverty without the compensating glory of defeat. They have not ever seen their Napoleon ride slowly along their cheering lines.

For London, if it attracts men from a distance with a glamour like that of a great and green gaming table, shows, when they are close to it, the indecipherable face of a desperate battle field, without ranks, without order, without pity and with very little of discoverable purpose. Yet those that it has attracted it holds for ever, because in its want of logic it is so very human.

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