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90 imposed on each of them by the madness of mankind." Then comes the "headlong rush to the abyss," where blindly, amid shell-splinters hissing like red-hot iron plunged into water, amid the stench of sulphur, they race forward. Next comes the butchery in the trenches, where "at first the men do not know what to do," but where a frenzy soon seizes them, so that "they hardly recognise those whom they know best, and it seems as if all their previous life had suddenly retreated to a vast distance.…" Then the exultation passes, and "nothing remains but infinite fatigue and infinite waiting."

But I must cut these descriptions short, for I have to consider the leading content of the work, its thought.

In War and Peace the profound sense of the destiny which guides mankind is ardently sought, and is found from time to time by the light of some flash of suffering or of genius, found by those few who, through breed or individual sensibility, have exceptional insight: for instance Prince Andrew, Peter Besuhov. But a great roller seems to have passed over the peoples of to-day, reducing all to a level. The most that can happen is that for a moment, now and again, there may rise from the huge flock the isolated bleating of one of the beasts about to die. Thus we have the ethereal figure of Corporal Bertrand, "with his thoughtful smile"—the merest sketch—"a man of few words, never talking of himself"; a man who could once only deliver up the secret of his anguished thoughts—in the twilight hour which follows the killing, just before he himself is killed. He thinks of those whom he has slain in the frenzy of the hand-to-hand fighting:

"It had to be done," he said. "It had to be done, for the sake of the future."

He folded his arms and threw up his head.

"The future!" he cried, all of a sudden. "Those who live after us—what will they think of these killings, …