Front Lines — Background and Themes

d it home, and, on receiving warm words of praise from his mother in Mile End, and the information that the coffin was installed for ever as a household ornament and an object of interest and admiration to all neighbours, a steady export trade in clay coffins was established from the Oughth London to friends and relatives at home.

The Art School was still flourishing when the unit was moved up from its peaceful and prolonged rest to take a turn up behind the firing-line. The removal from their clay supply might have closed down the artistic activities, but, fortunately, the Oughth had hardly settled in to their new quarters when it was found that the whole ground was one vast bed of chalk, chalk which was easily obtainable in any shaped and sized lumps and which proved most delightfully easy to manipulate with a jack or pen-knife. The new modelling material, in fact, gave a fillip of novelty to the art, and the coffins and crosses proved, when completed, to have a most desirable quality of solidity and of lasting and retaining their shape and form far better than the similar objects in clay.

Better still, the chalk could be carried about on the person as no clay could, and worked at anywhere in odd moments. Bulging side-pockets became a marked feature of inspection parades, until one day when the C.O. went round, and noticing a craggy projection under the pocket of Private Copple, demanded to know what the private was loading himself with, and told him abruptly to show the contents of his pocket. On Copple producing with difficulty a lump of partially carved chalk, the C.O. stared at it and then at the sheepish face of the private in blank amazement. “What’s this?” he demanded. “What is it?”

“It—it’s a elephant, sir,” said Copple.

“An elephant,” said the C.O. dazedly. “An _elephant_?”

“Yessir—leastways, it will be a elephant when it’s finished,” said Copple bashfully.

“Elephant—will be——” spluttered the C.O., turning to the officer who accompanied him. “Is the man mad?”

“I think, sir,” said the junior, “he is trying to carve an elephant out of a lump of chalk.”

“That’s it, sir,” said Copple, and with a dignified touch of resentment at the “trying,” “I _am_ carving out a elephant.”

The C.O. turned over the block of chalk with four rudimentary legs beginning to sprout from it, and then handed it back. “Take it away,” he said. “Fall out, and take the thing away. And when you come on parade next time leave—ah—your elephants in your billet.”

Copple fell out, and the inspection proceeded. But now the eye of the C.O. went straight to each man’s pocket, and further lumps of chalk of various sizes were produced one by one. “Another elephant?” said the C.O. to the first one. “No, sir,” said the sculptor. “It’s a coffin.” “A co—coffin,” said the C.O. faintly, and, turning to the officer, “A coffin is what he said, eh?” The officer, who knew a good deal of the existing craze, had difficulty in keeping a straight face. “Yes, sir,” he said chokily, “a coffin.” The C.O. looked hard at the coffin and at its creator, and handed it back. “And you,” he said to the next man, tapping with his cane a nobbly pocket. “Mine’s a coffin, too, sir,” and out came another coffin.

The C.O. stepped back a pace, and let his eye rove down the line. The next man shivered as the eye fell on him, as well he might, because he carried in his pocket a work designed to represent the head of the C.O.—a head of which, by the way, salient features lent themselves readily to caricature. None of these features had been overlooked by the artist, and the identity of the portrait had been further established by the eye-glass which it wore, and by the exaggerated badges of rank on the shoulder. Up to the inspection and the horrible prospect that the caricature would be confronted by its original, the artist had been delighted with the praise bestowed by the critics on the “likeness.” Now, with the eye of the C.O. roaming over his shrinking person and protruding pocket, he cursed despairingly his own skill.

“I think,” said the C.O. slowly, “the parade had better dismiss, and when they have unburdened themselves of their—ah—elephants and—ah—coffins—ah—fall in again for inspection.”