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compact column.

The long animal-like thing moved slightly. Its four hundred eyes were turned upon the figure of Collins.

"Well, sir, if that ain't th' derndest thing! I never thought Fred Collins had the blood in him for that kind of business."

"What's he goin' to do, anyhow?" "He's goin' to that well there after water." "We ain't dyin' of thirst, are we? That's foolishness."

"Well, somebody put him up to it, an' he's doin' it."

"Say, he must be a desperate cuss."

When Collins faced the meadow and walked away from the regiment, he was vaguely conscious that a chasm, the deep valley of all prides, was suddenly between him and his comrades. It was provisional, but the provision was that he return as a victor. He had blindly been led by quaint emotions, and laid himself under an obligation to walk squarely up to the face of death.

But he was not sure that he wished to make a retraction, even if he could do so without shame. As a matter of truth, he was sure of very little. He was mainly surprised.

It seemed to him supernaturally strange that he had allowed his mind to maneuver his body into such a situation. He understood that it might be called dramatically great.

However, he had no full appreciation of anything, excepting that he was actually conscious of being dazed. He could feel his dulled mind groping after the form and color of this incident. He wondered why he did not feel some keen agony of fear cutting his sense like a knife. He wondered at this, because human expression had said loudly. for centuries that men should feel afraid of certain things, and that all men who did not feel this fear were phenomena-heroes.

He was, then, a hero. He suffered that disappointment which we would all have if we discovered that we were ourselves capable of those deeds which we most admire in history and legend. This, then, was a hero. After all, heroes were not much.

No, it could not be true. He was not a hero. Heroes had no shames in their lives, and, as for him, he remembered borrowing fifteen dollars from a friend and promising

to pay it back the next day, and then avoiding that friend for ten months. When at home his mother had aroused him for the early labor of his life on the farm, it had often been his fashion to be irritable, childish, diabolical; and his mother had died since he had come to the war.

He saw that, in this matter of the well, the canteens, the shells, he was an intruder in the land of fine deeds.

He was now about thirty paces from his comrades. The regiment had just turned its many faces toward him.

From the forest of terrific noises there suddenly emerged a little uneven line of men. They fired fiercely and rapidly at distant foliage on which appeared little puffs of white smoke. The spatter of skirmish firing was added to the thunder of the guns on the hill. The little line of men ran forward. A color sergeant fell flat with his flag as if he had slipped on ice. There was hoarse cheering from this distant field.

Collins suddenly felt that two demon fingers were pressed into his ears. He could see nothing but flying arrows, flaming red. He lurched from the shock of this explosion, but he made a mad rush for the house, which he viewed as a man submerged to the neck in a boiling surf might view the shore. In the air, little pieces of shell howled and the earthquake explosions drove him insane with the menace of their roar. As he ran, the canteens knocked together with a rhythmical tinkling.

As he neared the house, each detail of the scene became vivid to him. He was aware of some bricks of the vanished chimney lying on the sod. There was a door which hung by one hinge.

Rifle bullets called forth by the insistent skirmishers came from the far-off bank of foliage. They mingled with the shells and the pieces of shells until the air was torn in all directions by hootings, yells, howls. The sky was full of fiends who directed all their wild rage at his head.

When he came to the well, he flung himself face downward and peered into its darkness. There were furtive silver glintings some feet from the surface. He grabbed one of the canteens and, unfastening its cap, swung it down by the cord. The water flowed slowly in with an indolent gurgle.

And now as he lay with his face turned away he was suddenly smitten with the terror. It came upon his heart like the grasp of claws. All the power faded from his muscles. For an instant he was no more than a dead man.

The canteen filled with a maddening slowness, in the manner of all bottles. Presently he recovered his strength and addressed a screaming oath to it. He leaned over until it seemed as if he intended to try to push water into it with his hands. His eyes as he gazed down into the well shone like two pieces of metal and in their expression was a great appeal and a great curse. The stupid water derided him.

There was the blaring thunder of a shell. Crimson light shone through the swiftboiling smoke and made a pink reflection on part of the wall of the well. Collins jerked out his arm and canteen with the same motion that a man would use in withdrawing his head from a furnace.

He scrambled erect and glared and hesitated. On the ground near him lay the old well bucket, with a length of rusty chain. He lowered it swiftly into the well. The bucket struck the water and then, turning lazily over, sank. When, with hand reaching tremblingly over hand, he hauled it out, it knocked often against the walls of the well and spilled some of its contents.

In running with a filled bucket, a man can adopt but one kind of gait. So through this terrible field over which screamed practical angels of death Collins ran in the manner of a farmer chased out of a dairy by a bull.

His face went staring white with anticipation-anticipation of a blow that would whirl him around and down. He would fall as he had seen other men fall, the life knocked out of them so suddenly that their knees were no more quick to touch the ground than their heads. He saw the long blue line of the regiment, but his comrades were standing looking at him from the edge of an impossible star. He was aware of some deep wheel ruts and hoofprints in the sod beneath his feet.

only by shells, bullets. When wild-eyed Collins came running, this officer raised himself. His face contorted and blanched from pain, he was about to utter some great beseeching cry. But suddenly his face straightened and he called: "Say, young man, give me a drink of water, will you?"

Collins had no room amid his emotions for surprise. He was mad from the threats of destruction.

"I can't!" he screamed, and in his reply was a full description of his quaking apprehension. His cap was gone and his hair was riotous. His clothes made it appear that he had been dragged over the ground by the heels. He ran on.

The officer's head sank down and one elbow crooked. His foot in its brass-bound stirrup still stretched over the body of his horse and the other leg was under the steed.

But Collins turned. He came dashing back. His face had now turned gray and in his eyes was all terror. "Here it is! here it is!"

The officer was as a man gone in drink. His arm bent like a twig. His head drooped as if his neck were of willow. He was sinking to the ground, to lie face downward.

Collins grabbed him by the shoulder. "Here it is. Here's your drink. Turn over. Turn over, man, for God's sake!"

With Collins hauling at his shoulder, the officer twisted his body and fell with his fac turned toward that region where lived the unspeakable noises of the swirling missiles. There was the faintest shadow of a smile on his lips as he looked at Collins. He gave a sigh, a little primitive breath like that from a child.

Collins tried to hold the bucket steadily, but his shaking hands caused the water to splash all over the face of the dying man. Then he jerked it away and ran on.

The regiment gave him a welcoming roar. The grimed faces were wrinkled in laughter. His captain waved the bucket away. "Give it to the men!"

The two genial, skylarking young lieutenants were the first to gain possession of it. They played over it in their fashion.

When one tried to drink the other teas

The artillery officer who had fallen in this meadow had been making groans in the teethingly knocked his elbow. "Don't, Billie! You'll make me spill it," said the one. The other laughed.

of the tempest of sound. These futile cries, wrenched from him by his agony, were heard

Suddenly there was an oath, the thud of wood on the ground, and a swift murmur of astonishment among the ranks. The two lieutenants glared at each other. The bucket lay on the ground empty.

PASSAGE FROM

A GRAY SLEEVE1

ALONG the rear of the brigade of infantry a column of cavalry was sweeping at a hard gallop. A lieutenant, riding some yards to the right of the column, bawled furiously at the four troopers just at the rear of the colors. They had lost distance and made a little gap, but at the shouts of the lieutenant they urged their horses forward. The bugler, careering along behing the captain of the troop, fought and tugged like a wrestler to keep his frantic animal from bolting far ahead of the column.

On the springy turf the innumerable hoofs thundered in a swift storm of sound. In the brown faces of the troopers their eyes were set like bits of flashing steel.

The long line of the infantry regiments standing at ease underwent a sudden movement at the rush of the passing squadron. The foot soldiers turned their heads to gaze at the torrent of horses and men.

The yellow folds of the flag fluttered back in silken, shuddering waves as if it were a reluctant thing. Occasionally a giant spring of a charger would rear the firm and sturdy figure of a soldier suddenly head and shoulders above his comrades. Over the noise of the scudding hoofs could be heard the creaking of leather trappings, the jingle and clank of steel, and the tense, lowtoned commands or appeals of the men to their horses. And the horses were mad with the headlong sweep of this movement. Powerful underjaws bent back and straightened so that the bits were clamped as rigidly as vices upon the teeth, and glistening necks arched in desperate resistance to the hands at the bridles. Swinging their heads in rage at the granite laws of their lives, which compelled even their angers and their

1 Reprinted from The Little Regiment by Stephen Crane with the permission of, and by special arrangement with, Alfred A. Knopf, Inc., the authorized publishers.

ardors to chosen directions and chosen faces, their flight was as a flight of harnessed demons.

The captain's bay kept its pace at the head of the squadron with the lithe bounds of a thoroughbred, and this horse was proud as a chief at the roaring trample of his fellows behind him. The captain's glance was calmly upon the grove of maples whence the sharpshooters of the enemy had been picking at the blue line. He seemed to be reflecting. He stolidly rose and fell with the plunges of his horse in all the indifference of a deacon's figure seated plumply in church. And it occurred to many of the watching infantry to wonder why this officer could remain imperturbable and reflective when his squadron was thundering and swarming behind him like the rushing of a flood.

The column swung in a saber-curve toward a break in a fence, and dashed into a roadway. Once a little plank bridge was encountered, and the sound of the hoofs upon it was like the long roll of many drums. An old captain in the infantry turned to his first lieutenant and made a remark which was a compound of bitter disparagement of cavalry in general and soldierly admiration of this particular troop.

Suddenly the bugle sounded, and the column halted with a jolting upheaval amid sharp, brief cries. A moment later the men had tumbled from their horses, and, carbines in hand, were running in a swarm toward the grove of maples. In the road one of every four of the troopers was standing with braced legs, and pulling and hauling at the bridles of four frenzied horses.

The captain was running awkwardly in his boots. He held his saber low so that the point often threatened to catch in the turf. His yellow hair ruffled out from under his faded cap. "Go in hard now!" he roared, in a voice of hoarse fury. His face was violently red.

The troopers threw themselves upon the grove like wolves upon a great animal. Along the whole front of woods there was the dry, crackling of musketry, with bitter, swift flashes and smoke that writhed like stung phantoms. The troopers yelled shrilly and spanged bullets low into the foliage.

For a moment, when near the woods, the line almost halted. The men struggled and fought for a time like swimmers encountering

a powerful current. Then with a supreme effort they went on again. They dashed madly at the grove, whose foliage from the high light of the field, was as inscrutable as a wall.

Then suddenly each detail of the calm trees became apparent, and with a few more frantic leaps the men were in the cool gloom of the woods. There was a heavy odor as from burned paper. Wisps of gray smoke wound upward. The men halted and, grimy, perspiring, and puffing, they searched the recesses of the woods with eager, fierce glances. Figures could be seen flitting afar

off. A dozen carbines rattled at them in an angry volley.

During this pause the captain strode along the line, his face lit with a broad smile of contentment. "When he sends this crowd to do anything, I guess he'll find we do it pretty sharp," he said to the grinning lieutenant.

"Say, they didn't stand that rush a minute, did they?" said the subaltern. Both officers were profoundly dusty in their uniforms, and their faces were soiled like those of two urchins.

Out in the grass behind them were three tumbled and silent forms.

WILLIAM CRARY BROWNELL (1851- )

Mr. Brownell was born in New York on 30 August, 1851. He was graduated from Amherst College in 1871, and since then has received two honorary degrees from that institution, as well as another from Columbia University. He is also a member of the American Academy of Arts and Letters. In 1879 he joined the staff of the New York Nation, and remained in that position for several years. Shortly thereafter he became a literary adviser of Messrs. Charles Scribner's Sons, and has continued since to hold this post. Mr. Brownell has devoted himself wholly to criticism, and has published a number of volumes each of which is a weighty and valuable contribution to this field of literature. Their titles and dates of publication are: French Traits, An Essay in Comparative Criticism (1889), French Art, Classic and Contemporary Painting and Sculpture (1892), Victorian Prose Masters (1901; essays on Thackeray, Carlyle, George Eliot, Matthew Arnold, Ruskin, and George Meredith), American Prose Masters (1909; essays on Cooper, Hawthorne, Emerson, Poe, Lowell, and Henry James), Criticism (1914), Standards (1917), and The Genius of Style (1924).

Depreciation of criticism has doubtless flourished among disappointed writers and artists since the dawn of history, but it was an unfortunate aspect of the romantic movement of the first years of the nineteenth century that it tended to encourage such depreciation on the part of the whole reading public. For the reading public in immediately following years was being rapidly enlarged, thanks to cheap printing and popular education, while the new members' bumptious self-confidence, born of ignorance, was also being encouraged from another quarter by the spread of equalitarian political doctrine. The result was a chaos of mediocrity and vulgarity masquerading as literature, accompanied by a stubborn contempt for criticism and, of course, for critics. It was not realized that, as Mr. Brownell has observed, "some standard is a necessary postulate, not only of all criticism, but of all discussion or even discourse." It was not realized-is perhaps not yet sufficiently realized-that criticism is really an important division of literature, essential to its fruitful development and likewise essential to the growth of culture and even, indeed, to the continuance of a high level of civilization. Despite misunderstanding and opposition, however, significant criticism early made its appearance in America, in the work of Emerson and Poe; and it is one of the most encouraging signs of the present day, full of meaning for the future of literature and art and culture in the United States, that in recent years criticism has had a great development, in the hands of a few contemporaries attaining a classic strength and weight and depth which enable it to court and survive comparison with the best criticism of any other age or country. This recent development of a fully informed, mature, reflective criticism is, in fact, one of the most significant aspects of American literature since, let us say, 1890.

Mr. Brownell's contributions to this difficult art are of a very distinguished order, and he has himself clearly stated his conception of its function: "Criticism . . . may not inexactly be described

as the statement of the concrete in terms of the abstract. It is its function to discern and characterize the abstract qualities informing the concrete expression of the artist. Every important piece of literature, as every important work of plastic art, is the expression of a personality, and it is not the material of it, but the mind behind it, that invites critical interpretation. Materially speaking, it is its own interpretation. The concrete absorbs the constructive artist whose endeavor is to give substance to his idea, which until expressed is an abstraction. The concern of criticism is to measure his success by the correspondence of his expression to the idea it suggests and by the value of the idea itself." "The true objects of" the critic's "contemplation are the multifarious elements of truth, beauty, goodness, and their approximations and antipodes, underlying the various phenomena which express them, rather than the laws and rules peculiar to each form of phenomenal expression; which, beyond acquiring the familiarity needful for adequate appreciation, he may leave to the professional didacticism of each. And in thus confining itself to the art and eschewing the science of whatever forms its subject-mindful mainly of no science, indeed, except its own-criticism is enabled to extend its field while restricting its function, and to form a distinct province of literature, while relinquishing encroachments upon the territory of more exclusively constructive art." (Criticism, pp. 16–17, 18.)

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