Koller is at the 'phone now. "When General Clauss is through," I tell him, "ask him to play something from Chopin." In a moment Koller nods for me to come over. And I am listening to the opening bars--perhaps my nerves are overstrained--but I hear a noise that sounds like a bullet hitting a wire fence, and the music is still. Snatching up the 'phone the orderly tries in vain for a connection and finally transfers it to another wire. Perhaps, after all, I heard only a normal snapping of the wire. Imagination plays strange tricks in this world of uncanny and violent impressions.
The door opens and an orderly comes in with the mail. There are two letters for the Colonel, and while he is reading them Koller opens a bottle of cognac. The Colonel is stuffing one of the letters inside his coat. His eyes are wet and, not to embarrass him, I watch Hauptmann Koller measuring out the cognac. Probably a letter from the Colonel's wife. The door opens again; the room fills with officers, who click their heels and bow to us. "The relief," whispers Koller.
A thin, gray-mustached man, whose precise speech makes you think of a university professor, comes forward; the Colonel remains on his feet. The room seems to stiffen with military etiquette. The Major is making his report to the Colonel. I catch the words: "They put heavy shells on us, beginning with eleven o'clock last night and lasting until one." What time is it now? Ten thirty-three. Soon the shelling starts. It is a very detailed report and, unfolding his map, the Colonel spreads it on the table and indicates a position. The Major studies it and offers some thoughtful comment. How like those Civil War plays played in New York years ago, in fact identical in situation. The Colonel gives some orders, asks if there are any questions, and to the clicking of heels and polite adieus, the relief officers file out. They are going to the trenches.
The good looking private with the Iron Cross salutes. "Sir, the concert is ready."
What! do they keep it up all night? But the Colonel is getting up, leading us out of the room. We follow him out into the night--and the sky seems faintly luminous with weird light--going along the farmhouse wall until we come to a short flight of steps into the ground. Descending, we are seated in an extremely low-roofed bombproof, in which five soldiers, half in uniform, are sitting around a wooden table. They look like the comic band of the music halls. One has a harmonica, another a flute, another sits before an inverted glass bowl, which he is ready to tap with a bayonet tip and beside him is the guitar man--a wonderfully made guitar, its wires, telephone strings, its box, a case for canned goods, planed thin; and there is a serious-faced drummer. But facing them, blasé and autocratic, is a man with sensitive features and pince nez. He has discarded his uniform for an old black coat, and with a dirty hat pulled down over his eyes, he suggests the Jewish comedian of burlesque. Evidently he is the leader for, raising a bayonet scabbard, counting, "_Ein, zwei, drei_," he brings it down and the concert begins.