“You must halways keep in mind that the henemy is before you. It's important that you should visualise your foe. The henemy is hever before you. Anything be-ind a British soldier won't trouble anybody, and you are to remember that hit's either you or 'im.”
In moments of rapid action the sergeant major evidently had difficulty with his aspirates.
“The suspended sacks before you represent the henemy. You are to treat 'em so.”
Having got his line within striking distance of the swinging sacks, the exercise was directed by two commands, “On guard!” and “Point!” the first of which was supposed to knock off the enemy's thrust, and the second to drive the bayonet home into his vitals, after which, without command, there must be a swift recovery.
For some moments, in response to these orders, the squad practised “guarding” and “pointing,” not, however, to the complete satisfaction of the sergeant.
“Naw, then, number five, stick it hinto 'im. Ye ain't 'andin' a lidy an unbreller!”
Another attempt by number five being still suggestive of the amenities proper to a social function, the sergeant major stepped up to the overgentle soldier.
“Naw, then,” he said, “hobserve! There's my henemy. See 'is hugly mug. Hn-gah! Pint!!!”
At the words of command, the sergeant major threw himself into his guard and attacked with such appalling ferocity as must have paralysed an ordinary foe, sending his bayonet clean through to his guard, and recovering it with a clean, swift movement.
Having secured a fairly satisfactory thrust, the sergeant major devoted his attention to the recovery of the bayonet.
“Fetch it hout!” he cried fiercely. “There's another man comin'. Fetch it hout! Ye may fetch 'is spinial column with it. No matter, 'e won't need it.”
The final act in this gruesome drama was the attack upon the second line represented by the sacks lying upon the parapet of the trench beyond. The completed action thus included the guard, thrust, recovery, the leap forward past the swinging line of sacks, and a second thrust at the figure prone upon the parapet, with a second recovery of the weapon, this second recovery being effected by stamping the foot upon the transfixed effigy, and jerking back the bayonet with a violent upward movement.