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@xy, member from Sept. 25, 2023
Henri Barbusse photo

“One after another, sundry women have occupied my life.”

Henri Barbusse (1873–1935) French novelist

Light (1919), Ch. VII - A Summary
Context: One after another, sundry women have occupied my life. Antonia Veron was first. Her marriage and mine, their hindrance and restriction, threw us back upon each other as of yore. We found ourselves alone one day in my house — where nothing ever used to happen, and she offered me her lips, irresistibly. The appeal of her sensuality was answered by mine, then, and often later. But the pleasure constantly restored, which impelled me towards her, always ended in dismal enlightenments. She remained a capricious and baffling egotist, and when I came away from her house across the dark suburb among a host of beings vanishing, like myself, I only brought away the memory of her nervous and irritating laugh, and that new wrinkle which clung to her mouth like an implement.
Then younger desires destroyed the old, and gallant adventures begot one another. It is all over with this one and that one whom I adored. When I see them again, I wonder that I can say, at one and the same time, of a being who has not changed, "How I loved her!" and, "How I have ceased to love her!"

Henri Barbusse photo

“There is nothing between the paradise dreamed of and the paradise lost. There is nothing, since we always want what we have not got. We hope, and then we regret.”

Henri Barbusse (1873–1935) French novelist

Light (1919), Ch. XXIII - Face To Face
Context: There is nothing between the paradise dreamed of and the paradise lost. There is nothing, since we always want what we have not got. We hope, and then we regret. We hope for the future, and then we turn to the past, and then we begin slowly and desperately to hope for the past! The two most violent and abiding feelings, hope and regret, both lean upon nothing. To ask, to ask, to have not! Humanity is exactly the same thing as poverty. Happiness has not the time to live; we have not really the time to profit by what we are. Happiness, that thing which never is — and which yet, for one day, is no longer!

Henri Barbusse photo

“To live is to be happy to live.”

Henri Barbusse (1873–1935) French novelist

Light (1919), Ch. XXIII - Face To Face
Context: To live is to be happy to live. The usefulness of life — ah! its expansion has not the mystic shapes we vainly dreamed of when we were paralyzed by youth. Rather has it a shape of anxiety, of shuddering, of pain and glory. Our heart is not made for the abstract formula of happiness, since the truth of things is not made for it either. It beats for emotion and not for peace. Such is the gravity of the truth.

Henri Barbusse photo

“We do not die. Each human being is alone in the world.”

Henri Barbusse (1873–1935) French novelist

The Inferno (1917), Ch. XIV
Context: We do not die. Each human being is alone in the world. It seems absurd, contradictory to say this, and yet it is so. But there are many human beings like me. No, we cannot say that. In saying that, we set ourselves outside the truth in a kind of abstraction. All we can say is: I am alone.
And that is why we do not die.

Henri Barbusse photo

“I do not regret my youth and its beliefs. Up to now, I have wasted my time to live. Youth is the true force, but it is too rarely lucid.”

Henri Barbusse (1873–1935) French novelist

Light (1919), Ch. XXII - Light
Context: I do not regret my youth and its beliefs. Up to now, I have wasted my time to live. Youth is the true force, but it is too rarely lucid. Sometimes it has a triumphant liking for what is now, and the pugnacious broadside of paradox may please it. But there is a degree in innovation which they who have not lived very much cannot attain. And yet who knows if the stern greatness of present events will not have educated and aged the generation which to-day forms humanity's effective frontier? Whatever our hope may be, if we did not place it in youth, where should we place it?

Henri Barbusse photo

“The immense mourning of human hearts appears to us. We dare not name it yet; but we dare not let it not appear in all that we say.”

Henri Barbusse (1873–1935) French novelist

Light (1919), Ch. XIX - Ghosts
Context: In those former times we lived. Now we hardly live any more, since we have lived. They who we were are dead, for we are here. Her glances come to me, but they do not join again the two surviving voids that we are; her look does not wipe out our widowhood, nor change anything. And I, I am too imbued with clear-sighted simplicity and truth to answer "no" when it is "yes." In this moment by my side Marie is like me.
The immense mourning of human hearts appears to us. We dare not name it yet; but we dare not let it not appear in all that we say.

Henri Barbusse photo

“To understand life, and love it to its depths in a living being, that is the being's task, and that his masterpiece”

Henri Barbusse (1873–1935) French novelist

Light (1919), Ch. XXIII - Face To Face
Context: To understand life, and love it to its depths in a living being, that is the being's task, and that his masterpiece; and each of us can hardly occupy his time so greatly as with one other; we have only one true neighbor down here.

Henri Barbusse photo

“I believe in a lofty form of poetry, in the work in which beauty will be mingled with beliefs.”

Henri Barbusse (1873–1935) French novelist

The Inferno (1917), Ch. XVII
Context: Who shall compose the Bible of human desire, the terrible and simple Bible of that which drives us from life to life, the Bible of our doings, our goings, our original fall? Who will dare to tell everything, who will have the genius to see everything?
I believe in a lofty form of poetry, in the work in which beauty will be mingled with beliefs. The more incapable of it I feel myself, the more I believe it to be possible. The sad splendour with which certain memories of mine overwhelm me, shows me that it is possible. Sometimes I myself have been sublime, I myself have been a masterpiece. Sometimes my visions have been mingled with a thrill of evidence so strong and so creative that the whole room has quivered with it like a forest, and there have been moments, in truth, when the silence cried out.
But I have stolen all this, and I have profited by it, thanks to the shamelessness of the truth revealed. At the point in space in which, by accident, I found myself, I had only to open my eyes and to stretch out my mendicant hands to accomplish more than a dream, to accomplish almost a work.

Henri Barbusse photo

“There are official proclamations, full of the notion of liberty and rights, which would be beautiful if they said truly what they say. But they who compose them do not attach their full meaning to the words. What they recite they are not capable of wanting, nor even of understanding.”

Henri Barbusse (1873–1935) French novelist

Light (1919), Ch. XXII - Light
Context: There are official proclamations, full of the notion of liberty and rights, which would be beautiful if they said truly what they say. But they who compose them do not attach their full meaning to the words. What they recite they are not capable of wanting, nor even of understanding. The one indisputable sign of progress in ideas to-day is that there are things which they dare no longer leave publicly unsaid, and that's all. There are not all the political parties that there seem to be. They swarm, certainly, as numerous as the cases of short sight; but there are only two — the democrats and the conservatives. Every political deed ends fatally either in one or the other, and all their leaders have always a tendency to act in the direction of reaction.

Henri Barbusse photo

“We're forgetting-machines. Men are things that think a little but chiefly forget. That's what we are.”

Henri Barbusse book Under Fire

Under Fire (1916), Ch. 24 - The Dawn
Context: The paralysis of cold was passing away from the knot of sufferers, though the light no longer made any progress over the great irregular marsh of the lower plain. The desolation proceeded, but not the day.
Then he who spoke sorrowfully, like a bell, said. "It'll be no good telling about it, eh? They wouldn't believe you; not out of malice or through liking to pull your leg, but because they couldn't. When you say to 'em later, if you live to say it, 'We were on a night job and we got shelled and we were very nearly drowned in mud,' they'll say, 'Ah!' And p'raps they'll say. 'You didn't have a very spicy time on the job.' And that's all. No one can know it. Only us."
"No, not even us, not even us!" some one cried.
"That's what I say, too. We shall forget — we're forgetting already, my boy!"
"We've seen too much to remember."
"And everything we've seen was too much. We're not made to hold it all. It takes its damned hook in all directions. We're too little to hold it."
"You're right, we shall forget! Not only the length of the big misery, which can't be calculated, as you say, ever since the beginning, but the marches that turn up the ground and turn it again, lacerating your feet and wearing out your bones under a load that seems to grow bigger in the sky, the exhaustion until you don't know your own name any more, the tramping and the inaction that grind you, the digging jobs that exceed your strength, the endless vigils when you fight against sleep and watch for an enemy who is everywhere in the night, the pillows of dung and lice — we shall forget not only those, but even the foul wounds of shells and machine-guns, the mines, the gas, and the counter-attacks. At those moments you're full of the excitement of reality, and you've some satisfaction. But all that wears off and goes away, you don't know how and you don't know where, and there's only the names left, only the words of it, like in a dispatch."
"That's true what he says," remarks a man, without moving his head in its pillory of mud. When I was on leave, I found I'd already jolly well forgotten what had happened to me before. There were some letters from me that I read over again just as if they were a book I was opening. And yet in spite of that, I've forgotten also all the pain I've had in the war. We're forgetting-machines. Men are things that think a little but chiefly forget. That's what we are."
"Then neither the other side nor us'll remember! So much misery all wasted!"
This point of view added to the abasement of these beings on the shore of the flood, like news of a greater disaster, and humiliated them still more.
"Ah, if one did remember!" cried some one.
"If we remembered," said another, "there wouldn't be any more war."

Henri Barbusse photo

“The idea of motherland is not a false idea, but it is a little idea, and one which must remain little.”

Henri Barbusse (1873–1935) French novelist

Light (1919), Ch. XX The Cult
Context: The idea of motherland is not a false idea, but it is a little idea, and one which must remain little.
There is only one common good. There is only one moral duty, only one truth, and every man is the shining recipient and guardian of it. The present understanding of the idea of motherland divides all these great ideas, cuts them into pieces, specializes them within impenetrable circles. We meet as many national truths as we do nations, and as many national duties, and as many national interests and rights — and they are antagonistic to each other.

Henri Barbusse photo

“It is not only a right; it is a virtue.”

Henri Barbusse (1873–1935) French novelist

Light (1919), Ch. XVI - De Profundis Clamavi
Context: Men have gone towards each other because of that ray of light which each of them contains; and light resembles light. It reveals that the isolated man, too free in the open expanses, is doomed to adversity as if he were a captive, in spite of appearances; and that men must come together that they may be stronger, that they may be more peaceful, and even that they may be able to live.
For men are made to live their life in its depth, and also in all its length. Stronger than the elements and keener than all terrors are the hunger to last long, the passion to possess one's days to the very end and to make the best of them. It is not only a right; it is a virtue.

Henri Barbusse photo

“I dimly see that there is something more than what we have seen, than what we have said, than what we have felt to-day. One day, perhaps, she and I will exchange better and richer sayings; and so, in that day, all the sadness will be of some service.”

Henri Barbusse (1873–1935) French novelist

Light (1919), Ch. XIX - Ghosts
Context: Among some papers on my table I see the poem again which we once found out of doors, the bit of paper escaped from the mysterious hands which wrote on it, and come to the stone seat. It ended by whispering, "Only I know the tears that brimming rise, your beauty blended with your smile to espy."
In the days of yore it had made us smile with delight. To-night there are real tears in my eyes. What is it? I dimly see that there is something more than what we have seen, than what we have said, than what we have felt to-day. One day, perhaps, she and I will exchange better and richer sayings; and so, in that day, all the sadness will be of some service.

Henri Barbusse photo

“The emptied towns and the villages destroyed, they are a wilderness of our making. Yes, war is all of us, and all of us together.”

Henri Barbusse book Under Fire

Under Fire (1916), Ch. 24 - The Dawn
Context: It's with us only that they make battles. It is we who are the material of war. War is made up of the flesh and the souls of common soldiers only. It is we who make the plains of dead and the rivers of blood, all of us, and each of us is invisible and silent because of the immensity of our numbers. The emptied towns and the villages destroyed, they are a wilderness of our making. Yes, war is all of us, and all of us together.

Henri Barbusse photo

“Ah, it seems that truth goes farther in all directions than one thought! We bend over the wrong that animals suffer, for them we wholly understand.”

Henri Barbusse (1873–1935) French novelist

Light (1919), Ch. XIV - The Ruins
Context: The horse has not stopped bleeding. Its blood falls on me drop by drop with the regularity of a clock, — as though all the blood that is filtering through the strata of the field and all the punishment of the wounded came to a head in him and through him. Ah, it seems that truth goes farther in all directions than one thought! We bend over the wrong that animals suffer, for them we wholly understand.
Men, men! Everywhere the plain has a mangled outline. Below that horizon, sometimes blue-black and sometimes red-black, the plain is monumental!

Henri Barbusse photo

“We do not die since we are alone. It is the others who die. And this sentence, which comes to my lips tremulously, at once baleful and beaming with light, announces that death is a false god.”

Henri Barbusse (1873–1935) French novelist

The Inferno (1917), Ch. XIV
Context: Once, bowed in the evening light, the dead man had said, "After my death, life will continue. Every detail in the world will continue to occupy the same place quietly. All the traces of my passing will die little by little, and the void I leave behind will be filled once more."
He was mistaken in saying so. He carried all the truth with him. Yet we, we saw him die. He was dead for us, but not for himself. I feel there is a fearfully difficult truth here which we must get, a formidable contradiction. But I hold on to the two ends of it, groping to find out what formless language will translate it. Something like this: "Every human being is the whole truth." I return to what I heard. We do not die since we are alone. It is the others who die. And this sentence, which comes to my lips tremulously, at once baleful and beaming with light, announces that death is a false god.

Henri Barbusse photo

“Tradition reigns, the gospel of the blind adoration of what was and what is — God without a head.”

Henri Barbusse (1873–1935) French novelist

Light (1919), Ch. XX The Cult
Context: Tradition reigns, the gospel of the blind adoration of what was and what is — God without a head. Man's destiny is eternally blockaded by two forms of tradition; in time, by hereditary succession; in space, by frontiers, and thus it is crushed and annihilated in detail. It is the truth. I am certain of it, for I am touching it.

Henri Barbusse photo

“Commonplace life has shipwrecks worse than in Shakespearean dramas.”

Henri Barbusse (1873–1935) French novelist

Light (1919), Ch. XIX - Ghosts
Context: She goes into her room and disappears. Before I went to the war we slept in the same bed. We used to lie down side by side, so as to be annihilated in unconsciousness, or to go and dream somewhere else. Commonplace life has shipwrecks worse than in Shakespearean dramas. For man and wife — to sleep, to die.) But since I came back we separate ourselves with a wall.

Henri Barbusse photo

“What I have seen is going to disappear, since I shall do nothing with it.”

Henri Barbusse (1873–1935) French novelist

The Inferno (1917), Ch. XVII
Context: What I have seen is going to disappear, since I shall do nothing with it. I am like a mother the fruit of whose womb will perish after it has been born.
What matter? I have heard the annunciation of whatever finer things are to come. Through me has passed, without staying me in my course, the Word which does not lie, and which, said over again, will satisfy.

Henri Barbusse photo

“She was like a great rose that opens its heart to the whole world.”

Henri Barbusse (1873–1935) French novelist

The Inferno (1917), Ch. XVI
Context: The woman from the depths of her rags, a waif, a martyr — smiled. She must have a divine heart to be so tired and yet smile. She loved the sky, the light, which the unformed little being would love some day. She loved the chilly dawn, the sultry noontime, the dreamy evening. The child would grow up, a saviour, to give life to everything again. Starting at the dark bottom he would ascend the ladder and begin life over again, life, the only paradise there is, the bouquet of nature. He would make beauty beautiful. He would make eternity over again with his voice and his song. And clasping the new-born infant close, she looked at all the sunlight she had given the world. Her arms quivered like wings. She dreamed in words of fondling. She fascinated all the passersby that looked at her. And the setting sun bathed her neck and head in a rosy reflection. She was like a great rose that opens its heart to the whole world.