Mlle. Claire told Gerhardt news of all the girl students he had known in Paris: how this one was singing for the soldiers; another, when she was nursing in a hospital which was bombed in an air raid, had carried twenty wounded men out of the burning building, one after another, on her back, like sacks of flour. Alice, the dancer, had gone into the English Red Cross and learned English. Odette had married a New Zealander, an officer who was said to be a cannibal; it was well known that his tribe had eaten two Auvergnat missionaries. There was a great deal more that Claude could not understand, but he got enough to see that for these women the war was France, the war was life, and everything that went into it. To be alive, to be conscious and have one’s faculties, was to be in the war.
After dinner, when they went into the salon, Madame Fleury asked David whether he would like to see René’s violin again, and nodded to the little boy. He slipped away and returned carrying the case, which he placed on the table. He opened it carefully and took off the velvet cloth, as if this was his peculiar office, then handed the instrument to Gerhardt.
David turned it over under the candles, telling Madame Fleury that he would have known it anywhere, René’s wonderful Amati, almost too exquisite in tone for the concert hall, like a woman who is too beautiful for the stage. The family stood round and listened to his praise with evident satisfaction. Madame Fleury told him that Lucien was très sérieux with his music, that his master was well pleased with him, and when his hand was a little larger he would be allowed to play upon René’s violin. Claude watched the little boy as he stood looking at the instrument in David’s hands; in each of his big black eyes a candle flame was reflected, as if some steady fire were actually burning there.
