War Days in Brittany — Edition Insights

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In Category - Modern Nations
Jarves, Elsie Deming Project Gutenberg 2014 Not confirmed
World War, 1914-1918 -- France -- Brittany Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 30,002
Reading time 131 min
Text sections 5

For War Days in Brittany — Edition Insights, the stored edition analysis reports 30,002 words, 2 hr 11 min estimated reading time, and 5 detected text sections.

The text analysis averages about 21.5 words per sentence, while the detected sections provide another way to judge how the source is divided.

Project Gutenberg metadata also associates the work with “World War, 1914-1918 -- France -- Brittany,” connecting these edition facts with the source record’s subject description.

A collection of personal experiences in Brittany during World War I, structured as vignettes that move between hospital wards, ruined villages, and coastal landscapes, using recurring imagery of cliffs, tides, and the weight of silence.
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Editorial Edition Score 4.7/5

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  • Description quality20 pts
  • Title & short description10 pts
  • Source metadata20 pts
  • Text length15 pts
  • Chapters / structure15 pts
  • EPUB file integrity20 pts

Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.

Edition quality

Read the Text

hand or street cleaner? Perhaps an Apache? I do not know. But he gave all he had—his young life! Surely he has gone to his reward.

Dinard, November, 1914.

There are four thousand wounded in Dinard this winter, and the need for chemises, antiseptic cotton, sacks and bandages, never diminishes. I, fortunately, have a few things left from what I brought over, and I am dealing them out, as if worth their weight in gold. Socks are much appreciated, as many are wounded in the feet, and cannot put on slippers or shoes. One poor wretched Belgian hospital has depended all the winter on what we gave them. The Matron told me but for us they would have had nothing. She has been up two or three times since my return begging socks, chemises and slippers, but, alas, I had none to give her! She said the men were obliged to stay in their rooms or beds as their uniforms were so dirty, torn, and shot-riddled, they had to be repaired, and, having nothing else to wear, they had to stay in hospital. I went by there the other day, a glorious sunny summer afternoon, and I saw such poor, white faces looking out so longingly, so young, and so suffering—mere boys of twenty, twenty-two and twenty-four.

I hate to say too much about the sorrowing and suffering over here—so much has been given, especially from America, where the generosity has been overwhelming. One cannot see such wistfulness and patience without finding a renewal of sympathy and a wish to help.

I was notified last week, that on Saturday, July 10th, at 4 o'clock, the Prefet of our department (the governor of the state) will come to Val Fleuri, officially, in full uniform, surrounded by his staff, to thank us in the name of France, for what we have obtained from our friends in America, and to express through us the Government's grateful recognition of America's generosity. French people tell me it is a rare honor which the government is showing us, and is an expression of France's gratitude to America. The Prefet asked for a report (which we sent), and the government has perfect cognizance from whence came our supplies. So that you may be sure that full recognition has been made for the shipments.

Many wounded there are always, but the spirit of the French people is magnificent. No sacrifice is too great to make, no economy too severe. All France has the utmost confidence in the soldiers and their generals, and everyone feels it is time for endurance, economy and work. And all, high and low, rich and poor, are putting their hearts and courage into the affair, with an enthusiasm and devotion quite surprising to those who thought of France as a decadent nation.

Yesterday I met at tea a French duchess, last year the most frivolous and worldly person, always dressed in the height of fashion and devoted to golf, bridge, and motoring. Yesterday she was dressed in a cheap, ready-made black serge suit, with a black straw sailor hat, trimmed with a black taffeta bow, such as a poor little governess or an upper housemaid would have worn a year ago. And she said she was proud to wear the costume, bought ready-made at the "Galleries Lafayette" for 50 francs.

She has had a hospital in her chateau since the war began, where one hundred little Pious-Pious have been taken care of and nursed back to health, and, alas, to a quick return to the trenches! So she said she had no money "pour la toilette."

What these French women are doing is beyond praise. A sober, quiet determination has taken the place of their erstwhile frivolity. And when one sees delicately nurtured ladies doing the most ordinary menial work in the hospitals, not day by day, but month by month, rising at 7 a. m., and only returning home for meals and bed at 8.30 p. m.—women who in former times thought of nothing but extravagance, luxury and display—one realizes that there is good, red blood left in France, and the Gallic strain, having supported the trials of centuries, is still able to make a stand for justice and freedom.

The book opens with a poem that anchors its structure: a song of the west country where "giant cliffs come down to the sea" and "Atlantic rollers, huge and free, beat high on the coast of Brittany." This coastal imagery recurs throughout the prose, serving as a fixed point against which the chaos of war is measured. The author, Elsie Deming Jarves, was awarded the silver medal of the Reconnaissance Française for her work with wounded soldiers, and the text is dedicated to the Americans who provided financial and moral support. The contents list reveals a mix of titled vignettes—"The Train of the Wounded," "A Red Cross Hospital in Brittany," "The Castle of Combourg"—that shift between immediate scenes of medical care, local legends, and the aftermath of battle.

Movement Between Hospital and Ruin

The narrative moves frequently between the controlled space of the hospital and the open devastation of towns like Dinant. In one passage, a young woman visits Dinant and finds "nothing but broken walls, shattered roofs and piles of plaster, bricks, charred wood." The author contrasts this wreckage with the orderly, if strained, environment of the Red Cross hospital, where wounded soldiers are tended. This back-and-forth creates a rhythm of exposure and retreat: the reader is brought close to the physical destruction, then pulled back to the relative safety of medical care. The hospital scenes are not described in the excerpts, but the table of contents lists "A Red Cross Hospital in Brittany" and "Prisoners and Ambulances," suggesting that the structure alternates between these two poles.

Recurring Images of Water and Weight

Water appears as a persistent image: the opening poem's "long green tide," the Meuse River crossed by a survivor who "swam the Meuse in the early dawn," and the "morning mists" that enable escape. These liquid elements are often paired with weight—the "heavy man" who covers the survivor, the body that "had been growing heavier and heavier" as it loses its head. The author uses this pairing to evoke the physical burden of war: the dead press down on the living, while water offers both danger and a path to safety. The cliffs of the opening poem stand as a counterpoint, solid and unchanging against the fluid horror.

Silence and the Limits of Speech

Several passages emphasize what cannot be said. The survivor of Dinant waits "silent as the dead about him" until dawn. The women among the ruins are described as "staring at space" and "too far gone in misery to even understand" when spoken to. The author does not claim to give voice to these figures; instead, she records their silence. This restraint is a structural choice: the book includes poems like "To a Dying Boy" and "Hail to the Dead!" that may attempt to articulate what prose cannot, but the excerpts show a willingness to let emptiness stand. The dedication to American supporters suggests the text is as much about the limits of representation as about the events themselves.

The Frame of the Letter and the Citation

The book opens with a citation from the French government and a letter from Frédéric Masson, a member of the Institut de France. Masson's letter describes the typical losses of a bourgeois family—"three are fallen on the Field of Honor"—and calls for American aid to educate the children of the dead. This external validation frames the personal experiences that follow, lending them official weight. The author then presents her own observations, but the inclusion of Masson's voice suggests a layered structure: official recognition, personal narrative, and the voices of those she encounters. The table of contents includes "What Frenchwomen Are Doing in War Time" and "Americans in Brittany," indicating that the book moves between individual stories and broader social commentary.

The book does not attempt a comprehensive history of the war in Brittany. Instead, it offers a series of glimpses, held together by the author's presence and the recurring motifs of sea, stone, and silence. Readers should expect to move between genres—poetry, reportage, anecdote—without a single narrative arc. The value lies in the specific, often brutal details: the survivor who feels a body grow heavy, the women poking through rubble with sticks. These images resist easy interpretation and reward careful attention.

I often think of that Breton nurse, her silence by the bedside like the tide going out, and how War Days in Brittany holds that weight so gently. It makes me remember the broader maps in How the Nations Waged War A companion volume to "How the War Began" — Story, Setting & Ideas, tracing the same conflict from afar. Their quiet kinship is in that shared patience, waiting for the story to be told.

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