Raymond; or, Life and Death

«THIS book is named after my son who was killed in the War.» — abre el prefacio en la voz de Lodge y declara de una línea el origen del libro: lleva el nombre de su hijo, muerto en la guerra

«It is divided into three parts. In the first part some idea of the kind of life lived and the spirit shown by any number of youths, fully engaged in civil occupations, who joined for service when war broke out and went to the Front, is illustrated by extracts from his letters. The object of this portion is to engender a friendly feeling towards the writer of the letters, so that whatever more has to be said in the sequel may not have the inevitable dulness of details concerning an entire stranger. This is the sole object of this portion.» — Lodge fija el plan del volumen y el oficio de la primera parte: las cartas del frente no van como evidencia sino para que el lector tome afecto al muchacho y no lea lo que sigue como pormenores de un desconocido; dice que ese es su único objeto

«The letters are not supposed to be remarkable; though as a picture of part of the life at the Front during the 1915 phase of the war they are interesting, as many other such letters must have been.» — y las acota: no las presenta como notables, sino como retrato de una parte de la vida en el frente en la fase de 1915, igual que tantas otras cartas

«The second part gives specimens of what at present are considered by most people unusual communications; though these again are in many respects of an ordinary type, and will be recognised as such by other bereaved persons who have had similar messages.» — sobre la segunda parte: la llama muestra de comunicaciones que hoy la mayoría tiene por inusuales, y a la vez las dice de tipo ordinario, reconocibles por otros deudos que hayan recibido mensajes parecidos

«In a few particulars, indeed, those here quoted have rather special features, by reason of the assistance given by the group of my friends "on the other side" who had closely studied the subject.» — la salvedad con que las distingue: algunas traen rasgos especiales por la ayuda del grupo de amigos suyos del otro lado que habían estudiado de cerca el asunto; los entrecomillados del original marcan la expresión

«It is partly owing to the urgency therein indicated that I have thought it my duty to speak out, though it may well be believed that it is not without hesitation that I have ventured thus to obtrude family affairs.» — Lodge da su motivo para publicar y su reparo en el mismo renglón: la urgencia que esos mensajes le señalan le hace un deber hablar, y no sin titubeo se decide a entrometer asuntos de familia

«I should not have done so were it not that the amount of premature and unnatural bereavement at the present time is so appalling that the pain caused by exposing one's own sorrow and its alleviation, to possible scoffers, becomes almost negligible in view of the service which it is legitimate to hope may thus be rendered to mourners, if they can derive comfort by learning that communication across the gulf is possible.» — y pesa las dos cosas: ante el volumen de duelo prematuro y antinatural de esos años, el dolor de exponer la propia pena a posibles burladores le parece casi despreciable frente al servicio que espera rendir a los que están de luto si aprenden que la comunicación a través del abismo es posible

«Incidentally I have to thank those friends, some of them previously unknown, who have in the same spirit allowed the names of loved ones to appear in this book, and I am grateful for the help which one or two of those friends have accorded.» — agradece a quienes consintieron que aparecieran en el libro los nombres de sus muertos y a los que le prestaron ayuda

«Some few more perhaps may be thus led to pay critical attention to any assurance of continued and happy and useful existence which may reach them from the other side.» — y declara el alcance que espera: que unos cuantos más presten atención crítica a cualquier seguridad de existencia continuada, feliz y útil que les llegue del otro lado

«The third part of the book is of a more expository character, and is designed to help people in general to realise that this subject is not the bugbear which ignorance and prejudice have made it, that it belongs to» — sobre la tercera parte, que llama de carácter más expositivo: quiere que el lector común vea que el asunto no es el espantajo hecho por la ignorancia y el prejuicio; la frase sigue en la plana siguiente

«a coherent system of thought full of new facts of which continued study is necessary, that it is subject to a law and order of its own, and that though comparatively in its infancy it is a genuine branch of psychological science.» — la continuación del renglón cortado, en la plana siguiente: sostiene que el asunto pertenece a un sistema coherente de pensamiento lleno de hechos nuevos, sujeto a ley y orden propios, y que aun en su infancia es rama genuina de la ciencia psicológica

«This third part is called "Life and Death," because these are the two great undeniable facts which concern everybody, and in which it is natural for every one to feel a keen interest, if they once begin to realise that such interest is not futile, and that it is possible to learn something real about them.» — explica el título de la tercera parte: vida y muerte son los dos grandes hechos innegables que a todos conciernen, y el interés por ellos deja de ser fútil si se admite que cabe aprender algo real sobre ellos

«It may be willingly admitted that these chapters are inadequate to the magnitude of the subject, but it is hoped that they are of a usefully introductory character.» — y los acota él mismo: concede de buen grado que esos capítulos no están a la altura de la magnitud del asunto y solo espera que sirvan de introducción

«The "In Memoriam" chapter of Part I is no doubt chiefly of interest to family and friends; but everybody is very friendly, and under the circumstances it will be excused.» — cierra el prefacio con una nota sobre el capítulo In Memoriam: lo da por de interés sobre todo para la familia y los amigos, y lo excusa por las circunstancias

«Raymond Lodge had been educated at Bedales School and Birmingham University. He had a great aptitude and love for mechanical engineering, and was soon to have become a partner with his elder brothers, who highly valued his services, and desired his return to assist in the Government work which now occupies their firm.» — sigue el mismo relato remitido a The Times: formación en Bedales y en la Universidad de Birmingham, aptitud por la ingeniería mecánica y la sociedad con los hermanos mayores que le esperaba

«In amplification of this bare record a few members of the family wrote reminiscences of him, and the following memoir is by his eldest brother» — Lodge declara la procedencia de lo que sigue y con ello reparte las voces del capítulo: varios miembros de la familia escribieron recuerdos, y la memoria que viene es del hermano mayor

«And now that death has come. Unto each man his handiwork, to each his crown, The just Fate gives; Whoso takes the world's life on him and his own lays down, He, dying so, lives.» — el hermano mayor cierra ese arranque y pone el verso —de Swinburne, según la nota final del volumen— donde el que toma sobre sí la vida del mundo y depone la propia, muriendo así, vive

«My brother was born at Liverpool on January 25th, 1889, and was at Bedales School for five or six years, and afterwards at Birmingham University, where he studied engineering and was exceptionally competent in the workshop. He went through the usual two years' practical training at the Wolseley Motor Works, and then entered his brothers' works, where he remained until he obtained a commission at the outbreak of war.» — el hermano mayor da los datos de vida: nacido en Liverpool el 25 de enero de 1889, Bedales cinco o seis años, ingeniería en la Universidad de Birmingham, los dos años de práctica en la Wolseley Motor Works y luego el taller de los hermanos hasta la comisión al estallar la guerra

«His was a mind of rare stamp. It had unusual power, unusual quickness, and patience and understanding of difficulties in my experience unparalleled, so that he was able to make anyone understand really difficult things. I think we were most of us proudest and most hopeful of him. Some of us, I did myself, sometimes took problems technical or intellectual to him, sure of a wise and sound solution.» — el retrato intelectual que hace el hermano: mente de temple raro, potencia y rapidez inusuales, y una paciencia con las dificultades que dice no haber visto igual, capaz de hacer entender a cualquiera cosas difíciles

«Though his chief strength lay on the side of mechanical and electrical engineering it was not confined to that. He read widely, and liked good literature of an intellectual and witty but not highly imaginative type, at least I do not know that he read Shelley or much of William Morris, but he was fond of Fielding, Pope, and Jane Austen. Naturally he read Shakespeare, and I particularly associate him with Twelfth Night and Love's Labour's Lost. Among novelists, his favourites, after Fielding and Miss Austen, were I believe Dickens and Reade; and he frequently quoted from the essays and letters of Charles Lamb.» — y el retrato de lector, con su límite dentro: fuerza principal en la ingeniería mecánica y eléctrica, gusto por lo intelectual y gracioso pero no muy imaginativo —duda que leyera a Shelley o mucho de William Morris—, con Fielding, Pope, Jane Austen, Shakespeare, Dickens, Reade y Charles Lamb

«Of the stories of his early childhood, and his overflowing vitality made many, I was too often from home to be able to speak at large. But one I may tell. Once when a small boy at Grove Park, Liverpool, he jumped out of the bath and ran down the stairs with the nurse after him, out of the front door, down one drive along the road and up the other, and was safely back in the bath again before the horrified nursemaid could catch up with him.» — la única anécdota de infancia que el hermano dice poder contar, por haber estado tantas veces fuera de casa: el niño que sale corriendo del baño y vuelve a la tina antes de que la nodriza lo alcance

«That death is the end has never been a Christian doctrine, and evidence collected by careful men in our own day has, perhaps needlessly, upheld with weak props of experiment the mighty arch of Faith. Death is real and grievous, and is not to be tempered by the glossing timidities of those who would substitute journalese like "passing-on," "passing-over," etc., for that tremendous word: but it is the end of a stage, not the end of the journey.» — el hermano mayor fija ahí una posición sobre la muerte: niega que su carácter de fin sea doctrina cristiana, dice que la evidencia reunida por hombres cuidadosos ha apuntalado el arco de la fe quizá sin necesidad, y rechaza los eufemismos de periódico que sustituyen la palabra tremenda; la muerte, sostiene, es fin de una etapa y no del viaje

«The road stretches on beyond that inn, and beyond our imagination, "the moonlit endless way.» — y remata la figura: el camino sigue más allá de esa posada y más allá de nuestra imaginación

«Let us think of him then, not as lying near Ypres with all his work ended, but rather, after due rest and refreshment, continuing his noble and useful career in more peaceful surroundings, and quietly calling us his family from paralysing grief to resolute and high endeavour.» — el hermano propone cómo pensarlo: no yaciendo cerca de Ypres con la obra terminada, sino continuando su carrera noble y útil en un entorno más pacífico y llamando a la familia del duelo paralizante al empeño resuelto

«Indeed, it is not right that we should weep for a death like his. Rather let us pay him our homage in praise and imitation, by growing like him and by holding our lives lightly in our Country's service, so that if need be we may die like him. This is true honour and his best memorial.» — y saca de ahí la consecuencia práctica: no llorar una muerte así, sino rendirle homenaje en la alabanza y la imitación, creciendo como él y teniendo la vida en poco al servicio del país

«Not that I would undervalue those of brass or stone, for if beautiful they are good and worthy things. But fame illuminates memorials, and fame has but a narrow circle in a life of twenty-six years.» — la acotación con que él mismo limita esa consecuencia: no desestima los memoriales de bronce o piedra, pero la fama, que es la que los ilumina, tiene círculo estrecho en una vida de veintiséis años

«Who shall remember him, who climb His all-unripened fame to wake, Who dies an age before his time? But nobly, but for England's sake. Who will believe us when we cry He was as great as he was brave? His name that years had lifted high Lies buried in that Belgian grave. O strong and patient, kind and true, Valiant of heart, and clear of brain— They cannot know the man we knew, Our words go down the wind like rain.» — los versos con que el hermano cierra su memoria, sin atribución en el libro: el que muere una edad antes de su tiempo, el nombre sepultado en una tumba belga, y la queja de que nadie podrá conocer al hombre que los suyos conocieron

«REMEMBER RAYMOND LODGE SECOND LIEUTENANT SECOND SOUTH LANCASHIRE REGIMENT BELOVED SON OF SIR OLIVER AND LADY LODGE OF THIS PARISH WHO GAVE HIS LIFE FOR HIS COUNTRY HE WAS BORN JANUARY 25TH 1889 AND WAS KILLED IN ACTION IN FLANDERS ABOUT NOON SEPTEMBER 14TH IN THE YEAR OF OUR LORD 1915 AGED 26 YEARS» — el epitafio de la tabla conmemorativa, en versalitas: el segundo teniente del Second South Lancashire Regiment, hijo de Sir Oliver y Lady Lodge de esa parroquia, nacido el 25 de enero de 1889 y muerto en acción en Flandes hacia el mediodía del 14 de septiembre de 1915, a los veintiséis años

«Whoso bears the whole heaviness of the wronged world's weight And puts it by, It is well with him suffering, though he face man's fate; How should he die? Swinburne» — el verso que cierra el epitafio, atribuido en el propio texto a Swinburne: el que carga con todo el peso del mundo agraviado y lo aparta, cómo habría de morir

«OF all my sons, the youngest, when he was small, was most like myself at the same age. In bodily appearance I could recognise the likeness to my early self, as preserved in old photographs; an old schoolfellow of mine who knew me between the ages of eight and eleven, visiting Mariemont in April 1904, remarked on it forcibly and at once, directly he saw Raymond—then a schoolboy; and innumerable small mental traits in the boy recalled to me my childhood's feelings.» — arrancan los recuerdos firmados O. J. L., es decir el propio Lodge: de todos sus hijos, el menor era de pequeño el más parecido a él mismo a esa edad, en el parecido físico que un antiguo condiscípulo reconoció de golpe en Mariemont en abril de 1904 y en innumerables rasgos mentales

«Even an absurd difficulty he had as a child in saying the hard letters— the hard G and K—was markedly reminiscent of my own similar difficulty.» — Lodge pone el detalle que le sirve de prueba de ese parecido: la dificultad del niño con las letras duras, la G y la K, que recuerda la suya propia

«At a later stage of boyhood I perceived that his ability and tastes were akin to mine, for we had the same passionate love of engineering and machinery; though in my case, having no opportunity of exercising it to any useful extent, it gradually turned into special aptitude for physical science. Raymond was never anything like as good at physics, nor had he the same enthusiasm for mathematics that I had, but he was better at engineering, was in many ways I consider stronger in character, and would have made, I expect, a first-rate engineer. His pertinacious ability in the mechanical and workshop direction was very marked.» — Lodge compara sin igualar: el mismo amor apasionado por la ingeniería, pero él lo volvió aptitud por la física y el hijo nunca fue tan bueno en física ni tuvo su entusiasmo por las matemáticas, mientras que en ingeniería era mejor y de carácter más fuerte

«Nothing could have been further from his natural tastes and proclivities than to enter upon a military career; nothing but a sense of duty impelled him in that direction, which was quite foreign to family tradition, at least on my side.» — y Lodge deja dicho lo que la carrera militar tuvo de ajena: nada más lejos de los gustos del muchacho, nada sino el sentido del deber lo empujó en esa dirección, extraña a la tradición de la familia al menos por el lado paterno

«He also excelled me in a keen sense of humour—not only appreciation, but achievement. The whole family could not but admire and enjoy the readiness with which he perceived at once the humorous side of everything; and he usually kept lively any gathering of which he was a unit. At school, indeed, his active wit rather interfered with the studies of himself and others, and in the supposed interests of his classmates it had to be more or less suppressed, but to the end he continued to be rather one of the wags of the school.» — el humor como el punto en que el hijo lo superaba, dicho con el reverso: en la escuela su ingenio activo estorbaba los estudios propios y ajenos y hubo que reprimirlo, aunque siguió siendo de los graciosos del colegio

«Being so desperately busy all my life I failed to see as much as I should like either of him or of the other boys, but there was always an instinctive sympathy between us; and it is a relief to me to be unable to remember any, even a single, occasion on which I have been vexed with him. In all serious matters he was, as far as I could judge, one of the best youths I have ever known; and we all looked forward to a happy life for him and a brilliant career.» — Lodge declara lo que la propia ocupación le costó y lo que le queda: no vio tanto al hijo ni a los otros como hubiera querido, pero le alivia no poder recordar una sola ocasión en que se molestara con él

«His elder brothers highly valued his services in their Works. He got on admirably with the men; his mode of dealing with overbearing foremen at the Works, where he was for some years an apprentice, was testified to as masterly, and was much appreciated by his "mates"; and honestly I cannot bethink myself of any trait in his character which I would have had different—unless it be that he might have had a more thorough liking and aptitude for, and greater industry in, my own subject of physics.» — Lodge cierra el retrato con el trato del hijo con los obreros y los capataces del taller, y con la única falta que se le ocurre: que no tuviera más gusto y aplicación por la física, su propia materia

«How desperately welcome to the family his safe return would have been, at the end of the war, I need not say. He had a hard and strenuous time at the Front, and we all keenly desired to make it up to him by a course of home "spoiling." But it was too much to hope for— though I confess I did hope for it.» — Lodge dice el deseo frustrado sin adornarlo: cuánto habría querido la familia su vuelta al final de la guerra y el propósito de resarcirlo en casa, que confiesa haber esperado aunque fuera demasiado esperar

«He has entered another region of service now; and this we realise. For though in the first shock of bereavement the outlook of life felt irretrievably darkened, a perception of his continued usefulness has mercifully dawned upon us, and we know that his activity is not over. His bright ingenuity will lead to developments beyond what we could have anticipated; and we have clear hopes for the future.» — y en el mismo capítulo de recuerdos Lodge enuncia ya su posición: sostiene que el hijo ha entrado en otra región de servicio, que su actividad no ha terminado y que la percepción de esa utilidad continuada les amaneció tras el primer golpe del duelo

«THE bare facts are much as reported in The Times:— Second Lieutenant Raymond Lodge was the youngest son of Sir Oliver and Lady Lodge, and was by taste and training an engineer. He volunteered for service in September 1914 and was at once given a commission in the 3rd South Lancashires. After training near Liverpool and Edinburgh, he went to the Front in the early spring of 1915, attached to the 2nd South Lancashire Regiment of the Regular Army, and was soon in the trenches near Ypres or Hooge.» — Lodge abre el In Memoriam remitiendo el escueto relato de los hechos a lo publicado en The Times: el hijo menor de Sir Oliver y Lady Lodge, ingeniero de gusto y de formación, voluntario en septiembre de 1914, comisionado en los 3rd South Lancashires y agregado al 2nd al ir al frente en la primavera de 1915

«His engineering skill was of service in details of trench construction, and he later was attached to a Machine-Gun Section for a time, and had various escapes from shell fire and shrapnel. His Captain having sprained an ankle, he was called back to Company work, and at the time of his death was in command of a Company engaged in some early episode of an attack or attempted advance which was then beginning. He was struck by a fragment of shell in the attack on Hooge Hill on the 14th September 1915, and died in a few hours.» — sigue el mismo relato remitido a The Times: la pericia de ingeniero puesta en la construcción de trincheras, el paso a una sección de ametralladoras, el mando de una compañía al comenzar un ataque, y el fragmento de proyectil en el ataque a Hooge Hill el 14 de septiembre de 1915, con la muerte pocas horas después

«MOST lives have marriages, births of children, productive years; but the lives of the defenders of their Country are short and of majestic simplicity. The obscure records of childhood, the few years of school and university and constructive and inventive work, and then the sudden sacrifice of all the promise of the future, of work, of home, of love; the months of hard living and hard work well carried through, the cheerful humorous letters home making it out all very good fun; and in» — abre la memoria firmada por O. W. F. L., el hermano mayor, con la fórmula que opone las vidas comunes a las de los defensores del país: cortas y de majestuosa simplicidad, con el sacrificio súbito de toda promesa de futuro; el renglón se corta al pasar de plana

«front, in a strange ruined and desolate land, certain mutilation or death.» — la continuación de ese renglón en la plana siguiente, que cierra la enumeración del hermano: al frente, en una tierra extraña, arruinada y desolada, mutilación o muerte ciertas

«Another peculiarity which we shared in childhood was dislike of children's parties—indeed, in my own case, a party of any kind. I remember being truly miserable at a Christmas party at The Mount, Penkhull, where I have no doubt that every one was more than friendly,—though probably over-patronising, as people often are with children,—but where I determinedly abstained from supper, and went home hungry.» — Lodge cuenta la segunda coincidencia de infancia, el rechazo de las fiestas infantiles, con su propio recuerdo de una Navidad en The Mount, Penkhull, donde se abstuvo de la cena y se fue a casa con hambre

«Raymond's prominent instance was at the hospitable Liverpool house, "Greenbank," which the Rathbones annually delivered up to family festivities each Christmas afternoon and evening, being good enough to include us in their family group. On one such occasion Raymond, a very small boy, was found in the hall making a bee-line for the front door and home. I remember sympathising with him, from ancient memories, and taking him home, subsequently returning myself.» — y el caso del hijo, en la casa de los Rathbone en Liverpool que abrían cada tarde de Navidad: el niño buscando la puerta de salida en el vestíbulo, y el padre llevándolo a casa por simpatía con sus propios recuerdos

«When the war broke out his mother and I were in Australia, and it was some time before we heard that he had considered it his duty to volunteer. He did so in September 1914, getting a commission in the Regular Army which was ante-dated to August; and he threw himself into military duties with the same ability and thoroughness as he had applied to more naturally congenial occupations.» — Lodge fija el enrolamiento desde su propia ausencia: estaban en Australia al estallar la guerra y tardaron en saber que el hijo había tenido por deber ofrecerse voluntario, en septiembre de 1914, con una comisión en el ejército regular antefechada a agosto

«He went through a course of training at Great Crosby, near Liverpool, with the Regiment in which he was a Second Lieutenant, namely the 3rd South Lancashires, being attached to the 2nd when he went to the Front; his Company spent the winter in more active service on the south coast of the Firth of Forth and Edinburgh; and he gained his desired opportunity to go out to Flanders on 15 March 1915.» — y la instrucción y la salida: Great Crosby cerca de Liverpool con los 3rd South Lancashires, agregado al 2nd al ir al frente, el invierno en la costa sur del Firth of Forth y Edimburgo, y Flandes el 15 de marzo de 1915

«Here he applied his engineering faculty to trench and shelter construction, in addition to ordinary military duties; and presently he became a machine-gun officer.» — lo que hizo allá, según el padre: la facultad de ingeniero aplicada a trincheras y abrigos además de los deberes militares ordinarios, y luego el puesto de oficial de ametralladoras

«To ease the pain and to try to get in touch" RAYMOND, darling, you have gone from our world, and oh, to ease the pain. I want to know if you are happy, and that you yourself are really talking to me and no sham.» — la madre escribe para aliviar el dolor y para intentar ponerse en contacto, y pone la pregunta que gobierna el resto del libro: quiere saber si el hijo es feliz y si es él mismo quien le habla y no un fingimiento

«No more letters from you, my own dear son, and I have loved them so. They are all there; we shall have them typed together into a sort of book.» — y dice lo que hará con las cartas que ya no vendrán: guardarlas todas y hacerlas mecanografiar juntas en una suerte de libro

«Now we shall be parted until I join you there. I have not seen as much of you as I wanted on this earth, but I do love to think of the bits I have had of you, specially our journeys to and from Italy. I had you to myself then, and you were so dear.» — la madre da por supuesta la separación hasta el reencuentro y se queda con los trozos de convivencia que tuvo, en especial los viajes de ida y vuelta a Italia

«I want to say, dear, how we recognise the glorious way in which you have done your duty, with a certain straight pressing on, never letting anyone see the effort, and with your fun and laughter playing round all the time, cheering and helping others. You know how your brothers and sisters feel your loss, and your poor father!» — y le reconoce el modo en que cumplió con su deber: seguir derecho sin dejar ver el esfuerzo, con la broma y la risa alrededor animando a los demás

«THE religious side of Raymond was hardly known to the family; but among his possessions at the Front was found a small pocket Bible called "The Palestine Pictorial Bible" (Pearl 24mo), Oxford University Press, in which a number of passages are marked; and on the fly-leaf, pencilled in his writing, is an index to these passages, which page I copy here» — Lodge introduce el documento siguiente y con ello consigna un dato de creencia por evidencia material: el lado religioso del hijo apenas era conocido por la familia, pero entre sus cosas del frente apareció una Biblia de bolsillo con pasajes marcados y un índice a lápiz en la guarda, que él copia

«Ex. xxxiii. 14 63 St. John xiv. 689 Eph. ii. 749 Neh. i. 6, II 337 St. John xvi. 33 689 Rom. viii. 35 723» — el primer tramo del índice copiado de la guarda de la Biblia de bolsillo, con la referencia bíblica y el número de página del ejemplar: Éxodo, Juan, Efesios, Nehemías y Romanos; las cifras de la derecha son páginas de esa Biblia, no planas de este volumen

«St. Matt. xi. 28 616 Ps. cxxiv. 8 415 Ps. xliii. 2 468 Deut. xxxiii. 27 151 Deut. xxxii. 43 150 Isa. li. 12 473 Isa. lii. 12 474 Jude 24 784 Ezra ix. 9 335 Isa. xii. 2 451 Isa. i. 18 445 Isa. xl. 31 467 Rev. vii. 14 788 Rev. xxi. 4 795 Mizpah. Gen. xxxi. 49. 14/8/15 R. L.» — la cola del índice copiado de la guarda, que termina con la palabra Mizpah y la referencia del Génesis, la fecha 14/8/15 y las iniciales del hijo

«THE following poem was kindly sent me by Canon Rawnsley, in acknowledgment of a Memorial Card» — Lodge declara la procedencia del poema siguiente: se lo envió Canon Rawnsley al acusar recibo de una tarjeta conmemorativa

«But where they laid your gallant lad I heard no sorrow in the air, The boy who gave the best he had That others good might share. For golden leaf and gentle grass They too had offered of their best To banish grief from all who pass His hero's place of rest.» — sigue el poema de Rawnsley: donde pusieron al muchacho no oyó dolor en el aire, y la hoja dorada y la hierba también habían ofrecido lo mejor suyo para desterrar la pena de quien pase

«There as I gazed, the guests of God, An angel host before mine eyes, Silent as if on air they trod Marched straight from Paradise. And one sprang forth to join the throng From where the grass was gold and green, His body seemed more lithe and strong Than it had ever been.» — la visión que el poema declara: una hueste angélica de convidados de Dios marchando en silencio desde el Paraíso, y uno que se suma a la tropa con el cuerpo más ágil y fuerte que nunca

«AND I think that I ought now to repeat the message which your fathers, when they went out to battle, urged us to deliver to you who are their survivors, in case anything happened to them. I will tell you what I heard them say, and what, if they could, they would fain be saying now, judging from what they then said; but you must imagine that you hear it all from their lips. Thus they spoke» — así abre el extracto del Menexeno que el volumen reproduce: el orador dice repetir el mensaje que los padres, al salir a la batalla, encargaron entregar a los sobrevivientes, y pide que el oyente lo imagine dicho por los labios de ellos

«Sons, the event proves that your fathers were brave men. For we, who might have continued to live, though without glory, choose a glorious death rather than bring reproach on you and your children, and rather than disgrace our fathers and all of our race who have gone before us, believing that for the man who brings shame on his own people life is not worth living, and that such an one is loved neither by men nor gods, either on earth or in the underworld when he is dead.» — la voz que el extracto del Menexeno pone en los muertos: prefirieron una muerte gloriosa a seguir viviendo sin gloria, por no traer reproche sobre los hijos ni deshonra sobre los antepasados, creyendo que para el que avergüenza a los suyos la vida no vale y no es amado ni por hombres ni por dioses

«'Twixt Ypres and Menin night and day The poplar trees in leaf of gold» — arranca el poema firmado por H. D. Rawnsley con los álamos de hoja dorada entre Ypres y Menin; el renglón se corta al pasar de plana

«Were whispering either side the way Of sorrow manifold, —Of war that never should have been, Of war that still perforce must be, Till in what brotherhood can mean The nations all agree.» — la continuación del poema en la plana siguiente: los álamos susurrando de dolores múltiples y de la guerra que no debió ser y que aun así debe librarse hasta que las naciones acuerden lo que significa la fraternidad

«I cried, "But why in bright array Of crowns and palms toward the north And those white trenches far away,» — la pregunta con que el poema interpela a la hueste: por qué marcha con coronas y palmas hacia el norte y aquellas trincheras blancas; el renglón se corta al pasar de plana

«been heard. Moreover, if they bear their troubles bravely, it will be perceived that they are indeed fathers of brave sons, and that they themselves are like them» — la continuación en la plana siguiente: si los padres llevan con valor sus pesares se verá que son de veras padres de hijos valientes y que ellos mismos son como ellos

«So minded, we, at any rate, bid those dear to us to be; such we would have them be; and such we say we are now showing that we ourselves are, neither grieving overmuch nor fearing overmuch if we are to die in this battle.» — la voz de los muertos del Menexeno declara su propia disposición: así piden a los suyos que estén, así los querrían, y así dicen mostrar que ellos están, sin afligirse demasiado ni temer demasiado si han de morir en esa batalla

«And we entreat our fathers and mothers to continue to be thus minded for the rest of their days, for we would have them know that it is not by bewailing and lamentation that they will please us best. If the dead have any knowledge of the living, they will give us no pleasure by breaking down under their trouble, or by bearing it with impatience» — y el ruego con su condicional dentro: que padres y madres sigan así el resto de sus días, porque no es con lamento como mejor les complacen, y si los muertos tienen algún conocimiento de los vivos, no les dará gusto verlos quebrados

«For our lives will have had an end the most glorious of all that fall to the lot of man; it is therefore more fitting to do us honour than to lament us.» — cierra el extracto del Menexeno: como sus vidas habrán tenido el fin más glorioso que cabe a un hombre, es más propio honrarlos que llorarlos

«Stat sua cuique dies; breve et irreparabile tempus Omnibus est vitae: sed famam extendere factis, Hoc virtutis opus.» — el remate latino con que el volumen cierra la sección, referido en el renglón siguiente a la Eneida, libro x, verso 467: a cada cual le está fijado su día, breve e irreparable es el tiempo de la vida para todos, pero extender la fama con hechos, esa es obra de la virtud; la abreviatura del título viene corrompida en la capa de texto y se deja fuera del tramo

«Doth this great host go forth?" He answered, "Forth we go to fight To help all need where need there be, Sworn in for right against brute might Till Europe shall be free» — la respuesta con que cierra el poema en la plana siguiente: van a pelear, a socorrer toda necesidad donde la haya, jurados por el derecho contra la fuerza bruta hasta que Europa sea libre

«Some of us have fathers and mothers still living, and you must encourage them to bear their trouble, should it come, as lightly as may be; and do not join them in lamentations, for they will have no need of aught that would give their grief a keener edge. They will have pain enough from what has befallen them.» — sigue la voz que el Menexeno pone en los muertos: que los vivos animen a los padres a llevar su pesar con la mayor ligereza posible y no se unan al lamento, porque nada necesitan que le dé filo a su pena

«Endeavour rather to soothe and heal their wound, reminding them that of all the boons they ever prayed for the greatest have been granted to them. For they did not pray that their sons should live for ever, but that they should be brave and of fair fame. Courage and honour are the best of all blessings, and while for a mortal man it can hardly be that everything in his own life will turn out as he would have it, their prayer for those two things has» — y el consuelo con el argumento dentro: recordarles que de todos los dones que pidieron les fue concedido el mayor, porque no rogaron que sus hijos vivieran para siempre sino que fueran valientes y de buena fama, y valor y honra son las mejores bendiciones; el renglón se corta al pasar de plana

«I SHALL now, for reasons explained in the Preface, quote extracts from letters which Raymond wrote to members of his family during the time he was serving in Flanders.» — Lodge abre el capítulo de cartas remitiendo al prefacio: va a citar extractos de las cartas que el hijo escribió a la familia mientras servía en Flandes

«A short note made by me the day after he first started for the Front may serve as a preliminary statement of fact» — y declara la procedencia del documento que intercala: una nota suya del día siguiente a la partida, que sirve de constancia preliminar de hechos

«Raymond was recently transferred back from Edinburgh to Great Crosby near Liverpool; and once more began life in tents or temporary sheds.» — la nota de Lodge fechada en Mariemont, Edgbaston, el 16 de marzo de 1915: el traslado de Edimburgo a Great Crosby cerca de Liverpool y la vida otra vez en tiendas o cobertizos

«Yesterday morning, Monday the 15th March, one of the subalterns was ordered to the Front; he went to a doctor, who refused to pass him, owing to some temporary indisposition. Raymond was then asked if he was fit: he replied, Perfectly. So at 10 a.m. he was told to start for France that night. Accordingly he packed up; and at 3.00 we at Mariemont received a telegram from him asking to be met at 5 p.m., and saying he could spend six hours at home.» — la nota sigue con la cadena de hechos del día: un subalterno destinado al frente a quien el médico no aprueba, la pregunta a Raymond de si estaba en forma, su respuesta de que perfectamente, la orden de salir esa noche para Francia y el telegrama pidiendo que lo recogieran a las cinco

«His mother unfortunately was in London, and for many hours was inaccessible. At last some of the telegrams reached her, at 7 p.m., and she came by the first available (slow) train from Paddington, getting here at 11.» — y el detalle que Lodge anota sin comentario: la madre estaba en Londres e inaccesible durante horas, y solo llegó a las once de la noche tras alcanzarla los telegramas a las siete

«Raymond took the midnight train to Euston; Alec, Lionel, and No�l accompanying him. They would reach Euston at 3.50 a.m. and have two hours to wait, when he was to meet a Captain [Capt. Taylor], and start from Waterloo for Southampton. The boys intended to see him off at Waterloo, and then return home to their war-business as quickly as they could.» — la nota de Lodge registra la despedida: el tren de medianoche a Euston con Alec, Lionel y el tercer hermano, la espera de dos horas, el encuentro con un capitán y la salida de Waterloo a Southampton; la capa de texto corrompe aquí un nombre propio y se deja fuera del tramo

«He seems quite well; but naturally it has been rather a strain for the family: as the same sort of thing has been for so many other families.» — y el cierre de la nota, firmado O. J. L.: el muchacho parece estar bien, pero ha sido una tensión para la familia, como lo ha sido para tantas otras

«First comes a letter written on his way to the Front after leaving Southampton.» — Lodge sitúa la primera carta de la serie: escrita camino del frente tras dejar Southampton

«Following on my recent despatch, I have the honour to report that we have got stuck here on our way to the Front. Not stuck exactly, but they have shunted us into a siding which we reached about 8 a.m., and we are free until 2.30 p.m. when we have to telephone for further orders to find out where we are to join our train. I don't know whether this is the regular way to the Front from Rouen. I don't think it is, I fancy the more direct way must be reserved for urgent supplies and wounded.» — la primera carta de Raymond desde el frente, fechada en Boulogne el 24 de marzo de 1915, en el registro burlón de parte militar con que escribe casi siempre: informa que los han metido en una vía muerta y que están libres hasta las dos y media, y conjetura que la ruta directa se reserva a heridos y suministros urgentes

«My servant has been invaluable en route and he has caused us a great deal of amusement. He hunted round at the goods station at Rouen (whence we started) and found a large circular tin. He pierced this all over to form a brazier and attached a wire handle. As soon as we got going he lit this, having filled it with coal purloined from somewhere, and when we stopped by the wayside about 10 or 11 p.m. he supplied my compartment (four officers) with fine hot tea. He had previously purchased some condensed milk. He also saw to it that a large share of the rations, provided by the authorities before we left, fell to our share, and looked after us and our baggage in the most splendid way.» — Raymond describe a su asistente con el detalle de oficio que caracteriza sus cartas: el bote de hojalata perforado y convertido en brasero con asa de alambre, el carbón sustraído, el té caliente para el compartimento de cuatro oficiales y la leche condensada comprada de antemano

«He insists on treating the train as a tram. As soon as it slows down to four miles an hour, he is down on the permanent way gathering firewood or visiting some railway hut in search of plunder. He rides with a number of other servants in the baggage waggon, and as they had no light he nipped out at a small station and stole one of the railway men's lamps. However, there was a good deal of fuss, and the owner came and indignantly recovered it.» — y sigue el retrato, sin ahorrar el hurto: el asistente baja del tren en marcha a recoger leña o a saquear alguna caseta del ferrocarril, y robó la lámpara de un ferroviario que vino a reclamarla indignado

«As soon as we stop anywhere, he lowers out of his van the glowing brazier. He keeps it burning in the van! I wonder the railway authorities don't object. If they do, of course he pretends not to understand any French.» — Raymond remata la estampa: el brasero encendido dentro del furgón, el asombro de que la compañía ferroviaria no objete, y el recurso del asistente de fingir que no entiende francés

«He often gets left behind on the line, and has to scramble into our carriage, where he regales us with his life history until the next stop, when he returns to his own van. "Altogether he is a very rough customer and wants a lot of watching— all the same he makes an excellent servant.» — y cierra el retrato con el juicio del que manda: un tipo muy tosco que exige mucha vigilancia y, aun así, un asistente excelente

«I arrived here yesterday about 5 p.m., and found the Battalion resting from the trenches. We all return there on Sunday evening. "I got a splendid reception from my friends here, and they have managed to get me into an excellent Company, all the officers of which are my friends. This place is very muddy, but better than it was, I understand. We are in tents.» — la carta del 26 de marzo de 1915, ya en Flandes: el batallón descansando de las trincheras, el regreso previsto para el domingo, la buena acogida de los amigos que lo metieron en una compañía donde todos los oficiales lo son, y el barro

«I am now permanently attached to C Company and am devoutly thankful. Captain T. is in command and the subalterns are Laws, Fletcher, and Thomas, all old friends of mine. F. was the man whose room I shared at Edinburgh and over whose bed I fixed the picture» — Raymond da su destino definitivo y nombra a sus compañeros: la compañía C bajo el capitán T., con los subalternos Laws, Fletcher y Thomas, todos viejos amigos

«We went on a 'fatigue' job to-day—just our Company—and were wrongly directed and so went too far and got right in view of the enemy's big guns. However, we cleared out very quickly when we discovered our error, and had got back on to the main road again when a couple of shells burst apparently fairly near where we had been. There were a couple of hostile aeroplanes about too» — la primera escena de fuego que cuenta, en su registro habitual: mal dirigidos, la compañía avanzó demasiado y quedó a la vista de los cañones enemigos, y dos proyectiles estallaron cerca del sitio que acababan de dejar

«Thank you very much for your letter wondering where I am. 'Very pressing are the Germans,' a buried city.» — la clave con que Raymond burla la censura para decir dónde está: una cita y la fórmula de una ciudad sepultada

«We dug trenches by night on Monday and Wednesday, and although we were only about 300 to 500 yards from the enemy we had a most peaceful time, only a very few stray bullets whistling over from time to time.» — la carta del 1 de abril de 1915, con la contradicción que Raymond señala sin resolver: a trescientas o quinientas yardas del enemigo y, con todo, un tiempo de lo más apacible

«The trenches are only approached and relieved at night-time, and even here we are not allowed to stir from the house by day on any pretext whatever, and no fires are allowed on account of the smoke. (Fires are started within doors when darkness falls and we have a hot meal then and again in the early morning—that is the rule—however, we do get a fire in the day by using charcoal only and lighting up from a candle to one piece and from that one piece to the rest, by blowing; also I have my Primus stove.) ... We are still within rifle-fire range here, but of course it is all unaimed fire from the intermittent conflict going on at the firing line» — la carta del 5 de abril de 1915 explica el régimen del acantonamiento: relevo solo de noche, prohibición de salir de día y de encender fuego por el humo, la treta del carbón encendido soplando de pieza en pieza, y el fuego de fusil sin puntería que aún los alcanza

«I have a straw bed covered with my tarpaulin sheet—(it is useful although I have also the regular military rubber ground sheet as well)— and my invaluable air-pillow. I am of course travelling light and have to carry everything in my 'pack' until I get back to my valise and 'rest billets,' so I sleep in my clothes. Simply take off my boots and puttees, put my feet in a nice clean sack, take off my coat and cover myself up with my British Warm coat (put on sideways so as to use its great width to the full). Like this I sleep like a top and am absolutely comfortable.» — y el inventario del dormir con que Raymond cierra la carta: cama de paja, lona, almohada de aire, dormir vestido, los pies en un saco limpio y el capote British Warm puesto de través para aprovechar su anchura

«I have been making up an Acrostic for you all to guess—here it is: Lights. My first is speechless, and a bell Has often the complaint as well. Three letters promising to pay, Each letter for a word does stay. There's nothing gross about this act;— A gentle kiss involving tact. A General less his final 'k,'» — Raymond manda a la familia un acróstico compuesto por él; el tramo cubre las primeras claves y se corta al pasar de plana

«A hen would have no more to say. Our Neenie who is going west Her proper name will serve you best. Whole. My whole, though in a foreign tongue, Is Richard's name when he is young. The rest is just a shrub or tree With spelling 'Made in Germany.'» — la continuación del acróstico en la plana siguiente, con las claves restantes y la palabra entera, que dice ser el nombre de Ricardo de joven en lengua extranjera más un arbusto o árbol de ortografía alemana

«That's the lot. The word has ten letters and is divided into two halves for the purpose of the Acrostic.» — Raymond da la regla del juego: la palabra tiene diez letras y se divide en dos mitades para el acróstico

«My room-mate has changed for to-night, and I have got Wyatt, who has just come in covered in mud, after four days in the trenches. He is machine-gun officer, and works very hard. I am so glad to have him.» — y nombra a su nuevo compañero de cuarto, Wyatt, oficial de ametralladoras recién llegado embarrado tras cuatro días de trincheras

«Here I am back again in 'Rest Billets,' for six days' rest. When I set off for the six days' duty I was ardently looking forward to this moment, but there is not much difference; here we 'pig' it pretty comfortably in a house, and there we 'pig' it almost as comfortably in a 'dug-out.' There we are exposed to rifle fire, nearly all unaimed, and here we are exposed to shell fire—aimed, but from about five miles away.» — la carta del 8 de abril de 1915 con la comparación que desarma la expectativa: había esperado ardientemente los seis días de descanso y apenas hay diferencia, porque allá se vive en un refugio casi tan cómodamente como aquí en una casa, expuestos allá a fuego de fusil sin puntería y aquí a fuego de artillería con puntería desde unas cinco millas

«On the whole this is the better, because there is more room to move about, more freedom for exercise, and there is less mud. But you will understand how much conditions in the trenches have improved if comparison is possible at all.» — y el saldo con su reserva dentro: prefiere el acantonamiento por el espacio, el ejercicio y el menor barro, pero advierte cuánto han mejorado las condiciones en las trincheras, si es que la comparación cabe

«My platoon (No. 11) has been very fortunate; we have had no casualties at all in the last six days. The nearest thing to one was yesterday when we were in the firing trench, and a man got a bullet through his cap quite close to his head. He was peeping over the top, a thing they are all told not to do in the daytime. The trenches at our point are about a hundred yards apart, and it is really safe to look over if you don't do it too often, but it is unnecessary, as we had a periscope and a few loopholes» — el parte de bajas de su pelotón y la regla de oficio que saca: ninguna baja en seis días, y el hombre que recibió un balazo en la gorra por asomarse de día, cosa que a todos se les prohíbe, siendo innecesaria porque tenían periscopio y aspilleras

«the kitchen. The men of our Company are quartered in neighbouring farm buildings, and other Companies farther down the road. We are within a mile of a village and about three or four miles to the southward of a fair-sized and well-known town. The weather is steadily improving and the mud is drying up—though I haven't seen what the trenches are like yet» — la continuación tras el corte de chunk, en la misma plana: los soldados alojados en las construcciones vecinas, la ubicación dada sin nombrarla —a una milla de una aldea y tres o cuatro al sur de una ciudad conocida—, el tiempo que mejora y el barro que se seca, aunque aún no ha visto las trincheras

«I am having quite a nice time in the trenches. I am writing this in my dug-out by candle-light; this afternoon I had a welcome shave. Shaving and washing is usually dispensed with during our spell of duty (even by the Colonel), but if I left it six days I should burst my razor I think. I have got my little 'Primus' with me and it is very useful indeed as a standby, although we do all our main cooking on a charcoal brazier» — la carta del 3 de abril de 1915 escrita en el refugio a la luz de una vela: el afeitado bienvenido, la higiene que se suspende durante el turno de servicio incluso para el coronel, el hornillo Primus como reserva y la cocina principal en brasero de carbón

«I will look out for the great sunrise to-morrow morning and am wishing you all a jolly good Easter: I shan't have at all a bad one. It is very like Robinson Crusoe—we treasure up our water supply most carefully (it is brought up in stone jars), and we have excellent meals off limited and simple rations, by the exercise of a little native cunning on the part of our servants, especially mine.» — y el cierre de esa carta, con la comparación que Raymond elige: los buenos deseos de Pascua, el agua atesorada en tarros de piedra y las comidas excelentes sacadas de raciones limitadas por la astucia de los asistentes, todo lo cual dice muy parecido a Robinson Crusoe

«We moved from our camp into billets last night and are now in a farm-house. The natives still live here, and we (five officers) have a room to ourselves, and our five servants and our cook live and cook for us in» — la carta del 27 de marzo de 1915: el traslado del campamento a los acantonamientos de una granja donde los naturales siguen viviendo, con cinco oficiales en un cuarto y cinco asistentes que les guisan; el tramo se corta en el límite de chunk, que aquí cae dentro de la misma plana, y sigue en la línea siguiente de esta ficha

«By the way we have changed our billets here. Our last ones have been shelled while we were away—a prodigious hole through the roof wrecking the kitchen, but not touching our little room at the back. However, it is not safe enough for habitation and the natives even have left!» — el acantonamiento anterior fue bombardeado en su ausencia: un agujero enorme en el techo que destrozó la cocina sin tocar el cuartito de atrás, y ya ni los naturales se quedan

«Things are awfully quiet here. We thought at first that it was 'fishy' and something was preparing, but I don't think so now. It is possibly the principle of 'live and let live.' In the trenches if we don't stir them up with shots they leave us pretty well alone. Of course we are ready for anything all the same.» — Raymond ofrece una explicación de la calma y la acota: primero les pareció sospechosa, ahora la atribuye al principio de vivir y dejar vivir, porque si no los hostigan a tiros el enemigo los deja en paz, aunque están listos para cualquier cosa

«Yes, we see the daily papers here as often as we want to (the day's before). Personally, and I think my view is shared by all the other officers, I would rather read a romance, or anything not connected with this war, than a daily paper» — y el juicio que dice compartido por los demás oficiales: prefiere leer una novela o cualquier cosa no ligada a la guerra antes que un diario

«I wonder if you got my Acrostic [see previous letter] and whether anybody guessed it; it was meant to be very easy, but perhaps acrostics are no longer the fashion and are somewhat boring. I always think they are more fun to make than to undo. The solution is a household word here, because it is only a half-mile or so away, and provides most things.» — Raymond pregunta por su acróstico y da la pista final: la solución es palabra corriente allí porque el lugar está a media milla y provee casi todo; y deja dicha su preferencia, que los acrósticos son más divertidos de hacer que de deshacer

«They make you feel awfully shaky, and when one comes over it is surprising the pace at which every one gets down into any ditch or hole near.» — y el efecto que reconoce sin adornarlo: los proyectiles lo dejan a uno temblando, y sorprende la velocidad con que todos se tiran a cualquier zanja o agujero

«One large shell landed right on the field where the men were playing football on Sunday evening. They all fell flat, and all, I'm thankful to say, escaped injury, though a few were within a yard or so of the hole. The other subalterns of the Company and I were (mirabile dictu) in church at the time.» — el episodio del proyectil caído en el campo donde los soldados jugaban futbol un domingo por la tarde, sin heridos pese a que algunos estaban a una yarda del hoyo, mientras los subalternos de la compañía estaban, dice con la fórmula latina de asombro, en la iglesia

«I wonder if you can get hold of some morphia tablets [for wounded men]. I think injection is too complicated, but I understand there are tablets that can merely be placed in the mouth to relieve pain. They might prove very useful in the trenches, because if a man is hit in the morning he will usually have to wait till dark to be removed.» — Raymond pide tabletas de morfina con la razón de oficio dentro: la inyección le parece demasiado complicada, y las tabletas servirían porque a un hombre herido de mañana suele tocarle esperar a la oscuridad para ser evacuado

«I came out of the trenches on Friday night. It was raining, so the surface of the ground was very slippery; and it was the darkest night I can remember. There was a good deal of 'liveliness' too, shots were flying around more than usual. There were about a hundred of us in our party, two platoons (Fletcher's and mine) which had been in the fire trenches, though I was only with them for one day, Thursday night till Friday night. Captain Taylor was in front, then Fletcher's platoon, then Fletcher, then my platoon, then me bringing up the rear. We always travel in single file, because there are so many obstacles to negotiate —plank bridges and 'Johnson' holes being the chief.» — la carta del 18 de abril de 1915 describe la salida de las trincheras: lluvia, el suelo resbaladizo, la noche más oscura que recuerda, un centenar de hombres en dos pelotones y la marcha en fila india por los puentes de tablón y los hoyos de proyectil

«I am awfully grateful for all the things that have been sent, and are being sent.... I will attach a list of wants at the end of this letter. I am very insatiable (that's not quite the word I wanted), but I am going on» — Raymond agradece los envíos y anuncia una lista de faltantes al final de la carta, llamándose insaciable; el renglón se corta al pasar de plana

«the principle that you and the rest of the family are only waiting to gratify my every whim! So, if I think of a thing I ask for it» — la continuación en la plana siguiente: obra, dice, sobre el supuesto de que la familia solo espera satisfacerle cada capricho, de modo que en pensando una cosa la pide

«We are all right here except for the shells. When I arrived I found» — arranca la carta a un hermano del 13 de abril de 1915: allí están bien salvo por los proyectiles; el renglón se corta al pasar de plana

«every one suffering from nerves and unwilling to talk about shells at all. And now I understand why. The other day a shrapnel burst near our billet and a piece of the case caught one of our servants (Mr. Laws's) on the leg and hand. He lost the fingers of his right hand, and I have been trying to forget the mess it made of his right leg—ever since. He will have had it amputated by now.» — la continuación, con la razón de aquel silencio: todos con los nervios deshechos y sin querer hablar de proyectiles, y el porqué —la metralla que alcanzó a un asistente en la pierna y la mano, los dedos perdidos y el destrozo que dice llevar desde entonces intentando olvidar

«Picture us then shuffling our way across the fields behind the trenches at about one mile an hour—with frequent stops while those in front negotiate some obstacle (during these stops we crouch down to try and miss most of the bullets!). Every few minutes a 'Very' light will go up and then the whole line 'freezes' and remains absolutely stationary in its tracks till the light is over. A 'Very' light is an 'asteroid.' (No�l will explain that.) It is fired either by means of a rocket (in the German case) or of a special pistol called a 'Very' pistol after the inventor (in» — la escena de la marcha nocturna con su explicación técnica dentro: una milla por hora con paradas en cuclillas para esquivar balas, la línea que se congela cada vez que sube una bengala Very, y el mecanismo de cohete o de pistola según el bando; el renglón se corta al pasar de plana y la capa de texto corrompe ahí un nombre propio

«our case). The light is not of magnesium brightness, but is just a bright star light with a little parachute attached, so that it falls slowly through the air. The light lasts about five seconds. These things are being shot up at short intervals all night long. Sometimes dozens are in the air together, especially if an attack is on.» — la continuación en la plana siguiente: la bengala no tiene el brillo del magnesio sino el de una estrella con paracaídas que cae despacio unos cinco segundos, y toda la noche se disparan a intervalos cortos, a veces docenas a la vez si hay ataque

«We did get here in the end, and had no casualties, though we had had one just before leaving the trench. A man called Raymond (in my platoon) got shot through the left forearm. He was firing over the parapet and had been sniping snipers (firing at their flashes). Rather a nasty wound through an artery. They applied a tourniquet and managed to stop the bleeding, but he was so weak from loss of blood he had to be carried back on a stretcher.» — la baja que Raymond consigna y el detalle que la hace memorable para él: un soldado de su pelotón apellidado Raymond, herido de bala en el antebrazo mientras tiraba a los fogonazos de los francotiradores, con torniquete y camilla por la pérdida de sangre

«I had noticed this man before, partly on account of his name. Last time I was in the fire trenches (about ten days ago) I was dozing in my dug-out one evening and the Sergeant-Major was in his, next door. Suddenly he calls out 'Raymond!' I started. Then he calls again 'Raymond! Come here!' I shouted out 'Hallo! What's the matter?' But then I heard the other Raymond answering, so I guessed how it was» — y la escena del nombre repetido: el sargento mayor llamando a Raymond en el refugio contiguo y él respondiendo, hasta oír contestar al otro Raymond

«While at tea in the next room the post came and brought me your letter and one from Alec. Isn't it perfectly marvellous? You were surprised at the speed of my last letter. But how about yours? The postmark is 2.30 p.m. on the 16th at Birmingham, and here it is in my hands at 4 p.m. on the 18th!» — Raymond calcula la velocidad del correo desde el frente: matasellos de Birmingham a las dos y media del 16 y la carta en sus manos a las cuatro del 18

«I was telling you about the difficulties of going to and fro between here and the trenches, but you will understand it is not always like that. If there is a moon, or even if there is a clear sky so that we can get the benefit of the starlight (which is considerable and much more than I thought), matters are much improved, because if you can still see the man in front, when he is, say, 5 yards in front of you, and can also see the holes instead of finding them with your person, all that 'waiting for the "tail" to close up' is done away with» — y acota el cuadro que había pintado: con luna, o siquiera con cielo despejado, la luz de las estrellas —mucho mayor de lo que creía— permite ver al hombre de adelante y los hoyos, y desaparece la espera para que se cierre la cola

«Last night Laws, Thomas, and myself each took a party of about fortyfive down separately, leaving the remainder guarding the various» — el reparto de la faena nocturna entre los tres subalternos, con unos cuarenta y cinco hombres cada uno; el renglón se corta al pasar de plana, y el troceo parte *forty-five* en el salto de renglón, de modo que el extractor lo devuelve fundido

«It was a glorious night, starry, with a very young and inexperienced moon, and quite dry and warm. I would not have minded going down again except that I would rather go to bed, which I did.» — la noche que describe con la broma astronómica dentro: estrellada, con una luna muy joven e inexperta, seca y tibia

«Do you know that joke in Punch where the Aunt says: 'Send me a postcard when you are safely in the trenches!'? Well, there is a great deal of truth in that—one feels quite safe when one reaches the friendly shelter of the trench, though of course the approaches aren't really very dangerous. One is 'thrilled' by the whistle of the bullets near you. That describes the feeling best, I think—it is a kind of excitement.» — Raymond usa el chiste del Punch para decir la paradoja del frente: uno se siente a salvo al alcanzar el abrigo amistoso de la trinchera, aunque los accesos no sean muy peligrosos, y el silbido de las balas cerca lo describe como una especie de excitación

«I have received a most grand periscope packed, with spare mirrors, in a canvas haversack. It is a glorious one and I am quite keen to use it, thank you very much indeed for it. Thank you also for two sets of ear defenders which I am going to test when firing off a 'Very' light. A 'parachuted' star is fired from a brass pistol with a bore of about 1 inch and a barrel of about 6 inches. The report is very deafening, I believe —though I haven't fired one yet.» — la carta del 22 de abril de 1915 agradece el periscopio con espejos de repuesto y los protectores de oídos, y describe la pistola de bronce de una pulgada de calibre con que se dispara la estrella con paracaídas

«When walking to and from the trenches in the darkness, I find it is a great help to study the stars (not for purposes of direction). I know very little about them, and I saw a very useful plan in, I think, the Daily News of 3 April, called 'The Night Sky in April.' It was just a circle with the chief planets and stars shown and labelled. The periphery of the circle represented the horizon.» — Raymond declara su costumbre de estudiar las estrellas al ir y venir de las trincheras, y aclara que no es para orientarse; pide el plano del cielo de abril que vio en un diario, un círculo con los planetas y las estrellas rotulados y la periferia por horizonte

«The books you had sent me, which were passed on to me by Professor Leith, are much appreciated. They circulate among officers of this Company like a library. At the time they arrived we were running short of reading-matter, but since then our Regimental Headquarters have come to the rescue and supplied each Company with half a dozen books, to be passed on to other Companies afterwards.» — y el destino de los libros enviados: circulan entre los oficiales de la compañía como una biblioteca, y el cuartel general del regimiento ha suplido media docena por compañía para pasarlos luego a las demás

«I enclose an acrostic that I made up while in the trenches during our last spell. It seems to be a prolific place for this sort of thing.» — Raymond envía un segundo acróstico hecho en las trincheras y apunta que el sitio resulta prolífico para esas cosas

«Lights. The lowest rank with lowest pay, Don't make this public though, I pray! Inoculation's victim, though Defeated still a powerful foe. When Government 'full-stop' would say It does so in this novel way. The verb's success, the noun's disgrace And lands you in a foreign place. A king of kings without a roar, His kingdom that no anger bore. The final goal—the end of all— What all desire, both great and small.» — el acróstico compuesto por Raymond y firmado con sus iniciales y la fecha del 19 de abril de 1915, con seis claves que van del rango más bajo y peor pagado a la meta final que todos desean, grandes y chicos

«I wish you could see me now. I am having a little holiday in Belgium. At the moment I am sitting in the shade of a large tree, leaning against its trunk, writing to you. The sun is pouring down and I have been sitting in it lying on a fallen tree, but it makes me feel lazy, so I came here to write (in the shade).» — la carta del 30 de abril de 1915, donde Raymond llama vacaciones a su estancia en Bélgica: escribe a la sombra de un árbol, apoyado en el tronco, con el sol a plomo

«It is quite a handsome building, two storeys high. It is built of brick with a slate roof; the bricks are colour-washed yellow with a white band 18 inches deep under the roof; there are two towers with pointed roofs that stand to the front of the house, projecting slightly from it, forming bay windows. These towers, from the roof down to the ground, are red brick, as are the fronts of the dormer windows in the main building.» — el modo de mirar de Raymond en el frente: describe con ojo de ingeniero el castillo arruinado que tiene enfrente, ladrillo con techo de pizarra, encalado amarillo con banda blanca de dieciocho pulgadas, dos torres de tejado puntiagudo que forman miradores; la capa de texto corrompe aquí la palabra del edificio y se deja fuera del tramo

«The main entrance is on the other or northern side. It is reached by a drawbridge over the moat. The house on that (north) side is not so much damaged. It has long windows with shutters that give it a continental air. I can't sketch it, so I have given you a rough elevation from the south. I am sitting to the south-west, just across the moat.» — y la orientación con que Raymond sitúa al lector y a sí mismo: la entrada principal al norte por un puente levadizo sobre el foso, el lado norte menos dañado, y él sentado al suroeste, cruzando el foso, con un alzado a mano porque no sabe dibujar

«The place is in an awful mess. In some parts it is difficult to tell how the original building went. One can see into several of the rooms; the outer wall has fallen away, exposing about three rooms and an attic. In one room the floor has dropped at one corner to some 8 feet below its proper level, and a bed is just above poised on the edge of the room, almost falling out where the room is sectioned.» — el destrozo descrito como un corte: el muro exterior caído deja ver tres cuartos y una buhardilla, y en uno el piso se hundió ocho pies por una esquina con una cama asomada al borde

«In the garden the trees are blossoming, some of the fruit trees are covered with white blossom; but many, even of these, are lying flat and blossoming in the moat. The drive runs down to the road on the south side in an absolutely straight line, flanked by tall trees. But many of these are down too. I was lying on one just now. The garden is in good order, though getting a little out of hand. There is a small plantation of gooseberry bushes that looks very healthy. Shell holes are all about, however.» — y el contraste que Raymond registra sin comentar: los frutales en flor, muchos derribados y floreciendo tumbados en el foso, la avenida de árboles altos también caída, el huerto de grosellas sano, y por todas partes los hoyos de proyectil

«The house, although it is not on an eminence, commands a good view to the southward and has a fine view of the German lines, which are slightly raised just here. The enemy evidently suspected this ch�teau was used as an observation post, as indeed it may have been.» — y la razón militar del destrozo, dicha con su reserva dentro: la casa domina las líneas alemanas, y el enemigo evidentemente sospechó que servía de puesto de observación, como en efecto pudo haber sido; la capa de texto corrompe aquí la palabra del edificio

«We came out of the trenches on Wednesday night into Reserve Billets, and I was placed with No. 9 platoon (instead of my own) in a little house not far from this ch�teau. We are not allowed to leave it by day, or rather we are not allowed to show ourselves on the south side of it, as it might draw shell-fire on to it. But I managed to sneak away to the north under cover of a hedge without any risk of being seen.» — Raymond cuenta el paso a los acantonamientos de reserva y la prohibición de mostrarse por el lado sur para no atraer fuego, y admite haberse escabullido al norte a cubierto de un seto

«After being relieved in the trenches on Wednesday, and marching back and having a meal with the other officers of C Company in the Reserve Billets (a brewery), it was one o'clock before I got to bed in our little house. And we had to 'stand to arms' in the morning for an hour while dawn was breaking (we always do, and at dusk too). So after this I went to sleep till 2 p.m. I sleep in an outhouse with no door, on straw laid on a brick floor. My ground-sheet on the straw, my coat over me, my feet in a sack and an air-cushion under my head, and I can sleep as peacefully as at home.» — el inventario del dormir en el cobertizo sin puerta: paja sobre piso de ladrillo, la lona encima, el capote por cobija, los pies en un saco y un cojín de aire bajo la cabeza, con lo que dice dormir tan apaciblemente como en casa

«The place is swarming with rats and mice, you can hear them directly you lie still. They go 'plop, plop, plop,' on the straw overhead, as if they were obliged to take long strides owing to their feet sinking into the straw. Immediately over my head, I should judge, there is a family of young rats by the noise. Occasionally they have a stampede and a lot of dust comes down on my face.» — y las ratas descritas con su acústica: el plop de las patas que se hunden en la paja sobre su cabeza, la familia de crías que deduce por el ruido y el polvo que le cae en la cara cuando hay estampida

«I am terrified of a rat running over my face, but my servant sleeps with me, so I console myself that the chances are just even that they won't choose me. I wish he wouldn't snore though—he's lowering the odds.» — la broma con que Raymond mide su propio miedo: aterrado de que una rata le corra por la cara, se consuela con que las probabilidades están parejas porque su asistente duerme con él, aunque los ronquidos le bajan las apuestas

«The larger and taller tower is octagonal and stands in the middle of» — el levantamiento sigue con la torre mayor, octogonal, al centro del frente; el renglón se corta al pasar de plana

«the front, the smaller one is square and stands on the right corner. On each side of the main building are flanking buildings consisting on this (left) side of a brick-built palm-house and beyond that again a glasscovered conservatory. The other flank has a conservatory also, but I have not explored as far as that. The front of the building is about 70 to 80 yards long.» — la continuación en la plana siguiente: la torre menor cuadrada en la esquina derecha, los cuerpos laterales con una palmera de ladrillo y un conservatorio acristalado, y un frente de setenta u ochenta yardas; el troceo parte *glass-covered* en el salto de renglón y el extractor lo devuelve fundido

«Well, we set off about 11 p.m. and took twenty-two of these down. We didn't exactly bless the full moon—although it showed us the holes and obstructions in the way. Still, we had no casualties and made good time. We got back about midnight. So I only slept till 12.30 this morning! Of course I had to get up for an hour at dawn. I used the time to brew myself some cocoa. I am getting an expert cook, and can make that 'Bivouac' cocoa taste like the very finest chocolate» — la faena nocturna con su paradoja de la luna: no bendijeron la luna llena aunque les mostraba los hoyos, sin bajas y a buen paso, y el cacao de campaña que dice saberle a chocolate finísimo

«I have been supplying our Mess (C Company) with butter. And the supply sent up to now has just effected this with none to spare. But I don't know whether you want to do this, and that is why I suggested cutting down the supply. I don't want you to think any of it has been wasted though—it hasn't, and is splendid stuff» — Raymond administra el abasto del comedor de la compañía y se cuida de un malentendido: la mantequilla enviada alcanza justo, sugirió recortarla y no quiere que crean que se desperdició nada

«In the trenches one is not always doing nothing. These last three days in I have been up all night. I had a working party in two shifts working all night and all three nights, digging communication trenches. I used to go to bed about 4.20 a.m. and sleep till lunch-time, and perhaps lie down again for a bit in the afternoon. That is why my letters have not been so frequent.» — la razón que da de su silencio: tres días en las trincheras con partidas de trabajo en dos turnos toda la noche cavando trincheras de comunicación, acostándose a las cuatro y veinte

«It is extraordinary that what is wanted at the moment is not so much a soldier as a civil engineer. There are trenches to be laid out and dug, and the drainage of them to be thought out and carried through. Often the sides have to be 'riveted' or staked, and a flooring of boards put in, supported on small piles.» — y la observación que atraviesa todas sus cartas: lo que hace falta en ese momento no es tanto un soldado como un ingeniero civil, porque hay trincheras que trazar y drenar, costados que apuntalar y pisos de tabla que asentar sobre pilotes

«I quite enjoyed this job, and there are many like it; plank bridges to be put up, seats and steps to be cut, etc. One officer put half a dozen of his men on to making a folding bed! But it was not for himself, but for his Captain, who has meningitis and can't sleep. The men enjoy these jobs too; it is much better than doing nothing.» — y el juicio con que cierra: disfrutó esa obra y hay muchas parecidas —puentes de tablón, asientos, escalones, y hasta una cama plegable que un oficial mandó hacer para su capitán enfermo—, y los hombres también las prefieren a no hacer nada

«Thank you very much for the planisphere and for your letter. I have often seen the planisphere before, but never appreciated it until now.» — Raymond acusa recibo del planisferio: lo había visto muchas veces y nunca lo había apreciado hasta entonces

«As to the 'Very' pistol, I quite agree that the 'barrel' is too short. If it were longer the light would be thrown farther, which would be much better. As it is, it falls between us and the Germans.» — y objeta el diseño del arma con razón técnica: el cañón es demasiado corto, con uno más largo la bengala llegaría más lejos, y tal como está cae entre las dos líneas

«The German lights, which I now learn are fired from a kind of mortar and not by a rocket as I thought, are much better than ours; they give a better and steadier, fatter light, and they are thrown well behind our trenches. However, ours are much better, and theirs are worse than they used to be» — Raymond enmienda lo que había escrito antes: las bengalas alemanas no salen de un cohete sino de una suerte de mortero, dan luz mejor y más pareja y caen bien detrás de las líneas inglesas, aunque dice que las propias han mejorado

«They have not turned the gas on to us here, though on some days I have smelled distinct traces coming down wind from the north. I should say it was chlorine rather than SO2 that I smelled. I don't know whether the ammonia preventive would be better than the soda one. In any case, the great thing is that one is provided. The soda method is the one in use, I believe, in the chlorine works at Widnes and elsewhere.» — y el gas, referido con la cautela del que mide: no lo han soltado sobre ellos, aunque ciertos días percibió trazas con el viento del norte, y estima que era cloro más que anhídrido sulfuroso; discute si valdría más el preventivo de amoniaco que el de sosa, el usado en las fábricas de cloro

«For the first three days we are out here in new billets—officers in a comfortable little house. Last three days of our 'rest' (!) we are going into a wood quite close to our 'Reserve Billets.' We are in 'support' in case of a sudden attack. Roads are so much knocked about by shells that traffic is limited and restricted. So we might not be able to support quick enough unless we were close.» — la carta del 3 de mayo de 1915, con el entrecomillado irónico sobre el descanso: los tres últimos días los pasan en un bosque como apoyo ante un ataque súbito, porque los caminos destrozados por los proyectiles limitan el tránsito

«These are slung out in front of the trenches and fixed together. They are now fixed also to the trench, because the Germans used to harpoon them and draw them over to their own side!» — Raymond explica el artefacto y el porqué de una precaución nueva: los caballos de frisa se cuelgan delante de las trincheras y ahora se fijan también a ellas porque los alemanes los arponeaban y se los llevaban a su lado

«Then there is the water-supply, where one exists. I have had great fun arranging a 'source' in my trench (the support trench that I have been in these last three days and that I have been in often before). A little stream, quite clear and drinkable after boiling, runs out at one place (at about 1 pint a minute!) and makes a muddy mess of the trenches near.» — Raymond pasa al abasto de agua y describe lo que armó en su trinchera: un arroyuelo claro y potable después de hervido, de una pinta por minuto, que enlodaba el tramo vecino

«By damming it up and putting a water-bottle with the bottom knocked in on top of the dam, the water runs in a little stream from the mouth of the bottle. It falls into a hole large enough to receive a stone water-jar, and then runs away down a deep trough cut beside the trench. Farther down it is again dammed up to form a small basin which the men use for washing; and it finally escapes into a kind of marshy pond in rear of the trenches.» — y la obra con que lo resolvió, contada como se cuenta un plano: presa, cantimplora desfondada por caño, hoyo para el tarro de piedra, canal junto a la trinchera, una segunda presa que hace pileta para que los hombres se laven, y la salida a una charca en la retaguardia

«A cuckoo has been singing on a tree near me—in full view. (It left hurriedly when one of our guns went off close behind the chateau.)» — el cuco cantando en un árbol a la vista y su huida cuando uno de los cañones propios disparó detrás del castillo; el renglón se corta al pasar de plana

«The first time I have ever seen one, I think. It is amazing how tame the animals get. They have so much ground to themselves in the daytime —the rats especially; they flourish freely in the space between the trenches.» — la continuación en la plana siguiente y lo que Raymond deduce: es la primera vez que ve uno, y los animales se amansan porque de día tienen el terreno para ellos, sobre todo las ratas, que prosperan en el espacio entre las trincheras

«Everything is still very much upset, due to the penetration of our (French) line. They have been shelling our village from the rear (!) and most of the companies have had to quit. We (C Company) are well back now» — Raymond consigna el efecto de la penetración de la línea francesa: el bombardeo del pueblo desde la retaguardia y la retirada de casi todas las compañías

«Two of our platoons went digging last night. Mine was one. We left here about eight o'clock, and I got back at 1 a.m., and then I sat up with another subaltern (Fletcher) after I had had some supper until the other man (Thomas) had come in and eaten. We went to bed at 3 a.m. Breakfast at nine this morning, and we are resting. However, I am going to have an absolutely slack day to-day. A bath too, if I can manage it» — el horario de una noche de zapa contado sin queja: salida a las ocho, vuelta a la una, la espera despierto hasta que el otro subalterno hubo cenado, cama a las tres y desayuno a las nueve

«Last night the moon got up very late and was quite useless. They fire more when there is no light, they get scared—at least uneasy; they fire off 'Very' lights constantly, and let off volleys. We lie absolutely flat while this goes on. It is a funny sight; the men look like a row of starfish!» — y la regla que Raymond deduce del enemigo: disparan más cuando no hay luz porque se inquietan, sueltan bengalas sin parar y tiran descargas, mientras los suyos se echan al suelo con el aspecto, dice, de una hilera de estrellas de mar

«We are within view of a well-known place [no doubt Ypres.—O. J. L.], and the place has been on fire in three or four places for about two days, and is still going strong. A magnificent spectacle at night. The place is, I believe, a city of ruins and dead, and there is probably no one to put a fire out. Probably, too, a fire is rather a good thing than otherwise; the place must be terribly in need of purifying.» — la carta del 11 de mayo de 1915 con la ciudad ardiendo a la vista, que Lodge identifica entre corchetes: Raymond la llama espectáculo magnífico de noche y ciudad de ruinas y de muertos, y aventura que el incendio más vale que no, porque el sitio necesita purificarse

«Well, I don't know about 'the thick of the fighting,' but I have been through what I can only describe as a hell of a shelling with shrapnel. My diary tells me it was on the 7th, at about 10.15 a.m. Our Company were ordered forward from one set of dug-outs to others nearer the firing line, and the formation adopted was platoons in single file, with intervals between. That is, four columns of about fifty men each, in single file, with about 20 to 50 yards between each column. I was the third platoon, though I was not with my own but with No. 9. Fletcher brought up the last one» — y la respuesta de Raymond, que no recoge la fórmula pero fecha el hecho: el 7, hacia las diez y cuarto, lo que solo sabe describir como un infierno de metralla, con la compañía adelantada en cuatro columnas de a uno y él con el pelotón número 9

«(My platoon is No. 11.—No. 9's platoon commander, Laws, is in England on sick leave, as his nerves are all wrong.)» — la aclaración entre paréntesis dentro de la propia carta: su pelotón es el 11, y el comandante del 9 está de baja en Inglaterra por los nervios

«Well, anyhow, we had not gone far before the gunners saw us, and an aeroplane was flying along above and with us. They sent over some 'Johnsons,' but these all went too far; we were screened by a reservoir embankment. However, we had to pass through a ruined village and they knew it, so they put shrapnel over it. Still we were unaffected. But when we came out into the open on the far side, we caught it properly. Shell after shell came over and burst above us, and when I and about three men behind me had just turned a corner one burst above, in exactly the spot I should have wished it to if I had been the enemy.» — Raymond narra el bombardeo desde el ángulo del que lo sufre y lo calcula: los artilleros los vieron, el aeroplano encima, los primeros proyectiles largos, la metralla sobre el pueblo en ruinas y luego el estallido justo en el punto que, dice, él mismo habría escogido de haber sido el enemigo

«I looked up and saw the air full of flying pieces, some large and some small. These spattered down all round us. I was untouched, but my servant, who was immediately behind me, was hit on the knee, but only wounded slightly. He was rather scared. I led him back round the corner again and put him in a ditch. The rest of the platoon got in too, while I was doing this. I thought that was the best thing they could do until the shelling ceased» — lo que vio y lo que hizo: el aire lleno de fragmentos, el asistente herido de leve en la rodilla, el llevarlo tras la esquina y meterlo en una zanja mientras el resto del pelotón se resguardaba

«So I called the men out again, and, leaving a man with the wounded, we set off. I don't believe it was right, but we just walked along. It felt rather awful. (When one is retiring it is important not to let the men 'double,' as they get out of hand; but in this case we were advancing, so I think we might have done so.)» — y la duda de mando que deja escrita sin resolver: no cree que fuera lo correcto, pero echaron a andar, y anota la regla de que al replegarse no conviene dejar correr a los hombres porque se desmandan, aunque allí avanzaban

«I felt very much protected. It was really a miracle that we weren't nearly all 'wiped out.' The shrapnel seemed very poor stuff. As it was, we had one man killed and about five or six injured, all more or less slightly.» — la frase que el libro recogerá después y su reverso inmediato: dice haberse sentido muy protegido y llama milagro que no los barrieran, y en el mismo renglón califica de muy pobre la metralla y cuenta un muerto y cinco o seis heridos leves

«We moved up into a support trench that same evening, and after a couple of days we moved a few yards farther to these trenches, which are also support trenches. Things are very quiet, and I am enjoying myself very much. If it wasn't for the unpleasant sights one is liable to see, war would be a most interesting and pleasant affair.» — y el juicio con su condicional dentro: las cosas están muy tranquilas y se divierte mucho, y si no fuera por las escenas desagradables que uno puede ver, la guerra sería un asunto interesantísimo y grato

«I was awfully interested in father's dream» — la primera vez que las dos partes del libro se tocan dentro de una carta: Raymond dice haberse interesado mucho por el sueño del padre; el troceo pega aquí la llamada de la nota final y el verbatim se corta antes de ella

«Your letter is dated the 8th, and you say that the other night he dreamt that I was in the thick of the fighting, but that they were taking care of me from the other side.» — y el contenido de ese sueño tal como Raymond lo repite: el padre lo soñó en lo más recio del combate, pero cuidado desde el otro lado

«My friends the other officers of C Company have given me the honorary position of 'O.C. Works.' One is always 'O.C. something or other' out here—all but the Colonel, he is 'C.O.' Orders for the day read: "O.C. Companies will do so-and-so.' Then there are O.C. Details, O.C. Reinforcements, etc. 'O.C.' of course stands for 'officer commanding.'» — Raymond explica el mote honorario que le dieron sus compañeros y de paso la nomenclatura del ejército: allí todos son oficial al mando de algo salvo el coronel, que es el comandante; a él le tocó el de obras

«We have been told that we are being relieved to-night, and that we are going back to our old place (No. 2). So everything should be as before, once we are back. We may not manage to get all the way back to-night, as we cannot travel by daylight as most of the road is under direct observation. If daylight catches us we shall encamp in dug-outs en route.» — la carta de las seis de la tarde: los relevan esa noche y vuelven al sitio de antes, aunque acaso no lleguen porque no se viaja de día donde el camino está bajo observación directa

«I am rather disappointed that we are going to-night, as Fletcher and I were going to rebuild our dug-out here. We both got very keen indeed and had laid out the plan carefully. (He has been an architect.)» — la contrariedad que Raymond registra y su razón: él y Fletcher iban a rehacer el refugio y tenían el plano trazado con cuidado, porque el otro había sido arquitecto

«I had another disappointment when I was back in the wood (as supports). It reminds me of one of our Quartermaster-Sergeants in Edinburgh. He is an Irishman, O'Brien. I found him on the platform while we were waiting to see a draft off; he looked very despondent. I asked him how he was, and was surprised when he replied, 'I've had a reverse, sorr!' It turned out that he had applied to headquarters for an improvement in his position, and was told he didn't deserve any. It had almost broken his heart!» — Raymond cuenta el revés de un sargento intendente irlandés a quien negaron el ascenso, para nombrar con esa palabra el suyo propio

«Well, I had a reverse. I was given the job of building a hut and was nearly through with it when we were ordered away. If we get back to the old wood again I shall go on with it, in spite of whatever the present tenants may have done in the way of completing it (our guns are now 'going at it' hammer and tongs).» — y el revés que era: le dieron a construir una choza y casi la terminaba cuando los mandaron a otra parte, y promete seguirla si vuelven, pese a lo que hayan hecho los ocupantes

«I did enjoy laying the sandbags and building a proper wall with 'headers' and 'stretchers.' I got a very good testimonial too, for the Sergeant asked me in all seriousness whether I was a brick-setter in civil life. I was awfully proud.» — el orgullo de oficio que Raymond deja escrito: disfrutó asentando sacos terreros y levantando un muro en aparejo, y tomó por testimonio que el sargento le preguntara en serio si era albañil en la vida civil

«(I had to leave off here because we were ordered to 'fire-rapid' in between periods of our artillery fire, and I had to turn out to watch.)» — y el modo en que la carta se interrumpe, que es parte del documento: tuvo que dejarla porque ordenaron fuego rápido entre las descargas de la propia artillería

«The dream referred to, near the beginning of this long letter to his mother, Mr. J. Arthur Hill remembers that I told him of, in a letter dated 7 May 1915, which he has now returned; and I reproduce it here» — Lodge abre una nota firmada y declara la procedencia del documento que va a intercalar: la carta del 7 de mayo de 1915 en que contó el sueño a J. Arthur Hill, y que este le devolvió

«I do not reckon that I often have conscious intuitions; and when I have had vivid dreams they have not meant anything, though once or twice I have recorded them because I have them seldom.» — en la carta a J. A. H., Lodge acota de entrada su propia disposición: dice no tener a menudo intuiciones conscientes, y que sus sueños vívidos no han significado nada, aunque una u otra vez los anotó por raros

«I happen, however, to have had an intuition this morning, before I was more than half awake, which, though not specially vivid, perhaps I had better record, namely, that an attack was going on at the present moment, that my son was in it, but that 'they' were taking care of him.» — y la intuición que registra con todas sus reservas puestas: esa mañana, antes de estar del todo despierto y sin viveza especial, la de que había un ataque en curso, que su hijo estaba en él y que ellos lo cuidaban

«I had this clearly in mind before seeing the morning papers; and indeed I do not know that there is anything in the morning papers suggesting it, since of course their news is comparatively old. One might have surmised, however, that there would be a struggle for Hill 60, and I know that my son is not far off Ypres.» — Lodge se adelanta a la objeción y la mide: lo tuvo claro antes de ver los diarios, cuyas noticias son además viejas, aunque concede que cabía suponer una pelea por la Cota 60 y que sabía a su hijo cerca de Ypres

«(By the way, I have been told that the Flemish Belgians really do call it 'Wipers'; it does not sound likely, and it needs confirmation. I know of course that our troops are said to call it so, which is natural enough.)» — y el paréntesis con que aplaza un dato que no da por sabido: le han dicho que los belgas flamencos llaman así a Ypres, no le suena probable y pide confirmación, aunque de las tropas inglesas sí consta

«I now (August 1916) notice for the first time that the coincidence in time between dream and fact is rather good, especially as it was the only dream or 'impression' that I remember having during the war. Practically I do not dream.» — Lodge fecha su propia relectura en agosto de 1916 y dice lo que entonces advierte: que la coincidencia de tiempo entre sueño y hecho es bastante buena, sobre todo por ser la única impresión de ese tipo que recuerda en toda la guerra

«But as this incident raises the question of possible presentiment I must deny that we had any serious presentiment about Raymond. My wife tells me that her anxiety about Raymond, though always present, was hardly keen, as she had an idea that he would be protected.» — y en el mismo párrafo niega lo que el episodio invitaría a afirmar: dice que no tuvieron presentimiento serio sobre Raymond, y que la inquietud de su mujer, siempre presente, apenas era aguda porque tenía la idea de que estaría protegido

«I ought to get him back safe. I have a hole in my heart and shall have till he comes back. I only saw him for the inside of an hour before he left, as I was away when he came home for six hours» — la carta de la madre a una amiga, del 22 de marzo de 1915, que Lodge intercala como documento: dice que debería recuperarlo a salvo, que tiene un hueco en el corazón hasta que vuelva, y que solo lo vio menos de una hora antes de que partiera

«Well, I am 'O.C. Works,' and have a fine time. I just do» — y lo que ese puesto le da, dicho en la línea que cierra el chunk: se lo pasa bien y hace lo que quiere; el tramo se corta en el límite de chunk, dentro de la misma plana

«any job I fancy, giving preference to trench improvement. It is fine to have at one's disposal a large squad of men with shovels (or without). They fill sandbags and carry them, they carry timber and saw it, and in short do anything that is required. One can accomplish something under these conditions.» — la continuación tras ese corte: escoge la faena que se le antoja, con preferencia por mejorar trincheras, y dispone de una cuadrilla grande con palas que llena y acarrea sacos, carga y asierra madera, de modo que algo se logra

«At the same time I must admit that on the morning of 15 September 1915 (the day after Raymond's death, which we did not know of till the 17th) I was in an exceptional state of depression; and though a special game, to which I had been looking forward, on the No. 1 Course at Gullane had been arranged with Rowland Waterhouse, I could not play a bit. Not ordinary bad play, but total incompetence; so much so that after seven holes we gave up the game, and returned to the hotel.» — y el hecho que Lodge sí admite y describe como dato, el día siguiente a la muerte y dos antes de saberla: un estado excepcional de abatimiento y una incompetencia total en el golf, no mala jugada ordinaria, que los hizo dejar el partido a los siete hoyos

«To make sure of the date, I wrote to Rowland Waterhouse, asking him when that abortive match occurred, since I knew that it was his last day at Gullane. He replies:— "Violet and I left Gullane for Musselburgh on Wednesday, 15 September. Our final match ended that morning on the eighth tee» — Lodge muestra cómo fija la fecha en vez de afirmarla: escribió a Rowland Waterhouse preguntándole cuándo fue aquel partido fallido, y transcribe la respuesta con el día y el hoyo

«One more dream I may as well now mention:— After the family had returned home from Scotland and elsewhere, near the end of September 1915, and begun to settle down, Alec, who had felt Raymond's death exceedingly, told me that the night before he heard the news—or rather the early morning of the same day, 17 September—he had had an extraordinarily painful and vivid dream, quite an exceptional occurrence for him, and one of which he had spoken to a manageress in the hotel near Swansea where he was staying, describing it as the worst he had ever had in his life.» — Lodge introduce un tercer sueño con su procedencia: el de Alec la madrugada del 17 de septiembre, contado esa misma mañana a la encargada de un hotel cerca de Swansea como el peor de su vida

«He did not know that it had any significance, and neither do I, as the dream, though rather ghastly, was not about Raymond or anyone in particular; but it seemed an odd coincidence that the ill news should be, so to speak, on the way, at the time of a quite exceptional and painful impression. The person to whom he told the dream handed him the telegram a few hours later.» — y Lodge se abstiene de adjudicarle sentido en la misma frase en que lo consigna: ni Alec ni él saben que lo tenga, porque el sueño no era sobre Raymond ni sobre nadie en particular, aunque le parece coincidencia rara que la mala noticia viniera en camino; la persona a quien se lo contó le entregó el telegrama horas después

«No real provision is involved in any of this, unless it be that of an hour or two in my own impression, in May; but for general remarks on the question of the possibility of prevision Chapter V in Part III may be referred to.» — Lodge fija el saldo de los tres episodios con verbo de negación: sostiene que no hay previsión real en nada de ello salvo, a lo sumo, la hora o dos de su propia impresión de mayo, y remite al capítulo V de la tercera parte para la cuestión general

«I had a glorious hot bath yesterday; Fletcher and I went up to the brewery here. The bath is zinc, and full length, and we have as much water, and as hot, as we like» — la carta del 14 de mayo de 1915 y el detalle doméstico que Raymond celebra: el baño de zinc de cuerpo entero en la cervecería, con toda el agua caliente que quieran

«I spent some time too stemming the leaks in the roof of our shed. With my two waterproof sheets I have rigged up a kind of chute above my bed, so that any water that comes through the roof is led down behind my head. I don't know what happens to it there. I thought of leading it across on to the man next me, as the Germans used to do in the winter campaign. They fitted a pump in their trenches and led the delivery pipe forward, so that the water used to run into ours—only the plan was discovered» — Raymond cuenta su remedio para las goteras —una canaleta de lonas sobre la cama— y de ahí pasa a la treta alemana del invierno: una bomba en sus trincheras con el tubo de salida hacia adelante para que el agua corriera a las inglesas, hasta que la descubrieron

«We had a very fine piece of news yesterday. Over three weeks ago we were called out one night and were urgently required to dig a certain new trench behind our lines. The men worked splendidly and got the job done in a very short time (working of course in complete darkness). The next day the Brigadier-General inspected the trench and sent in a complimentary message about it to our Colonel. The day after he complimented us again—for the same piece of work!» — la carta del 16 de mayo de 1915 abre con la trinchera cavada de noche en poco tiempo y el mensaje de felicitación del general de brigada, repetido al día siguiente por la misma obra

«Well, we have had several such jobs to do, and just recently we have been to Hill 60, where the bulk of our work was deepening the trenches and improving the parapets. We were lent for this purpose to another Division (the Division that is at the moment occupying that area), and were away from here exactly a week.» — el trabajo en la Cota 60 al que prestaron el batallón a otra división: ahondar trincheras y mejorar parapetos durante una semana justa

«As to aeroplanes, when one passes overhead a whistle is blown and every one either takes cover or stands perfectly still. The men are forbidden to look up. Then the whistle is blown several times when the danger is past. I am afraid, though, these regulations are more honoured in the breach than the observance.» — la regla ante los aeroplanos y su incumplimiento dicho en el mismo renglón: silbato, cubrirse o quedarse inmóvil, prohibición de mirar arriba, y el temor de Raymond de que esas reglas se honren más quebrándolas que observándolas

«We had quite a nice informal service here this afternoon sitting in a field. The chaplain has the rank of Major and has been out here seven months.» — el único servicio religioso que las cartas registran: informal, sentados en un campo, con un capellán con grado de mayor que lleva siete meses en el frente

«Yesterday the Captain, Fletcher, and myself went for a ride on horses. We went about five miles out, stopped for about twenty minutes at a little inn (the last in Belgium on that particular road), and then came back again. The country was perfectly lovely, though I did not appreciate it as much as I otherwise would have done, as I had a trooper's saddle and the Captain would trot. I got most awfully sore going out, and thought I should never be able to get back.» — el paseo a caballo de cinco millas con el capitán y Fletcher, y la razón por la que no disfrutó el paisaje: silla de tropa, el capitán que trotaba y él llagándose

«As cheerful and well and happy as ever. Don't think I am having a rotten time—I am not.» — la fórmula con que Raymond cierra esa carta: tan alegre, sano y feliz como siempre, y que no crean que la está pasando mal; el libro repite el mismo renglón palabra por palabra en la nota final novena, y esta cita ancla en la primera aparición

«We got a splendid testimonial from the General of this other Division, who told our Colonel he had got 'a top-hole battalion.'» — el testimonio del general de la otra división, que según Raymond dijo al coronel que tenía un batallón de primera

«Arising out of all this, we have now been selected as a 'Pioneer Battalion,' We are relieved from all ordinary trench work for some time to come. We simply go out at night and dig trenches or build parapets and so forth, and have the day to ourselves. This was arranged yesterday, and last night we went out and returned here at 1.30 a.m. The work is more or less under fire, but only from stray shots and nothing very serious. Our Colonel is awfully pleased that we have done so well; and we are all pleased with the new arrangement. One great advantage is that we can settle down in our billets and are not continually having to pack up everything and move off.» — y la consecuencia que Raymond celebra: el batallón queda seleccionado como batallón de pioneros, relevado del trabajo ordinario de trinchera, cavando de noche y con el día libre, y sobre todo asentado en los acantonamientos sin estar empacando y moviéndose

«discovered a method at last, and that was to go at a full gallop. So I alternately went at a walk and 'hell for leather,' and got back in comparative comfort. I thoroughly enjoyed it; it was very bad for the horse, I am afraid, on the stone setts (pav�), but sometimes I could get him on to the softer bits at the side. I was terribly afraid some one would think the horse was running away with me and 'block' him, so I had to look as pleased as possible. And really I was pleased, it was such a blessed relief after that awful trotting.» — el método que Raymond dice haber descubierto, contado con su reverso cómico: alternar paso y galope tendido, con el cuidado de parecer contento para que nadie creyera que el caballo se le desbocaba; el renglón viene cortado desde la plana anterior

«My horse's cantor changed imperceptibly into a full gallop, and I 'got down to it' and felt like a jockey. After about half a mile I would walk until the others came up and passed me, and then I would go off again. All the same, I am very sore.» — el remate del paseo a caballo, con el error de la capa de texto en la palabra del galope corto conservado tal cual: se sintió jockey, alternó media milla de galope con el paso hasta que los otros lo rebasaban, y aun así quedó llagado

«They arrived by the first post after we had returned from our little trip. We were at Hill 60; it was so interesting and rather exciting, although we were there chiefly, I think, to improve the trenches, which were very shallow and dangerous when we arrived.» — la carta del 18 de mayo de 1915 a las hermanas: el trabajo en la Cota 60 lo llama interesante y más bien excitante, y dice que fueron sobre todo a mejorar unas trincheras muy someras y peligrosas

«I must explain to you about 'standing to.' A proportion of the men are always awake in the trenches to guard against surprises, for as the most likely times for an attack are at dawn and at dusk, everybody has to be awake and ready then. Of course it does interfere with your sleep, and you do not get very much as a rule in the trenches, but that is why you are not there for more than about three days at a time. In the 'supports' you 'stand to' so as to be ready to reinforce the front line quickly in case of an attack. Out in 'Rest Billets,' I am glad to say, it is no longer necessary.» — Raymond explica a las hermanas la guardia del amanecer y el anochecer y por qué se hace: son las horas más probables de un ataque, y por eso mismo nadie pasa más de unos tres días seguidos en la trinchera

«Some one must have the time of their lives copying out all the stuff I write. I hope, however, there are a few grains in the bundle of chaff (I'm fishing again)!» — Raymond bromea sobre el destino de sus propias cartas —alguien se divertirá copiando todo lo que escribe— y pide, dice que pescando, que en el fardo de paja haya unos granos

«You say, Norah, that you don't think the ch�teau was as quiet as I described. Well, provided I mentioned our gun, that went off at occasional intervals close behind it with a terrific report, it was just as I described—a peaceful summer afternoon.» — Raymond sostiene su propia descripción frente a la objeción de la hermana: el castillo era como lo contó, una tarde de verano apacible, con tal de que se cuente el cañón propio que disparaba detrás a intervalos con estruendo terrible

«I know that people think that everything in Belgium is chaos and slaughter, but it isn't so. For instance, where Fletcher is, is a charming country place with trees and fields and everything in full green. Simply ripping.» — y niega el cuadro que supone en el lector: la gente cree que todo en Bélgica es caos y matanza y no es así, porque donde está Fletcher hay un lugar encantador con árboles y campos en pleno verde

«You must know that we have now only three officers in our Company. I am very sorry indeed to lose Fletcher. He went off for a rest cure yesterday morning to a place about five miles from here. He is my greatest friend in the Battalion, so I miss him very much and hope he won't be long away. He will probably go back to England, however, as his nerves are all wrong. He is going the same way as Laws did and needs a complete rest.» — la carta del 19 de mayo de 1915 con la merma de oficiales: quedan tres en la compañía, y Fletcher, su mejor amigo del batallón, va por el mismo camino que Laws y necesita reposo completo

«I told you that I was Mess President (M.P.). I am sure you would smile to see me ordering the meals, and inspecting the joints. I don't know anything about them, and when the cook calls me up specially to view a joint I have hastily to decide whether he means me to disparage it— or the reverse. However, I am usually safe in running it down.» — la escena del presidente del comedor que Raymond cuenta a costa suya: no sabe nada de carnes y, cuando el cocinero lo llama a ver una pieza, tiene que adivinar a toda prisa si espera que la desprecie, y concluye que lo seguro es denostarla

«We rode over and saw Fletcher yesterday and had tea with him. He is with about twenty other similar cases in a splendid ch�teau (this one is not ruined and has magnificent grounds). Unfortunately this is probably the very worst possible treatment he could have. He has nothing to do, no interest in anything, and no society except people who, like himself, want cheering. He does not read, he does not even walk about the grounds. He cannot sleep much, and he said he did not know exactly what he did. Under these conditions I know it will not be long before he is sent home. Brooding is just the very worst thing for him.» — el juicio de Raymond sobre el tratamiento del amigo: un castillo espléndido con veinte casos parecidos le parece lo peor posible, porque no tiene nada que hacer, ninguna compañía salvo gente que como él necesita ánimo, y rumiar es lo más dañino

«He sees all the past horrors all over again; things which, at the time, he shut his mind to. The best treatment (even better than home, I think) would be to send him back for a month or so to Crosby. He would then have plenty to occupy his mind and would have cheerful companions» — y lo que Raymond propone en su lugar: mandarlo un mes a Crosby, aun mejor que a casa, donde tendría en qué ocupar la cabeza y compañeros animosos, porque vuelve a ver los horrores a los que en su momento cerró la mente

«I have attached a list of a few slang terms and curious expressions in use in this Regiment and I believe universal at the moment. Some of these are amazing, and it is difficult to trace the origin. 'Drumming up' is one, and 'wind up' another. I saw an old Belgian cart yesterday, a three-wheeled affair. It had been overturned on its side and the spokes of the lowest wheel had been broken. Well, some one had 'drummed up' on them—every one had disappeared. These men here will 'drum up' on anything. 'Drumming up' on a thing does not mean lighting a fire on it but with it.» — Raymond adjunta un glosario del habla del regimiento y explica una de sus voces con el ejemplo de la carreta belga volcada cuyos rayos desaparecieron: hacer fuego no sobre una cosa sino con ella

«When we were at that place where we were for a week, there was a most peculiar state of affairs. The Germans were holding a small piece of trench joining, and in line with, ours. They were only separated from us by double barricades—their and ours. They corresponded to the meat in a sandwich.» — la posición que Raymond describe con su propia figura: los alemanes tenían un tramo de trinchera en línea con la inglesa, separados solo por barricadas dobles, y los compara con la carne de un emparedado

«My nickname in the Mess is 'Maurice' (with a French pronunciation); I am called after the small boy in the grocery shop here. The good dame always says 'Oui, monsieur le lieutenant!' 'Non, monsieur le lieutenant!' to everything one says; she gets in about six to the minute. Well, we used to imitate her after our visits to the shop, and one day she called out 'Maurice'; so Fletcher calls me 'Maurice,' and I reply, 'Oui, monsieur le lieutenant.'» — el origen del apodo de Raymond en el comedor, contado con la escena entera: la tendera que respondía a todo con la fórmula seis veces por minuto, la imitación de los oficiales y el día en que ella llamó a Maurice

«I expect you have read it, but I want to recommend to you Simon Dale, by Anthony Hope.» — la única recomendación de lectura que Raymond hace en las cartas, en la del 26 de mayo de 1915 a un hermano: una novela de Anthony Hope

«I am so sorry, my friend Fletcher has just gone off this morning for a» — la baja del amigo, anunciada en la línea que cierra la plana: Fletcher se fue esa mañana a una cura de reposo; el renglón se corta al pasar de plana

«rest cure. I shall miss him awfully. He is about five miles away» — la continuación en la plana siguiente, con la causa dicha en el mismo párrafo: está a cinco millas, Raymond irá a caballo a verlo y probablemente lo manden a Inglaterra porque tiene los nervios mal

«SOME MILITARY TERMS Water-Party A fatigue party carrying water. To have Wind up (to rhyme with 'pinned up')—To be uneasy, 'on edge.' Drumming up Making a fire for the purpose of warming food. Blighty England. A Blighty Wound A wound that necessitates invaliding home. Pucca Real, genuine. Rally up A short period of considerable firing in the trenches. Dug-out A cramped dwelling-place, usually above ground. Stand-to An hour of preparedness at dawn and at dusk when every one is awake and wears his equipment (in trenches and supports only). Stand-down The finish of 'stand-to.' Knife-Rests Barbed wire in sections.» — el glosario que Raymond levanta, en su primer tramo: la partida del agua, el estar con los nervios de punta, el hacer fuego con una cosa, Inglaterra y la herida que manda a casa, lo genuino, el arrebato de tiroteo, el refugio, la guardia de amanecer y anochecer con su cierre, y los caballos de frisa

«Cushy A 'soft' thing. To Go Sick To report oneself ill to the doctor. To Get Down to it To lie down, go to bed. Cribbing or Grousing Complaining.» — la cola del glosario y la firma con que Raymond lo data el 20 de mayo de 1915: lo blando, ir a reportarse enfermo, echarse a dormir y quejarse

«We had the gas over here on Monday morning about 3 or 4 a.m.» — el gas, fechado por Raymond el lunes entre las tres y las cuatro de la madrugada; el renglón se corta al pasar de plana

«Although it was coming from a point about four miles away, as we learnt afterwards, it was very strong and made our eyes smart very much.» — la continuación, con la medida dentro: venía de un punto a unas cuatro millas, según supieron después, y aun así era muy fuerte y les escocían mucho los ojos

«We have again done a little move, this time with bag and baggage. We are now on the outskirts of 'No. 1,' and due west of it. The men have built themselves dug-outs along a hedge and we (C Coy. officers) are installed in an untouched ch�teau. Quite comfortable. Fine lofty rooms. We only use part of the house. We have the kitchen, and a large dining-room on the ground floor. We sleep upstairs on the first floor (our valise on hay). At least, Thomas and I do, the Captain and Case have moved down and sleep on large fat palliasses in the dining-room!» — la carta del 29 de mayo de 1915 y el alojamiento nuevo: refugios cavados junto a un seto para los soldados y los oficiales instalados en un castillo intacto de cuartos altos, durmiendo sobre heno en el primer piso salvo dos que bajaron a jergones en el comedor

«I notice I have now been gazetted back to 15 August, the same as most of my contemporaries.» — el dato administrativo que Raymond registra: su nombramiento quedó antefechado al 15 de agosto, como el de la mayoría de sus contemporáneos

«There has been a suggestion made that I should take a course of machine-gun instruction in order that I might act as understudy to our present Machine-Gun Officer (M.G.O.) who is Roscoe, and is the successor to Wyatt. I agreed, but it may have 'fallen through' owing to the move.» — la propuesta que lo llevará a ametralladoras: un curso para servir de suplente del oficial de ametralladoras del batallón, que aceptó y que acaso se caiga por el traslado

«No, I am not making things out better than they really are. I like to write mostly about the pleasant parts, of course. We have our unpleasant moments, shelling and so on, but no very bad times as yet. Being on tenterhooks is quite the worst part.» — Raymond responde a la sospecha de que endulza sus cartas, y lo hace concediendo y acotando: dice que no pinta las cosas mejores de lo que son, que prefiere escribir sobre lo grato, que tienen momentos desagradables y bombardeos pero aún ningún tiempo muy malo, y que lo peor con mucho es la incertidumbre

«mental strain and worry makes a difference. I do my best to keep cheerful and happy all the time—I don't believe in meeting trouble half-way. If there was some indication of the termination of the war it would help matters—the unending vista is apt to be rather disheartening at times. I am very glad Italy is in» — la continuación en la plana siguiente, donde Raymond dice su propia regla y su límite: hace lo posible por mantenerse alegre y no cree en salir al encuentro de la desgracia, pero si hubiera algún indicio del fin de la guerra ayudaría, porque la perspectiva sin término a ratos desanima

«By the way, Fletcher has not been sent to England (Blighty) after all. He is at Versailles, in the No. 4 General Hospital there, having a nice time if he can enjoy it. This hospital is the Trianon Palace. The Captain had a letter from him in which he sent his love to 'Maurice' and 'his lordship' (that's Thomas).» — la enmienda de Raymond sobre el destino del amigo: no lo mandaron a Inglaterra sino a Versalles, al hospital general número 4 instalado en el Trianon Palace

«Our interpreter is a Belgian, and is a very nice man. He does our shopping for us in the town, which is ten miles or so away, and (as now arranged) he makes the journey twice a week. It is very funny to hear him talk, he picks up the soldiers' idioms and uses them in the wrong places. One he is very fond of is the expression 'Every time'! He puts such a funny emphasis on it.» — el retrato del intérprete belga que hace las compras dos veces por semana en la ciudad, y el rasgo que a Raymond le hace gracia: recoge los modismos de los soldados y los usa fuera de lugar

«As regards Fletcher being worse than us, of course he came out much earlier. He left Edinburgh for the Front on 4 January, and Laws left on 31 December. He has had some awful times and the winter campaign, and in any case the length of time one is exposed to the» — la explicación que Raymond da de la diferencia entre el amigo y él, con las fechas: Fletcher salió al frente el 4 de enero y Laws el 31 de diciembre, pasaron tiempos terribles y la campaña de invierno, y cuenta el tiempo de exposición; el renglón se corta al pasar de plana

«Unfortunately, however, his arrival is not an unmixed blessing. The Captain is seized with enthusiasm and wants to make our Company the finest Company in the Battalion. The result is that we have now nothing but parades and much less rest than before. When we were turned into a pioneer battalion the Colonel told the men that they would go digging at night and would do nothing else except for rifle inspection. Now, however, we have in addition an hour's drill of various sorts in the morning and a lecture to N.C.O.s in the afternoon, at which all subalterns have to attend and take notes.» — Raymond registra la contradicción entre lo prometido y lo hecho: al volverlos batallón de pioneros el coronel dijo que solo cavarían de noche, y ahora hay además una hora de instrucción por la mañana y una conferencia por la tarde a la que los subalternos deben asistir tomando apuntes

«And these parades seem to be growing. I am afraid they will wear us all out and the men as well. Thomas feels it most and is very worried— although he is Senior Subaltern in the Company he is left right out of things. I am afraid of his going like Laws and Fletcher did.» — y el temor que deja escrito: que esas formaciones crecientes los agoten a ellos y a la tropa, con el caso de Thomas, subalterno mayor de la compañía y dejado al margen, que teme que acabe como Laws y Fletcher

«Some 'rankers' are very good fellows. They bring tremendous experience with them, but, on the other hand, we bring something too, and when they ride the high horse they can be very unbearable» — el juicio de Raymond sobre los oficiales salidos de la tropa, dado con las dos partes: traen una experiencia enorme, pero los otros también traen algo, y cuando montan en el caballo alto se vuelven muy insoportables

«I got a supply of paraffin to-day; D Company has bought a huge barrel of it, and I sent over a petrol tin for some. They gave me nearly two gallons and asked if I could let them have a window in exchange! I hunted round and found quite a good loose one and sent it across with my compliments. The reason they have bought up so much paraffin is because their Captain has presented pocket Primuses to his men. Each section of twelve men has one between them with one man in charge of it. It is a killing sight to see their Company sitting in a field and drumming up!» — la escena del trueque en el frente: dos galones de petróleo por una ventana suelta, y el porqué del acopio, que el capitán de otra compañía regaló hornillos de bolsillo a sus hombres, uno por cada sección de doce

«The Belgian cooking stove is rather a curious thing. It is of the same design in every house apparently. It consists of a metal urn to hold the fire; this has a removable lid for which you can substitute a kettle or pan which just fits the round opening. The urn stands about 3 feet from the wall and has a flat-shaped iron chimney leading into the main chimney. This iron chimney can be used for heating pots or for warming plates. The base of the urn is an ash collector. You will see that there is no oven; this is built separately and is a brick affair with a separate fire to it.» — otro levantamiento de ingeniero, esta vez del fogón belga: la urna metálica con tapa intercambiable por olla, la chimenea plana de hierro que sirve para calentar platos, el cenicero en la base y el horno aparte de ladrillo con su propio fuego

«I am all right again to-day; you mustn't pay any attention to my grumbles, it just depends what I feel like; and I am going to stir things up about these parades.» — Raymond desautoriza sus propias quejas de la carta anterior: dice que no les hagan caso, que depende de cómo se sienta, y que va a mover el asunto de las formaciones

«We had a fine time last night—very exciting. We went through the heart of the city and it is still very much on fire. The enemy keeps sending an occasional shell into it to keep it going. Just on the far side is a graveyard, and this has been 'crumped' out of existence nearly! It is an unpleasant place to pass now.» — la marcha nocturna por el corazón de la ciudad en llamas, que el enemigo mantiene ardiendo con un proyectil de cuando en cuando, y el cementerio del otro lado borrado a cañonazos

«The town is almost unbelievable. I don't think anyone would credit that they could do so much damage and not leave a single house untouched, without entering the place at all.» — el juicio de Raymond sobre la destrucción, dicho como incredulidad: no cree que nadie dé crédito a tanto daño sin una sola casa intacta y sin haber entrado siquiera en el lugar

«Our digging last night was near a small road much used by transport (which is very audible at night). As the enemy can hear the rumble of the horse-drawn carts quite plainly, they kept on sending shrapnel over, and we had quite a warm time of it. We were quite glad to get away again. (No one was hit while we were there.)» — la faena de zapa junto a un camino de transporte y la razón del fuego: el enemigo oye de noche el rodar de los carros tirados por caballos y manda metralla, de modo que pasaron un rato caluroso y se alegraron de irse

«I was very interested in father's pamphlet on 'War and Christianity,' and I have passed it on to the others. I like the way he gets right outside and looks at things from above.» — el único juicio de Raymond sobre la obra de su padre que las cartas conservan: le interesó el folleto sobre la guerra y el cristianismo y lo pasó a los demás, y le gusta el modo en que se sale de las cosas y las mira desde arriba; la llamada de nota que el troceo pega al renglón siguiente queda fuera del tramo

«He understood he would be fighting with us in the trenches, but they have put him on to shopping for us! He is awfully disappointed. He rides up when he can, and when we went up to Hill 60 he went up with our transports and showed them the way and helped them a lot, although shells were falling all round. He is a most gentlemanly man; his name is Polchet» — y la decepción del intérprete, que Raymond consigna con su nombre: creía que pelearía en las trincheras y lo pusieron a hacer las compras, aunque subió con los transportes a la Cota 60 a mostrarles el camino con los proyectiles cayendo alrededor

«I had a letter from Violet and another from Margaret yesterday. I understand they have gone up to Edinburgh now; I shall like to go up there too 'after the war.' I believe Violet is getting my room ready for me in their house. I like everything very plain, just a valise and a little hay, and then you see if I am hungry in the night» — la carta menciona a Violet y a Margaret y el cuarto que le preparan en Edimburgo para después de la guerra, con el gusto que Raymond declara: todo muy llano, una mochila y un poco de heno

«P.S.—I had a most interesting letter from Oliver. His discussion of Italy's motives is fine. I like hearing what people think of events; we are apt to get very warped views out here unless we have the other point of view occasionally.» — la posdata con la razón por la que Raymond agradece las cartas de casa: dice que allá se les tuercen mucho las opiniones si no les llega de cuando en cuando el otro punto de vista

«I had such an interesting talk with the interpreter yesterday (his rank is» — Raymond anuncia la conversación con el intérprete y empieza a situar su grado; el renglón se corta al pasar de plana

«the equivalent of one of our Sergeant-Majors). He was a merchant in Morocco, and chucked up everything and came and joined the Belgian army as a private. He fought at Namur, Antwerp, and other places, and is most awfully keen. He was offered the job of Interpreter to the British Army, and, thinking he could help more by that means and also partly for monetary considerations, he took the job.» — la continuación con la historia entera: comerciante en Marruecos que lo dejó todo para alistarse de soldado raso en el ejército belga, peleó en Namur, Amberes y otros sitios, y tomó el puesto de intérprete creyendo que así ayudaría más y en parte por dinero

«The Mess was thrown into the greatest state of excitement yesterday by the arrival of kippers! How splendid! We had a grand breakfast this morning, quite like the summer holidays again—breakfast after a bathe—with Alec of course!» — la carta del 6 de junio de 1915 y el modo en que Raymond mide la alegría del comedor: la llegada de unos arenques ahumados y un desayuno que le recuerda las vacaciones de verano

«By the way, I did not present the last lot of asparagus to the Mess— this was not because we didn't appreciate it, but because I felt so sorry for M. Polchet (our interpreter), and I wondered if he had any green stuff or luxuries. So I sent it over to him. And do you know what he has done? He has just sent me a shallow wooden box with a thick cottonwool pad in it. In the pad are six hollows, and in each hollow is a ripping nectarine. Isn't it fine of him?» — el intercambio que Raymond cuenta como prueba del carácter del intérprete: le mandó los espárragos pensando que no tendría verdura, y él devolvió una caja de madera con seis nectarinas en hoyos de algodón; el troceo parte *cotton-wool* en el salto de renglón y el extractor lo devuelve fundido

«We have roses picked every day for the Mess-room; it does improve it. The other evening we had a specially nice meal. We sat round the polished table with candles in the centre and bowls of roses round them (as a matter of fact the bowls were old tinned-fruit tins, but what of that). The food was very special, though I can't remember what it was, but to crown all there was in the room just across the passage ... a real fiddler with a real fiddle.» — la cena que Raymond describe con su ironía puesta en el detalle: la mesa pulida, las velas, los tazones de rosas que en realidad eran latas vacías de fruta, y en el cuarto de enfrente un violinista de verdad con un violín de verdad

«He started off by playing Grand Opera—I believe—and he gave us the Intermezzo from 'Cavalleria Rusticana.' Then he gave us 'Gipsy Love' and the 'Merry Widow,' and so on. He finished up with American ragtime. We sent him in a bottle of whisky half-way through the performance, and the music got lighter thenceforward. It was most amusing to notice the effect. When we looked in later the whisky was standing on the table, and he was walking round it with his fiddle, playing hard and apparently serenading it!» — el repertorio del violinista y el efecto medido de la botella de whisky que le mandaron a media función: de la ópera al ragtime, y al final el hombre dando vueltas alrededor de la botella tocando como si le diera serenata

«I was inoculated again on Friday evening because it is only really effective for about six months, and there is going to be a lot of enteric about, I expect. This apparently is just the very place for it— flat low-lying country, poor water supply, and the soil heavily manured. So I have been feeling rather weak and feverish after it, but I am better again now. I have to have it done again ten days later—but the second time is not so bad.» — la inoculación repetida con su razón sanitaria dentro: solo es eficaz unos seis meses, espera mucho tifus, y el sitio le parece el propio para él por ser país llano y bajo, de agua mala y suelo muy estercolado

«Talking about roses, Thomas picked a beauty this morning (before I got up) and brought it to me in bed. It is in front of me now, and is 5 inches across, and has a very fine smell.» — la rosa que Thomas le llevó a la cama esa mañana, de cinco pulgadas de ancho, en la última carta antes de que el libro consigne su muerte

«We made an attack early this morning, and our Company waited here to receive the prisoners. Poor devils, I do feel so sorry for them. One officer of sixteen with six weeks' service. Old men with grey beards too, and many of the student type with spectacles—not fit to have to fight.» — la carta del 16 de junio de 1915 y la mirada de Raymond sobre los prisioneros: dice compadecerlos, y nombra al oficial de dieciséis años con seis semanas de servicio, los viejos de barba gris y los del tipo estudiante con anteojos, a quienes no ve en condiciones de pelear

«You remember 'Very Pressing are the Germans'; well, that's where I am, right inside the walls. Quite shell-proof, but very dank.» — Raymond retoma la clave con que había burlado la censura para decir dónde está ahora: dentro de las murallas, a prueba de proyectiles y muy húmedo

«I have got the machine-gun job, and am going for a fortnight's course, starting on the 26th of June.» — el destino nuevo, fechado: obtuvo el puesto de ametralladoras y sale a un curso de quince días el 26 de junio

«We have had an extremely trying time lately, and I am very sorry to say we have lost Thomas. "He was hit on the head by shrapnel on the night after the attack—I expect you saw the account in the papers—and died about an hour» — la carta del 21 de junio de 1915 da la muerte de Thomas: alcanzado en la cabeza por metralla la noche siguiente al ataque, remitiendo a los periódicos para el relato; el renglón se corta al pasar de plana

«later, having never recovered consciousness. "It was a most fatal night—the whole battalion was ordered out digging to consolidate the captured positions. We got half-way out, and then got stuck—the road being blocked by parties of wounded. We waited on a path alongside a hedge for over an hour, and though we could not be seen we had a good deal of shrapnel sent over us. To make matters worse, they put some gas shells near, and we had to wear our helmets though the gas was not very strong. It was exceedingly unpleasant, and we could hardly see at all. It was while we were waiting like this that Thomas got knocked out.» — la continuación con la noche entera: el batallón sacado a consolidar las posiciones tomadas, el camino bloqueado por partidas de heridos, más de una hora de espera junto a un seto bajo metralla y proyectiles de gas que los obligaron a ponerse los cascos apenas viendo nada

«We are all sorry to lose him, and I miss him very much, but it is nothing to the trouble there will be at his home, for he is his mother's favourite son.» — y el modo en que Raymond mide esa pérdida: los suyos lo sienten, él lo echa mucho de menos, y nada de eso es comparable con lo que habrá en su casa, porque era el hijo predilecto de su madre

«I have written to his mother, but I have not told her what makes us feel so mad about it—namely, that we did no digging that night at all. When we got to the position we were so late, and there was still such confusion there due to the attack, that we marched back again and just got in before daylight. We might just as well never have gone out. Isn't it fairly sickening?» — lo que Raymond calla a la madre de Thomas y escribe a la suya: que esa noche no cavaron nada, que llegaron tan tarde y con tal confusión que volvieron a marchar de regreso antes del alba, y que bien pudieron no haber salido

«The next night we went out again, and we had a very quiet night and no casualties. The scene of the battle was pretty bad, and I put all my spare men on to burying.» — la noche siguiente, tranquila y sin bajas, y la tarea que Raymond registra sin adjetivos: el campo de batalla estaba bastante mal y puso a enterrar a todos los hombres que le sobraban

«Altogether we are very thankful to have a change from 'pioneering,' and get back to the trenches!» — y la preferencia que declara: agradecen mucho dejar el trabajo de pioneros y volver a las trincheras

«Our chief trouble here is snipers. We are in a wood, and parties going for water and so on to our headquarters will walk outside the trench instead of in it, just because the trench goes like this. [A diagram is omitted.] They take the straight course along the side in spite of repeated warnings. There is one point that a sniper has got marked. He gets our men coming back as they get into the trench just too late.» — el problema del bosque y la desobediencia que lo causa: las partidas de agua caminan por fuera de la trinchera porque el trazado da rodeo, pese a los avisos repetidos, y un francotirador tiene marcado ese punto

«the first officer of C Company that has been killed for seven months. "When we were up in this wood before, digging (about a fortnight ago) B Company lost Captain Salter. I dare say you saw his name in the Roll of Honour. We were just going to collect our spades and come in, when he was shot through the head by a stray bullet.» — la continuación con el dato que Raymond añade: Thomas es el primer oficial de la compañía C muerto en siete meses, y quince días antes la compañía B había perdido al capitán Salter de un balazo perdido en la cabeza al ir a recoger las palas

«What a very melancholy strain I am writing in, I am so sorry. I am quite well and fit. We have mislaid our mess-box coming up here with all our specially selected foods. The result is we are on short commons —great fun. I am eating awful messes and enjoying them. Fried bacon and fried cheese together! Awful; but, by Jove, when you're hungry.» — Raymond corta su propio tono y vuelve a la broma de intendencia: perdida la caja del comedor con los alimentos escogidos, están a media ración y él come mezclas espantosas y las disfruta

«Dear Mrs. Thomas,—I am very sorry to say I have to tell you the very worst of bad news. I know what Humphrey's loss must be to you, and I want to tell you how much it is to all of us too. I know I have not realised it yet myself properly. I have been in a kind of trance since last night and I dread to wake up.» — la carta de Raymond a la madre de Thomas, del 17 de junio de 1915: dice no haberlo asimilado todavía, haber estado como en trance desde la noche anterior y temer despertar

«He was a very fine friend to me, especially since Fletcher went away, and I miss him frightfully. Last night (16th to 17th) the whole Battalion went out digging. There had been an attack by the English early the same morning, and the enemy's guns were still very busy even in the evening. Our road was blocked in front owing to the moving of a lot of wounded, and while we were held up on a little field path alongside a hedge we had several shrapnel shells over us. To add to the horrors of the situation they had put some gas shells over too, and we were obliged to put on our gas helmets.» — Raymond da a la madre las circunstancias con la misma precisión que a la suya: el batallón entero fuera cavando, el camino bloqueado por heridos, la espera en un sendero junto a un seto bajo metralla y los proyectiles de gas que los obligaron a ponerse los cascos

«While Humphrey was standing with his helmet on in the rear of our Company talking to the Captain of the Company behind, a shell came over and a piece of it caught him on the head. He was rendered unconscious, and it was evident from the first he had no chance of recovery. He was immediately taken a little way back to a place where there was no gas, and here the doctor dressed his wound. He was then taken back on a stretcher to the dressing-station. He died there about an hour after he had been admitted, having never recovered consciousness.» — y el parte exacto de la muerte: el fragmento en la cabeza mientras hablaba con el capitán de la compañía de atrás, la inconsciencia inmediata, el traslado fuera del gas, la cura del médico, la camilla al puesto de socorro y la muerte una hora después de ingresar

«The papers and valuables which he had on him at the time will be sent back through our headquarters, the other things, such as letters, etc., in his other pockets I have left just as they were. I hope the valise will arrive safely. "He will be buried very simply, and probably due east of Ypres about three-quarters of a mile out—near the dressing-station. I will of course see he has a proper cross.» — la continuación con lo que Raymond promete: los papeles irán por el cuartel general, las cartas quedan en los bolsillos como estaban, el entierro será muy sencillo a unas tres cuartas de milla al este de Ypres, y él cuidará de que tenga una cruz como debe

«Humphrey was splendid always when shells were bursting near. He hated them as much as any of us, but he just made himself appear unconcerned in order to put heart into the troops. Three nights ago we were digging a trench and the Germans thought our attack was coming off that night. For nearly three-quarters of an hour they put every kind of shell over us and some came very close. We all lay down in the trench and waited. On looking up once I was amazed to see a lone figure walking calmly about as if nothing was going on at all. It may have been foolish but it was grand.» — el retrato del amigo que Raymond entrega a la madre, con la distinción dentro: odiaba los proyectiles tanto como cualquiera y se hacía el indiferente para dar ánimo a la tropa; y la escena de la figura sola caminando tranquila mientras los demás esperaban tumbados, que llama acaso insensata y a la vez grandiosa

«Well! What a long war, isn't it? Never mind, I believe it will finish up without much help from us, and our job is really killing time. And our time is so pleasant it doesn't need much killing out here. The days roll along—nice sunny days too—bringing us nearer I suppose to Peace.» — la carta del 22 de junio de 1915 con la fórmula que Raymond usa para su propia situación: cree que la guerra acabará sin mucha ayuda suya y que su tarea es en realidad matar el tiempo, y que el tiempo allí es tan grato que poco hace falta matarlo

«(One hardly dares even to write the word now, it has such a significance.) There have been cases where the war has driven people off their heads (this applies only, I think, to the winter campaign), but I often think if Peace comes suddenly that there will be many such cases.» — y lo que Raymond prevé de la paz misma: apenas se atreve a escribir la palabra por lo que significa, y piensa que si llega de golpe habrá muchos casos de gente trastornada, como los hubo por la guerra en la campaña de invierno

«I should think that never in this world before have there been so many men so 'fed up' before. And then the women at home too—it is wonderful where the driving force comes from to keep things going on.» — la observación de Raymond sobre el hartazgo: nunca hubo tantos hombres tan hartos, y se pregunta de dónde sale la fuerza que mantiene las cosas en marcha, contando también a las mujeres en casa

«I am sorry this is not a very cheerful letter, but we have all been rather sad lately. I am getting over it now. Luckily one absorbs these things very gradually; I could not realise it at first. It was an awful blow, because, especially since Fletcher went away (he is now at home), we had become very friendly, and one is apt to forget that there is always» — Raymond explica cómo le llega el duelo: dice que uno absorbe esas cosas muy despacio y que al principio no pudo hacerse cargo, y que se olvida que siempre; el renglón se corta al pasar de plana

«If he had to die, I am thankful he was spared pain beforehand. It made my heart ache this afternoon packing his valise; I have given his» — lo que Raymond escribe a la madre sobre el final y sobre el macuto: agradece que le fuera ahorrado el dolor y dice que le dolió el corazón empacándolo esa tarde; el renglón se corta al pasar de plana

«chocolate, cigarettes, and tobacco to the Mess, and I have wrapped up his diary and a few loose letters and made them into a small parcel» — la continuación en la plana siguiente: repartió al comedor el chocolate, los cigarros y el tabaco, y envolvió el diario y unas cartas sueltas en un paquete puesto en medio del macuto

«But still—I don't want to convey a false impression. If you took my last letter by itself you might think things were very terrible out here all the time. They are not. On the whole it is not a bad time at all. The life is» — Raymond acota otra vez su propio testimonio: si se toma su última carta a solas podría creerse que aquello es terrible todo el tiempo, y no lo es; el renglón se corta al pasar de plana

«full of interest, and the discomforts are few and far between. Bad times do come along occasionally, but they are by way of exceptions. It is most like a long picnic in all sorts of places with a sort of constraint and uneasiness in the air. This last is purely mental, and the less one worries about it the less it is, and so one can contrive to be lighthearted and happy through it all—unless one starts to get depressed and moody. And it is just that which has happened to Laws and Fletcher and one or two others. They had been out long and had seen unpleasant times and without an occasional rest; none but the very thick can stand it.» — la continuación con la imagen y el diagnóstico que Raymond saca de ella: lo compara con un largo día de campo en sitios diversos con una tensión en el aire que llama puramente mental, y sostiene que cuanto menos se cavila menos pesa, salvo cuando uno empieza a deprimirse, que es lo ocurrido a Laws y a Fletcher tras mucho tiempo fuera sin descanso; el troceo parte *light-hearted* en el salto de renglón y el extractor lo devuelve fundido

«Here I am installed in the school [Machine Gun] which is, or was, a convent. Fine large place and grounds. Two officers per bedroom and a large Mess-room; about twenty officers up for the course (or more) which starts to-morrow (Sunday). Your solution of the Thompson acrostic [St. Omer] was perfectly right, we are far back. This convent is about two miles from that town.» — la carta del 26 de junio de 1915 desde la escuela de ametralladoras instalada en un convento, con la confirmación de otro acróstico descifrado en casa: una veintena de oficiales en el curso y el sitio a unas dos millas de la ciudad

«I told you leave was starting—well, it has now started. Three of our officers have gone—and all together! They are only getting three clear days in England—but still! "I am going to find out when this course finishes—I think it lasts for sixteen days—and then I am going to apply for my leave to follow on. I wish—oh, how I wish—I may get it; but of course many things may intervene.» — el permiso que Raymond espera y la reserva con que lo dice: tres oficiales ya salieron con tres días netos en Inglaterra, él pedirá el suyo al terminar el curso de dieciséis días, y cuenta con que muchas cosas puedan atravesarse

«If it does come off I hope there will be a representative gathering to meet me at dinner. That is, I hope Violet will be back from Edinburgh, Lorna and Norah from Coniston, and perhaps Oliver and his Winifred will pay a flying visit from Cardiff. Haven't I got an enlarged opinion of my own importance? I suppose it is too much to expect the offices to have a whole holiday!» — y la lista de quienes querría ver a su vuelta, con la broma sobre sí mismo: pregunta si no tiene una opinión abultada de su propia importancia y supone que es mucho esperar que las oficinas cierren

«I was so interested to hear that Alec had applied for me to come back. It is not at all impossible, because I have known two or three cases where officers have been recalled—one was chief chemist (or so he said) at Brunner Mond's. He was returning as I came out, and tried to make one's flesh creep by his tales of war.» — la posibilidad de que lo reclamen de vuelta a Inglaterra, con el precedente que Raymond conoce: dos o tres oficiales recobrados, uno de ellos químico jefe de una empresa, que a su llegada trataba de horrorizarlos con sus cuentos de guerra

«But I don't think it is likely to happen in my case. I only wish it would. I should love to come home again, although I don't feel as if I had done my bit yet—really. I haven't» — y la razón con que Raymond frena su propio deseo: le encantaría volver a casa y no siente haber cumplido todavía su parte; el renglón se corta en el límite de chunk, dentro de la misma plana

«been in any big scrap, and I haven't killed my man even» — la continuación tras ese corte, que dice el fondo de esa reserva: no ha estado en ninguna refriega grande y ni siquiera ha matado a su hombre

«Talking about the Major (Major Cotton), he used to be our Adjutant at Crosby—he was Captain then. He came out as second in command and has now got the Battalion while our Colonel (Colonel Dudgeon) is away sick. The latter got his C.B. in the last honours list. He is an excellent man. Lieut. Burlton, too, got a Military Cross. He has now been wounded twice; he was the moving spirit of the hockey matches at Crosby in the old days, and, when he was recalled to the Front, his mantle fell upon me» — Raymond nombra a los jefes del batallón y sus condecoraciones: el mayor Cotton al mando mientras el coronel Dudgeon está enfermo, la distinción del coronel en la última lista de honores y la Cruz Militar del teniente Burlton, dos veces herido

«All the officers here are from different regiments with a very few exceptions. It is most interesting. At meals, Way and I sit among the Cavalry, Dragoons and Lancers, etc. They are fine chaps—the real Army officers of which there are now all too few.» — y lo que a Raymond le interesa del curso: los oficiales vienen de regimientos distintos, come entre caballería, dragones y lanceros, y los llama los oficiales de ejército de verdad, de los que ya quedan demasiado pocos

«Here I am getting towards the end of my little holiday, only five more days to go. No word has reached me from my Battalion on the subject of leave, or of anything else for that matter.... "If this threatened push on Calais is real, or if the higher commands have got 'wind up' about it, they will very likely stop all leave, and then I shall just have to wait until it starts again» — la carta del 7 de julio de 1915 con el permiso pendiente y su condición: si el empuje anunciado sobre Calais es real, o si los altos mandos se inquietan, suspenderán los permisos y habrá que esperar

«I am sure that the fact of our nation being 'down' and preparing for a winter campaign will materially assist in shortening the war and rendering that preparation unnecessary.» — la previsión que Raymond sostiene: que la nación esté abatida y preparándose para una campaña de invierno ayudará materialmente a acortar la guerra y a hacer innecesaria esa preparación

«We have an awfully amusing chap here who is in the Grenadier Guards. He is always imitating Harry Tate. A great big hefty chap, in great big sloppy clothes (including what are known as 'Prince of Wales' breeches). He gets his mouth right over to the side of his face and says 'You stupid boy!' in Harry Tate's voice. He does this in the middle of our instructional squads when some wretched person does something wrong with the gun, and sends every one into fits of laughter» — el retrato del oficial que imita a un cómico de music hall en medio de las prácticas de tiro cada vez que alguien se equivoca con el arma

«I am so pleased to be in the 'pleasant, sunny land of France,' amid absolute peacefulness. We had a curious journey.» — Raymond celebra el traslado a la retaguardia en la fórmula que entrecomilla y anuncia el viaje que va a contar: dice estar contento de hallarse en tierra apacible por completo

«We went back about two miles to pick up some of our Division, and having done so, we set off to pick up some of the 14th Division, at a point carefully specified in our driver's instructions. This was about five miles away, in our proper direction. But when we got to the spot we discovered they (the Division) had left it a week ago and gone to a point quite close to where we had just picked up the 3rd Division men. I telephoned in vain; we had to go all the way back.» — la comedia del viaje contada como una cadena de errores: las instrucciones del chofer mandaban a un punto que la división había dejado hacía una semana, muy cerca de donde ya habían recogido a los otros, y el teléfono no sirvió de nada

«We found the place with difficulty (we found all our places with difficulty as we had no maps), collected the men, and came all the way out again. Then we came straight here, which was about fifteen miles at least. We got here at 4.30 p.m.! Six hours' motorbussing! and the bus's maximum was 25 m.p.h. at least, I should judge. Luckily it was a glorious day, and I sat in front with the driver and enjoyed it all» — y el remate, con la razón de la dificultad dentro: encontraron todos los sitios a duras penas por no llevar mapas, seis horas de autobús para unas quince millas finales, y él delante con el chofer disfrutándolo

«The enemy's lines round here do not appear to be strongly held, in fact quite the reverse—that is, the front lines. But attacks on our part don't always pay—even so. Their method, as I understand it, is simply to lose less men than we do. Accordingly, they leave very few men in their front trench, but what there are have a good supply of machine guns and are well supported by artillery.» — Raymond describe la disposición enemiga como quien explica un mecanismo, y con el porqué dentro: las líneas delanteras van poco guarnecidas porque el método, según lo entiende, es perder menos hombres que el atacante, de modo que dejan pocos soldados pero con buena dotación de ametralladoras y apoyo de artillería

«We precede our attacks by heavy shelling, and the few men get into well-built dug-outs until it is over, then they come out and get to work with their machine guns on the attacking infantry. The trench ultimately falls after rather heavy loss on our side (especially if the wire isn't properly cut) and the few defenders hold up their hands. Some are made prisoners—some are not. If the enemy want the trench very badly they try and retake it by means of a strong counter-attack, trusting that our men and arrangements are in sufficient confusion to prevent adequate support. That is why our attacks are so expensive and why we aren't constantly attacking.» — y la secuencia que saca de ahí: el bombardeo previo, los pocos defensores metidos en refugios hasta que pasa, las ametralladoras sobre la infantería atacante, la trinchera que cae con pérdida grande y el contraataque que aprovecha la confusión, por lo que sostiene que los ataques propios salen caros

«I had a ripping time at the transport; I hope they enjoyed the peas» — el paso por el destacamento de transporte, con los guisantes que les mandó; el renglón se corta al pasar de plana

«they deserved to. They were hospitality itself. They welcomed me, gave me three meals, lent me anything I wanted, made room for me to sleep in their large room (this necessitated the Quartermaster-Sergeant moving his bed into another room), gave me a warm bath, and generally made me feel quite at home. They have a ripping dug-out. Rooms half underground, 7 feet high, plenty of ventilation, boarded floor and walls, and a wooden roof supported on square wooden pillars and covered in earth well sodded on top» — la continuación con la hospitalidad y las medidas del refugio que Raymond levanta como un plano: tres comidas, un baño caliente, sitio para dormir, y cuartos medio enterrados de siete pies de alto, bien ventilados, con piso y muros entablados y techo de madera sobre pilares cuadrados cubierto de tierra encespedada

«My M.G. course is going on very nicely. I have learnt a very great deal, have been intensely interested, and am very keen on the work. My function as a reserve machine-gunner should really be to train the reserve team and such parts of the main team as are not actually required in the trenches, in a safe spot behind the lines! It sounds 'cushy,' but those in authority over us are not sufficiently enlightened, I am afraid, to adopt such a plan. The object of course is to prevent your reserve men from being 'used up' as riflemen, as otherwise when you want them to take the place of the others they are casualties and all their training goes for nothing.» — Raymond expone la doctrina del ametrallador de reserva y la objeción que le opone la autoridad: su función debería ser instruir al equipo suplente en sitio seguro para que no se gaste como fusilero y esté vivo cuando haga falta, y teme que los mandos no estén lo bastante ilustrados para adoptarlo

«The Cavalry officers here are a great joke. They find this life very tiring. They are quite keen to get back again and have been from the beginning. We, on the other hand, fairly enjoy it and are not at all anxious to go back to our regiments. That shows the difference between the lives we lead. Of course they have been in the trenches and have had some very bad times there, but they only go in in emergencies and at long intervals» — la comparación entre armas que Raymond saca del curso: los de caballería hallan cansada esa vida y quieren volver, mientras los de infantería la disfrutan y no tienen prisa, porque solo entran a las trincheras en emergencias y a intervalos largos

«Another difference between us is that they keep their buttons as bright as possible and themselves as spick and span as can be. The infantry officer gets his buttons as dull as possible, and if they are green so much the better, as it shows he has been through gas. He likes his clothes and especially his puttees to be rather torn, and his hat to be any old sloppy shape. If he gets a new hat he is almost ashamed to wear it—he is terrified of being mistaken for 'Kitcheners'!» — y la otra diferencia, dicha como código de vestir con su significado dentro: el de caballería reluciente, el de infantería con los botones lo más opacos posible, mejor verdes porque muestran que pasó por el gas, las polainas rotas y el sombrero deforme, y el terror de estrenar uno y que lo tomen por recluta nuevo

«Lord Kitchener and Mr. Asquith came here last evening. Here, to this convent. I don't know what for; but there was of course a good deal of stir here.» — la visita que Raymond registra sin saber a qué vino: Lord Kitchener y el señor Asquith en ese mismo convento la víspera, con el revuelo consiguiente

«Way and I went into the town last night. We hired a fiacre for the return journey. It came on to rain, so it was just as well we had a hood. We both thoroughly enjoyed the journey. The fiacre was what would be dignified by the name of 'Victoria' in England. But in France, where it seems to be etiquette not to take any trouble over carriagework, fiacre is the only word you could apply, and it just fits it. It expresses not only its shabbiness but also hints at its broken-backed appearance.» — la excursión al pueblo y la digresión que Raymond hace sobre la palabra del coche de alquiler: en Inglaterra lo dignificarían con otro nombre, pero en Francia, donde parece de etiqueta no esmerarse en la carrocería, solo cabe esa, que dice a la vez lo destartalado y lo derrengado

«We went into some stables and inquired about a fiacre, and a fat boy in a blue apron with a white handkerchief tied over one eye said we could have one. So I said, 'Oïu est le cocher?' and he pointed to his breast and said, 'C'est moi!'» — la escena del cochero: el muchacho gordo de mandil azul con un pañuelo blanco atado sobre un ojo que, preguntado dónde estaba el cochero, se señaló el pecho

«The fiacre was very comfortable and we were awfully tickled with the idea of us two in that absurd conveyance, especially when we passed staff officers, which was frequently. Altogether we were quite sorry when our drive was over.» — el remate de la excursión: los dos en aquel vehículo absurdo, tanto más cuanto que pasaban seguido junto a oficiales de estado mayor, y la pena de que el paseo acabara

«On 16 July 1915, Raymond came home on leave, and he had a great reception. On 20 July he went back.» — la nota de Lodge que fija las únicas fechas del permiso en casa: llegó el 16 de julio de 1915 con gran recibimiento y volvió el 20

«I have got quite a nice dug-out, with a chair and table in it. The table was away from the door and got no light, so I have spent about two hours to-day turning things round. I went to bed about three this morning (just after 'stand-to') and slept till nearly twelve. Then I had breakfast (bacon and eggs). As my former platoon Sergeant remarked: 'It is a great thing to have a few comforts, it makes you forget there is a war,» — la carta del 25 de julio de 1915 y la frase que Raymond cita de su antiguo sargento de pelotón: que es gran cosa tener unas comodidades porque le hacen a uno olvidar que hay una guerra

«So it does until a whizz-bang comes over.» — y la respuesta de Raymond a esa frase, en un solo renglón: así es, hasta que llega un proyectil

«I have just seen an aeroplane brought down (German luckily). I missed the first part, where one of ours went up to it and a flame shot across between them (machine gun, I expect). I ran out just in time to see the machine descending on fire. It came down quite steadily inside our lines (about a mile or more away), but the flames were quite clearly visible,» — el derribo de un aeroplano que Raymond presencia a medias y describe con lo que vio y lo que supone: la llama entre las dos máquinas, que atribuye a una ametralladora, y el descenso en llamas dentro de las líneas propias a más de una milla

«The fare, he said, would be six francs and the pourboire. Thoughtful of» — el trato con el cochero: seis francos y la propina; el renglón se corta al pasar de plana

«him not to forget that. We agreed, and he eventually produced the usual French horse.» — la continuación con la ironía de Raymond: agradece al muchacho la previsión de no olvidar la propina, y el caballo francés de siempre que acabó sacando

«Here I am in the trenches again, quite like old times, and quite in the swing again after the unsettling effect of coming home! You know I can't help laughing at things out here. The curious aspect of things sometimes comes and hits me, and I sit down and laugh (not insanely or hysterically, bien entendu; but I just can't help chuckling). It is so absurd, the reasons and causes that have drawn me to this particular and unlikely field in Belgium, and, having arrived here, that make me set about at once house-hunting—for all the world as if it was the most natural thing in life.» — Raymond describe lo que le hace reír en el frente: lo absurdo de las razones que lo llevaron a ese campo de Bélgica y de que, llegado allí, se ponga en seguida a buscar casa como si fuera lo más natural del mundo

«I was very loth to leave my front line dug-out, because I had arranged things to my liking—had moved the table so that it caught the light, and so on. It had a built-in table (which took a lot of moving), a chair and a sandbag bed. Quite small and snug.» — la razón con que Raymond mide el apego a un refugio: lo tenía a su gusto, con la mesa movida para que le diera la luz, una silla y una cama de sacos terreros

«The sandbag bed is apparently made as follows: Cover a portion of the floor, 6 feet 6 inches by 3 feet 6 inches, with a single layer of sandbags filled with earth. Over these place several layers of empty sandbags, and the bed is finished. If the hollows and lumps are carefully placed, the former in the middle and the latter at the head, the result is quite a success. Of course one sleeps in one's clothes covered by a coat and with an air pillow under one's head.» — la receta de la cama de sacos terreros dada como instrucción de obra: una capa de sacos llenos de tierra sobre seis pies seis por tres pies seis de piso, varias capas de sacos vacíos encima, y los huecos y bultos colocados con cuidado, los primeros al medio y los segundos a la cabecera

«We have had a very gay time in the trenches. I think I told you how I saw a hostile aeroplane brought down on fire in our lines. That was on Sunday, and the official report says both pilots killed. On Monday I went down to a support trench to have meat tea and a chat with Holden and Ventris (two of C Company officers). At a quarter to ten there was a loud rumbling explosion and the dug-out we were in rocked for several seconds. The Germans had fired a mine about 60 feet in front of our trench to try to blow in some of our workings.» — la mina alemana del lunes, fechada y medida por Raymond: una explosión sorda a unos sesenta pies por delante de la trinchera que sacudió el refugio varios segundos, disparada para hundir sus galerías

«I rushed to my guns—both were quite safe. You should have heard the noise. Every man in the place got up to the parapet and blazed away for all he was worth. It was exciting! One machine gun fired two belts (500 rounds), and the other fifty rounds. I heard afterwards that several of the enemy were seen to leap their parapets, but turned back when they heard the machine guns open fire. It took a good while for things to quieten down. Some of our miners were at work when it went off, but their gallery was some way off and they were quite all right.» — y lo que siguió, contado con las cifras: quinientos tiros de una ametralladora y cincuenta de la otra, los enemigos que según le dijeron saltaron sus parapetos y se volvieron al oír las ametralladoras, y los propios zapadores a salvo por estar lejos la galería

«Last night they actually exploded another one! Aren't they keen? This was a much smaller affair, but closer to our trench. It shook down a portion of our parapet, which was easily rebuilt and entombed temporarily two of our miners. In neither case were there any casualties» — la segunda mina, menor pero más cerca, que derribó un trozo de parapeto y sepultó un rato a dos zapadores sin bajas en ninguno de los dos casos

«I am not actually in the trenches at the moment, though most of the Battalion is. I was in for five days, and then I was relieved about four days ago by another officer (Roscoe), who shares with me the duties of machine-gun officer. So I am in a dug-out about three-quarters of a mile behind the firing line while he is taking his turn in that line.» — la carta del 1 de agosto de 1915 sitúa a Raymond a tres cuartos de milla detrás de la línea de fuego, relevado por el otro oficial de ametralladoras con quien se turna

«And having selected my little house and arranged all my belongings in it, I regard it as home and spend a few days there. And then one morning my servant and I, we pack up everything once more and hoist them on to our backs and set off, staff in hand, like a» — escogida la casita y puestas en ella sus cosas, la tiene por hogar unos días, y una mañana él y su asistente empacan y salen bordón en mano; el renglón se corta al pasar de plana

«pair of gipsies to another field a mile or so distant, and there make a new home» — la continuación con la figura completa: como un par de gitanos a otro campo a una milla de distancia, y allí hacen casa nueva

«I am so sorry the date of the wedding had to be altered, but I agree it was for the best. I only hope you remembered to inform the bridegroom—he is often forgotten on these occasions, and I have» — la broma con que Raymond cierra la carta: espera que se acordaran de avisar al novio del cambio de fecha, porque suele ser el olvidado en esas ocasiones; el renglón se corta al pasar de plana

«known a lot of trouble caused by just this omission.» — el remate de esa broma en la plana siguiente: dice haber sabido de muchos líos causados justamente por esa omisión

«We have been at Hill 60 and also up at Ypres. At present we are south of that appalling place, but I learn with regret that to-morrow we are moving again and are going up north of Ypres. We are all depressed in consequence.» — la posición a primeros de agosto de 1915 y el ánimo con que Raymond la da: al sur de Ypres, que llama lugar espantoso, y el traslado al norte que los deja a todos abatidos

«What an awfully good letter you have written me; but, do you know, it makes me ache all over when you write like that about the car. You have only to mention you have got a Rover, and I am as keen as mustard to come and tinker with it! Aren't I young?» — la reacción de Raymond ante la mención de un automóvil: dice que lo hace doler entero, y que con solo saber que hay un coche se muere de ganas de ir a trastear con él

«I am so glad Hester gave a good account of my appearance. I am very fit, it is the only way to exist here. Once you begin to get 'down' and to worry, it is all up with you. You go into a rapid decline, and eventually arrive home a wreck! But as long as you smile and don't care a hang about anything, well the war seems to go on quite all right!» — Raymond enuncia lo que tiene por regla de supervivencia: estar en forma es el único modo de existir allí, y en cuanto uno se hunde y se preocupa está perdido y acaba volviendo hecho una ruina, mientras que sonriendo y sin darle importancia a nada la guerra marcha

«I have been having rather a bad time lately,—one of those times that reminds one that it is war and not a picnic,—but, thank goodness, it is all over now.» — la carta del 7 de agosto de 1915 con la fórmula que niega la que él mismo había usado: uno de esos ratos que le recuerdan a uno que aquello es guerra y no un día de campo

«I think I told you that we were about to move up north of Ypres, to St. Julien or thereabouts. Well, just before we handed over these trenches to one of Kitchener's Battalions, the Germans went and knocked down a lot of our parapet, and also sent over some appalling things that we call 'sausages,' or 'aerial torpedoes,' though they are not the latter. They are great shell-shaped affairs, about 3 feet along and 9 inches in diameter, I should think. They are visible during the whole of their flight. They are thrown up about 100 yards into the air and fall down as they go up, broadside on—not point first.» — Raymond describe el proyectil nuevo con medidas y trayectoria, y de paso enmienda su nombre: los llaman salchichas o torpedos aéreos, aunque dice que no son lo segundo, y van de unas tres pies de largo por nueve pulgadas, visibles todo el vuelo, lanzados cien yardas al aire y cayendo de costado

«A few seconds after they fall there is the most appalling explosion I have ever heard. From a distance of 100 yards the rush of air is so strong that it feels as if the thing had gone off close at hand. Luckily there is a slight explosion when they are sent up, and, as I said, they are visible all the time in the air. The result is our men have time to dodge them, provided they are not mesmerised as one man was. He got stuck with his mouth open, pointing at one! A Corporal gave him a push which sent him 10 yards, and the 'sausage' landed not far from where he had been.» — y el efecto contado con la escena que lo fija: la explosión más espantosa que ha oído, el golpe de aire a cien yardas como si estallara al lado, la pequeña detonación del lanzamiento que da tiempo a esquivarlos, y el hombre que se quedó paralizado con la boca abierta señalándolo hasta que un cabo lo empujó diez yardas

«Although they have sent more than twenty of these things over altogether, we have only had one casualty, and that a scratch. Their effect is to terrify every one and keep them on tenterhooks watching for them. Their purpose is to destroy mine galleries, I believe» — el saldo que Raymond hace de esos veinte proyectiles: una sola baja y de rasguño, aunque su efecto es aterrar a todos y tenerlos en vilo, y cree que su fin es destruir las galerías de mina

«They were firing armour-piercing shells that go right in and blow the parapet to blazes; dug-outs too, of course, if they happen to be near. After punishing the right end of the left-hand bit of trench, they traversed along, laying waste the whole of our bit.» — el bombardeo del 2 de agosto descrito como un barrido metódico: proyectiles perforantes que entran y vuelan el parapeto y los refugios, castigando primero un extremo y recorriendo después el tramo entero

«I enjoyed my few days' leave very much indeed. I had five days in England and three full days and four nights at home. I dropped into my» — el permiso medido en días: cinco en Inglaterra y tres enteros con cuatro noches en casa; el renglón se corta al pasar de plana

«old life just as if no change had occurred. And the time was not long enough to make the getting back difficult. "This life is a change for me, as you say. I haven't done laughing at its humorous side yet. In some ways we get treated like schoolboys. More so at Crosby than here, however.» — la continuación en la plana siguiente: dice haber caído en su vida antigua como si nada hubiera cambiado y que el permiso no fue bastante largo para que costara volver, y añade que aún no ha dejado de reírse del lado cómico de esa vida, en que a veces los tratan como a escolares

«I was in my dug-out with Hogg, another officer. I was trying to make» — la escena doméstica dentro del bombardeo, con el otro oficial nombrado; el renglón se corta al pasar de plana

«tea, but every shell blew out the Primus, and covered us in dust. I made it, however, eventually, and we had just drunk it when a shell blew the parados of the trench down, not far from our door, and the next wrecked the dug-out next door to mine (a man who happened to be inside having a miraculous escape). We judged it was time to clear (the machine guns had already been withdrawn to safety), and got away as best we could through and over the debris that had been a trench.» — la continuación: cada proyectil apagaba el hornillo y los cubría de polvo, alcanzó a hacer el té, el parados cayó junto a su puerta, el refugio contiguo quedó destruido con su ocupante milagrosamente ileso, y salieron como pudieron por lo que había sido una trinchera

«Later in the day I made my way back, and recovered my pack and most of my belongings. It was exciting work getting back, because they were sending whizz-bangs through the gaps in the parapet, and the communication trenches in the rear were blocked in places, so that you had to get up on top and 'scoot' across and drop in the trench again.» — el regreso a recobrar sus cosas contado como un cálculo de riesgo: los proyectiles rasantes por los boquetes del parapeto y las trincheras de comunicación bloqueadas, que obligaban a salir arriba, correr y volver a caer dentro

«That evening they gave us a second shelling, and one hit my dug-out fair and square (I had quarters in a support trench). When I returned next day for the rest of my things—my equipment and some provisions —I had to put two men on to dig them out. It took three-quarters of an hour to get at them, through the wreckage of timber, corrugated iron, and earth» — el segundo bombardeo y lo que costó recuperar lo suyo: su refugio alcanzado de lleno y dos hombres tres cuartos de hora cavando entre madera, lámina y tierra

«The trouble is, we have a number of mine shafts under the ground between our trenches and theirs, and they are fearfully 'windy' about them. They keep trying to stop us mining them, and their shelling is with the object of blowing down our sap-heads. Their mines, too, go up short, because they are trying to blow in our galleries; or else they are so scared they send them off before they are ready. I think the last explanation is probably more near the truth, because when one of their mines went up recently a lot of Germans went up with it!» — Raymond explica la guerra de minas y adjudica la causa con una reserva: el enemigo está inquieto por los pozos propios y bombardea para hundir las cabezas de zapa, y sus minas revientan cortas o porque tratan de hundir las galerías o porque las disparan sin estar listas, lo que le parece más probable porque en una voló un buen número de los suyos

«We have been in here a fortnight to-night. You can imagine how we long for clean clothes. Most of the officers have not been out of their clothes all that time, but I have been very lucky. I had two good cold baths when I was down here before, and to-day I had a lovely hot one in a full-length wooden bath. A tremendous luxury! Also I had some clean socks to put on» — la cuenta de la ropa como medida del tiempo: quince noches dentro, la mayoría de los oficiales sin desvestirse en todo ese lapso, y él con suerte por dos baños fríos y uno caliente de tina de madera

«You ask whether that time when the mine went off was the first time I had used these guns. Yes, absolutely. The plan adopted in trench warfare is to place your guns in position with a good wide loophole in front of them, then block this up and keep a sharp look-out. When the enemy attacks, you blaze away at them, and then shift hurriedly to another gun-position and watch the old one being shelled to blazes.» — Raymond expone la doctrina de empleo de la ametralladora en guerra de trincheras: emplazarla tras una aspillera ancha, taparla, vigilar, disparar cuando el enemigo ataque y mudarse a otra posición para ver bombardear la anterior

«If you fire on other occasions you are rather apt to have your guns knocked out, and we can't afford to lose any. That is why I was rather horrified to find one gun had fired 500 rounds the other night. However, it was not discovered. I think the long grass in front hid the flashes» — y la consecuencia con que se juzga a sí mismo: disparar en otras ocasiones expone a perder las piezas, que no pueden permitirse, y por eso lo horrorizó saber que una de las suyas había tirado quinientos cartuchos aquella noche, aunque no se descubrió

«Yes, the sandbags might be damp when used for a bed, and I always lay my waterproof ground-sheet on top of them. I either sleep on that or on some new clean bags laid above that again. It is not only dampness, though, that one fears!» — la respuesta sobre la humedad de los sacos con lo que calla dentro: pone la lona encima y duerme sobre ella o sobre sacos limpios, y añade que no es solo la humedad lo que se teme

«As a matter of fact, one is not very sensitive to damp when living so much out of doors. It is common to get one's feet slightly wet and go for about four days without removing one's boots—most unpleasant, but not in the least damaging to health.» — y la observación que Raymond ofrece como dato: viviendo tanto a la intemperie uno se vuelve poco sensible a lo húmedo, y es corriente mojarse los pies y pasar cuatro días sin quitarse las botas, cosa desagradable pero que no juzga dañina

«We are now out and resting after doing a long spell. I did nineteen days, and some did a few more days than that. Three weeks is a long time to live continuously in clothes, boots, and puttees» — la carta del 16 de agosto de 1915 mide el turno en días y en ropa: diecinueve días seguidos, alguno más los otros, y tres semanas viviendo sin salir de la ropa, las botas y las polainas

«Four came altogether at two-minute intervals, but we only had two casualties. Rather upsetting when we were supposed to be resting. I don't know whether they could see our (officers') white tents, or whether they saw the cricket match that took place on the day before.» — y las cuatro granadas a intervalos de dos minutos con solo dos bajas, más la conjetura de Raymond sobre lo que el enemigo pudo ver: las tiendas blancas de los oficiales o el partido de críquet de la víspera

«On the day I was shelled out of my dug-out my servant, Bailey, was hit on the leg by a piece of shell and has gone down the line wounded,» — la baja de su asistente Bailey, herido en la pierna por un fragmento; el renglón se corta al pasar de plana

«not very seriously, I think. He is a great loss to me, but I have got another one now, Gray, who shapes very well. He is young and willing, and quite intelligent.» — la continuación con el reemplazo: la herida no le parece grave, es una pérdida grande para él, y el nuevo asistente, Gray, le parece joven, dispuesto e inteligente

«I came out of the trenches on Thursday night, and was really a day too soon, because on Friday we were having Orderly-Room right in the country, in front of the C.O.'s tent; the Colonel was there surrounded by most of the officers, when we heard a shell.» — la escena de la sala de órdenes al aire libre: salió de las trincheras el jueves por la noche y en realidad un día antes de tiempo, porque el viernes, con el coronel rodeado de oficiales frente a su tienda, oyeron un proyectil

«Well, that's nothing unusual, but this one got crescendo, and we all looked up in alarm. Then it got very crescendo, and finally cleared us and landed with a loud explosion about 50 yards beyond us, and not far from several groups of men. It was an 8-inch 'crump.' One man only was killed» — y el crescendo con que Raymond cuenta el estallido: la alarma al oírlo subir de tono, la explosión a unas cincuenta yardas junto a varios grupos de hombres, un proyectil de ocho pulgadas y un solo muerto

«Anyway we moved our tents slightly—every one put their tents where they pleased, and then the Pioneer Sergeant came and amused himself daubing green paint on them in patches. Ours (three of C Coy.) was the best; the splodges looked just like hazel nuts (?) when there are three together in their little green cases, and they were interspersed with a kind of pansy-shaped flower. Altogether a very tasteful and pleasing effect» — el camuflaje descrito por Raymond con ojo de quien aprecia un dibujo: cada quien puso su tienda donde quiso y el sargento pionero las pintó de verde a manchas, y la suya, dice, quedó la mejor, con salpicaduras como avellanas en sus cascarillas y una flor parecida al pensamiento

«A couple of gun stocks have come. They arrived from Walker's, the makers, and I should very much like to know who had them sent. They are ripping, sniping attachments with periscopes for use with the ordinary rifle. I shall stick to one, and unless I hear otherwise I shall present the other one to our sniping officer (honorary rank).» — el regalo que Raymond agradece sin saber de quién viene: dos culatas con periscopio para tiro de francotirador con el fusil ordinario, de las que se queda una y destina la otra al oficial de francotiradores, con el grado honorario entre paréntesis

«I am in the trenches once more. We marched in (about 10 miles) last night. We had a meal at 3 p.m., and marched off soon after six. Our rations (officers') went astray, because they were on a hand-cart in charge of our servants, who missed their way, so we have had practically nothing to eat since late lunch yesterday, and are pretty hungry. I have had a piece of chocolate, and my water-bottle was nearly full of lemon squash» — la carta del 25 de agosto de 1915 y el extravío de las raciones de los oficiales, llevadas en un carretón por asistentes que perdieron el camino, de modo que llevan desde el almuerzo del día anterior con un trozo de chocolate y la cantimplora de limonada

«We are in support trenches at Hooge, just on the left of our former position up here. Except for some shelling (chiefly ours), things are fairly quiet. "Since we were here last the position is greatly improved; the Germans have been driven over the ridge in front (during the recapture of trenches here), and the whole place is much 'healthier' in consequence» — la posición en las trincheras de apoyo de Hooge y la mejora que Raymond registra: los alemanes empujados sobre la loma de enfrente durante la recuperación de esas trincheras, con lo que el sitio entero resulta más sano

«I have been out here five calendar months to-day, and in the Army just over eleven months. They will be pensioning me off soon as an old soldier.» — la cuenta con que Raymond se mide y la broma que le saca: cinco meses justos en el frente y algo más de once en el ejército, con lo que dice que pronto lo jubilarán como soldado viejo

«We went into support trenches for three days, and worked two nights from 7.30 p.m. till 3 a.m. building and improving the fire trench. Then on the third night we had a most exciting time. One company, under Captain Taylor, was sent up right in front to dig a new fire trench to connect with another on our left. We had to go up a trench which ran right out into space, and which had only just been» — la carta del 29 de agosto de 1915 con la faena nocturna: dos noches de siete y media a tres construyendo la trinchera de fuego y, a la tercera, la compañía enviada al frente a cavar una trinchera nueva; el renglón se corta al pasar de plana

«built itself, and when there we had to get over the parapet and creep forward to the new line we were to dig. Of course we had to be dead quiet, but there was a big moon, and of course they saw us. Most of the way we were not more than 30 yards away from their front position (and they had bombing parties out in front of that). While we were digging we had one platoon with bombs to cover us, and some of this party were as close as 25 yards to their front position. It was awful work, because they kept throwing bombs at us, and what was almost worse was the close-range sniping.» — la continuación en la plana siguiente, con lo que hacía imposible el sigilo: había luna grande y los vieron, trabajaron a treinta yardas de la posición enemiga con partidas de bombarderos delante, y lo que Raymond llama casi peor que las bombas fue el tiro a quemarropa

«The Germans were on the edge of a wood and our ground was tipped towards them, so it was extremely difficult to get cover. Shell holes were the best. Soon the men got their trenches down, and things were a little better. The men worked extremely well, and the Wilts were working on our left, and we eventually joined up with them. After about five hours' work, the trenches were fit to hold, and we filed out and the new garrison filed in. Our casualties were much lighter than I should have thought possible. The Colonel came along the new trenches just before we left, and he was most awfully pleased with C Company, and so is the General. Captain Taylor is very bucked about it.» — la faena resuelta y el elogio recibido: el terreno inclinado hacia el enemigo con los hoyos de proyectil por mejor abrigo, cinco horas de trabajo hasta enlazar con los Wilts, bajas mucho más ligeras de lo que él creía posible, y el coronel y el general complacidos con la compañía C

«We found a German machine gun half buried, but in good condition, and any number of souvenirs. The Captain has got a helmet—a dirty thing; he had to have it cleaned out, because part of the owner was still inside it! It is a rummy shape, so flat-topped and square, with a brass spike and a gold band down the back. I expect it was an officer's.» — los despojos del sitio contados sin ceremonia: una ametralladora alemana medio enterrada y en buen estado, souvenirs de todo tipo, y el casco que el capitán tuvo que mandar limpiar porque parte de su dueño seguía dentro

«Oh! I have seen my first German (not counting prisoners). I was standing up and a 'Very' light went up, so I kept perfectly still. I was looking towards the wood where the Germans were (I was 40 or 50 yards away), and I saw one quite distinctly walking into the wood.» — el primer alemán que Raymond dice haber visto, sin contar prisioneros: de pie y quieto bajo una bengala, a cuarenta o cincuenta yardas, entrando al bosque

«Our men that were killed (sniped) were buried just behind, within a quarter of an hour of being hit. Rather awful.» — el entierro de los suyos, dicho en dos renglones y con el juicio en dos palabras: los abatidos por francotirador sepultados detrás dentro del cuarto de hora

«The actual digging was rather trying in places, and in one case they actually came on a horse!—which dates it back to November, when we were pushed back to these positions in the first battle of Ypres.» — y lo que la pala encontraba: en un caso un caballo, que fecha el terreno en noviembre, cuando los empujaron a esas posiciones en la primera batalla de Ypres

«The men in such places work with their respirators on and are often actually sick. I have had whiffs of the smell since in my food. Once smelt never forgotten. I can tell the difference between a man and a horse, but I don't know which I like least.» — la única página en que Raymond deja ver la materia de ese trabajo: los hombres cavan con respirador y a menudo vomitan, él ha vuelto a sentir el olor en la comida, dice que una vez olido no se olvida, y que distingue un hombre de un caballo sin saber cuál le repugna menos

«Rather a morbid topic, I am afraid. Well, after leaving the scene of our labours (and glad to get out), we called for our packs and had to march about two and a half miles. We were dead beat when we arrived here (nice safe dug-outs—roomy and comfortable—with our valises ready to sleep in when we arrived), but we found a good meal awaiting us, and about half-past four we 'got down to it' and slept till noon.» — y el corte con que Raymond vuelve a su registro de siempre: se disculpa por el tema, cuenta las dos millas y media de marcha, los refugios seguros con los macutos listos, la comida esperándolos y el sueño hasta el mediodía

«The General let us off 'stand-to' because he knew we were fagged out; and it is a great mercy. Turning out fully dressed at about 2.30 a.m. and remaining up for an hour does not improve one's night's rest. I suppose, though, that we shall have to start it soon—perhaps to-night.» — la dispensa de la guardia del alba y su razón: el general los sabía agotados, y Raymond anota que levantarse vestido a las dos y media para estar una hora en pie no mejora el descanso

«We are short of subalterns—rather—and they have taken me off machine guns for the time being. I am sick, but I get a bit in when I can. In the last trench we built (I and my platoon), not the exposed one, there was a machine-gun position, and I took great pleasure in building it a really good emplacement» — la merma de oficiales y lo que le cuesta: lo sacaron de las ametralladoras por falta de subalternos, dice estar harto, y cuenta el gusto con que construyó un emplazamiento como debe en la trinchera anterior

«Are you doing anything about getting me back for Munitions? I don't know what you think about it, and whether you think I ought to carry on out here. I am sure that after six months I shall be just about fed-up with this business, but am not sure that after a couple of months at home I shan't be wanting to come out again.» — la única vez en que Raymond plantea volver, y la plantea con su duda dentro: pregunta si gestionan su regreso para Municiones, no sabe si debieran creer que ha de seguir allí, está seguro de que a los seis meses estará harto y no está seguro de que a los dos meses en casa no quiera volver

«'Very' lights were going up from the German lines all the time, and you could see the bullets kicking up the dust all around. When we first got out there I picked out my ground pretty carefully before lying down (because the recent scrap there was much in evidence), but when the snipers got busy I didn't worry about what I was on, I just hugged the ground as close as I could.» — las bengalas y lo que Raymond hizo bajo ellas: escogió el suelo con cuidado antes de echarse, porque los restos de la refriega reciente estaban a la vista, y en cuanto los francotiradores se pusieron a tirar dejó de importarle sobre qué estaba

«They would put the 'Very' lights right into us, and one just missed me by a yard. If they are not spent when they come down, they blaze fiercely on the ground, and when they finish, they look like a little coke fire. They would burn you badly if they fell on you. I have seen a dead man that one had fallen on afterwards. His clothes were fearfully burned.» — y lo que describe de ellas: una le pasó a una yarda, las que caen sin agotarse arden en el suelo como un rescoldo y queman de mala manera, y dice haber visto después a un muerto sobre el que cayó una

«I will just write you a short letter to let you know I am still well and happy, and still leading the strange life of the picnic-hermit.» — la carta del 1 de septiembre de 1915 y la fórmula con que Raymond nombra su propia vida: la extraña vida del ermitaño de día de campo

«But they were inclined to resent our advances, and they welcomed us, not with open arms, but with lighted bombs. However, having completed our work to the great satisfaction of those in authority over us (namely, the Colonel and the General [Brigadier]), we made good our escape.» — la misma faena contada en clave de broma a otro corresponsal: el enemigo, dice, resintió sus avances y los recibió no con los brazos abiertos sino con bombas encendidas, y ellos salieron de allí con el trabajo hecho a satisfacción de sus superiores

«Then for three blissful days we lived (with our valises) in some magnificent dug-outs in one of the safest spots in this accursed though much improved neighbourhood. These days we spent competing who could sleep furthest round the clock (if that is a permissible expression). I think I won, and on my record day I got up and dressed for dinner at about 7.30 p.m., made my bed afterwards, and got back into it again.» — los tres días de refugios seguros contados como una competencia: quién dormía más vueltas del reloj, con su día de récord en que se levantó y se vistió para cenar a las siete y media, hizo la cama y se volvió a meter en ella

«I crawl to the door of my dug-out and shout for Gray, who lives just opposite. 'Breakfast!' I say, and he invariably asks, 'What will you have, sir?' just as if he could command the larders of the Carlton or the Linga.» — la escena del desayuno que Raymond convierte en comedia: el asistente preguntando invariablemente qué desea el señor, como si mandara en las despensas de un gran hotel

«Knowing my rations, and that an attempt at humour would only put me off my plat du jour or daily round, I usually think for a few moments and then order eggs and bacon, and face the common task. The only variation I permit myself is that on one or two days in the week I funk the bacon and have boiled eggs.» — y su respuesta a esa pregunta, con la razón dentro: sabiendo sus raciones y que un intento de gracia solo le quitaría el gusto, pide huevos con tocino y afronta la tarea común, con la sola variación de sustituirlos por huevos cocidos un par de días a la semana

«Where do the eggs come from? They are purchased out of the Mess fund by our Mess cook who lives with the Transport when we are in the trenches, and brings them up personally when the rations arrive at night. Yes, he has a 'cushy' time of it, does our Mess cook; and how can he avoid being happy, living as he does in a perpetual transport?» — la procedencia de los huevos, con el retruécano que Raymond le saca al nombre del destacamento de transporte: los compra el cocinero del comedor con el fondo común y los sube él mismo con las raciones de la noche

«It occurs to me here, although all this was not written with intention, that this could be a good place to ask whether sausages are yet in season. If they are, a few cooked ones (or half cooked) sent out now and again would make a splendid variant for our menu.» — el pedido que Raymond intercala como si se le ocurriera solo, aprovechando el nombre que dan al proyectil: pregunta si ya hay salchichas de temporada y las pide cocidas o a medio cocer para variar el menú

«The meat season is hard to follow out here. Bully beef is such a hardy perennial. (This does not mean that we live on it—I never eat it, there is always a good supply of fresh beef.)» — y su broma sobre la temporada de las carnes, con la aclaración entre paréntesis para que no se le malinterprete: la carne enlatada es planta perenne, aunque dice no comerla nunca porque siempre hay buena provisión de carne fresca

«Blackberries are coming on, I notice with pleasure, and I can usually tell what shells are in season (the season for sausages in this department is, let us hope, mercifully short. I believe we are now in the middle of the close-time for this sturdy little fellow, I trust he is not utilising it to increase and multiply)» — Raymond prolonga el juego de las temporadas a los proyectiles: dice saber qué proyectiles están de temporada y espera que la veda del que llaman salchicha sea corta y que no la aproveche para multiplicarse

«I am sorry I have had rather a sharp attack of parentheses lately, the touch of winter in the air cramps my style. And I really did think this was going to be quite a short letter. I cannot divine my moods, I find, I did not feel like writing until I got going.» — la única vez en que Raymond comenta su propio modo de escribir: se disculpa por el ataque de paréntesis, culpa al frío en el aire de encogerle el estilo, y dice no poder adivinar sus humores porque no tenía ganas de escribir hasta que arrancó

«Please thank father very much indeed for the sniperscopes. I have given one to the Captain of D Company, who is keen on everything. He is an engineer (civil), and is a most useful man out here. I have not tried mine yet, as I haven't been in a fire trench, and it would hardly be fair to use it in a support trench, the backs of our infantry in the trench in front being too easy a target to give the thing a fair trial.» — Raymond agradece los periscopios de tiro y explica por qué no ha probado el suyo: no ha estado en trinchera de fuego, y usarlo desde una de apoyo no sería juego limpio porque las espaldas de la propia infantería serían blanco demasiado fácil

«However, word came along that the platoon was wanted to dig another trench right in front again and near the other one. They said, 'A covering party with bombs will be provided, and send in your casualty report in the morning!' So I asked if they were supplying stretchers and all complete! But they were not. It is a most cheering way of sending you off, is it not? It is a wonder they did not» — la orden que Raymond transcribe y la respuesta que dice haber dado: se proveerá partida de cobertura con bombas y manden su parte de bajas por la mañana, a lo que preguntó si también suministraban camillas; lo llama un modo muy alentador de despachar a alguien

«make us take up our own grave crosses, just in case. "(By the way, it is most impressive to meet two men walking along at night and one carrying a large white cross. The burying and decking of the graves is done very well here, and conscientiously. There is a» — el remate de esa broma negra, en la línea que abre el chunk: dice que es de extrañar que no les hicieran llevar sus propias cruces de tumba por si acaso, y anota lo impresionante que resulta cruzarse de noche con dos hombres uno de los cuales carga una cruz blanca; el renglón se corta al pasar de plana

«special organisation for making the crosses, lettering them and putting them up. The position of the grave is reported to them, with the particulars, and they do the rest.)» — la continuación con el dato de organización que Raymond consigna: hay un servicio dedicado a hacer las cruces, rotularlas y colocarlas, al que se le reporta la posición de la tumba con sus particulares

«The great difference in last night's job was that I only had a platoon to deal with, while before the Captain had a whole company. Also I was not quite so close to the enemy (we were 30 yards off, and less, before), and the moon was mostly obscured. I determined not to let them know we were working, so I crept out and explored the ground with the Corporal of the covering party (this was the worst part of the job, because you did not know when you might not come across a party of the enemy in the many shell holes and old trenches with which the ground was covered). I had my large revolver in my pocket, but I did not want to use it, as it would have given our game away.» — Raymond explica la diferencia de esa noche y el método que eligió: solo un pelotón, la luna casi tapada, y la decisión de que el enemigo no supiera que trabajaban, para lo cual salió a explorar con el cabo de la cobertura llevando el revólver en el bolsillo y sin querer usarlo para no delatarse

«All went well, and I got the men placed out in absolute silence, with the covering party pushed out in front to listen and watch. The men worked very quietly, and when a light went up they got down and kept still. Lights were very few, because the enemy had got a working party out too—at one side, and we could occasionally hear them driving in stakes for wire.» — y cómo salió: los hombres colocados en silencio absoluto, la partida de cobertura adelantada a escuchar, todos echándose al suelo cuando subía una bengala, y pocas bengalas porque el enemigo también tenía gente fuera clavando estacas para alambre

«We had to use picks in some places where the ground was stony, and these are the hardest to keep quiet. We got through it all right, and only one shot, I think, was fired all the time. It came fairly close, too. I am sure they guessed we were out, because when one light went up I hadn't time to get down, so I kept still and I plainly saw a Hun standing upright on his own parapet. He straightened up as the light grew bright, and I just caught sight of the movement and saw him then distinctly.» — la faena rematada con un solo disparo en toda la noche y la escena que la cierra: al no darle tiempo de agacharse con una bengala, Raymond se quedó quieto y vio distintamente a un alemán erguido sobre su propio parapeto

«The ground out there has been fought over a good deal, and there are plenty of souvenirs about. I have got one myself—a Hun rifle. The original owner, who was buried with it—probably by a shell—happened to lie exactly where we dug our trench, and we were obliged to move him elsewhere. I brought his rifle home and put it over the door of my dug-out. That was early this morning. But the enemy have been putting shrapnel over us (in reply to a good 'strafing' by our guns), and one piece has gone clean through the stock.» — el fusil alemán que Raymond se lleva de recuerdo, con la procedencia dicha sin rodeos: su dueño estaba enterrado con él justo donde cavaron la trinchera y hubo que moverlo, y la metralla enemiga atravesó después la culata sobre la puerta del refugio

«Our artillery are going great guns nowadays. It certainly feels as if the shell supply was all right—or nearly so.» — la observación de Raymond sobre el abasto de munición, dada con su reserva: la artillería propia trabaja mucho y parece que el suministro de proyectiles está bien, o casi

«That cake was fine, and much appreciated in the Mess. The little knife you gave me when home on leave is proving most useful.» — el pastel celebrado en el comedor y la navajita que le dieron en el permiso, que dice utilísima

«I have sent another box of Surplus Kit home addressed to No�l. Rather late to do it, I know, and I shall want one or two of the things sent back later, but not for a long time, and it is a relief to get rid of some of my impedimenta. The socks returned want mending. That reminds me, thank you and please thank Miss Leith very much for the socks. They are quite all right for size. Perhaps not so long and narrow in the foot might be better, but it doesn't seem to affect the wear; they are most comfortable.» — el envío de equipo sobrante a casa y el agradecimiento por los calcetines, con la enmienda de talla que Raymond propone sin insistir: quizá no tan largos y angostos de pie, aunque no parece afectar el uso

«I am still attached to the Company and not to the machine guns— much to my annoyance.» — y la queja que Raymond repite: sigue agregado a la compañía y no a las ametralladoras, con gran fastidio suyo

«Thank you so much for your inspiring and encouraging letter. I hope I am being useful out here. I sometimes doubt if I am very much use— not as much as I should like to be. Possibly I help to keep C Company officers more cheerful!» — la carta del 6 de septiembre de 1915 con la duda que Raymond deja escrita sobre su propia utilidad: espera servir de algo allí, a veces duda que sirva tanto como querría, y aventura que acaso ayude a mantener animados a los oficiales de su compañía

«Great happenings are expected here shortly and we are going to have a share. We are resting at present and have been out a few days now. We had only two periods of three days each in the trenches last time in» — el anuncio que Raymond hace ocho días antes de su muerte: se esperan grandes sucesos y les tocará parte, aunque ahora descansan

«Our last two days in the trenches were appallingly wet. My conduct would have given me double pneumonia at home. My rain-coat was soaked, so I had to sleep in shirt sleeves under my tunic, and the knees of my breeches were wet. "The next day the rain was incessant, and presently I found the floor of my dug-out was swimming—the water having welled up through the ground below and the sandbags.» — los dos últimos días de trinchera bajo el agua, contados con el juicio médico que Raymond se aplica: su conducta le habría dado una pulmonía doble en casa, con el impermeable empapado, el dormir en mangas de camisa bajo la guerrera y el piso del refugio anegado desde abajo

«By the way, he came to see how I was getting on last night about midnight, and was very» — la visita del capitán a medianoche a ver cómo iba la faena; el renglón se corta al pasar de plana

«pleased with the work and with the fact that we were having no casualties.» — la continuación: complacido con el trabajo y con que no hubiera bajas

«I didn't have to sleep on it luckily, because we were relieved that night. But before we went I had to turn out with fifty men and work till midnight in water up to one foot deep. So at 8.30 p.m. I got my boots full of cold water and sat out in them till 12, then marched some eight miles.» — lo que Raymond cuenta de la noche anterior al relevo, con las horas y las distancias: cincuenta hombres trabajando hasta medianoche con un pie de agua, las botas llenas de agua fría desde las ocho y media, y ocho millas de marcha después

«That night I rode into Poperinghe with Captain Taylor, and we had a really good dinner there—great fun.» — la cena en Poperinghe con el capitán Taylor, que Raymond llama muy divertida

«I would like a motor paper now and then, I think! The Motor for preference—or The Autocar. Aren't I young?» — el pedido con que Raymond vuelve a burlarse de sí mismo: una revista de automóviles de cuando en cuando, con dos títulos, y la pregunta de si no es muy joven

«Captain Taylor has sprained his ankle by falling from his horse one night, and has gone to a rest home near. So I am commanding C Company at the moment. Hope not for long. Too responsible at the present time of crisis.» — el mando accidental que recae en Raymond y la reserva con que lo dice: el capitán se torció el tobillo cayendo del caballo, él manda la compañía C y espera que no sea por mucho porque le parece demasiada responsabilidad en tiempo de crisis

«After nine hours' rest and some breakfast we came here,» — la marcha del día siguiente tras nueve horas de descanso y un desayuno; el renglón se corta al pasar de plana

«another three or four. It was nice to get a dry pair of boots and our valises and a tent.» — la continuación con el saldo: tres o cuatro millas más y el alivio de un par de botas secas, los macutos y una tienda

«We have just had an inspection by the Army Corps Commander, Lieut.-General Plumer [Sir Herbert]. "I am still in command of C Company, and had to call them to attention and go round with the General, followed by a whole string of minor generals, colonels, etc.» — la inspección del comandante del cuerpo de ejército, con el nombre y el grado tal como el libro los imprime: Raymond, al mando de la compañía C, tuvo que ponerla en posición de firmes y acompañarlo con toda una hilera de generales menores y coroneles

«He asked me a good many questions:— "First.—How long had I had the Company? Then, how long had I been out? I said since March. He then asked if I had been sick or wounded even, and I said no!» — las preguntas que Raymond transcribe: cuánto llevaba al mando de la compañía, cuánto llevaba en el frente, que dijo desde marzo, y si había estado enfermo o siquiera herido

«Then he said, 'Good lad for sticking it!' at least I thought he was going to.» — y el remate que Raymond confiesa haber imaginado: dice que el general lo elogió por aguantar, o al menos que creyó que iba a hacerlo

«We have just got another tent—we have been so short and have been sleeping five in. Now we shall be two in each. The new one is a lovely dove-grey—like a thundercloud. After the war I shall buy one.» — la tienda nueva descrita con el gusto de siempre por el detalle: gris paloma como un nubarrón, que promete comprarse cuando acabe la guerra, y el fin del hacinamiento de cinco por tienda

«I shall be quite insufferable, I know; I shall want everything done for» — la broma con que Raymond se imagina de vuelta, insufrible; el renglón se corta al pasar de plana

«me on the word of command. Never mind—roll on the end of the war! "Cheer-ho, lovely weather, great spirits! Aeroplane [English] came down in our field yesterday slightly on fire. All right though.—Good-bye, much love,» — la continuación y el cierre de la carta: que todo se le haga por orden de mando, el buen tiempo, los ánimos altos y el aeroplano inglés caído ardiendo en su campo la víspera, sin consecuencias

«You will understand that I still have the Company to look after, and we are going into the front-line trenches this evening at 5 p.m. for an ordinary tour of duty. We are going up in motor buses!... "Capt. T. thinks he will be away a month!» — la última carta que el libro recoge de Raymond, del 12 de septiembre de 1915, dos días antes de su muerte: sigue al mando de la compañía, entran esa tarde a las trincheras de primera línea para un turno ordinario, y van en autobuses

«Deeply regret to inform you that Second Lieut. R. Lodge, Second South Lancs, was wounded 14 Sept. and has since died. Lord Kitchener expresses his sympathy.» — el telegrama del Ministerio de la Guerra del 17 de septiembre de 1915, que es el documento con que la primera parte da la noticia: herido el 14 de septiembre y muerto después

«The King and Queen deeply regret the loss you and the army have sustained by the death of your son in the service of his country. Their Majesties truly sympathise with you in your sorrow.» — el telegrama del rey y la reina del 21 de septiembre de 1915, en tercera persona como lo imprime el volumen

«Some letters from other officers gradually arrived, giving a few particulars. But it was an exceptionally strenuous period at the Ypres salient, and there was little time for writing. Moreover, some of his friends were killed either at the same time or soon afterwards.» — Lodge abre el capítulo de cartas de oficiales declarando por qué son pocas y tardías: el periodo en el saliente de Ypres fue excepcionalmente duro, hubo poco tiempo para escribir, y algunos de los amigos murieron entonces mismo o poco después

«The fullest account that has reached us is in the following letter, which arrived eight months later» — y fecha la más completa de ellas: llegó ocho meses después

«Dear Sir Oliver Lodge,—When I was lately on leave, a brother of mine, who had met one of your relatives, encouraged me to write and tell you what I knew of your son Raymond. I was in the South Lancashire Regiment when he joined the Battalion out here last spring, and I think spent the first spell he had in the trenches in his company.» — la carta del teniente William Roscoe a Sir Oliver Lodge, del 16 de mayo de 1916, que declara su motivo y su conocimiento: un hermano suyo lo animó a escribir, y él estaba en el regimiento cuando Raymond se incorporó la primavera anterior

«Afterwards I became Machine Gunner, and in the summer he became my assistant, and working in shifts we tided over some very trying times indeed. In particular during August at St. Eloi. To me at any rate it was most pleasant being associated together, and I think he very much preferred work with the gunners to Company work. Being of a mechanical turn of mind, he was always devising some new 'gadget' for use with the gun—for instance, a mounting for firing at aeroplanes, and a device for automatic traversing; and those of my men who knew him still quote him as their authority when laying down the law and arguing about machine gunning.» — Roscoe da el retrato técnico de Raymond desde el ángulo de quien trabajó con él: fue su ayudante en las ametralladoras, se turnaban en tiempos muy duros, prefería el trabajo con los artilleros al de compañía, y su cabeza mecánica inventaba artificios para el arma —un montaje para tirar a los aeroplanos, un dispositivo de barrido automático— que los hombres siguen citando como autoridad

«I wish we had more like him, and the endless possibilities of the Maxim would be more quickly brought to light.» — y el juicio de Roscoe: querría tener más como él, y así se sacarían antes a la luz las posibilidades sin fin de la Maxim

«I am always glad to think that it was not in any way under my responsibility that he was killed.» — la frase con que Roscoe deslinda su propia responsabilidad: se alegra siempre de pensar que no fue de ningún modo bajo su mando como lo mataron

«During September times grew worse and worse up in the Ypres salient, culminating in the attack we made on the 25th, auxiliary to the Loos battle. The trenches were ruins, there was endless work building them up at night, generally to be wrecked again the next day. The place was the target for every gun for miles on either side of the salient.» — Roscoe sitúa el mes de la muerte en el saliente de Ypres: las trincheras en ruinas, el trabajo sin fin de rehacerlas de noche para que las destrozaran al día siguiente, y el lugar como blanco de todos los cañones de millas a la redonda, con el ataque del 25 auxiliar de la batalla de Loos por culminación

«Every day our guns gave the enemy a severe bombardment, in preparation for the attack, and every third or fourth day we took it back from them with interest: the place was at all times a shell trap.» — la continuación con la mecánica del sitio: bombardeo diario propio en preparación del ataque y devolución con creces cada tres o cuatro días, de modo que el lugar era en todo momento una trampa de proyectiles

«It was during this time that your son was killed. He was doing duty again with the Company, which was short-handed, and I remember one night in particular being struck with his cheerfulness on turning out to a particularly unpleasant bit of trench digging in front of our lines near the Stables at Hooge, a mass of ruins and broken trenches where no one could tell you where you might run across the enemy; but the men had to dig for hours on end, with only a small covering party looking out a few yards in front of them.» — Roscoe fecha ahí la muerte y da la escena que recuerda: Raymond de vuelta en la compañía por falta de oficiales, y su alegría al salir a un trabajo de zapa particularmente desagradable frente a las líneas, cerca de los establos de Hooge, entre ruinas y trincheras rotas donde nadie sabía dónde podía toparse con el enemigo

«The morning your son was killed they were bombarding our trenches on the top of the hill, and some of the men were being withdrawn from» — el parte de Roscoe sobre la mañana: bombardeaban las trincheras de la cima y algunos hombres estaban siendo retirados; el tramo se corta en el límite de chunk, dentro de la misma plana

«a bad piece. He and Ventris were moving down the trench in rear of the party—which I think must have been seen—for a shell came and hit them both, but I think none of the men in front.» — la continuación tras ese corte, con la conjetura marcada como tal: Raymond y Ventris iban por la trinchera detrás de la partida, que Roscoe cree que fueron vistos, y un proyectil los alcanzó a los dos sin tocar, piensa, a los hombres de adelante

«Some time later, I don't know how long, I was going up to the line to visit the guns, when I saw Ventris, who was killed, laid out ready to be carried down, and presently I saw your son in a dug-out, with a man watching him. He was then quite unconscious though still breathing with difficulty. I could see it was all over with him. He was still just alive when I went away.» — lo que Roscoe vio él mismo, dicho con las reservas de quien no fija horas: a Ventris muerto y tendido para bajarlo, y a Raymond en un refugio con un hombre velándolo, inconsciente y respirando con dificultad, aún vivo cuando él se marchó

«Our regiment was to lose many more on that same hill before the month was over, and those of us that remain are glad to be far away from it now; but I always feel that anyone who has died on Hooge Hill has at all events died in very fine company.» — y la fórmula con que Roscoe cierra: el regimiento perdería a muchos más en esa misma colina antes de acabar el mes, y siente que quien ha muerto en Hooge Hill ha muerto en muy buena compañía

«Raymond was the best pal I've ever had, and we've always been together; in the old days at Brook Road, then in Edinburgh, and lastly in France, and nobody could ever have a better friend than he was to me.» — la carta del teniente Fletcher del 21 de septiembre de 1915, que es la del amigo: dice que fue el mejor compañero que ha tenido, desde los viejos días de Brook Road y Edimburgo hasta Francia; el renglón cruza de plana

«I'll never forget the first day he came to us at Dickebusch, and how pleased we all were to see him again; and through it all he was always the same, ever ready to help anyone in any way he could, whilst his men were awfully fond of him and would have done anything for him.» — la continuación con lo que Fletcher recuerda: el primer día en Dickebusch y la alegría de todos por verlo, siempre igual, dispuesto a ayudar a cualquiera, y unos hombres que lo querían mucho

«I hear that we were digging trenches in advance of our present ones at St. Eloi last week, so it must have been then that he was hit, as he was awfully keen on digging new trenches, and heaps of times I've had to tell him to keep down when he was watching the men working» — la carta de Fletcher del 24 de septiembre y la conjetura que hace con lo que sabía del muerto: supone que lo hirieron cavando trincheras por delante de las de St. Eloi, porque le entusiasmaban las trincheras nuevas y muchas veces tuvo que decirle que se agachara mientras miraba trabajar a los hombres

«I always thought he would come through all right, and I know he thought so himself, as, the last time I saw him, we made great plans for spending some time together when we got back, and it seems so difficult to realise that he has gone.» — y la expectativa que Fletcher deja consignada: siempre creyó que saldría con bien y sabe que él también lo creía, porque la última vez que se vieron hicieron grandes planes para después

«Yes, I knew Raymond Lodge very well, and he was indeed a friend of mine, being one of the nicest fellows it has ever been my privilege to meet. I was with him when he died. This was how it happened to the best of my knowledge.» — la carta del teniente Case a Brodie, del 23 de septiembre de 1915, que se presenta como testimonio presencial y se acota: dice haber estado con él cuando murió y que contará cómo ocurrió a lo que él sabe

«'A' Company (the one I am in) and 'C' Company were in the trenches at the time. The gunners had sent up word that there was going to be a bombardment, and so they recommended us to evacuate the front-line trenches, in case the Hun retaliated, and it was whilst C Company were proceeding down the communication trench, till the bombardment was over, that the shell came which killed your brother.» — la versión de Case sobre la causa de la retirada: los artilleros avisaron de un bombardeo propio y recomendaron evacuar las trincheras de primera línea por si el enemigo respondía, y fue bajando por la trinchera de comunicación cuando llegó el proyectil

«He was in command of C Company at the time, and was going down at the rear of his men, having seen them all safely out of the trenches. His servant, Gray, was hit first, in the head (from which he afterwards died). Then Lodge went along to tell the Sergeant-Major, and to see about assistance, farther down the trench. Whilst talking to the Company Sergeant-Major he was hit in the left side of the back, by a piece of shell, I think. Lower down the trench poor Ventris was hit and killed.» — y la secuencia que Case fija: Raymond al mando de la compañía iba a retaguardia habiendo sacado a todos, su asistente Gray fue alcanzado primero en la cabeza, y él fue herido en el costado izquierdo de la espalda mientras hablaba con el sargento mayor de compañía

«As soon as I heard about it I went along to see if I could be of any use. I saw Lodge lying in a dug-out, with a servant looking after him. I saw he was badly hit, and tried to cheer him up. He recognised me and was just able to ask a few questions.» — lo que Case dice haber hecho y visto: lo encontró tendido en un refugio con un asistente cuidándolo, lo vio malherido, trató de animarlo, y Raymond lo reconoció y alcanzó a hacer algunas preguntas; el tramo cruza de plana

«about twenty minutes or so after he was hit. I think he lived about half an hour, and I don't think he suffered much pain, thank God.» — la estimación de tiempo que Case da con su vacilación dentro: unos veinte minutos después de la herida, y cree que vivió alrededor de media hora y que no sufrió mucho dolor

«I was very, very grieved at his death, for he was one of the very nicest fellows I have met. That he was universally liked, both by officers and men, it is needless to say» — el juicio de Case sobre el muerto: uno de los muchachos más simpáticos que ha conocido, y que era querido por todos, oficiales y tropa, le parece ocioso decirlo

«I was for nearly three months in C Company with your brother, and was thus able to see his extreme coolness and ability in military matters.» — y la base de su juicio: casi tres meses en la compañía C con él, lo que le permitió ver su extrema sangre fría y su competencia en lo militar

«Need I say how grieved we all were at his loss? He was hit about midday, and died about half an hour or so afterwards. I forget the date, but I have written more fully to his brother. I don't think he suffered much pain. He was conscious when I arrived, and recognised me, I think, and I remained with him for some time.» — la segunda carta de Case, a Lady Lodge y del día siguiente, que repite los hechos con otras vacilaciones: lo hirieron hacia mediodía y murió media hora después, no recuerda la fecha, no cree que sufriera mucho, estaba consciente cuando llegó y cree que lo reconoció

«I then went off to see if there was any possibility of finding the doctor, but all the telephone wires were cut, and even if we had been able to get the doctor up, it would have been of no avail. The stretcher-bearers did all that was possible» — y lo que Case declara sobre el socorro, con el juicio médico dentro: fue a buscar al médico, los cables telefónicos estaban cortados, y aunque hubieran podido subirlo no habría servido de nada

«Another subaltern, Mr. Ventris, was killed at the same time, as was his servant Gray as well.» — y el saldo que Case añade: el subalterno Ventris muerto a la vez, y también el asistente Gray

«First of all I beg to offer you and your family my sincere sympathies in the loss of your son, 2nd Lieut. Lodge. His loss to us is very great: he was a charming young fellow—always so very cheerful and willing, hard working, and a bright example of what a good soldier ought to be. He was a most efficient officer, and only recently qualified in the handling and command of Maxim guns—a most useful accomplishment in the present war.» — la carta del capitán S. T. Boast del 27 de septiembre de 1915, que es la del superior: llama grande la pérdida, lo describe alegre, dispuesto y trabajador, y apunta que hacía poco se había habilitado en el manejo y mando de ametralladoras Maxim

«He and 2nd Lieut. Ventris were the last to leave the forward trench, and in entering the communication trench both these officers were caught by enemy's shrapnel. Ventris was killed—Lodge mortally wounded and died of his wounds shortly afterwards. These are the circumstances of his death.» — y el remate del parte de Boast: él y Ventris fueron los últimos en dejar la trinchera delantera y al entrar en la de comunicación los alcanzó la metralla enemiga, Ventris muerto y Raymond mortalmente herido

«The Colonel has asked me to write you, giving some idea of the burial-ground in which your son's grave is. I understand that he was leading his Company back from one of the communication trenches when the Germans shelled the front and rear of the column, killing your son and the officer who was at the rear. At the same time one man was killed and two wounded.» — la carta del capitán médico A. B. Cheves del 22 de septiembre de 1915, escrita por encargo del coronel para describir el cementerio, con su propia versión de los hechos: el enemigo bombardeó la cabeza y la cola de la columna matando a Raymond y al oficial de retaguardia, más un hombre muerto y dos heridos

«I knew nothing about this until later in the day, as communication with my aid post was very difficult, and he was reported to me as having been killed.» — y lo que el médico declara de su propia información: no supo nada hasta avanzado el día porque la comunicación con su puesto de socorro era muy difícil, y se lo reportaron como muerto

«I understand that he lived for about three hours after being wounded, and all the officers and men who were present speak very highly of his conduct during this time. His wound was unfortunately in such a position that there was no chance of saving his life, and this was recognised by all, including your son himself.» — la versión del médico sobre la duración y la conciencia del herido, que discrepa de la de Case sin que el libro las armonice: entiende que vivió unas tres horas, que todos los presentes hablan muy bien de su conducta durante ese lapso, y que la herida estaba en tal sitio que no había modo de salvarlo, cosa reconocida por todos, incluido el propio hijo

«When his body was brought down in the evening the expression on his face was absolutely peaceful, and I should think that he probably did not suffer a great deal of pain.» — y lo que el médico dice del rostro, que Lodge citará después en las sesiones: cuando bajaron el cuerpo esa tarde la expresión era absolutamente apacible, por lo que cree que probablemente no sufrió mucho dolor

«He was buried on the same evening in our cemetery just outside the aid post, side by side with Lieut. Ventris, who was unfortunately killed on the same day. The cemetery is in the garden adjoining a ruined farm-house. It is well enclosed by hedges, and your son's grave is under some tall trees that stand in the garden. There are graves there of men of many regiments who have fallen, and our graves are enclosed by a wire fence, so keeping them quite distinct from the others. There is a wooden cross marking the head of the grave, and a small one at the foot.» — la descripción del cementerio que el coronel había encargado: en el jardín de una granja en ruinas junto al puesto de socorro, bien cercado por setos, la tumba bajo unos árboles altos y al lado la de Ventris, con las propias separadas por una cerca de alambre y una cruz de madera a la cabecera y otra pequeña a los pies

«I am afraid that our condolences will be small consolation to you, but I can assure you that he was one of the most popular officers with the Battalion, both amongst the officers and men, and all feel his loss very greatly.» — y el cierre del médico: sus condolencias serán poco consuelo, pero puede asegurar que era de los oficiales más queridos del batallón, por oficiales y por tropa

«He was buried on the right of the Ypres-Menin Road, just past where the Zonebeke Rail cuts. If you can get hold of Sheet 28, Belgium 1/40,000, the reference is I. 16. b 2. Any soldier will show you how to read the map.» — la referencia cartográfica que el mismo capitán médico envió a la madre del otro oficial muerto y que el volumen reproduce: a la derecha del camino de Ypres a Menin, pasando el cruce del ferrocarril de Zonnebeke, con hoja, escala y cuadrícula, y la nota de que cualquier soldado enseñará a leer el mapa

«Dear Mr. Lionel,—The shock was too great for me to speak to you this afternoon. I should like to express to you, and all the family, my deepest and most heartfelt sympathy in your terrible loss. Mr. Raymond was the best friend I ever had. "Truly, I thought more of him than any other man living, not only for his kind thoughts towards me, but for his most admirable qualities, which I knew he possessed. "The memory of him will remain with me as long as I live.» — la carta del obrero a un hermano de Raymond, fechada el 17 de septiembre de 1915: dice que el golpe fue demasiado grande para hablarle esa tarde, que fue el mejor amigo que tuvo, y que pensaba más en él que en ningún otro hombre vivo

«On 14 September, C Company to which 2nd Lieut. Lodge belonged,» — el parte del capitán Boast arranca con la fecha y la unidad; el renglón se corta al pasar de plana

«was in position in a forward fire trench. During the morning the commander of the artillery covering the position informed 2nd Lieut. Lodge, who at the time was in command of C Company, that it was intended to shell the enemy's positions, and as his trenches were only a short distance from ours, it was considered advisable to withdraw from our trench during the shelling. 2nd Lieut. Lodge gave orders for his Company to withdraw into a communication trench in the rear.» — la continuación con el orden de la orden: el jefe de la artillería de apoyo informó a Raymond, que mandaba la compañía esa mañana, de que se bombardearían las posiciones enemigas y de que convenía retirarse por estar tan cerca las trincheras, y él dio orden de replegarse a la trinchera de comunicación

«I HAVE made no secret of my conviction, not merely that personality persists, but that its continued existence is more entwined with the life of every day than has been generally imagined; that there is no real breach of continuity between the dead and the living; and that methods of intercommunion across what has seemed to be a gulf can be set going in response to the urgent demand of affection,—that in fact, as Diotima told Socrates (Symposium, 202 and 203), Love bridges the chasm.» — Lodge abre la introducción de la segunda parte declarando su convicción y su alcance: no solo que la personalidad persiste, sino que su existencia continuada está más entretejida con la vida diaria de lo que suele imaginarse, que no hay ruptura real de continuidad entre muertos y vivos, y que los métodos de intercomunicación pueden ponerse en marcha ante la demanda urgente del afecto, con la remisión a Diotima en el Banquete de Platón

«Nor is it affection only that controls and empowers supernormal intercourse: scientific interest and missionary zeal constitute supplementary motives which are found efficacious; and it has been mainly through efforts so actuated that I and some others have been gradually convinced, by direct experience, of a fact which before long must become patent to mankind.» — y añade los otros dos motores que declara eficaces junto al afecto: el interés científico y el celo misionero, por los que dice que él y algunos otros fueron convencidos poco a poco por experiencia directa de un hecho que antes de mucho tendrá que ser patente

«Hitherto I have testified to occurrences and messages of which the motive is intellectual rather than emotional: and though much, very much, even of this evidence remains inaccessible to the public, yet a good deal has appeared from time to time by many writers in the Proceedings of the Society for Psychical Research, and in my personal collection called The Survival of Man.» — Lodge sitúa su testimonio anterior y lo distingue del presente: hasta entonces había testificado sobre sucesos y mensajes de motivo intelectual más que emocional, publicados en buena parte en las Proceedings de la Society for Psychical Research y en su propio libro The Survival of Man

«No one therefore will be surprised if I now further testify concerning communications which come home to me in a peculiar sense; communications from which sentiment is not excluded, though still they appear to be guided and managed with intelligent and on the whole evidential purpose. These are what I now decide to publish; and I shall cite them as among those evidences for survival for the publication of which some legitimate demand has of late been made, owing to my having declared my belief in continued existence without being able to give the full grounds of that belief, because much of it concerned other people. The portion of evidence I shall now cite concerns only myself and family.» — y declara por qué publica ahora estas otras: le tocan en un sentido peculiar, no excluyen el sentimiento y aun así le parecen guiadas con propósito evidencial; responden a una demanda legítima nacida de haber declarado su creencia sin poder dar todos sus fundamentos, porque afectaban a terceros, y esta parte de la evidencia solo lo concierne a él y a su familia

«I must make selection, it is true, for the bulk has become great; but I shall try to select fairly, and especially shall give in fair fulness those early communications which, though not so free and easy as they became with more experience, have yet an interest of their own, since they represent nascent powers and were being received through members of the family to whom the medium was a complete stranger and who gave no clue to identity.» — Lodge declara que selecciona y con qué criterio, lo que es la regla de composición de toda la segunda parte: dará en buena extensión las comunicaciones primeras, menos sueltas que las posteriores, porque representan poderes nacientes y llegaron por miembros de la familia a quienes el médium era del todo extraño y que no dieron pista de identidad

«and nearly all the messages received since his death differ greatly in character from those which in the old days were received through any medium with whom I sat. No youth was then represented as eager to communicate; and though friends were described as sending messages, the messages were represented as coming from appropriate people—members of an elder generation, leaders of the Society for Psychical Research, and personal acquaintances. Whereas now, whenever any member of the family visits anonymously a competent medium, the same youth soon comes to the fore and is represented as eager to prove his personal survival and identity.» — Lodge fija el contraste que le sirve de argumento: antes ningún joven era representado como ansioso de comunicar y los mensajes venían de una generación mayor y de los jefes de la Society for Psychical Research, y ahora, cada vez que un miembro de la familia visita de incógnito a un médium competente, el mismo joven pasa al frente y se presenta ansioso de probar su supervivencia e identidad

«I consider that he has done so. And the family scepticism, which up to this time has been sufficiently strong, is now, I may fairly say, overborne by the facts.» — y la adjudicación que Lodge hace en primera persona, distinguiéndola de lo que el registro dice: considera que lo ha hecho, y sostiene que el escepticismo de la familia, hasta entonces bastante fuerte, queda vencido por los hechos

«How far these facts can be conveyed to the sympathetic understanding of strangers, I am doubtful. But I must plead for a patient hearing; and if I make mistakes, either in what I include, or in what for brevity I omit, or if my notes and comments fail in clearness, I bespeak a friendly interpretation: for it is truly from a sense of duty that in so personal a matter I lay myself open to harsh and perhaps cynical criticism.» — la reserva con que Lodge acompaña esa adjudicación: duda de cuánto podrá transmitir esos hechos al entendimiento comprensivo de extraños, pide audiencia paciente e interpretación amistosa por sus errores de inclusión, de omisión y de claridad, y dice exponerse por sentido del deber a una crítica dura y acaso cínica

«It may be said—Why attach so much importance to one individual case? I do not attach especial importance to it, but every individual case is of moment, because in such a matter the aphorism Ex uno disce omnes is strictly applicable. If we can establish the survival of any single ordinary individual we have established it for all.» — Lodge se plantea la objeción de la singularidad y le responde con una máxima: no atribuye importancia especial a un caso, sino que sostiene que en esa materia vale el adagio de que por uno se conocen todos, y que establecida la supervivencia de un solo individuo ordinario queda establecida para todos

«Christians may say that the case for one Individual was established nearly 1900 years ago; but they have most of them confused the issue by excessive though perhaps legitimate and necessary emphasis on the exceptional and unique character of that Personality. And a school of thought has arisen which teaches that ordinary men can only attain immortality vicariously—that is, conditionally on acceptance of a certain view concerning the benefits of that Sacrificial Act, and active assimilation of them.» — y consigna sin arbitrarlo el reparo cristiano y lo que le opone: que el caso de un individuo quedó establecido hace casi mil novecientos años, aunque a su juicio el énfasis excesivo en el carácter único de esa personalidad enturbió la cuestión, y que hay una escuela que enseña que los hombres ordinarios solo alcanzan la inmortalidad de modo vicario

«So without arguing on any such subject, and without entering in the slightest degree on any theological question, I have endeavoured to state the evidence fully and frankly for the persistent existence of one of the multitude of youths who have sacrificed their lives at the call of their Country when endangered by an aggressor of calculated ruthlessness.» — Lodge declara lo que deja fuera y lo que se propone: sin discutir ese asunto ni entrar en cuestión teológica alguna, ha tratado de exponer plena y francamente la evidencia de la existencia persistente de uno entre la multitud de jóvenes caídos

«Messages of an intelligible though rather recondite character from» — el dato cronológico del que depende la evidencia del Faunus, anunciado en la línea que cierra la plana: mensajes de carácter inteligible aunque recóndito; el renglón se corta al pasar de plana

«"Myers" began to reach me indeed a week or two before the death of my son;» — la continuación en la plana siguiente, con la atribución entrecomillada por el propio libro: esos mensajes, dados como de Myers, empezaron a llegarle una semana o dos antes de la muerte de su hijo

«To base so momentous a conclusion as a scientific demonstration of human survival on any single instance, if it were not sustained on all sides by a great consensus of similar evidence, would doubtless be unwise; for some other explanation of a merely isolated case would have to be sought. But we are justified in examining the evidence for any case of which all the details are known, and in trying to set forth the truth of it as completely and fairly as we may.» — y la acotación con que Lodge limita su propio argumento: fundar una conclusión tan grave en un solo caso, si no lo sostuviera de todos lados un gran consenso de evidencia semejante, sería sin duda imprudente, porque a un caso aislado habría que buscarle otra explicación

«FOR people who have studied psychical matters, or who have read any books on the subject, it is unnecessary to explain what a 'sitting' is. Novices must be asked to refer to other writings—to small books, for instance, by Sir W. F. Barrett or Mr. J. Arthur Hill or Miss H. A. Dallas, which are easily accessible, or to my own previous book on this subject called The Survival of Man, which begins more at the beginning so far as my own experience is concerned.» — Lodge abre el capítulo elemental remitiendo al lector nuevo a otros libros —los de Barrett, de J. Arthur Hill y de H. A. Dallas, y el suyo propio The Survival of Man— en vez de explicar qué es una sesión

«In this secondary state, a degree of clairvoyance or lucidity is attained quite beyond the medium's normal consciousness, and facts are referred to which must be outside his or her normal knowledge.» — y lo que Lodge afirma que ocurre en ese estado segundo: se alcanza un grado de clarividencia o lucidez del todo ajeno a la consciencia normal del médium, y se refieren hechos que han de estar fuera de su conocimiento normal

«The control, or second personality which speaks during the trance, appears to be more closely in touch with what is popularly spoken of as 'the next world' than with customary human existence, and accordingly is able to get messages through from people deceased; transmitting them through the speech or writing of the medium, usually with some obscurity and misunderstanding, and with mannerisms belonging either to the medium or to the control.» — la descripción del control con la deformación incluida en la definición: parece estar más en contacto con lo que llamamos el otro mundo que con la existencia humana corriente, y por eso transmite mensajes de personas fallecidas por el habla o la escritura del médium, de ordinario con alguna oscuridad y malentendido y con amaneramientos del médium o del control

«The amount of sophistication varies according to the quality of the medium, and to the state of the same medium at different times; it must be attributed in the best cases physiologically to the medium, intellectually to the control.» — y el reparto que Lodge propone para esa deformación: varía según la calidad del médium y según su estado en distintos momentos, y en los mejores casos hay que atribuirla fisiológicamente al médium e intelectualmente al control

«Some critics may claim that there are many stronger cases of» — Lodge se plantea la objeción de que haya casos de supervivencia mejor establecidos; el renglón se corta al pasar de plana

«established survival. That may be, but this is a case which touches me closely and has necessarily received my careful attention. In so far as there are other strong cases—and I know of several—so much the better. I myself considered the case of survival practically proven before, and clinched by the efforts of Myers and others of the S.P.R. group on the other side; but evidence is cumulative, and the discussion of a fresh case in no way weakens those that have gone before. Each stick of the faggot must be tested, and, unless absolutely broken, it adds to the strength of the bundle.» — y la continuación con su regla de acumulación: concede que puede haberlos y dice conocer varios, tanto mejor; él daba la supervivencia por prácticamente probada y rematada por los esfuerzos de Myers y del grupo de la S.P.R. del otro lado, pero sostiene que la evidencia se acumula y que cada palo del haz debe probarse y, si no está roto del todo, suma

«Of mediumship there are many grades, one of the simplest forms being the capacity to receive an impression or automatic writing, under peaceful conditions, in an ordinary state; but the whole subject is too large to be treated here.» — Lodge gradúa la mediumnidad y acota el asunto: una de sus formas más simples es recibir una impresión o escritura automática en condiciones apacibles y en estado ordinario, y el tema entero es demasiado grande para tratarlo allí

«Suffice it to say that the kind of medium chiefly dealt with in this book is one who, by waiting quietly, goes more or less into a trance, and is then subject to what is called 'control'— speaking or writing in a manner quite different from the medium's own normal or customary manner, under the guidance of a separate intelligence technically known as 'a control,' which some think must be a secondary personality—which indeed certainly is a secondary personality of the medium, whatever that phrase may really signify— the transition being effected in most cases quite easily and naturally.» — la definición del tipo de médium del que trata el libro, con la vacilación dejada dentro: quien esperando en quietud entra más o menos en trance y queda sujeto a lo que se llama un control, que habla o escribe de manera distinta de la suya bajo la guía de una inteligencia separada, y que algunos creen que ha de ser una personalidad secundaria, cosa que él concede que ciertamente es, signifique lo que signifique esa frase

«The confusion is no greater than might be expected from a pair of operators, connected by a telephone of rather delicate and uncertain quality, who were engaged in transmitting messages between two stranger communicators, one of whom was anxious to get messages transmitted, though perhaps not very skilled in wording them, while the other was nearly silent and anxious not to give any information or assistance at all; being, indeed, more or less suspicious that the whole appearance of things was deceptive, and that his friend, the ostensible» — la comparación con que Lodge explica la confusión de los mensajes: dos operadores unidos por un teléfono de calidad delicada e incierta que transmiten entre dos comunicantes desconocidos, uno ansioso de que su mensaje pase aunque poco diestro en redactarlo y el otro casi mudo y sin ganas de dar información ni ayuda; el renglón se corta al pasar de plana

«communicator, was not really there. Under such circumstances the effort of the distant communicator would be chiefly directed to sending such natural and appropriate messages as should gradually break down the inevitable scepticism of his friend.» — la continuación con la consecuencia que Lodge saca de su propia comparación: en tales circunstancias el esfuerzo del comunicante distante se dirigiría sobre todo a mandar mensajes tan naturales y apropiados que fueran quebrando el escepticismo inevitable de su amigo

«I must assume it known that messages purporting to come from various deceased people have been received through various mediums, and that the Society for Psychical Research has especially studied those coming through Mrs. Piper—a resident in the neighbourhood of Boston, U.S.A.—during the past thirty years. We were introduced to her by Professor William James.» — Lodge da por sabido el antecedente sobre el que se apoya y lo fecha: que llegan mensajes que se presentan como de personas fallecidas por diversos médiums, y que la Society for Psychical Research ha estudiado en especial los de Mrs. Piper durante treinta años, a quien les presentó William James

«My own experience with this lady began during her visit to this country in 1889, and was renewed in 1906. The account has been fully published in the Proceedings of the Society for Psychical Research, vols. vi. and xxiii., and an abbreviated version of some of the incidents there recorded can be referred to in my book The Survival of Man.» — y la procedencia de su propia experiencia, con los volúmenes citados: empezó en la visita de esa señora a Inglaterra en 1889 y se renovó en 1906, publicada en las Proceedings de la S.P.R. y abreviada en su libro anterior

«It will be convenient, however, to explain here that some of the communicators on the other side, like Mr. Myers and Dr. Richard Hodgson, both now deceased, have appeared to utilise many mediums; and that to allow for possible sophistication by normal mental idiosyncrasies, and for any natural warping due to the physiological mechanism employed, or to the brain-deposit from which selection has to be made, we write the name of the ostensible communicator in each case with a suffix—like MyersP, MyersV, etc.; meaning by this kind of designation to signify that part of the Myers-like intelligence which operates through Mrs. Piper or through Mrs. Verrall, etc., respectively.» — la convención de notación que Lodge instituye y su razón, que es una reserva metodológica dentro del término mismo: como algunos comunicantes parecen usar muchos médiums, se escribe el nombre del comunicante ostensible con un sufijo para significar la parte de esa inteligencia que opera por un médium determinado, dejando margen a la deformación mental, fisiológica y de depósito cerebral

«We know that communication must be hampered, and its form largely determined, by the unconscious but inevitable influence of a transmitting mechanism, whether that be of a merely mechanical or of a physiological character. Every artist knows that he must adapt the expression of his thought to his material, and that what is possible with one 'medium,' even in the artist's sense of the word, is not possible with another.» — y el principio general que Lodge enuncia con el símil del artista: la comunicación ha de quedar estorbada y su forma determinada en buena parte por la influencia inevitable de un mecanismo transmisor, porque todo artista sabe que debe adaptar la expresión de su pensamiento a su material

«And when the method of communication is purely mental or telepathic, we are assured that the communicator 'on the other side' has to select from and utilise those ideas and channels which represent the customary mental scope of the medium; though by practised skill and ingenuity they can be woven into fresh patterns and be made to convey to a patient and discriminating interpreter the real intention of» — lo que Lodge sostiene sobre la comunicación telepática, con su límite dentro: el comunicante ha de escoger entre las ideas y los cauces que forman el ámbito mental habitual del médium, aunque por destreza practicada puedan tejerse en dibujos nuevos y transmitir a un intérprete paciente y discriminador la intención real; el renglón se corta al pasar de plana

«the communicator's thought. In many such telepathic communications the physical form which the emergent message takes is that of automatic or semiconscious writing or speech; the manner of the utterance being fairly normal, but the substance of it appearing not to emanate from the writer's or speaker's own mind: though but very seldom is either the subject-matter or the language of a kind quite beyond the writer's or speaker's normal capabilities.» — la continuación con la acotación que Lodge repite: la forma física del mensaje suele ser escritura o habla automática o semiconsciente, con la enunciación bastante normal y la sustancia al parecer ajena a la mente de quien escribe, aunque muy rara vez la materia o el lenguaje quedan del todo fuera de las capacidades normales de esa persona

«To understand the intelligent tiltings of a table in contact with human muscles is a much simpler matter. It is crude and elementary, but in principle it does not appear to differ from automatic writing; though inasmuch as the code and the movements are so simple, it appears to be the easiest of all to beginners.» — y su juicio sobre la mesa que se inclina, con la equivalencia dentro: lo llama crudo y elemental, pero sostiene que en principio no parece diferir de la escritura automática, y que por ser tan simples el código y los movimientos resulta lo más fácil para principiantes

«It is so simple that it has been often employed as a sort of game, and so has fallen into disrepute. But its possibilities are not to be ignored for all that; and in so far as it enables a feeling of more direct influence—in so far as the communicator feels able himself to control the energy necessary, instead of having to entrust his message to a third person—it is by many communicators preferred. More on this subject will be found in Chapters VIII of Part II and XIV of Part III.» — Lodge consigna el descrédito de la mesa y le opone lo que a su juicio la recomienda: por simple se ha usado como una suerte de juego y cayó en descrédito, pero muchos comunicantes la prefieren porque da sensación de influencia más directa, al sentir el comunicante que puede él mismo gobernar la energía necesaria en vez de confiar su mensaje a un tercero

«Before beginning an historical record of the communications and messages received from or about my son since his death, I think it will be well to prelude it by— A message which arrived before the event; A selection of subsequent communications bearing on and supplementing this message; One of the evidential episodes, selected from subsequent communications, which turned out to be exactly verifiable.» — Lodge declara el plan de la segunda parte antes del registro histórico: un mensaje llegado antes del suceso, una selección de comunicaciones posteriores que lo desarrollan, y uno de los episodios evidenciales que resultó exactamente verificable

«A few further details about these things, and another series of messages of evidential importance, will be found in that Part of the Proceedings of the S.P.R. which is to be published about October 1916.» — y remite lo que no cabe en el libro a la parte de las Proceedings de la S.P.R. que había de publicarse hacia octubre de 1916

«If the full discussion allowed to these selected portions appears rather complicated, an unstudious reader may skip the next three chapters, on a first reading, and may learn about the simpler facts in their evolutionary or historical order.» — la licencia que Lodge da al lector, que es a la vez un juicio sobre su propia exposición: si la discusión de esas porciones escogidas le parece complicada, puede saltarse los tres capítulos siguientes en una primera lectura y enterarse de los hechos más simples en su orden histórico

«Raymond joined the Army in September 1914; trained near Liverpool and Edinburgh with the South Lancashires, and in March 1915 was sent to the trenches in Flanders. In the middle of July 1915 he had a few days' leave at home, and on the 20th returned to the Front.» — los hechos preliminares con que Lodge encuadra el mensaje del Faunus, todos fechados: alta en septiembre de 1914, instrucción cerca de Liverpool y Edimburgo, trincheras de Flandes en marzo de 1915, unos días de permiso a mediados de julio y regreso al frente el 20

«The first intimation that I had that anything might be going wrong, was a message from Myers through Mrs. Piper in America; communicated apparently by "Richard Hodgson" at a time when a Miss Robbins was having a sitting at Mrs. Piper's house, Greenfield, New Hampshire, on 8 August 1915, and sent me by Miss Alta Piper (A. L. P.) together with the original script.» — Lodge da la procedencia del mensaje con toda la cadena: un mensaje de Myers por Mrs. Piper en América, comunicado al parecer por Richard Hodgson mientras una tal Miss Robbins tenía sesión en casa de la médium, en Greenfield, New Hampshire, el 8 de agosto de 1915, y enviado a él por Alta Piper junto con el guion original

«Here follows the extract, which at a certain stage in Miss Robbins's sitting, after having dealt with matters of personal significance to her, none of which had anything whatever to do with me, began abruptly thus» — y la acotación con que Lodge aísla el pasaje del resto de la sesión: llegó en cierto punto, después de asuntos de significación personal para la asistente que nada tenían que ver con él, y empezó de golpe

«Now Lodge, while we are not here as of old, i.e. not quite, we are here enough to take and give messages.» — el registro de la sesión de Mrs. Piper atribuye este renglón a R. H., es decir al comunicante dado como Richard Hodgson: dice que no están allí como antaño, no del todo, pero sí lo bastante para tomar y dar mensajes

«Myers says you take the part of the poet, and he will act as Faunus. Faunus. Miss R.—Faunus? R. H.—Yes. Myers. Protect. He will understand.» — el renglón central del episodio, que el registro atribuye al mismo comunicante: dice que Myers pide a Lodge tomar la parte del poeta mientras él hará de Fauno, y que él entenderá; la palabra se repite en el registro tal cual

«What have you to say, Lodge? Good work. Ask Verrall, she will also understand. Arthur says so.» — y la remisión que el registro pone en boca del mismo comunicante y que Lodge seguirá al pie de la letra: que pregunte a la señora Verrall, que también entenderá, y que Arthur lo dice; la acotación entre corchetes, firmada por Lodge, identifica a Arthur como el doctor Arthur W. Verrall, ya fallecido

«In other cases, when the medium becomes entranced, the demonstration of a communicator's separate intelligence may become» — Lodge escalona los grados de comunicación: al entrar el médium en trance la demostración de una inteligencia separada se hace más fuerte; el tramo se corta en el límite de chunk, dentro de la misma plana

«stronger and the sophistication less. A still further stage is reached when by special effort what is called telergy is employed, i.e. when physiological mechanism is more directly utilised without telepathic operation on the mind. And a still further step away from personal sophistication, though under extra mechanical difficulties, is attainable in telekinesis or what appears to be the direct movement of inorganic matter. To this last category—though in its very simplest form—must belong, I suppose, the percussive sounds known as raps.» — la continuación tras ese corte: la deformación es menor, y hay un grado más con lo que llama telergia, cuando se usa el mecanismo fisiológico sin operar telepáticamente sobre la mente, y otro en la telequinesia o movimiento directo de materia inorgánica, a cuya forma más simple adscribe los golpes

«No. Myers knows. So does ——. You got mixed (to Miss R.), but Myers is straight about Poet and Faunus.» — el registro atribuye a R. H. la corrección del malentendido: dice que Myers lo sabe, que la asistente se enredó, y que Myers está en lo justo sobre el poeta y el Fauno

«I venture to say that to non-classical people the above message conveys nothing. It did not convey anything to me, beyond the assurance, based on past experience, that it certainly meant something definite, that its meaning was probably embedded in a classical quotation, and that a scholar like Mrs. Verrall would be able to interpret it, even if only the bare skeleton of the message were given without any details as to source.» — Lodge dice lo que el mensaje le significó y lo que no, y con ello el método que sigue: a él no le decía nada salvo la certeza, fundada en experiencia anterior, de que significaba algo definido, probablemente incrustado en una cita clásica, y de que una erudita como la señora Verrall podría interpretarlo aun dándole solo el esqueleto del mensaje sin detalles de procedencia

«In order to interpret this message, therefore, I wrote to Mrs. Verrall as instructed, asking her: "Does The Poet and Faunus mean anything to you? Did one 'protect' the other?» — Lodge transcribe la pregunta exacta que hizo, que es la prueba de que no dio contexto: si el poeta y el Fauno significaban algo para ella y si uno protegió al otro

«The reference is to Horace's account of his narrow escape from death, from a falling tree, which he ascribes to the intervention of Faunus. Cf. Hor. Odes, II. xiii.; II. xvii. 27; III. iv. 27; III. viii. 8, for references to the subject.» — la respuesta de la señora Verrall, fechada el 8 de septiembre de 1915: remite a Horacio y a su relato del escape estrecho de la muerte por la caída de un árbol, que el poeta atribuye a la intervención de Fauno, con las odas donde el asunto aparece

«'Me truncus illapsus cerebro Sustulerat, nisi Faunus ictum Dextra levasset, Mercurialium Custos virorum.'» — los cuatro versos latinos que la señora Verrall cita como el pasaje de la alusión: el tronco que se le vino encima lo habría llevado si Fauno, guardián de los hombres de Mercurio, no hubiera aliviado el golpe con la diestra

«"'Faunus, the guardian of poets' ('poets' being the usual interpretation of 'Mercury's men').» — y la traducción que la propia señora Verrall da de la fórmula, con la equivalencia que la hace pertinente al mensaje: Fauno, el guardián de los poetas, siendo poetas la interpretación usual de los hombres de Mercurio

«The passage is a very well-known one to all readers of Horace, and is perhaps specially familiar from its containing, in the sentence quoted, an unusual grammatical construction. It is likely to occur in a detailed work on Latin Grammar.» — la señora Verrall sitúa el pasaje para quien no lo conozca y da la razón de su fama: es muy conocido de todo lector de Horacio y resulta especialmente familiar por contener una construcción gramatical inusual, de las que suelen figurar en las gramáticas latinas detalladas

«The passage has no special associations for me other than as I have described, though it has some interest as forming part of a chronological sequence among the Odes, not generally admitted by commentators, but accepted by me.» — y la señora Verrall declara lo que el pasaje no significa para ella, que es el dato que interesa a la evidencia: no tiene asociaciones especiales para ella salvo las descritas, aunque le interesa por formar parte de una secuencia cronológica entre las odas que los comentaristas no suelen admitir y ella sí

«I perceived therefore, from this manifestly correct interpretation of the 'Myers' message to me, that the meaning was that some blow was going to fall, or was likely to fall, though I didn't know of what kind, and that Myers would intervene, apparently to protect me from it.» — y lo que Lodge dice haber entendido a partir de esa interpretación: que iba a caer o podía caer un golpe, sin saber de qué clase, y que Myers intervendría al parecer para protegerlo de él

«The words quoted are, of course, strictly applicable to the Horatian» — el cierre de la carta de la señora Verrall; el renglón se corta al pasar de plana

«So far as I can recollect my comparatively trivial thoughts on the subject, I believe that I had some vague idea that the catastrophe intended was perhaps of a financial rather than of a personal kind.» — lo que Lodge dice haber pensado entonces, y que consigna porque juega contra su propia tesis: hasta donde recuerda, tuvo la idea vaga de que la catástrofe anunciada sería más bien de orden financiero que personal

«The above message reached me near the beginning of September in Scotland. Raymond was killed near Ypres on 14 September 1915, and we got the news by telegram from the War Office on 17 September. A fallen or falling tree is a frequently used symbol for death; perhaps through misinterpretation of Eccl. xi, 3. To several other classical scholars I have since put the question I addressed to Mrs. Verrall, and they all referred me to Horace, Carm. II. xvii. as the unmistakable reference.» — Lodge alinea las fechas y consigna la comprobación que hizo después: el mensaje le llegó a principios de septiembre en Escocia, el hijo murió el 14 y el telegrama del Ministerio de la Guerra llegó el 17; añade que el árbol caído es símbolo frecuente de muerte y que otros clasicistas a quienes hizo la misma pregunta lo remitieron todos a la misma oda

«Soon after the event, I informed the Rev. M. A. Bayfield, exheadmaster of Eastbourne College, fully of the facts, as an interesting S.P.R. incident (saying at the same time that Myers had not been able to 'ward off' the blow); and he was good enough to send me a careful note in reply» — Lodge declara a quién consultó después y con qué salvedad: informó de los hechos al reverendo M. A. Bayfield, exdirector del Eastbourne College, diciéndole a la vez que Myers no había podido desviar el golpe; el troceo parte *ex-headmaster* en el salto de renglón y el extractor lo devuelve fundido

«Horace does not, in any reference to his escape, say clearly whether the tree struck him, but I have always thought it did. He says Faunus lightened the blow; he does not say 'turned it aside.' As bearing on your terrible loss, the meaning seems to be that the blow would fall but would not crush; it would be 'lightened' by the assurance, conveyed afresh to you by a special message from the still living Myers, that your boy still lives.» — la carta de Bayfield propone la lectura que da su fuerza al episodio, y la funda en el verbo: Horacio no dice en ninguna parte con claridad si el árbol lo golpeó, aunque él siempre lo ha creído; dice que Fauno aligeró el golpe, no que lo desviara, de modo que el golpe caería sin aplastar, aligerado por la seguridad de que el muchacho vive

«I shall be interested to know what you think of this interpretation. The 'protect' I take to mean protect from being overwhelmed by the blow, from losing faith and hope, as we are all in danger of doing when smitten by some crushing personal calamity.» — y Bayfield precisa qué entiende por proteger: no librar del golpe sino del hundimiento, de perder fe y esperanza, como todos corren peligro de hacer al ser heridos por una calamidad personal aplastante

«In Carm. iii. 8, Horace describes himself as prope funeratus arboris ictu, 'wellnigh killed by a blow from a tree.' An artist in expression, such as he was, would not have mentioned any 'blow' if there had been none; he would have said 'well nigh killed by a falling tree'—or the like. It is to be noted that in both passages he uses the word ictus.» — la posdata de Bayfield añade el argumento filológico: en otra oda Horacio se describe casi muerto por el golpe de un árbol, y sostiene que un artista de la expresión no habría mencionado golpe alguno si no lo hubiera habido, notando que en ambos pasajes usa la misma palabra latina

«And in ii. 13. 11 (the whole ode is addressed to the tree) he says the man must have been a fellow steeped in every wickedness 'who planted thee an accursed lump of wood, a thing meant to fall (this is the delicate meaning of caducum—not merely "falling") on thine undeserving master's head.' Here again the language implies that he was struck, and struck on the head.» — y el tercer pasaje con la matización de vocabulario que Bayfield subraya: la oda dirigida al árbol llama al que lo plantó hombre empapado de toda maldad, y el adjetivo latino no significa meramente que cae sino destinado a caer sobre la cabeza del amo inmerecedor

«I insist on all this as strengthening my interpretation, and also as strengthening the assignment of the script to Myers, who would of course be fully alive to all the points to be found in his reference to Faunus and Horace—and, as I have no doubt, believed that Horace did not escape the actual blow, and that it was a severe one.» — y Bayfield saca de ahí la consecuencia que toca a la atribución del guion: sostiene que todo eso afianza su interpretación y también la asignación del escrito a Myers, que estaría al tanto de esos puntos y, no lo duda, creía que Horacio no escapó al golpe

«Bryce's prose translation (Bohn) is quite clear— "a tree-stem falling on my head had surely been my death, had not good Faunus eased the blow» — Lodge cita la traducción en prosa que le da la razón y la nombra por editor: el tronco caído sobre su cabeza habría sido su muerte de no haberle aliviado el golpe el buen Fauno

«And although Conington's translation has "check'd the blow in mid descent," he really means the same thing, because it is the slaying, not the wounding or striking of the Poet that is prevented:— "Me the curst trunk, that smote my skull, Had slain; but Faunus, strong to shield The friends of Mercury, check'd the blow In mid descent.» — y la traducción que parece decir lo contrario, armonizada por Lodge con un argumento sobre lo que se impide: aunque hable de parar el golpe a media caída, sostiene que quiere decir lo mismo, porque lo impedido es la muerte del poeta y no que fuera herido o golpeado

«Mr. Bayfield also calls my attention to another portion of Piper Script— in this case not a trance or semi-trance sitting, but ordinary automatic writing—dated 5 August, which reached me simultaneously with the one already quoted from, at the beginning of September, and which he says seems intended to prepare me for some personal trouble» — Lodge introduce un segundo guion con la distinción de método dentro: no es de trance ni de semitrance sino escritura automática ordinaria, fechada el 5 de agosto, llegada a la vez que el otro, y que a juicio de Bayfield parecía prepararlo para algún trastorno personal

«Yes. For the moment, Lodge, have faith and wisdom [? confidence] in all that is highest and best. Have you all not been profoundly guided and cared for? Can you answer, 'No'? It is by your faith that all is well and has been.» — el texto del guion de escritura automática, con la duda de lectura que el propio volumen imprime entre corchetes: pide fe y confianza en lo más alto y mejor, pregunta si no han sido todos hondamente guiados y cuidados, y dice que es por su fe que todo está y ha estado bien

«I remember being a little struck by the wording in the above script, urging me to admit that we—presumably the family—had "been profoundly guided and cared for," and "that all is well and has been"; because it seemed to indicate that something was not going to be» — y lo que Lodge recuerda haber sentido al leerlo, con el límite en el mismo párrafo: le llamó algo la atención que se le urgiera a admitir que todo estaba y había estado bien, porque parecía indicar que algo no iba a estarlo tanto; el renglón se corta al pasar de plana

«Indeed, the escape must have been a narrow one, and it is to me impossible to believe that Horace would have been so deeply impressed by the accident if he had not actually been struck.» — Bayfield declara el fundamento de su lectura como creencia propia: le resulta imposible creer que Horacio quedara tan hondamente impresionado por el accidente si no lo hubiera golpeado de veras

«He refers to it four times:— Carm.ii. 13.—(Ode addressed to the tree—forty lines long.) ii. 17. 27. iii. 4. 27.—(Here he puts the risk he ran on a parallel with that of the rout at Philippi, from which he escaped.) iii. 8. 8.» — y la lista de las cuatro veces en que, según Bayfield, Horacio vuelve sobre el episodio, con la nota de que en una de ellas pone el riesgo corrido a la par del de la desbandada de Filipos

«Since some of the translators, especially verse translators, of Horace convey the idea of turning aside or warding off the blow, it may be well to emphasise the fact that most of the scholars consulted gave "lightened" or "weakened" as the translation.» — la nota firmada por Lodge que pesa las traducciones: como algunos traductores, sobre todo los de verso, dan la idea de desviar o parar el golpe, subraya que la mayoría de los eruditos consultados tradujeron aligerado o debilitado

«And Professor Strong says—"no doubt at all that 'levasset' means 'weakened' the blow; the» — la autoridad que Lodge nombra para zanjar el verbo: no le queda duda de que el verbo latino significa debilitado; el renglón se corta al pasar de plana

«bough fell and struck the Poet, but lightly, through the action of Faunus. 'Levo' in this sense is quite common and classical.» — la continuación de esa cita: la rama cayó y golpeó al poeta, aunque levemente, por acción de Fauno, y ese sentido del verbo latino es corriente y clásico

«The two Piper communications, of which parts have now been quoted, reached me at Gullane, East Lothian, where my wife (M. F. A. L.) and I were staying for a few weeks. They arrived early in September 1915,» — Lodge fija el lugar y la fecha de recepción de los dos guiones, que es parte de la prueba: Gullane, East Lothian, donde estaba con su mujer unas semanas, a principios de septiembre de 1915

«My dear Alta,—The reference to the Poet and Faunus in your mother's last script is quite intelligible, and a good classical allusion. You might tell the 'communicator' some time if there is opportunity. "I feel sure that it must convey nothing to you and yours. That is quite as it should be, as you know, for evidential reasons.» — la carta de Lodge a Alta Piper del 12 de septiembre de 1915, que es la pieza que fecha su propio conocimiento: dice que la referencia al poeta y a Fauno es del todo inteligible y buena alusión clásica, y que está seguro de que a ellas no les dice nada, cosa que juzga como debe ser por razones de evidencia

«This was written two days before Raymond's death, and five days before we heard of it. The Pipers' ignorance of any meaning in the Poet and Faunus allusion was subsequently confirmed.» — y Lodge saca la cuenta que hace valer esa carta: fue escrita dos días antes de la muerte y cinco antes de que la supieran, y la ignorancia de las Piper sobre el sentido de la alusión quedó confirmada después

«It so happens that this letter was returned to me, for some unknown reason, through the Dead Letter Office, reaching me on 14 November 1915, and being then sent forward by me again.» — el accidente postal que Lodge consigna sin sacarle partido: la carta le fue devuelta por la oficina de cartas muertas y le llegó el 14 de noviembre de 1915, y él volvió a enviarla; la llamada de nota que el troceo pega al renglón queda fuera del tramo

«IT now remains to indicate how far Myers carried out his implied promise, and what steps he took, or has been represented as having taken, to lighten the blow—which it is permissible to say was a terribly severe one.» — Lodge abre el capítulo siguiente con la fórmula que separa el hecho de la atribución: queda por indicar hasta dónde Myers cumplió su promesa implícita y qué pasos dio, o ha sido representado como habiendo dado, para aligerar un golpe que se permite decir terriblemente severo

«For such evidence I must quote from the record of sittings held here in England with mediums previously unknown, and by sitters who gave no sort of clue as to identity.» — y la regla de prueba que se impone: citará del registro de sesiones celebradas en Inglaterra con médiums desconocidos de antemano y por asistentes que no dieron pista alguna de identidad

«It may be objected that my own general appearance is known or might be guessed. But that does not apply to members of my family, who went quite anonymously to private sittings kindly arranged for by a friend in London (Mrs. Kennedy, wife of Dr. Kennedy), who was no relation whatever, but whose own personal experience caused her to be sympathetic and helpful, and who is both keen and critical about evidential considerations.» — Lodge se plantea la objeción que se le puede hacer y la contesta nombrando a quien concertaba las citas: su propio aspecto es conocido o podría adivinarse, pero eso no vale para los miembros de su familia, que fueron de incógnito a sesiones privadas arregladas por Mrs. Kennedy, sin parentesco alguno, simpatizante por experiencia propia y a la vez interesada y crítica en lo evidencial

«I may state, for what it is worth, that as a matter of fact normal clues to identity are disliked, and, in so far as they are gratuitous, are even resented, by a good medium; for they are no manner of use, and yet subsequently they appear to spoil evidence. It is practically impossible for mediums to hunt up and become normally acquainted with the family history of their numerous sitters, and those who know them are well aware that they do nothing of the sort, but in making arrangements for a sitting it is not easy, unless special precautions are taken, to avoid giving a name and an address, and thereby appearing to give facilities for fraud.» — y la observación de oficio que Lodge ofrece acotada por él mismo: las pistas normales de identidad le disgustan a un buen médium y hasta se resienten cuando son gratuitas, porque no sirven de nada y luego estropean la evidencia; añade que es prácticamente imposible que los médiums averigüen la historia familiar de sus numerosos clientes y que al concertar una cita cuesta no dar nombre y dirección, con lo que se aparenta dar facilidades al fraude

«quite so well. But it was too indefinite to lead me to make any careful» — Lodge dice por qué no levantó acta de ese primer guion: era demasiado indefinido; el tramo se corta en el límite de chunk, dentro de la misma plana

«record of it, or to send it as a prediction to anybody for filing; and it would no doubt have evaporated from my mind except for the 'Faunus' warning, given three days later, though received at the same time, which seemed to me clearly intended as a prediction, whether it happened to come off or not.» — la continuación tras ese corte: no lo registró ni lo mandó a archivar como predicción, y se le habría evaporado de la cabeza de no ser por el aviso del Fauno, dado tres días después aunque recibido a la vez, que le pareció claramente intencionado como predicción, saliera o no cierta

«The first sitting that was held after Raymond's death by any member of the family was held not explicitly for the purpose of getting into communication with him—still less with any remotest notion of entering into communication with Mr. Myers—but mainly because a French widow lady, who had been kind to our daughters during winters in Paris, was staying with my wife at Edgbaston—her first real visit to England—and was in great distress at the loss of both her beloved sons in the war, within a week of each other, so that she was left desolate. To comfort her my wife took her up to London to call on Mrs. Kennedy, and to get a sitting arranged for with a medium whom that» — Lodge declara el motivo de la primera sesión posterior a la muerte, que es parte del argumento evidencial: no se celebró para comunicarse con el hijo ni menos con Myers, sino para consolar a una viuda francesa que había sido buena con sus hijas en París y que había perdido a sus dos hijos en la guerra con una semana de diferencia; el renglón se corta al pasar de plana

«lady knew and recommended. Two anonymous interviews were duly held, and incidentally I may say that the two sons of Madame communicated, on both occasions, though with difficulty; that one of them gave his name completely, the other approximately; and that the mother, who was new to the whole subject, was partially» — la continuación con lo que Lodge consigna de aquellas dos sesiones anónimas: los dos hijos de la señora comunicaron ambas veces, aunque con dificultad, uno dando su nombre completo y el otro aproximadamente, y la madre, nueva en el asunto, quedó en parte consolada; el verbatim se corta antes de la llamada de nota que el troceo pega al renglón

«Raymond, however, was represented as coming with them and helping them, and as sending some messages on his own account. I shall here only quote those messages which bear upon the subject of Myers and have any possible connexion with the 'Faunus' message.» — y la fórmula con que Lodge marca la voz, que es la que gobierna toda la segunda parte: dice que Raymond fue representado como viniendo con ellos y ayudándolos y mandando algunos mensajes por su cuenta, y anuncia que solo citará los que tocan a Myers y al mensaje del Fauno

«We heard first of Raymond's death on 17 September 1915, and on 25 September his mother (M. F. A. L.), who was having an anonymous sitting for a friend with Mrs. Leonard, then a complete stranger, had the following spelt out by tilts of a table, as purporting to come from Raymond» — Lodge sitúa el primer mensaje con toda la cadena de reservas: su mujer tenía una sesión anónima por una amiga con Mrs. Leonard, entonces una completa desconocida, y lo que sigue fue deletreado por inclinaciones de una mesa presentándose como venido de Raymond

«Tell father I have met some friends of his. M. F. A. L.—Can you give any name? Yes. Myers.» — el primer mensaje del registro, deletreado por la mesa y presentado como de Raymond: que diga al padre que ha encontrado a unos amigos suyos, y al preguntársele un nombre, el de Myers

«On the 27th of September 1915, I myself went to London and had my first sitting, between noon and one o'clock, with Mrs. Leonard. I went to her house or flat alone, as a complete stranger, for whom an appointment had been made through Mrs. Kennedy. Before we began, Mrs. Leonard informed me that her 'guide' or 'control' was a young girl named "Feda."» — Lodge relata su primera sesión con Mrs. Leonard con todas las condiciones que hacen la prueba: fue solo a casa de la médium como un completo desconocido, con cita concertada por Mrs. Kennedy, y antes de empezar ella le informó que su guía o control era una muchacha llamada Feda

«In a short time after the medium had gone into trance, a youth was described in terms which distinctly suggested Raymond, and "Feda" brought messages.» — y el modo en que Lodge describe lo que siguió, con el condicional dentro: poco después de entrar la médium en trance fue descrito un joven en términos que sugerían claramente a Raymond, y Feda trajo mensajes

«I have instructors and teachers with me." Now he is trying to build up a letter of some one; M. he shows me.» — lo que el registro pone entre comillas como dicho por el comunicante y lo que Feda dice ver: que tiene instructores y maestros consigo, y la letra con que ella empieza a formar un nombre

«I have met hundreds of friends. I don't know them all. I have met many who tell me that, a little later, they will explain why they are helping me. I feel I have got two fathers now. I don't feel I have lost one and got another; I have got both. I have got my old one, and another too—a pro tem. father.» — la continuación de ese pasaje del registro, ya pasada la llamada de nota: dice haber encontrado cientos de amigos sin conocerlos a todos, que muchos le dicen que un poco más adelante explicarán por qué lo ayudan, y que siente tener ahora dos padres, no habiendo perdido uno y ganado otro sino teniendo los dos, el antiguo y uno provisional

«(Here Feda ejaculated "What's that? Is that right?" O. J. L. replied 'Yes.')» — la acotación del registro que muestra al control preguntando por lo que acaba de transmitir y al asistente respondiendo

«There is a weight gone off his mind the last day or two; he feels brighter and lighter and happier altogether, the last few days. There was confusion at first. He could not get his bearings, didn't seem to know where he was. "But I was not very long," he says, "and I think I was very fortunate; it was not very long before it was explained to me where I was.» — el registro sigue en voz de Feda y del comunicante, con la confusión inicial dicha dentro: un peso quitado de encima en los últimos días, y al principio una confusión en que no se hacía cargo de dónde estaba, aunque dice haber tenido suerte porque no tardaron en explicárselo

«But the most remarkable indirect allusion, or apparent allusion, to something like the 'Faunus' message, came at the end of the sitting, after "Raymond" had gone, and just before Mrs. Leonard came out of trance» — Lodge marca con dos reservas seguidas el pasaje que más le importa: lo llama alusión indirecta, o aparente alusión, a algo parecido al mensaje del Fauno, y la sitúa al final de la sesión, ya ido el comunicante y antes de que la médium saliera del trance

«He is gone, but Feda sees something which is only symbolic; she sees a cross falling back on to you; very dark, falling on to you; dark and heavy looking; and as it falls it gets twisted round and the other side seems all light, and the light is shining all over you. It is a sort of pale blue, but it is white and quite light when it touches you. Yes, that is what Feda sees. The cross looked dark, and then it suddenly twisted round and became a beautiful light.» — la visión que el registro atribuye a Feda y que ella misma califica de solo simbólica: una cruz cayendo hacia atrás sobre el asistente, oscura y de aspecto pesado, que al caer se voltea y deja ver el otro lado todo luz, de un azul pálido que al tocarlo es blanco

«The cross is a means of shedding real light. It is going to help a great deal. "Did you know you had a coloured Guide?... He says your son is the cross of light; he is the cross of light, and he is going to be a light that» — y lo que el registro pone en boca de Feda como interpretación de esa visión: que la cruz es medio de derramar luz real, y que el hijo es la cruz de luz; el renglón se corta al pasar de plana

«will help you; he is going to help too to prove to the world the Truth. That is why they built up the dark cross that turned to bright. You know; but others, they do so want to know. Feda is loosing hold; good-bye.» — la continuación en la plana siguiente, con la fórmula final del control: que será una luz que lo ayudará y que ayudará a probar al mundo la verdad, y que por eso construyeron la cruz oscura que se volvió brillante

«On the afternoon of the same day, 27 September 1915, that I had this first sitting with Mrs. Leonard, Lady Lodge had her first sitting, as a complete stranger, with Mr. A. Vout Peters, who had been invited for the purpose—without any name being given—to Mrs. Kennedy's house at 3.30 p.m.» — Lodge fecha y sitúa la primera sesión de su mujer con A. Vout Peters, y repite las condiciones de anonimato: el médium fue invitado a casa de Mrs. Kennedy sin que se diera nombre alguno

«Here again, Raymond was described well enough, fairly early in the sitting, and several identifying messages were given. Presently 'Moonstone' (Peters's chief control) asked, "Was he not associated with Chemistry?» — y Lodge marca la primera coincidencia del registro de Peters nombrando al control: tras una descripción suficiente y varios mensajes de identificación, Moonstone, el control principal del médium, preguntó por una asociación con la química

«As a matter of fact, my laboratory has been rather specially chemical of late; and the record continues, copied with subsequent annotations in square brackets as it stands» — Lodge da el dato por cierto y declara cómo está copiado el registro que sigue: su laboratorio ha sido últimamente más bien químico, y el registro va tal cual con las anotaciones posteriores entre corchetes

«He finds it difficult, he says, but he has got so many kind friends helping him. He didn't think when he waked up first that he was going to be happy, but now he is, and he says he is going to be happier. He knows that as soon as he is a little more ready he has got a great deal of work to do. "I almost wonder," he says, "shall I be fit and able to do it. They tell me I shall.» — el registro de la primera sesión de Lodge con Mrs. Leonard, en voz de Feda hablando del comunicante: lo da por hallando difícil la cosa aunque con muchos amigos amables ayudándolo, no creyó al despertar que iba a ser feliz y ahora lo es, y sabe que en cuanto esté un poco más listo tendrá mucho trabajo, con la duda de si estará en condiciones de hacerlo; el libro vuelve a imprimir este mismo tramo más adelante y esta cita ancla en la primera aparición

«People think I say I am happy in order to make them happier, but I don't.» — lo que el registro presenta como dicho por Raymond y que va contra la sospecha más obvia: que la gente cree que dice estar feliz para hacerlos más felices a ellos, y que no es así; el verbatim se corta antes de la llamada de nota que el troceo pega al renglón, y el libro repite el mismo renglón más adelante

«The boy—I call them all boys because I was over a hundred when I lived here and they are all boys to me» — el registro atribuye a Moonstone la explicación de su propio modo de hablar: llama muchachos a todos porque tenía más de cien años cuando vivió aquí

«Was he not associated with chemistry? If not, some one associated with him was, because I see all the things in a chemical laboratory.» — el registro de la primera sesión de Lady Lodge con Peters atribuye a Moonstone esta pregunta: si no estaba asociado con la química, porque ve todas las cosas de un laboratorio químico; el libro imprime este tramo dos veces, aquí en el capítulo de anticipación y otra vez en el registro histórico, y esta cita ancla en la primera aparición

«That chemistry thing takes me away from him to a man in the flesh [O. J. L. presumably]; and, connected with him, a man, a writer of poetry, on our side, closely connected with spiritualism. He was very clever— he too passed away out of England.» — lo que el registro pone en boca del mismo control: que eso de la química lo lleva del muchacho a un hombre en carne, y, ligado a este, un hombre del otro lado escritor de poesía y estrechamente ligado al espiritualismo, muy listo, que también murió fuera de Inglaterra; el libro imprime este tramo dos veces, aquí en el capítulo de anticipación y otra vez en el registro histórico, y esta cita ancla en la primera aparición

«He has communicated several times. This gentleman who wrote poetry —I see the letter M—he is helping your son to communicate.» — el registro atribuye a Moonstone la letra inicial y el oficio del comunicante ayudante: el señor que escribía poesía, con la letra M, ayuda al hijo a comunicar; el libro imprime este tramo dos veces, aquí en el capítulo de anticipación y otra vez en el registro histórico, y esta cita ancla en la primera aparición

«He is built up in the chemical conditions. If your son didn't know this man, he knew of him.» — la fórmula del registro sobre el modo en que ese comunicante se presenta, más la cautela que el propio control introduce: si el hijo no conocía a ese hombre, sabía de él; el libro imprime este tramo dos veces, aquí en el capítulo de anticipación y otra vez en el registro histórico, y esta cita ancla en la primera aparición

«At the back of the gentleman beginning with M, and who wrote poetry, is a whole group of people. [The S.P.R. group, doubtless.] They are very interested. And don't be surprised if you get messages from them, even if you don't know them.» — el registro atribuye a Moonstone la mención de un grupo entero detrás del comunicante de la letra M, muy interesado, del que podrían llegar mensajes aun de gente desconocida; la acotación entre corchetes lo lee como el grupo de la S.P.R.; el libro imprime este tramo dos veces, aquí en el capítulo de anticipación y otra vez en el registro histórico, y esta cita ancla en la primera aparición

«This is so important that is going to be said now, that I want to go slowly, for you to write clearly every word» — la acotación del registro que muestra al control pidiendo cuidado en la transcripción: dice que lo que va a decirse es tan importante que quiere ir despacio para que se escriba con claridad cada palabra; el libro imprime este tramo dos veces, aquí en el capítulo de anticipación y otra vez en el registro histórico, y esta cita ancla en la primera aparición

«Not only is the partition so thin that you can hear the operators on the other side, but a big hole has been made.» — el mensaje dictado así, atribuido por el registro a Moonstone: no solo el tabique es tan delgado que se oye a los operarios del otro lado, sino que se ha hecho un agujero grande; el libro imprime este tramo dos veces, aquí en el capítulo de anticipación y otra vez en el registro histórico, y esta cita ancla en la primera aparición

«This message is for the gentleman associated with the chemical laboratory.» — el destinatario que el registro asigna a ese mensaje: el señor asociado con el laboratorio químico; el libro imprime este tramo dos veces, aquí en el capítulo de anticipación y otra vez en el registro histórico, y esta cita ancla en la primera aparición

«Hitherto it has been a thing of the head, now I am come over it is a thing of the heart.» — lo que el registro presenta entre comillas como dicho por el comunicante: que hasta entonces había sido cosa de la cabeza y que ahora que ha pasado es cosa del corazón; el libro imprime este tramo dos veces, aquí en el capítulo de anticipación y otra vez en el registro histórico, y esta cita ancla en la primera aparición

«At a Leonard Table Sitting on 12 October 1915—by which time our identity was known to Mrs. Leonard—I told 'Myers' that I understood his Piper message about Faunus and the Poet; and the only point of interest about the reply or comment is that the two following sentences were spelt out, purporting to come either indirectly or directly from 'Myers'» — Lodge encuadra el mensaje siguiente con la condición que lo debilita y que él mismo declara: para el 12 de octubre de 1915 Mrs. Leonard ya conocía su identidad, y en una sesión de mesa él dijo a Myers que había entendido el mensaje del Fauno; anota además que lo único de interés es la respuesta, deletreada como venida indirecta o directamente de Myers

«He says it meant your son's tr[ansition].» — la primera de las dos frases deletreadas en esa sesión de mesa, con la palabra que el propio volumen completa entre corchetes: que aquello significaba la transición del hijo

«The next 'Myers' reference came on 29 October, when I had a sitting with Peters, unexpectedly and unknown to my family, at his London room (15 Devereux Court, Fleet Street)—a sitting arranged for by Mr. J. A. Hill for an anonymous friend» — Lodge fecha y sitúa la sesión siguiente y repite las condiciones de anonimato: con Peters en su cuarto de Londres, de improviso y sin que su familia lo supiera, con cita arreglada por J. A. Hill para un amigo anónimo

«Peters went into trance, and after some other communications, gave messages from a youth who was recognised by the control and identified as my son; and later on Peters's 'control,' whom it is customary to call 'Moonstone,' spoke thus» — y la cadena de voces que Lodge describe antes de transcribir: el médium en trance, mensajes de un joven reconocido por el control e identificado como su hijo, y luego el control a quien es costumbre llamar Moonstone

«Do you know F W M? O. J. L.—Yes, I do. Because I see those three letters. Now, after them, do you know S T; yes, I get S T, then a dot, and then P? These are shown me; I see them in light; your boy shows these things to me.» — el registro pone en boca del control las iniciales y las letras que dice ver en luz, y que Lodge anota entre corchetes como la alusión a un poema de Myers

«Well, he says to me: "He has helped me so much, more than you think. That is F W M.» — lo que el registro atribuye al comunicante por boca del control: que aquel lo ha ayudado más de lo que se piensa, y las iniciales

«No, your boy laughs, he has got an ulterior motive for it; don't think it was only for charity's sake, he has got an ulterior motive, and thinks that you will be able by the strength of your personality to do what you want to do now, to ride over the quibbles of the fools, and to make the Society, the Society, he says, of some use to the world» — el registro pone en boca del control un motivo que enmienda la lectura piadosa del asistente: dice que el muchacho ríe y que aquel tiene un motivo ulterior, que no fue solo por caridad, y que cuenta con que Lodge, por la fuerza de su personalidad, pase por encima de los reparos de los necios y haga de la Sociedad algo útil al mundo

«Good God! how father will be able to speak out! much firmer than he» — lo que el registro presenta como exclamación del comunicante en ese momento de agitación del médium: que el padre podrá hablar claro, mucho más firme; el tramo se corta en el límite de chunk, dentro de la misma plana, y el libro imprime este tramo dos veces, en el capítulo de anticipación y en el registro histórico, y esta cita ancla en la primera aparición

«Your son shall be mine.» — la segunda frase deletreada en esa sesión de mesa, en la plana siguiente: que el hijo será suyo

«Your common-sense method of approaching the subject in the family has been the means of helping him to come back as he has been able to do; and had he not known what you had told him, then it would have been far more difficult for him to come back. He is very deliberate in what he says. He is a young man that knows what he is saying.» — el registro atribuye a Moonstone una explicación del éxito de la comunicación que apela a la formación previa: el método de sentido común con que la familia trata el asunto ha sido el medio de ayudarlo a volver, y de no haber sabido lo que se le había dicho le habría costado mucho más; el libro imprime este tramo dos veces, en el capítulo de anticipación y en el registro histórico, y esta cita ancla en la primera aparición

«Now he says, "He helped me because, with me through you, he can break away the dam that people have set up. Later on, you are going» — el registro atribuye al comunicante la razón de esa ayuda: que con él y por medio del padre puede romperse la presa que la gente ha levantado; el renglón se corta al pasar de plana

«to speak to them. It is already on the programme, and you will break down the opposition because of me.» — la continuación en la plana siguiente: que más adelante Lodge hablará a esa gente, que ya está en el programa, y que romperá la oposición a causa suya

«has ever done, because it will touch our hearts.» — la continuación tras el corte de chunk, en la misma plana: más firme de lo que nunca lo ha hecho, porque tocará los corazones

«Then he says, "For God's sake, father, do it. Because if you only knew, and could only see what I see: hundreds of men and women heart-broken. And if you could only see the boys on our side shut out, you would throw the whole strength of yourself into this work. But you can do it.» — el registro pone en boca del comunicante el ruego que es el motivo declarado del libro entero: que lo haga por Dios, porque si supiera y pudiera ver lo que él ve, cientos de hombres y mujeres con el corazón roto y los muchachos del otro lado dejados fuera, echaría en esa obra todas sus fuerzas

«He is very earnest. Oh, and he wants—No, I must stop him, I must prevent him, I don't want him to control the medium.—Don't think me unkind, but I must protect my medium; he would not be able to do the work he has to do; the medium would be ill from it, I must protect him, the emotion would be too great, too great for both of you, so I must prevent him from controlling.» — y el registro atribuye al control una negativa que declara su propio criterio de cuidado: dice que debe impedir que el comunicante controle al médium, que no es por descortesía sino por proteger a su médium, que quedaría enfermo, y que la emoción sería demasiada para ambos

«The feeling on going over was one of intense disappointment, he had no idea of death. The second too was grief.» — lo que el registro pone en boca del comunicante por medio del control sobre el paso mismo: la primera sensación fue de intensa decepción, porque no tenía idea de la muerte, y la segunda fue pena

«This is a time when men and women have had the crust broken off them—a crust of convention, of ... of indifference, has been smashed, and everybody thinks, though some selfishly.» — el registro atribuye al control un juicio sobre la época: una costra de convención y de indiferencia ha quedado rota en hombres y mujeres, y todos piensan, aunque algunos por egoísmo

«Now, returning to him, how patient he is! He was not always so patient. After the grief there was a glimmering of hope, because he realised that he could get back to you; and because his grandmother came to him. Then his brother was introduced to him. Then, he says, other people. Myerse—"Myerse," it sounds like—do you know what he means?—came to him, and then he knew he could get back.» — la secuencia que el registro pone en boca del control sobre lo que siguió a la pena: un vislumbre de esperanza al comprender que podía volver, la abuela que vino a él, el hermano que le fue presentado, otras personas, y luego el nombre que el control pronuncia con una deformación que el propio registro consigna

«Now he wants me to tell you this: That from his death, which is only one of thousands, that the work which he (I have to translate his ideas into words, I don't get them verbatum [sic])—the work which he volunteered to be able to succeed in,—no, that's not it. The work which he enlisted for, that is what he says, only he was only a unit and seemingly lost—yet the very fact of his death will be the means of pushing it on. Now I have got it. By his passing away, many hundreds will be benefited.» — y el mensaje que el registro presenta con el control corrigiéndose a sí mismo a la vista, lo que es el dato de la transmisión: dice que traduce ideas a palabras y que no las recibe verbatim —el volumen imprime la errata con un sic—, se enmienda dos veces sobre si el muchacho se ofreció o se alistó, y concluye que por su muerte muchos cientos serán beneficiados

«I now propose to make some further extracts—of a more evidential character—tending to establish the survival of my son's own personality and memory. There have been several of these evidential episodes, making strongly in this direction; but I select, for description here, one relating to a certain group photograph, of which we were told through two mediums, but of which we normally knew nothing till afterwards.» — y anuncia el cambio de registro y el criterio de selección: extractos de carácter más evidencial que tienden a establecer la supervivencia de la personalidad y la memoria del hijo, de los que escoge el de una fotografía de grupo de la que nada sabían normalmente hasta después

«It will be understood, I hope, that the above extracts from sittings have been reproduced here in order to show that, if we take the incidents on their face value, Myers had redeemed his 'Faunus' promise, and had lightened the blow by looking after and helping my son 'on the other side.'» — Lodge declara con una condicional expresa qué pretende haber mostrado: que los extractos se reprodujeron para enseñar que, tomados los incidentes por su valor aparente, Myers había cumplido su promesa del Fauno y aligerado el golpe cuidando y ayudando a su hijo del otro lado

«I NOW come to a peculiarly good piece of evidence arising out of the sittings which from time to time we held in the autumn of 1915, namely, the mention and description of a group photograph taken near the Front, of the existence of which we were in complete ignorance, but which was afterwards verified in a satisfactory and complete manner. It is necessary to report the circumstances rather fully» — Lodge abre el capítulo de la fotografía calificando él mismo la evidencia: la llama peculiarmente buena, porque la fotografía de grupo tomada cerca del frente fue mencionada y descrita cuando ignoraban por completo su existencia y se verificó después de modo satisfactorio y completo

«You have several portraits of this boy. Before he went away you had got a good portrait of him—two—no, three. Two where he is alone and one where he is in a group of other men. He is particular that I should tell you of this. In one you see his walking-stick» — el registro de la sesión de Lady Lodge con Peters del 27 de septiembre de 1915 atribuye a este la descripción que después se verificará: tres retratos, dos del muchacho solo y uno en grupo con otros hombres, con el énfasis de que el comunicante insiste en que se lo diga, y el bastón

«We had single photographs of him of course, and in uniform, but we did not know of the existence of a photograph in which he was one of a group; and M. F. A. L. was sceptical about it, thinking that it might well be only a shot or guess on the part of Peters at something probable.» — Lodge consigna lo que sabían entonces y el escepticismo de su mujer: tenían retratos solos y de uniforme, no sabían de ninguno en grupo, y ella lo tomó por un tiro al bulto sobre algo probable

«But Mrs. Kennedy (as Note-taker) had written down most of what was said, and this record was kept, copied, and sent to Mr. Hill in the ordinary course at the time.» — y la cadena de custodia del registro, que es lo que da valor a esa mención: la anotadora escribió casi todo lo dicho, el registro se guardó, se copió y se envió a Hill en su momento

«I was myself, moreover, rather impressed with the emphasis laid on it —"he is particular that I should tell you of this"—and accordingly made a half-hearted inquiry or two; but nothing more was heard on the subject for two months.» — Lodge declara su propia reacción y la mide: le impresionó el énfasis puesto, hizo un par de averiguaciones a medias, y en dos meses no se supo más del asunto

«On Monday, 29 November, however, a letter came from Mrs. Cheves, a stranger to us, mother of Captain Cheves of the R.A.M.C., who had known Raymond and had reported to us concerning the nature of his wound, and who is still doing good work at the Front.» — y la carta que lo cambia todo, con su remitente identificado: de Mrs. Cheves, desconocida para ellos, madre del capitán médico que había conocido a Raymond y les había informado sobre su herida

«Dear Lady Lodge,—My son, who is M.O. to the 2nd South Lancs, has sent us a group of officers taken in August, and I wondered whether you knew of this photo and had had a copy. If not may I send you one, as we have half a dozen and also a key? I hope you will forgive my writing to ask this, but I have often thought of you and felt so much for you in yr. great sorrow.» — la carta de Mrs. Cheves del 28 de noviembre de 1915, que es el documento que verifica la fotografía: su hijo ha mandado un grupo de oficiales tomado en agosto, pregunta si lo conocen, y ofrece una copia y una clave

«M. F. A. L. promptly wrote, thanking her, and asking for it; but fortunately it did not come at once.» — y el detalle con que Lodge subraya lo que hace fuerte la prueba: su mujer contestó en seguida pidiéndola, y por fortuna no llegó de inmediato

«Before it came, I (O. J. L.) was having a sitting with Mrs. Leonard alone at her house on 3 December; and on this occasion, among other questions, I asked carefully concerning the photograph, wishing to get more detailed information about it, before it was seen.» — Lodge fecha la sesión en que preguntó por la fotografía antes de verla: con Mrs. Leonard, a solas en casa de ella, el 3 de diciembre

«It should be understood that the subject was not introduced by Mrs. Leonard or her control. The previous mention of a photograph had been through Peters. It was I that introduced the subject through Mrs. Leonard, and asked a question; and the answers were thus reported and recorded at the time—the typing out of the sitting being all done before the photograph arrived» — y declara quién introdujo el asunto y cuándo se mecanografió el registro, que son las dos condiciones de la prueba: no lo introdujo la médium ni su control sino él, y la transcripción de la sesión quedó hecha antes de que llegara la fotografía

«Well, he said something about having a photograph taken with some other men. We haven't seen that photograph yet. Does he want to say anything more about it? He spoke about a photograph.» — la pregunta de O. J. L. en el registro, formulada de modo que no da el dato: dice que el comunicante habló de una fotografía con otros hombres, que aún no la han visto, y pregunta si quiere decir algo más

«Yes, but he thinks it wasn't here. He looks at Feda, and he says, it wasn't to you, Feda.» — la respuesta que el registro pone en voz de Feda y que apunta a otra sesión y a otro médium: dice que no fue allí y que no fue a ella

«He says it wasn't through the table.» — la precisión siguiente del registro, que descarta el canal: que no fue por la mesa

«It wasn't here at all. He didn't know the person that he said it through. The conditions were strange there—a strange house.» — y la identificación que el registro completa en voz de Feda, y que Lodge anota entre corchetes como cierta: que no fue allí en absoluto, que el comunicante no conocía a la persona por quien lo dijo y que las condiciones eran extrañas, una casa extraña

«He thinks there were several others taken with him, not one or two, but several.» — el registro atribuye a Feda, hablando por el comunicante, la primera precisión sobre el grupo: varios otros retratados con él, no uno ni dos sino varios

«Some of them, he says. He didn't know them all, not very well. But he knew some; he heard of some; they were not all friends.» — y la distinción que el registro pone en boca del comunicante: conocía a algunos, había oído de otros, y no todos eran amigos

«No, he doesn't seem to think so. Some were raised up round; he was sitting down, and some were raised up at the back of him. Some were standing, and some were sitting, he thinks.» — la descripción de la postura que el registro da y que después se coteja con la fotografía: él sentado, algunos alzados detrás, unos de pie y otros sentados

«He says yes—a mixed lot. Somebody called C was on it with him; and somebody called R—not his own name, but another R.K, K, K—he says something about K.» — las iniciales que el registro atribuye al comunicante sobre los retratados: una C, una R que no es la suya, y una K repetida

«He also mentions a man beginning with B—(indistinct muttering something like Berry, Burney—then clearly) but put down B.» — y la letra siguiente, con el murmullo indistinto que el propio registro consigna antes de la instrucción de anotarla

«I am asking about the photograph because we haven't seen it yet. Somebody is going to send it to us. We have heard that it exists, and that's all.» — la declaración que O. J. L. deja dentro del propio registro para fecharla: pregunta porque aún no la han visto, saben que existe porque alguien va a enviársela, y nada más

«He has the impression of about a dozen on it. A dozen, he says, if not more. Feda thinks it must be a big photograph. No, he doesn't think so, he says they were grouped close together.» — la cifra que el registro atribuye al comunicante y el diálogo del control consigo mismo: una docena si no más, la duda de Feda de que sea una fotografía grande, y la respuesta de que estaban agrupados muy juntos

«lean on him, but he is not sure if he was taken with some one leaning on him. But somebody wanted to lean on him he remembers. The last what he gave you, what were a B, will be rather prominent in that photograph. It wasn't taken in a photographer's place.» — el registro atribuye al comunicante el detalle que después resultará el más notable: que alguien quiso apoyarse en él, que la letra B dada antes será prominente en la fotografía y que no se tomó en un estudio

«FEDA (sotto voce).—What you mean, 'yes practically'; must have been out of doors or not out of doors. You mean 'yes,' don't you? Feda thinks he means 'yes,' because he says 'practically.'» — el registro conserva al control discutiendo con el comunicante la ambigüedad de su propia respuesta, y decidiendo que quiere decir que sí porque dice prácticamente

«At the back he shows me lines going down. It looks like a black background, with lines at the back of them. (Feda here kept drawing vertical lines in the air.)» — la descripción del fondo que el registro atribuye a Feda y el gesto que la acompaña, con las líneas verticales trazadas en el aire

«There was, for some reason, considerable delay in the arrival of the photograph; it did not arrive till the afternoon of December 7.» — Lodge consigna el retraso del envío, que es lo que deja margen a la prueba: la fotografía no llegó hasta la tarde del 7 de diciembre

«Meanwhile, on December 6, Lady Lodge had been looking up Raymond's Diary, which had been returned from the Front with his kit, and found an entry:— "24 August.—Photo taken.» — y el hallazgo independiente del diario del hijo, devuelto del frente con su equipaje, con la entrada que fecha la toma

«Now Raymond had only had one "leave" home since going to the Front, and this leave was from 16 July to 20 July. The photograph had not been taken then, and so he could not have told us anything about it. The exposure was only made twenty-one days before his death, and some days may have elapsed before he saw a print, if he ever saw one. He certainly never mentioned it in his letters. We were therefore in complete ignorance concerning it; and only recently had we normally become aware of its existence.» — el argumento con que Lodge cierra el paso a la explicación normal, fecha por fecha: el único permiso fue del 16 al 20 de julio y la fotografía se tomó después, la exposición ocurrió veintiún días antes de su muerte, acaso nunca vio una copia, y desde luego no la mencionó en sus cartas

«The photograph has not come yet, but it may come any day now; so I send this off before I get it.» — la frase con que Lodge data esa carta respecto de la fotografía: aún no ha llegado, puede llegar cualquier día, y la manda antes de recibirla

«The actual record of what was said in the sitting is being typed, but the above represents my impression of it.» — y la salvedad con que Lodge distingue su resumen del registro: lo dicho en la sesión se está mecanografiando, y lo anterior es su impresión de ello

«The photograph was delivered at Mariemont between 3 and 4 p.m. on the afternoon of 7 December. It was a wet afternoon, and the package was received by Rosalynde, who took the wet wrapper off it. Its size was 12 by 9 inches, and was an enlargement from a 5 by 7 inch original.» — Lodge fija la entrega con hora, testigo y medidas: entre las tres y las cuatro de la tarde del 7 de diciembre, en una tarde lluviosa, recibida por una hija que le quitó la envoltura mojada, de doce por nueve pulgadas y ampliada de un original de cinco por siete

«The number of people in the photograph is twenty-one, made up as follows:— Five in the front row squatting on the grass, Raymond being one of these; the second from the right. Seven in the second row seated upon chairs. Nine in the back row standing up against the outside of a temporary wooden structure such as might be a hospital shed or something of that kind.» — el recuento que Lodge levanta de la fotografía misma para cotejarlo con el registro: veintiuna personas, cinco en cuclillas al frente sobre la hierba con Raymond el segundo desde la derecha, siete sentadas en sillas y nueve de pie contra el exterior de una construcción provisional de madera

«On the morning of 7 December another note came from Mrs. Cheves, in answer to a question about the delay; and this letter said that the photograph was being sent off. Accordingly I (O. J. L.), thinking that the photograph might be coming at once, dictated a letter to go to Mr. Hill, recording roughly my impression of what the photograph would be» — la precaución documental que Lodge tomó ese mismo día: al saber por una segunda nota de Mrs. Cheves que la fotografía salía ya, dictó una carta a Hill registrando a grandes rasgos su impresión de cómo sería; el renglón se corta al pasar de plana

«like, on the strength of the communication received by me from 'Raymond' through Mrs. Leonard; and this was posted by A. E. Briscoe about lunch-time on the same day.» — la continuación, con la procedencia de esa impresión y el testigo del envío: la comunicación recibida por él a través de Mrs. Leonard, y la carta echada al correo por su secretario a la hora del almuerzo del mismo día

«Concerning that photograph which Raymond mentioned through Peters [saying this: 'One where he is in a group of other men. He is particular that I should tell you of this. In one you see his walking-stick,'],10 he has said some more about it through Mrs. Leonard. But he is doubtful about the stick.» — la carta que Lodge dictó antes de ver la fotografía arranca citando lo dicho por Peters y marcando en seguida una discrepancia: el comunicante ha añadido cosas por Mrs. Leonard, pero duda del bastón

«What he says is that there is a considerable number of men in the photograph; that the front row is sitting, and that there is a back row, or some of the people grouped and set up at the back; also that there are a dozen or more people in the photograph, and that some of them he hardly knew; that a B is prominent in the photograph, and that there is also a C; that he himself is sitting down, and that there are people behind him, one of whom either leant on his shoulder, or tried to.» — y el contenido de esa carta, que es la pieza fechada de toda la prueba: número considerable de hombres, fila delantera sentada y fila trasera alzada, una docena o más, algunos apenas conocidos, una B prominente y también una C, él sentado, y alguien detrás que se apoyó en su hombro o lo intentó

«By "a mixed lot," we understood members of different Companies—not all belonging to Raymond's Company, but a collection from several. This must be correct, as they are too numerous for one Company. It is probable that they all belong to one Regiment, except perhaps one whose cap seems to have a thistle badge instead of three feathers.» — Lodge interpreta la fórmula del registro y la comprueba con su límite dentro: entiende por variopinto a miembros de compañías distintas, lo que ha de ser correcto por ser demasiados para una sola, y supone que todos son del mismo regimiento salvo acaso uno cuya gorra parece llevar otro emblema

«As to "prominence," I have asked several people which member of the group seemed to them the most prominent; and except as regards central position, a well-lighted standing figure on the right has usually been pointed to as most prominent. This one is "B," as stated, namely, Captain S. T. Boast.» — y el modo en que Lodge somete a prueba la palabra prominente en vez de decidirla él: preguntó a varias personas cuál les parecía el más prominente del grupo y, salvo por la posición central, todas señalaron a una figura de pie bien iluminada a la derecha, que resulta ser el capitán de la inicial dada

«Some of the officers must have been barely known to Raymond, while some were his friends. Officers whose names begin with B, with C, and with R were among them; though not any name beginning with K. The nearest approach to a K-sound in the group is one beginning with a hard C.» — Lodge coteja las iniciales y consigna la que falla: había apellidos con B, con C y con R, pero ninguno con K, y lo más cercano a ese sonido es uno que empieza con C dura

«Some of the group are sitting, while others are standing behind. Raymond is one of those sitting on the ground in front, and his walking-stick or regulation cane is lying across his feet.» — el cotejo de la postura: Raymond entre los sentados en el suelo al frente, con su bastón o bastón de ordenanza atravesado sobre los pies

«The background is dark, and is conspicuously lined.» — el cotejo del fondo, en un renglón: oscuro y conspicuamente rayado

«It is out of doors, close in front of a shed or military hut, pretty much as suggested to me by the statements made in the 'Leonard' sitting—what I called a "shelter."» — y el cotejo del lugar, con la palabra que el propio Lodge había propuesto en la sesión: al aire libre, muy cerca de un cobertizo o barraca militar

«But by far the most striking piece of evidence is the fact that some one sitting behind Raymond is leaning or resting a hand on his shoulder. The photograph fortunately shows the actual occurrence, and almost indicates that Raymond was rather annoyed with it; for his face is a little screwed up, and his head has been slightly bent to one side out of the way of the man's arm. It is the only case in the photograph where one man is leaning or resting his hand on the shoulder of another, and I judge that it is a thing not unlikely to be remembered by the one to whom it occurred.» — Lodge señala cuál tiene por la pieza más llamativa y la funda en lo que la fotografía muestra: alguien sentado detrás apoya la mano en el hombro de Raymond, cuya cara está algo contraída y cuya cabeza se inclina fuera del brazo del otro, y es el único caso así en toda la fotografía, cosa que juzga no improbable de recordar por quien la sufrió

«Four days ago (6 December), I was looking through my son Raymond's Diary which had been returned with his kit from the Front. (The edges are soaked, and some of the leaves stuck together, with his blood.)» — la declaración firmada por la madre, fechada el 10 de diciembre de 1915, que consigna el estado material del diario entre paréntesis: los bordes empapados y algunas hojas pegadas con la sangre del hijo

«I was struck by finding an entry "Photo taken" under the date 24 August, and I entered the fact in my own Diary at once, thus:— "6 December.—Read Raymond's Diary for first time, saw record of 'photo taken' 24 August.» — y lo que la madre declara haber hecho al hallar la entrada: la anotó en su propio diario en el acto, con la fecha de la lectura

«The dictated letter to Mr. Hill, recording roughly Sir Oliver's impression of what the photograph would be like, was written out by me on the morning of Tuesday, 7 December, at Mariemont; it was signed by Sir Oliver at about noon, and shortly afterwards I started for the University, taking that and other letters with me for posting in town. I went straight to the University, and at lunch-time (about 1.30) posted the packet to Mr. Hill at the General Post Office. (In the packet, I remember, there was also a letter on another subject, and a printed document from Mr. Gow, the Editor of Light.)» — la declaración del secretario, fechada el 8 de diciembre de 1915, que sirve de testimonio de la hora del envío: escribió la carta esa mañana en Mariemont, Sir Oliver la firmó hacia el mediodía y él la echó al correo general hacia la una y media camino de la Universidad; el troceo imprime esta declaración dos veces seguidas, con dos pies de firma distintos

«I was sitting in the library at Mariemont about 3.45 on Tuesday afternoon, 7 December 1915, when Harrison came in with a flat cardboard parcel addressed to Mother. Mother was resting; and as the paper, wrapping up what I took to be the photograph, was wet with the rain, I undid it and left the photograph in tissue paper on a table, having just glanced at it to see if it was the one we'd been waiting for. No one saw it or was shown it till after tea, when I showed it to Mother. That would be about 6. Mrs. Thompson, Lorna, and Barbara now also saw it. Honor was not at home and did not see it till later.» — la declaración firmada por la hija que recibió el paquete, fechada el 8 de diciembre de 1915, que precisa quién vio la fotografía y cuándo: la desenvolvió por estar mojada, la dejó en papel de seda sobre una mesa tras echarle un vistazo, y nadie más la vio hasta después del té

«On examining the photograph, we found that every peculiarity mentioned by Raymond, unaided by the medium, was strikingly» — el veredicto de Lodge sobre el cotejo, con la salvedad de que el comunicante no fue ayudado por la médium; el renglón se corta al pasar de plana

«correct. The walking-stick is there (but Peters had put a stick under his arm, which is not correct), and in connexion with the background Feda had indicated vertical lines, not only by gesture but by saying "lines going down," as well as "a black background with lines at the back of them." There are six conspicuous nearly vertical lines on the roof of the shed, but the horizontal lines in the background generally are equally conspicuous.» — la continuación con lo que no casa, dicho en el mismo párrafo que el elogio: el bastón está, pero Peters lo había puesto bajo el brazo y eso no es correcto; y de las líneas verticales indicadas por Feda hay seis en el techo del cobertizo, aunque las horizontales del fondo son igual de conspicuas

«In answer to an inquiry, Messrs. Gale & Polden, of Aldershot and London, the firm whose name was printed at the foot of the photograph, informed me that it was "from a negative of a group of Officers sent to us by Captain Boast of the 2nd South Lancashire Regiment"; and having kindly looked up the date, they further tell me that they received the negative from Captain Boast on 15 October 1915.» — la nota de Lodge que fija la cadena material de la fotografía consultando a la casa impresora: le informaron que procedía de un negativo de un grupo de oficiales enviado por el capitán Boast, y le precisaron la fecha en que lo recibieron

«It will be remembered that information about the existence of the photograph came through Peters on 27 September—more than a fortnight, therefore, before the negative reached England.» — y la consecuencia que Lodge saca de esa fecha, que es el nudo de la prueba: la información sobre la existencia de la fotografía llegó por Peters el 27 de septiembre, más de quince días antes de que el negativo llegara a Inglaterra

«The photograph is only shown here because of its evidential interest. Considered as a likeness of Raymond, it is an exceptionally bad one; he appears shrunk into an uncomfortable position.» — Lodge declara por qué reproduce la fotografía y de paso la juzga como retrato: solo por su interés evidencial, porque como parecido del hijo la tiene por excepcionalmente mala, encogido en una postura incómoda

«In answer to a special inquiry addressed to Captain Boast at the Front, he has been good enough to favour me with the following letter» — Lodge declara que la carta siguiente responde a una indagación suya dirigida al capitán Boast en el frente

«Dear Sir,—Your letter of 4 July has just reached me. The proofs of the photographs referred to were received by me from the photographer at Reninghelst two or three days after being taken. To the best of my belief, your son saw the proofs, but I cannot now say positively. I obtained particulars of requirements from the officers forming the group, but the photographer then found he was unable to obtain paper for printing. I therefore bought the negatives and sent them home to Gale & Polden.» — la carta de Boast del 10 de julio de 1916, con la reserva del testigo dentro: las pruebas llegaron del fotógrafo dos o tres días después de la toma, cree que el hijo las vio pero no puede afirmarlo, y como el fotógrafo no consiguió papel, él compró los negativos y los mandó a Inglaterra

«Some months ago (last summer) the Officers of our Battalion had their photo taken.... You see, the photographer who took us was a man who had been shelled out of house and home, and as he had no means of» — la carta del capitán Boast desde las trincheras, del 7 de mayo de 1916: los oficiales del batallón se retrataron el verano anterior y el fotógrafo había sido echado de su casa por los bombardeos; el renglón se corta al pasar de plana

«doing the photos for us, we bought the negatives, and sent them along to be finished in England.» — la continuación: sin medios de revelar, le compraron los negativos y los mandaron a acabar a Inglaterra

«It thus appears that Raymond had probably seen a proof of the photograph, but that there were no copies or prints available. Consequently neither we, nor any other people at home, could have received them; and the negatives were only received in England by Gale & Polden on 15 October 1915, after Peters had mentioned the existence of the photograph, which he did on 27 September 1915.» — Lodge cierra la cadena documental con la conclusión que de ella se sigue: probablemente el hijo vio una prueba, pero no había copias disponibles, de modo que ni ellos ni nadie en casa pudo recibirlas, y los negativos solo llegaron a Inglaterra después de que Peters mencionara la fotografía

«These two additional photographs are here reproduced. Their merit is in showing that the leaning on him, mentioned by 'Raymond' through Feda, was well marked, and yet that he was quite right in being uncertain whether he was actually being leant on while the photograph was being taken. The fact turns out to be that during two exposures he was being leaned on, and during one exposure he was not.» — y lo que Lodge sostiene que esas dos copias añaden, que es una defensa de la vacilación del comunicante: muestran que el apoyarse estaba bien marcado y que a la vez tenía razón en no saber si lo estaban apoyando mientras se tomaba la fotografía, porque en dos exposiciones sí y en una no

«I have since discovered what is apparently the only other photograph of Officers in which Raymond occurs, but it is quite a different one, and none of the description applies to it. For it is completely in the open air, and Raymond is standing up in the hinder of two rows. He is second from the left, the tall one in the middle is his friend Lieutenant Case, and standing next him is Mr. Ventris. It is fortunate again that this photograph did not happen to be the one sent us; for we should have considered the description hopelessly wrong.» — Lodge consigna el hallazgo que habría arruinado la prueba y lo dice él mismo: existe al parecer otra fotografía de oficiales con Raymond, del todo distinta, al aire libre y con él de pie en la fila trasera, a la que nada de la descripción se aplica, y tiene por afortunado que no fuera esa la que les mandaron

«As to the evidential value of the whole communication, it will be observed that there is something of the nature of cross-correspondence, of a simple kind, in the fact that a reference to the photograph was made through one medium, and a description given, in answer to a question, through another independent one.» — la nota de cierre firmada por Lodge que nombra la figura en que apoya el valor de la prueba: algo del orden de una correspondencia cruzada, de tipo simple, por haberse hecho la mención por un médium y la descripción, en respuesta a una pregunta, por otro independiente

«The elimination of ordinary telepathy from the living, except under the far-fetched hypothesis of the unconscious influence of complete strangers, was exceptionally complete; inasmuch as the whole of the information was recorded before any of us had seen the photograph.» — y la hipótesis rival que Lodge dice haber eliminado, con la salvedad que deja abierta: la telepatía ordinaria de los vivos queda excepcionalmente eliminada, salvo bajo la hipótesis rebuscada de la influencia inconsciente de completos extraños, porque toda la información quedó registrada antes de que ninguno de ellos viera la fotografía

«Even the establishment of a date in August for the taking of the photograph, as mentioned first in Mrs. Cheves' letter and confirmed by finding an entry in Raymond's Diary, is important, because the last time we ever saw Raymond was in July.» — la importancia que Lodge atribuye a la fecha de agosto, confirmada por la carta de Mrs. Cheves y por el diario: la última vez que vieron a Raymond fue en julio

«To my mind the whole incident is rather exceptionally good as a piece of evidence; and that 'Raymond' expected it to be good evidence is plain from Peters's ('Moonstone's') statement, at that first reference to a photograph on 27 September, namely, "He is particular that I should tell you of this.» — Lodge da su juicio en primera persona y lo distingue de lo que el registro dice: a su entender el incidente entero es excepcionalmente bueno como evidencia, y que el comunicante lo esperaba así se ve por la frase del control sobre su insistencia en que se les dijera

«Our complete ignorance, even of the existence of the photograph, in the first place, and secondly the delayed manner in which knowledge of it normally came to us, so that we were able to make provision for getting the supernormally acquired details definitely noted beforehand, seem to me to make it a first-class case. While, as to the amount of coincidence between the description and the actual photograph, that surely is quite beyond chance or guesswork. For not only are many things right, but practically nothing is wrong.» — el resumen del argumento y la fórmula con que Lodge lo remata: la ignorancia completa de la existencia de la fotografía y el modo demorado en que el conocimiento normal les llegó permitieron dejar anotados de antemano los detalles adquiridos por vía supernormal, y en cuanto a la coincidencia sostiene que está muy por encima del azar, porque no solo muchas cosas están bien sino que prácticamente nada está mal

«CALENDAR 20 July 1915 Raymond's last visit home. 24 August 1915 Photograph taken at the Front, as shown by entry in Raymond's private Diary, but not mentioned by him. 14 September 1915 Raymond's death. 27 September 1915 Peters' ('Moonstone's') mention of the photograph as a message from 'Raymond.' 15 October 1915 Negative sent with other negatives by Capt. Sydney T. Boast, from the Front in Flanders, to Messrs. Gale & Polden, Aldershot, for printing. 29 November 1915 Mrs. Cheves wrote spontaneously, saying that she had a group-photograph of some 2nd South Lancashire Officers, which she could send if desired.» — el calendario con que Lodge ordena la prueba, de la última visita a casa el 20 de julio de 1915 a la carta espontánea de Mrs. Cheves del 29 de noviembre, pasando por la toma del 24 de agosto anotada en el diario y no mencionada, la muerte del 14 de septiembre, la mención del control el 27 y el envío del negativo a Inglaterra el 15 de octubre

«3 December 1915 Feda's (Mrs. Leonard's) further description of a photograph which had been mentioned through another medium, in answer to a direct question addressed to 'Raymond.' 6 December 1915 M. F. A. L. found an entry in Raymond's Diary showing that a photograph had been taken on 24 August. Morning of 7 Dec. 1915 To make sure, O. J. L. wrote to J. A. H. his impression of the photograph before it came. Afternoon of 7 Dec 1915 Arrival of the photograph. Evening of 7 Dec 1915 The photograph was shown to the home members of the family, and examined by O. J. L.» — la segunda mitad del calendario, en la plana siguiente: la descripción de Feda del 3 de diciembre en respuesta a una pregunta directa, el hallazgo del diario el 6, la carta de Lodge a J. A. H. la mañana del 7 antes de que llegara, la llegada esa tarde y el examen esa noche

«I found that the group had been repeated, with slight variations, three times—the Officers all in the same relative positions, but not in identically the same attitudes. One of the three prints is the same as the one we had seen, with some one's hand resting on Raymond's shoulder, and Raymond's head leaning a little on one side, as if rather annoyed.» — el hallazgo que Lodge saca de pedir todas las copias: el grupo se repitió tres veces con variaciones leves, los oficiales en las mismas posiciones relativas pero no en idénticas actitudes, y una de las tres es la que habían visto, con la mano sobre el hombro de Raymond

«In another the hand had been removed, being supported by the owner's stick; and in that one Raymond's head is upright. This corresponds to his uncertainty as to whether he was actually taken with the man leaning on him or not. In the third, however, the sitting officer's leg rests against Raymond's shoulder as he squats in front, and the slant of the head and slight look of annoyance have returned.» — y las otras dos, que son las que dan razón a la vacilación del comunicante: en una la mano fue retirada y apoyada en el bastón de su dueño, con la cabeza de Raymond erguida, y en la tercera la pierna del oficial sentado descansa contra su hombro y vuelven la inclinación y el gesto de fastidio

«Although this episode of the photograph is a good and evidential one, I should be sorry to base an important conclusion on any one piece of evidence, however cogent. All proofs are really cumulative; and though it is legitimate to emphasise anything like a crucial instance, it always needs supplementing by many others, lest there may have been some oversight. Accordingly, I now proceed to quote from sittings held by members of the family after Raymond's death—laying stress upon those which were arranged for, and held throughout, in an anonymous manner, so that there was not the slightest normal clue to identity.» — Lodge abre el registro histórico enunciando su regla de prueba, que es la del libro entero: lamentaría fundar una conclusión importante en una sola pieza por convincente que fuera, porque todas las pruebas son acumulativas y un caso crucial siempre necesita ser suplido por muchos otros, no sea que haya habido un descuido

«The first message came to us through a recent friend of ours in London, Mrs. Kennedy, who herself has the power of automatic writing, and who, having lost her specially beloved son Paul, has had her hand frequently controlled by him—usually only so as to give affectionate messages, but sometimes in a moderately evidential way.» — Lodge presenta a Mrs. Kennedy con su facultad y su pérdida: escribe automáticamente y, habiendo perdido a su hijo Paul, ha tenido la mano controlada por él con frecuencia, de ordinario solo para mensajes afectuosos y a veces de modo moderadamente evidencial

«She had been sceptical about the genuineness of this power apparently possessed by herself; and it was her painful uncertainty on this point that had brought her into correspondence with me, for she was trying to test her own writing in various ways, as she was so anxious not to be deceived.» — y la duda de ella misma, que Lodge consigna como parte de su credencial: había sido escéptica sobre la autenticidad de ese poder suyo, y fue esa incertidumbre dolorosa la que la llevó a escribirle, porque probaba su propia escritura de varios modos para no engañarse

«Dear Sir,—Because of your investigations into spirit life, I venture to ask your help.» — la primera carta de Katherine Kennedy a Lodge, del 16 de agosto de 1914, que arranca apelando a sus investigaciones

«My only son died 23 June, eight weeks after a terrible accident. On 25 June (without my asking for it or having thought of it) I felt obliged to hold a pencil, and I received in automatic writing his name and 'yes' and 'no' in answer to questions.» — y los hechos con que ella los presenta, fechados: el hijo único muerto el 23 de junio ocho semanas después de un accidente terrible, y el 25 de junio, sin habérselo pedido ni pensado, la obligación de sostener un lápiz y la escritura automática del nombre y de las respuestas

«Since then I have had several pages of writing from him every day and sometimes twice daily. I say 'from him'; the whole torturing question is—is it from him or am I self-deceived?» — y la pregunta que la carta pone en el centro y que el libro no cerrará: varias páginas diarias, y la cuestión torturante de si vienen de él o si ella se engaña a sí misma

«My knowledge is infinitesimal. Nineteen years ago a sister who had died the year before suddenly used my hand, and after that wrote short messages at intervals; another sister a year later, and my father one message sixteen years ago; but I felt so self-deceived that I always pushed it aside, until it came back to me, unasked, after my son's passing over.» — la historia anterior que Mrs. Kennedy consigna con su propio descrédito dentro: hace diecinueve años una hermana muerta el año antes usó su mano, luego otra hermana y su padre, y ella lo apartó siempre por sentirse engañada, hasta que volvió sin pedirlo tras la muerte del hijo

«Your knowledge is what I appeal to, and the deep, personal respect one has for you and your investigations. It is for my son's sake—he is only seventeen—and he writes with such intense sadness of my lack of decided belief that I venture to beg help of a stranger in a matter so sacred to me.» — y la petición con la edad del muerto dentro: apela al conocimiento de Lodge por el bien del hijo, de diecisiete años, que escribe con intensa tristeza de la falta de creencia decidida de ella

«Do you ever come to London, and, if so, could you possibly allow me to see you for even half an hour? and you might judge from the strange and holy revelations (I know no other way to express many of the messages that are sent) whether they can possibly be only from my own subconscious mind» — la pregunta con que la carta pide la entrevista y formula el criterio que le importa: si podría juzgar, por las revelaciones extrañas y santas que no sabe nombrar de otro modo, si pueden venir solo de su propia mente subconsciente

«Ultimately I was able to take her anonymously and unexpectedly to an American medium, Mrs. Wriedt, and there she received strong and unmistakable proofs.» — lo que Lodge declara haber hecho con esa petición: la llevó de incógnito y de improviso a una médium americana, donde ella recibió pruebas fuertes e inequívocas; el verbatim se corta antes de la llamada de nota que el troceo pega al renglón

«She also received excellent confirmation through several other mediums whom she had discovered for herself— notably Mr. Vout Peters and Mrs. Osborne Leonard. Of Mrs. Leonard I had not previously heard; I had heard of a Madame St. Leonard, or some name like that, but this is somebody else.» — y la aparición de los dos médiums centrales del libro, con la precaución de Lodge contra un homónimo: ella misma halló a Vout Peters y a Mrs. Osborne Leonard, de la que él no había oído antes, y aclara que la señora de nombre parecido de la que sí había oído es otra persona

«Mrs. Kennedy tells me that she herself had not known Mrs. Leonard long, her own first sitting with that lady having been on 14 September 1915. I must emphasise the fact that Mrs. Kennedy is keen and careful about evidential considerations.» — y las dos cosas con que Lodge acredita esa parte de la cadena: la primera sesión de Mrs. Kennedy con esa médium fue el 14 de septiembre de 1915, y subraya que es aguda y cuidadosa en lo evidencial

«On seeing the announcement of Mr. R. Lodge's death in a newspaper, Mrs. Kennedy 'spoke' to Paul about it, and asked him to help; she also asked for a special sitting with Mrs. Leonard for the same purpose, though without saying why. The name Raymond was on that occasion spelt out through the medium, and he was said to be sleeping. This was on 18 September.» — Lodge consigna cómo entra Mrs. Kennedy en su caso, con la fuente de su información dicha: vio la noticia de la muerte en un periódico, habló con Paul pidiéndole ayuda y pidió además una sesión especial sin decir por qué, en la que se deletreó el nombre y se dijo que dormía

«On the 21st, while Mrs. Kennedy was writing in her garden on ordinary affairs, her own hand suddenly wrote, as from her son Paul:— "I am here.... I have seen that boy Sir Oliver's son; he's better, and has had a splendid rest, tell his people.» — y el primer mensaje escrito por la mano de Mrs. Kennedy, tres días después y dado como de su hijo Paul: que ha visto al hijo de Sir Oliver, que está mejor y ha tenido un descanso espléndido

«Lady Lodge having been told about Mrs. Leonard, and wanting to help a widowed French lady, Madame Le Breton, who had lost both her sons, and was on a visit to England, asked Mrs. Kennedy to arrange a sitting, so as to avoid giving any name. A sitting was accordingly arranged with Mrs. Leonard for 24 September 1915.» — Lodge repite la razón por la que se concertó aquella sesión y la precaución que la rodeó: era para ayudar a Madame Le Breton, viuda francesa que había perdido a sus dos hijos, y Mrs. Kennedy la arregló para evitar que se diera nombre

«On 22 September, Mrs. Kennedy, while having what she called a 'talk' with Paul, suddenly wrote automatically» — la fórmula con que Lodge marca la voz y el modo de la escritura siguiente: Mrs. Kennedy, en lo que llamaba una charla con Paul, escribió de pronto de manera automática

«I shall bring Raymond to his father when he comes to see you.... He is so jolly, every one loves him; he has found heaps of his own folks here, and he is settling down wonderfully. Do tell his father and» — y lo que esa escritura da como de Paul: que traerá a Raymond a su padre cuando venga, que es muy simpático y todos lo quieren, que ha encontrado montones de los suyos y se está asentando maravillosamente; el renglón se corta al pasar de plana

«Picture to yourself this boy: not quite eighteen but always taken for twenty or twenty-two; an almost divine character underneath, but exteriorly a typical 'motor knut,' driving racing-cars at Brooklands, riding for the Jarrott Cup on a motor cycle, and flying at Hendon as an» — el retrato que Mrs. Kennedy hizo de su hijo Paul en octubre de 1914, y que el volumen intercala porque Paul será personaje de lo que sigue: casi dieciocho años y siempre tomado por más, carácter casi divino por dentro y por fuera un típico aficionado al motor; el renglón se corta al pasar de plana

«Air Mechanic; dining out perpetually, because of his charm which made him almost besieged by friends; and apparently without any creed except honour, generosity, love of children, the bringing home of every stray cat to be fed here and comforted, a total disregard of social distinctions when choosing his friends, and a hatred of hurting anyone's feelings.» — la continuación del retrato: mecánico de aviación, invitado a cenar sin descanso por el encanto que lo tenía asediado de amigos, y al parecer sin más credo que el honor, la generosidad, el amor a los niños, los gatos callejeros recogidos, el desprecio de las distinciones sociales al elegir amigos y el horror de herir a nadie

«If you people only knew how we long to come, they would all call us.» — la frase que la escritura de Mrs. Kennedy da como de Paul y que el volumen marca con mayúsculas: si la gente supiera cuánto anhelan venir, todos los llamarían

«I am here, mother.... I have been to Alec already, but he can't hear me. I do wish he would believe that we are here safe; it isn't a dismal hole like people think, it is a place where there is life.» — lo que la mano de Mrs. Kennedy escribe el 23 como breve mensaje de Raymond: que ha ido ya a un hermano y este no puede oírlo, y que desea que crea que están allí a salvo, que no es un agujero lúgubre como la gente piensa sino un sitio donde hay vida

«Wait till I have learned better how to speak like this.... We can express all we want later; give me time.» — y la petición de plazo que el mismo mensaje añade: que espere a que aprenda mejor a hablar así, porque podrán expresar todo lo que quieran más adelante

«I need hardly say that there is nothing in the least evidential in all this. I quote it only for the sake of reasonable completeness, so as to give the history from the beginning. Evidence comes later.» — Lodge desautoriza él mismo el valor probatorio de lo que acaba de citar y dice por qué lo cita: no hay nada en absoluto evidencial en ello, y lo trae por completitud razonable para dar la historia desde el principio

«Next day, 24 September 1915, the ladies went for an interview with Mrs. Leonard, who knew no more than that friends of Mrs. Kennedy would accompany her. The following is Lady Lodge's account of the sitting» — la condición de anonimato de la sesión siguiente, dicha con precisión: la médium no sabía más que unas amigas de Mrs. Kennedy la acompañarían

«Mrs. Leonard went into a sort of trance, I suppose, and came back as a little Indian girl called 'Freda,' or 'Feda,' rubbing her hands, and talking in the silly way they do.» — el relato de la sesión firmado por Lady Lodge, que describe el control con las reservas y el desdén que ella misma pone: dice que la médium entró en una especie de trance, supone, y volvió como una niña india llamada Freda o Feda, frotándose las manos y hablando del modo tonto en que lo hacen

«Then Feda described some one brought in lying down—about twenty-four or twenty-five, not yet able to sit up;» — la descripción que Lady Lodge consigna de lo que el control dijo ver: alguien traído acostado, de veinticuatro o veinticinco años, aún incapaz de incorporarse

«(I forgot to say Mrs. Leonard did not know me or my name, or Madame le Breton's.)» — y el paréntesis con que Lady Lodge deja asentada la condición de la prueba dentro del propio relato: la médium no la conocía ni sabía su nombre ni el de la otra señora

«Feda soon said she saw a large R beside this young man, then an A, then she got a long letter with a tail, which she could not make out, then she drew an M in the air, but forgot to mention it, and she said an O came next, and she said there was another O with a long stroke to it, and finally, she said she heard 'Yaymond' (which is only her way of pronouncing it).» — el modo tanteante en que el registro consigna la obtención del nombre, letra por letra y con equivocaciones: una R grande, una A, una letra larga con rabo que no pudo descifrar, una M trazada en el aire y no mencionada, dos oes, y al fin el nombre pronunciado a su manera

«Then she said that he just seemed to open his eyes and smile; and then he had a choking feeling, which distressed me very much; but he said he hadn't suffered much—not nearly as much as I should think; whether he said this, or Paul, I forget; but Paul asked me not to tell him to-morrow night that I was not with him, as he had so much the feeling that I was with him when he died, that he (Paul) wouldn't like to undeceive him.» — lo que Lady Lodge consigna de esa sesión, con su propia vacilación sobre quién habló: el joven que abre los ojos y sonríe, la sensación de ahogo que la angustió mucho, la seguridad de que no había sufrido tanto como ella creería, y el ruego de que no le dijera que no estaba con él, porque tenía la impresión de que sí lo estaba al morir

«And there was also an old gentleman, full white beard, etc. (evidently my stepfather, but Feda said with a moustache, which was a mistake), with W. up beside him, also taking care; said he had met Raymond, and he was looking after him, and lots of others too; but said he [W.] belonged to me and to 'O.'» — la segunda figura descrita, con el error que Lady Lodge consigna en el mismo renglón: un anciano de barba blanca entera que ella toma por su padrastro, aunque el control le puso bigote y eso era equivocación

«I asked how and what it was he had done for me, and Feda made a movement with her fingers, as though disentangling something, and then putting it into straight lines. He then said he had made things easier for me. So I said that was right, and thanked him gratefully.» — el gesto que Lady Lodge describe y la respuesta que recibió: el control hizo un movimiento con los dedos como de desenredar algo y ponerlo en líneas rectas, y dijo que él le había facilitado las cosas

«The plan adopted here is for the table to tilt as each letter of the alphabet is spoken by the medium, and to stop, or 'hold,' when a right letter is reached. For general remarks on the rationale, or what most people will naturally consider the absurdity, of intelligent movements of this kind, see Chapter XIV, Part III.» — Lodge explica el código de la sesión de mesa y se adelanta al lector incrédulo nombrando su reparo: la mesa se inclina a cada letra del alfabeto pronunciada por la médium y se detiene en la correcta, y remite al capítulo donde trata de lo que la mayoría considerará el absurdo de esos movimientos inteligentes

«It was a rather complicated sitting, as it was mainly for Madame who was a novice in the subject. Towards the end unfortunately, though momentarily and not at all pronouncedly, she spoke to Lady Lodge by name. At these table sittings the medium, Mrs. Leonard, is not unconscious; accordingly she heard it in her normal self, and afterwards said that she had heard it.» — y el fallo de anonimato que Lodge consigna contra su propio interés: hacia el final la señora francesa se dirigió a Lady Lodge por su nombre, y como en las sesiones de mesa la médium no está inconsciente, lo oyó en su estado normal y después dijo haberlo oído

«Reasonable and natural messages were spelt out in French. The other son of Madame was named Didier, and an unsuccessful attempt to spell this name was made, but the only result was Dodi.» — lo que el registro consigna de la parte francesa de la sesión, incluido el fallo: mensajes razonables y naturales deletreados en francés, y un intento fallido de deletrear el nombre del otro hijo que solo dio una forma trunca

«On 26 September Mrs. Kennedy (alone) had a lot of automatic writing, with her own hand, mainly from Paul, who presently wrote, "Mother, I have been let to bring Raymond.» — la sesión de escritura automática de Mrs. Kennedy a solas, con la fórmula de permiso que el propio texto usa: que le han dejado traer a Raymond

«I can speak easier than I could at the table, because you are helping all the time. It is easy when we are alone with you, but if I go there it confuses me a little» — lo que esa escritura da como dicho por Raymond sobre las condiciones de su propia comunicación: habla más fácil que en la mesa porque ella ayuda todo el tiempo, y le confunde un poco ir allá

«I then asked that some one in that other world might kiss him for me,» — lo que Lady Lodge pidió en esa sesión: que alguien de aquel otro mundo lo besara por ella; el renglón se corta al pasar de plana

«and a lady, whom they described in a way which was just like my mother, came and kissed him, and said she was taking care of him.» — la continuación: una señora descrita de un modo igual al de su madre vino y lo besó, y dijo que lo cuidaba

«Paul tells me he has been here since he was seventeen; he is a jolly chap; every one seems fond of him. I don't wonder, for he helps every one. It seems a rule to call Paul if you get in a fix.» — lo que esa escritura pone en boca de Raymond sobre el otro comunicante: que está allí desde los diecisiete, que es simpático, que todos parecen quererlo porque ayuda a todos, y que parece regla llamarlo cuando uno se mete en un apuro

«He is quite happy really since he finds he can get to his people. He has slept ever since last night, till I was told to fetch him to-night.» — lo que la misma escritura da como dicho por Paul sobre Raymond: que está de veras contento desde que ve que puede llegar a los suyos, y que ha dormido desde la noche anterior hasta que le dijeron que fuera por él

«I saw them when I brought them, but I don't see them otherwise; they are older than I am ... they hardly believe it yet that they have spoken. All the time they felt it was impossible, and they nearly gave it up, but I kept on begging them to tell their mother they lived.» — y lo que da como dicho por Paul de los dos hijos franceses, con la incredulidad de ellos dentro: apenas creen haber hablado, todo el tiempo lo sintieron imposible y casi lo dejaron, y él les rogó que dijeran a su madre que vivían

«It is hard to think your sons are dead; but such a lot of people do think it. It is revolting to hear the boys tell you how no one speaks to them ever; it hurts me through and through.» — el juicio que la escritura pone en boca de Paul sobre los vivos: es duro pensar que los hijos están muertos y muchísima gente lo piensa, y le repugna oír a los muchachos contar que nadie les habla nunca

«I think you hear me because it is just as I am feeling; how CAN I believe we can speak to you who live where we once lived? It was not possible then for us to speak to dead people; and why should it be possible for us to speak. Will you keep on helping me, please, for I can't follow it, and I long to?» — lo que la escritura da como del joven francés Guy, y que es la objeción del propio comunicante a lo que le está pasando: pregunta cómo puede creer que hablan a quienes viven donde ellos vivieron, porque entonces no les era posible hablar a los muertos, y pide que le sigan ayudando porque no puede seguirlo y lo anhela

«I long to comfort them. Will you tell them that» — lo que la escritura da como de Raymond: que anhela consolarlos; el renglón se corta al pasar de plana

«Raymond had been to you, and that Paul tells me I can come to you whenever I like? It is so good of you to let the boys all come» — la continuación de esa petición en la plana siguiente: que les digan que estuvo con ella y que el otro comunicante le dice que puede ir cuando quiera

«I like Paul; he is good to us. I shall be glad to talk to him constantly if he has time for all of us; he seems a sort of messenger» — lo que la escritura da como del joven francés sobre Paul: que le gusta, que es bueno con ellos y que le alegrará hablarle si tiene tiempo para todos; el renglón se corta al pasar de plana

«ON 27 September, as already stated in Chapter III, I myself visited Mrs. Leonard, going anonymously and alone, and giving no information beyond the fact that I was a friend of Mrs. Kennedy. I lay no stress, on my anonymity, however.» — Lodge repite las condiciones de su primera sesión con Mrs. Leonard y de inmediato rebaja su propio argumento: fue de incógnito y solo, sin dar más información que ser amigo de Mrs. Kennedy, y añade que no insiste en su anonimato

«In a short time Feda controlled, and at first described an elderly gentleman as present. Then she said he brought some one with the letter R; and as I took verbatim notes I propose to reproduce this portion in full, so as to give the general flavour of a 'Feda' sitting; only omitting what has already been extracted and quoted in Chapter III.» — y la razón por la que reproduce esa parte casi entera, que declara él mismo: para dar el sabor general de una sesión con ese control, omitiendo solo lo ya citado

«He is not built up quite clearly, but it feels as if Feda knew him. He must have been here waiting for you. Now he looks at Feda and smiles; now he laughs, he is having a joke with Feda, and Paulie laughs too. Paul says he has been here before, and that Paul brought him. But Feda sees many hundreds of people, but they tell me this one has been brought quite lately.» — y lo que el registro pone en boca del control sobre el propio reconocimiento, con su límite dentro: no está armado con claridad pero siente conocerlo, ve a cientos de personas, y a este le dicen que lo trajeron hace poco

«It is a funny name, not Robert or Richard. He is not giving the rest of it, but says R again; it is from him. He wants to know where his mother is; he is looking for her; he does not understand why she is not here.» — el modo tanteante en que el registro consigna el nombre y la pregunta con que el comunicante cierra la plana: una R que se repite, un nombre raro que no es Robert ni Richard, y la busca de su madre

«He has been to see you before, and he says that once he thought you knew he was there, and that two or three times he was not quite sure. Feda gets it mostly by impression; it is not always what he says, but what she gets; but Feda says "he says," because she gets it from him somehow.» — la salvedad que el propio registro pone sobre el modo de la transmisión, y que es la reserva metodológica más importante del libro: Feda lo obtiene casi todo por impresión, no es siempre lo que él dice sino lo que ella recibe, y aun así dice él dice porque de él lo recibe de algún modo; el verbatim se corta antes de la llamada de nota que el troceo pega al renglón

«He seems to know what the work is. The first work he will have to do, will be helping at the Front; not the wounded so much, but helping those who are passing over in the war. He knows that when they pass on and wake up, they still feel a certain fear—and some other word which Feda missed. Feda hears a something and 'fear.' Some even go on fighting; at least they want to; they don't believe they have passed on. So that many are wanted where he is now, to explain to them and help them, and soothe them. They do not know where they are, nor why they are there.» — el registro atribuye al comunicante una descripción del trabajo que le espera: ayudar en el frente, no tanto a los heridos como a los que pasan al otro lado en la guerra, que al despertar sienten todavía cierto miedo y algunos siguen peleando o quieren hacerlo porque no creen haber pasado; el propio registro consigna que Feda perdió una palabra

«He shows me a capital H, and says that is not an instructor, it is some one he knows on the earth side. He wants them to be sure that he is all right and happy.» — la respuesta que el registro da a esa pregunta doble, distinguiendo lo que se le preguntaba: una letra que no es de un instructor sino de alguien que él conoce del lado de la tierra

«There is some one here with a little difficulty; not fully built up; youngish looking; form more like an outline; he has not completely learnt how to build up as yet. Is a young man, rather above the medium height; rather well-built, not thick-set or heavy, but well-built. He holds himself up well. He has not been over long.» — el registro en voz de Feda describe al comunicante con la terminología de la construcción que usa todo el libro: alguien que no acaba de armarse, más contorno que forma, que no ha aprendido aún a construirse, joven, algo sobre la estatura mediana, bien plantado y no pesado

«His hair is between colours. He is not easy to describe, because he is not building himself up so solid as some do. He has greyish eyes; hair brown, short at the sides; a fine-shaped head; eyebrows also brown, not much arched; nice-shaped nose, fairly straight, broader at the nostrils a little; a nice-shaped mouth, a good-sized mouth it is, but it does not look large because he holds the lips nicely together; chin not heavy; face oval.» — y el retrato en detalle que el registro atribuye al mismo control, con la razón de su vaguedad dicha dentro: pelo de color intermedio, difícil de describir porque no se arma tan sólido como otros, ojos grisáceos, cabeza de buena hechura, nariz bastante recta, boca de buen tamaño que no parece grande porque junta bien los labios, y cara ovalada

«Now the first gentleman with the letter W is going over to him and putting his arm round his shoulder, and he is putting his arm round the gentleman's back. Feda feels like a string round her head; a tight feeling in the head, and also an empty sort of feeling in the chest, empty, as if sort of something gone. A feeling like a sort of vacant feeling there; also a bursting sensation in the head. But he does not know he is giving this. He has not done it on purpose, they have tried to make him forget all that, but Feda gets it from him. There is a noise with it too, an awful noise and a rushing noise.» — el registro atribuye al control un conjunto de sensaciones físicas que dice recibir del comunicante sin que él las dé a propósito: una cuerda apretada alrededor de la cabeza, un vacío en el pecho como si algo faltara, una sensación de estallido en la cabeza y un ruido espantoso de arrastre

«He has lost all that now, but he does not seem to know why Feda feels it now. "I feel splendid," he says, "I feel splendid! But I was worried at first. I was worried, for I was wanting to make it clear to those left behind that I was all right, and that they were not to worry about me.» — y lo que el registro pone entre comillas como dicho por el comunicante en ese punto: que se siente espléndido, aunque al principio estuvo preocupado por dejar claro a los que quedaban que estaba bien

«You may think it strange, but he felt that you would not worry so much as some one else; two others, two ladies, Feda thinks. You would know, he says, but two ladies would worry and be uncertain; but now he believes they know more.» — el reparto de la preocupación que el registro atribuye al comunicante y que toca al propio asistente: sintió que él no se preocuparía tanto como otras dos personas, dos señoras según cree el control, porque él sabría y ellas dudarían

«After the sitting, and before I went away, I asked Mrs. Leonard if she knew who I was. She replied, "Are you by chance connected with those two ladies who came on Saturday night?" On my assenting, Mrs. Leonard added, "Oh! then I know, because the French lady gave the name away; she said 'Lady Lodge' in the middle of a French sentence.» — Lodge consigna, contra su propio interés, cómo se rompió el anonimato: preguntó a la médium si sabía quién era, y ella contestó que sí, porque la señora francesa había soltado el apellido en mitad de una frase en francés

«I also spoke to her about not having too many sittings and straining her power. She said she "preferred not to have more than two or three a day, though sometimes she could not avoid it; and some days she had to take a complete rest.» — y la advertencia que Lodge dice haberle hecho sobre el desgaste de su facultad, con la respuesta de ella: prefería no tener más de dos o tres sesiones al día, aunque a veces no podía evitarlo, y algunos días debía descansar por completo

«But she admitted that she was going to have another one that day at two o'clock. I told her that three per day was rather much. She pleaded that there are so many people who want help now, that she declined all those who came for only commercial or fortune-telling motives, but that she felt bound to help those who are distressed by the war.» — y lo que Lodge consigna de esa misma conversación sin ahorrar el reparo: ella admitió que tendría otra sesión ese día, él le dijo que tres diarias eran demasiado, y ella alegó que rechazaba a quienes venían por motivos comerciales o de adivinación pero se sentía obligada a ayudar a los afligidos por la guerra

«I report this to show that she saw many people totally disconnected with Raymond or his family: so that what she might say to a new unknown member of the family could be quite evidential.» — y la razón por la que Lodge reporta esa conversación, que es de método: para mostrar que la médium veía a mucha gente sin conexión alguna con Raymond ni con su familia, de modo que lo que dijera a un miembro nuevo y desconocido podía ser del todo evidencial

«MRS.KENNEDY desired Lady Lodge to try with a different and independent medium, and therefore kindly arranged with Mr. A. Vout Peters to come to her house on Monday afternoon and give a trance sitting to 'a friend of hers' not specified.» — Lodge declara de quién partió la idea de probar con un segundo médium independiente y cómo se concertó sin dar nombre: Mrs. Kennedy pidió a Peters ir a su casa a dar una sesión de trance a una amiga suya no especificada

«Accordingly, at or about 3 p.m. on Monday, 27 September 1915, Lady Lodge went by herself to Mrs. Kennedy's house, so as not to have to give any name, and awaited the arrival of Peters, who, when he came, said he would prefer to sit in Mrs. Kennedy's own room in which he had sat before, and which he associated with her son Paul.» — y las condiciones exactas de aquella tarde: Lady Lodge fue sola a casa de Mrs. Kennedy para no tener que dar nombre, y el médium, al llegar, prefirió sentarse en el cuarto donde ya había estado y que asociaba con el hijo de la dueña

«No kind of introduction was made, and Peters was a total stranger to Lady Lodge; though to Mrs. Kennedy he was fairly well known, having several times given her first-rate evidence about her son, who had proved his identity in several striking ways.» — Lodge asienta lo que hace evidencial la sesión y lo que la debilita, en la misma frase: no hubo presentación alguna y el médium era un completo extraño para Lady Lodge, aunque para Mrs. Kennedy era bastante conocido por haberle dado ya evidencia de primer orden sobre su hijo

«When Peters goes into a trance his personality is supposed to change to that of another man, who, we understand, is called 'Moonstone'; much as Mrs. Piper was controlled by apparent personalities calling themselves 'Phinuit' or 'Rector.' When Peters does not go into a trance he has some clairvoyant faculty of his own.» — la descripción que Lodge da del control de ese médium, con la comparación que lo sitúa: al entrar en trance se supone que su personalidad cambia a la de otro hombre llamado Moonstone, como Mrs. Piper era controlada por personalidades que se decían Phinuit o Rector, y fuera del trance conserva alguna facultad clarividente propia

«This is an important sitting, as it was held for a complete stranger, so I propose to report it practically in full.» — y la razón por la que Lodge lo reproduce casi entero: la tiene por sesión importante por haberse celebrado para una completa desconocida

«While only partially under control, Peters said: "I feel a lot of force here, Mrs. Kennedy." Peters was controlled quickly by 'Moonstone,' who greeted K. K. and reminded her of a prophecy of his.» — el registro consigna lo que el médium dijo aún a medio controlar, y la profecía que el control recordó a la anotadora antes de volverse hacia la asistente

«What a useful life you have led, and will lead. You have always been the prop of things. You have always been associated with men a lot. You are the mother and house prop. You are not unacquainted with spiritualism. You have been associated with it more or less for some time. I sense you as living away from London—in the North or North-West. You are much associated with men, and you are the house prop—the mother. You have no word in the language that quite gives it—there are always four walls, but something more is needed—you are the house prop.» — el registro atribuye a Moonstone una caracterización general de la asistente antes de cualquier dato comprobable: vida útil, siempre puntal de las cosas, muy asociada con hombres, madre y sostén de la casa, no ajena al espiritualismo, y la sitúa viviendo lejos de Londres, al norte o al noroeste

«You have had a tremendous lot of sadness recently, from a death that has come suddenly. You never thought it was to be like this.» — y el duelo que el control declara ver, con el modo de morir dentro: una tristeza enorme reciente por una muerte llegada de golpe

«There is a gentleman here who is on the other side—he went very suddenly. Fairly tall, rather broad, upright (here the medium sat up very straight and squared his shoulders)—rather long face, fairly long nose, lips full, moustache, nice teeth, quick and active, strong sense of humour—he could always laugh, keen sense of affection.» — el retrato que el registro atribuye a Moonstone, con el gesto del médium consignado entre paréntesis: fue muy de repente, bastante alto, ancho, erguido, cara más bien larga, labios llenos, bigote, buenos dientes, rápido y activo, con fuerte sentido del humor

«He went over into the spirit world very quickly. There is no idea of death because it was so sudden, with no illness.» — y la fórmula con que el registro explica el estado del comunicante: pasó muy rápido al mundo espiritual y no hay idea de muerte porque fue tan súbito y sin enfermedad

«What I am going to say now is from Paul—he says: "Tell mother it is not one L, it is double L." He says: "Tell mother she always loved a riddle» — el registro pone en boca del control un mensaje atribuido a otro comunicante, con la forma de acertijo que el libro no resuelve: que no es una ele sino doble ele, y que ella siempre amó las adivinanzas

«They don't want to make it too easy for you, and funnily enough, the easier it seems to you sometimes the more difficult it seems to them.» — y la explicación que el registro da de esa oscuridad, invirtiendo la expectativa: no quieren ponérselo demasiado fácil, y cuanto más fácil le parece a uno más difícil les resulta a ellos

«This man is a soldier—an officer. He went over where it is warm. You are his mother, aren't you—and he does not call you ma, or mamma, or mater—just mother, mother.» — el registro atribuye al control la condición del muerto y un detalle de trato doméstico que la acotación de Lodge da por cierto: soldado y oficial, pasado donde hace calor, y que no la llama mamá sino madre

«He is reticent and yet he told you a tremendous lot. You were not only his mother but his friend.» — y la relación que el registro atribuye al comunicante con la contradicción dentro: reservado y sin embargo le contaba muchísimo, y ella no era solo su madre sino su amiga

«Wasn't he clever with books? He laughs and says: "Anyhow I ought to be, I was brought up with them." He was not altogether a booky person.» — el registro consigna una pregunta del control, la broma que atribuye al comunicante sobre haber sido criado entre libros, y la salvedad inmediata de que no era del todo persona de libros

«He knew of spiritualism before he passed over, but he was a little bit sceptical—he had an attitude of carefulness about it. He tells me to tell you this: The attitude of Mr. Stead and some of those people turned him aside; on one side there was too much credulity—on the other side too much piffling at trifles.» — la posición que el registro atribuye al propio Raymond frente al espiritualismo, y que es de las pocas veces en que el libro se la adjudica: sabía de él antes de morir, era un poco escéptico y tenía una actitud de cautela, y dice que la actitud de Mr. Stead y de esa gente lo apartó, porque de un lado había demasiada credulidad y del otro demasiado nimio reparo

«He holds up in his hand a little heap of olives, as a symbol for you— then he laughs. Now he says—for a test—Associated with the olives is the word Roland. 14 All of this is to give you proof that he is here.» — la prueba simbólica que el registro atribuye al control, con la palabra dada como contraseña y el verbatim cortado antes de la llamada de nota: un puñado de aceitunas y, asociado a ellas, un nombre

«Was he ill three weeks after he was hurt? [More like three hours, probably less.] (Various other guesses were made for the meaning of 3.) I see the figure 3 so plainly—can't you find a meaning for it?» — el registro consigna un dato fallido y la insistencia del control, que Lodge deja con su corrección entre corchetes: la pregunta por tres semanas tras la herida, cuando fueron más bien tres horas, los varios intentos de dar sentido al número y el control que sigue viéndolo claramente

«(L. L. suggested 3rd Battalion, and 'Moonstone' continued:—) He says "Yes"—and wasn't he officially put down on another one?» — y cómo se resuelve ese número en el registro, con la sugerencia partiendo de la asistente: ella propone el tercer batallón y el control asiente, preguntando además si no lo habían inscrito oficialmente en otro

«His home is associated with books—both reading and writing books. Wait a minute, he wants to give me a word, he is a little impatient with me. Manuscripts, he says, manuscripts—that's the word.» — el registro atribuye al control la asociación de la casa con los libros y una palabra que el comunicante le insiste en dar con impaciencia

«He sends a message, and he says—this is more for father—"It is no good his attempting to come to the medium here, he will simply frighten the medium for all he is worth, and he will not get anything. But he is not afraid of you, and if there is communication wanted with this man again, you must come.» — el registro atribuye al comunicante una instrucción práctica sobre las sesiones, que Lodge seguirá y que toca a su propia presencia: que de nada sirve que el padre venga a ese médium porque lo asustará y no obtendrá nada, y que si hace falta comunicar otra vez con ese hombre debe venir ella

«He had particularly strong hands.» — un rasgo suelto que el registro atribuye al control sobre el comunicante

«When he was younger, he was very strongly associated with football and outdoor sports. You have in your house prizes that he won, I can't tell you what.» — el registro atribuye al control una asociación con el futbol y los deportes al aire libre y unos premios en la casa, que Lodge marca entre corchetes como incorrecto o confuso, y es de los pocos fallos que el libro consigna en esa sesión

«Why should I get two words—'Small' and 'Heath,' [Small Heath is a place near Birmingham with which he had some but not close associations.] Also I see, but very dimly as in a mist, the letters B I R.» — y los topónimos que el registro consigna con el grado de nitidez que el propio control declara: dos palabras que forman un lugar cercano a Birmingham y, muy tenues como en una niebla, tres letras

«You heard of either his death or of his being hurt by telegram. He didn't die at once. He had three wounds.» — el registro atribuye al control el modo en que llegó la noticia y una precisión sobre las heridas: por telegrama, y no murió en el acto, con tres heridas

«If he had lived he would have made a name for himself in his own particular line.» — y la frase sobre el porvenir truncado que el registro atribuye al control

«M. F. A. L.—Does he want his father to speak out? Yes, but not yet—wait, the evidence will be given in such a way that it cannot be contradicted, and his name is big enough to sweep all stupid opposition on one side.» — la pregunta de la asistente y la respuesta que el registro atribuye al control, que es la que fija el calendario del libro: aún no, porque la evidencia se dará de modo que no pueda contradecirse y el nombre del padre basta para barrer a un lado toda oposición necia

«I was not conscious of much suffering, and I am glad that I settled my affairs before I went.» — y lo que el registro presenta como dicho por el comunicante sobre su propio final y sus asuntos, que la acotación de Lodge da por cierto con el testamento hecho antes de salir de Inglaterra

«Your girl is standing on one side, Paul on the other, and your boy in the centre. (Here 'Moonstone' put his arm round K. K.'s shoulder to show how the boy was standing.) Now he stoops over you and kisses you there (indicating the brow).» — la escena que el registro describe con el gesto del médium consignado: los tres comunicantes colocados y el médium pasando el brazo por el hombro de la anotadora para mostrar cómo estaba el muchacho

«Then, with evident intention of trying to give a 'test,' some trivial but characteristic features were mentioned about the interior of three houses—the one we are in now, the one we had last occupied at Liverpool, and the one he called 'Mother's home.' But there is again some confusion in the record, partly because M. F. A. L. didn't understand what he was driving at, partly because the recorder found it difficult to follow; and though the confusion was subsequently disentangled through another medium next day, 28 September, it is hardly worth while to give as much explanation as would be needed to make the points clear. So this part is omitted.» — Lodge declara lo que omite y por qué, dejando a la vista que el registro no salió limpio: se mencionaron rasgos triviales del interior de tres casas como prueba, pero hay confusión en el registro, en parte porque la asistente no entendía adónde iba y en parte porque la anotadora no podía seguirlo

«Well he is taller than you, isn't he? (Yes.) Not very demonstrative before strangers. But when alone with you, like a little boy again.» — la respuesta que el registro da a la objeción de la asistente sobre el beso en la frente, y el retrato que añade: no muy demostrativo ante extraños, pero a solas con ella otra vez como un niño

«Oh yes, all you English are like that. You lock up your affection, and you sometimes lose the key.» — y la réplica que el registro atribuye al control cuando la asistente objeta ese retrato: dice que todos los ingleses son así, que guardan bajo llave su afecto y a veces pierden la llave

«He laughs. He says you didn't understand about Rowland. He can get it through now, it's a Roland for your Oliver.» — la resolución del acertijo que el registro atribuye al comunicante, con el juego de nombres dentro y la acotación de Lodge que lo explica por dos matrimonios recientes

«M. F. A. L.— I hope it has been a pleasure to him to come? Not a pleasure, a joy.» — el intercambio final del registro, con la enmienda que el control hace a la palabra de la asistente

«Mrs. Rowland Waterhouse has recently found among her papers an old letter from Bedales School which she received from her brother Raymond when she was in Paris during the winter 1905-1906. The concluding part of it is of some small interest in the light of later developments» — Lodge declara la procedencia del apéndice que cierra ese capítulo: una carta vieja de Bedales que una hermana recibió de Raymond en el invierno de 1905 a 1906, hallada hace poco entre sus papeles

«I should like to hear more about table turning. I don't believe in it. The girls here say they have done it at Steephurst, and they attribute it to some sense of which we know nothing, and which I want to turn to some account, driving a dynamo or something, if it is possible, as they make out, to cause a table to revolve without any exertion.» — la carta de escuela que es la única posición declarada de Raymond en vida sobre la mesa que gira, y trae a la vez la negativa y la curiosidad de ingeniero: dice que no cree en ello, que las muchachas lo atribuyen a un sentido desconocido, y que querría aprovechar ese sentido para mover una dinamo si de veras cabe hacer girar una mesa sin esfuerzo

«Have you a sister of his with you, and one on our side? A little child almost, so little that you never associated her with him. There are two sisters, one on each side of him, one in the dark and one in the light.» — la pregunta del control sobre las dos hermanas y la figura con que las distingue, que la acotación de Lodge explica: la mayor viva y la menor muerta a los pocos minutos de nacer, con el hermano entre ambas

«It has been easy for him to come for two reasons: First, because you came to get help for Madame.» — la primera de las dos razones que el registro atribuye al control para explicar la facilidad de la comunicación: que fueron a buscar ayuda para la señora francesa; el verbatim se corta antes de la llamada de nota que el troceo pega al renglón

«Secondly, because he had the knowledge in this life.» — y la segunda razón, ya pasada la llamada de nota: que el comunicante tenía el conocimiento en esta vida

«ON 28 September my wife and I together had a table sitting with Mrs. Leonard, which may be reported nearly in full together with my preliminary note written immediately afterwards. This is done not because it is a particularly good specimen, but because these early sittings have an importance of their own, and because it may be instructive to others to see the general manner of a table sitting. It was, I think, the first joint-sitting of any kind which we had had since the old Piper days.» — Lodge declara por qué reproduce casi entera una sesión que él mismo no tiene por buena: no por ser un ejemplar particularmente bueno, sino porque esas sesiones tempranas tienen importancia propia y porque puede instruir a otros ver el modo general de una sesión de mesa

«A table sitting is not good for conversation, but it is useful for getting definite brief answers—such as names and incidents, since it seems to be less interfered with by the mental activity of an intervening medium, and to be rather more direct. But it has difficulties of its own.» — y la ventaja que Lodge atribuye a la mesa con su límite dentro: no sirve para conversar pero sí para obtener respuestas breves y definidas, como nombres e incidentes, porque parece menos estorbada por la actividad mental de un médium interpuesto y algo más directa

«The tilting of the table need not be regarded as a 'physical phenomenon' in the technical or supernormal sense, yet it does not appear to be done by the muscles of those present. The effort required to tilt the table is slight, and evidentially it must, no doubt, be assumed that so far as mechanical force is concerned, it is exerted by muscular action. But my impression is that the tilting is an incipient physical phenomenon, and that though the energy, of course, comes from the people present, it does not appear to be applied in quite a normal way» — la posición de Lodge sobre la mecánica de la mesa, dicha como impresión y no como hallazgo: no hace falta tenerla por fenómeno físico en sentido técnico y sin embargo no parece hecha por los músculos de los presentes, y aunque evidencialmente haya que suponer que la fuerza mecánica viene de la acción muscular, su impresión es que se trata de un fenómeno físico incipiente cuya energía no parece aplicarse de modo del todo normal

«As regards evidence, however, the issue must be limited to intelligent direction of the energy. All that can safely be claimed is that the energy is intelligently directed, and the self-stoppage of the table at the right letter conveys by touch a sort of withholding feeling—a kind of sensation as of inhibition—to those whose hands lie flat on the top of the table.» — y el modo en que Lodge acota la pretensión evidencial: la cuestión ha de limitarse a la dirección inteligente de la energía, y lo único que puede afirmarse con seguridad es que la energía se dirige inteligentemente, con la detención de la mesa en la letra correcta transmitiendo al tacto una suerte de sensación de inhibición

«The light was always quite sufficient to see all the hands, and it works quite well in full daylight. The usual method is for the alphabet to be called over, and for the table to tilt or thump at each letter, till it stops at the right one. The table tilts three times to indicate "yes," and once to indicate "no"; but as one tilt also represents the letter A of the alphabet, an error of interpretation is occasionally made by the sitters. So also C might perhaps be mistaken for "yes," or vice versa; but that mistake is not so likely.» — las condiciones de luz y el código con sus fallos previsibles dentro: se veían todas las manos y funciona a plena luz del día; la mesa se inclina en cada letra del alfabeto hasta detenerse, tres golpes para sí y uno para no, y como un solo golpe es también la letra A los asistentes cometen a veces un error de interpretación

«Unconscious guidance can hardly be excluded, i.e. cannot be excluded with any certainty when the answer is of a kind expected.» — Lodge concede la objeción central contra la mesa y la deja escrita: la guía inconsciente no puede excluirse con certeza cuando la respuesta es de las esperadas

«It will also be observed that at a table sitting it is natural for the sitters to do most of the talking, and that their object is to get definite and not verbose replies.» — la observación de Lodge sobre el reparto del habla en una sesión de mesa: es natural que los asistentes hablen casi todo, y su objeto es obtener respuestas definidas y no verbosas

«On this occasion the control of the table seemed to improve as the sitting went on, owing presumably to increased practice on the part of the communicator, until towards the end, when there seemed to be some signs of weariness or incipient exhaustion; and, since the sitting lasted an hour and a half, tiredness is in no way surprising.» — y lo que Lodge registra del curso de aquella sesión, con la explicación fisiológica dentro: el control de la mesa pareció mejorar conforme avanzaba, por la práctica creciente del comunicante, hasta que hacia el final hubo señales de cansancio o agotamiento incipiente tras hora y media

«But first, our desire was rather in the direction of avoiding such control; and second, the stoppages were sometimes at unexpected places; and» — las dos primeras razones con que Lodge matiza esa concesión: su deseo iba más bien a evitar ese control, y las detenciones ocurrían a veces en sitios inesperados; el renglón se corta al pasar de plana

«third, a long succession of letters soon becomes meaningless, except to the recorder who is writing them down silently, as they are called out to him seriatim, in another part of the room.» — y la tercera razón, en la plana siguiente: una sucesión larga de letras se vuelve pronto insignificante salvo para el anotador, que las escribe en silencio conforme se le van cantando en otra parte del cuarto

«No further attempt was made to keep our identity from Mrs. Leonard: our name had been given away, as reported near the end of Chapter VI.» — Lodge declara que a partir de esa sesión ya no intentaron guardar el anonimato con esa médium, porque el apellido había sido soltado

«A small partly wicker table with a square top was used, about 18 inches square. O. J. L. and M. F. A. L. sat opposite to each other; K. K. and Mrs. Leonard occupied the other positions, Mrs. Leonard to the right of O. J. L.» — la descripción material de la sesión de mesa, con medidas y colocación: una mesita en parte de mimbre de unas dieciocho pulgadas de lado, los dos Lodge enfrentados y la anotadora y la médium en las otras posiciones

«After four minutes' interval, the table began to tilt.» — el intervalo exacto que el registro consigna antes de que la mesa empezara a inclinarse

«Medium.—Will you tilt three times to show you understand? (It did.) Medium.—Will you like to give your name? (It gave three tilts indicating Yes.) Medium.—Very well, then, the alphabet. Spell it, please.» — el registro conserva las instrucciones que la médium dirige a la mesa, que muestran el protocolo tal cual: tres inclinaciones para indicar que entiende, la oferta de dar su nombre y la petición de deletrearlo

«(Mrs. Leonard here repeated the alphabet fairly quickly, while the table tilted slightly at each letter as it was said, stopping first at the letter P then at the letter A then U then L.» — y la obtención del nombre letra por letra, con el alfabeto repetido de prisa y la mesa deteniéndose en cada una

«O. J. L.—We that are here know about this, and you have given us evidence already, but I am here to get evidence for the family.» — lo que O. J. L. declara dentro del propio registro sobre el objeto de esa sesión: los presentes ya saben de esto y ya han recibido evidencia, y él está allí para obtener evidencia para la familia

«Then the table moved and shook a little, indicating that it wanted the alphabet; and when the medium recited the letters, it spelt out in the same manner as before, i.e. by stopping at the one desired by whatever intelligence was controlling the table:— RAYMOND WANTS TO COME HIMSELF.» — el registro describe el mecanismo del deletreo y consigna con toda la cautela la adjudicación de la voz: la mesa se detiene en la letra deseada por la inteligencia que la controla, sea cual sea, y lo deletreado es que Raymond quiere venir él mismo

«Here M. L. ejaculated: "Dear Raymond," and sighed unconsciously. The table spelt—it being understood that Raymond had now taken control:— DO NOT SIGH.» — y el intercambio que sigue, con la acotación del registro sobre quién se entiende que controla ya la mesa: la madre suspira sin darse cuenta y la mesa deletrea que no suspire

«The medium now again repeated the alphabet, the table tilting to each letter as before, first stopping at P then at A then at P again; it then shook as if something was wrong. O. J. L.—Very well, try again, begin once more. Again it spelt Pap, but again indicated dissent, and tried again: at the third trial it appeared to spell Pas.» — el registro conserva los tres intentos fallidos de deletrear el apodo, con la mesa desmintiéndose a sí misma dos veces antes de acercarse

«O. J. L., thinking that the letters R and M were wrong, because the (to him) meaningless name Norman was evidently being given, took it as "No," and said:— O. J. L.—You are confused now, better begin again.» — el error del propio asistente que el registro conserva, y que Lodge no borra: tomó por no una inclinación que era una letra, porque el nombre que se estaba dando le parecía sin sentido, y mandó empezar de nuevo

«The name accordingly was begun again, and this time it spelt NOEL. O. J. L.—That is right.» — y el nombre que salió al segundo intento, que el asistente dio por correcto y sobre el que el propio libro remite a una nota posterior

«A slight pause took place here; the table then indicated that it wanted the alphabet again, and spelt out an apparently single meaningless word which Dr. Kennedy, as he wrote the letters down, perceived to be FIRE AWAY.» — la escena en que el anotador descifra como dos palabras lo que se leía como una sola sin sentido, y que es la respuesta de la mesa a la pausa

«It seemed to me that he was trying to say, or remember, what he had said to Lieutenant Case, who saw him after he had been struck; and that what he thought he had said was "So I'm wounded"; but I thought it unadvisable to continue on this tack, and rather regretted that I had begun it, since it was liable to put him back into a period of reminiscence which his friends would prefer that he did not dwell upon.» — Lodge explica por qué cortó esa línea de preguntas, y con ello declara un criterio que gobierna el libro: le pareció que el comunicante trataba de recordar lo dicho al oficial que lo vio herido, y juzgó inconveniente seguir por ahí porque podía devolverlo a un periodo de reminiscencia que sus amigos preferirían que no rumiara

«Moreover, these last few questions did not seem particularly to interest him, and the responses were comparatively weak. Accordingly, I decided to switch him on to a topic that would be more likely to interest him.)» — y la segunda razón que da, de orden práctico: esas preguntas no parecían interesarle y las respuestas eran comparativamente débiles, de modo que decidió llevarlo a un tema que le interesara más

«HE IS A GOING A LLONG ALL RRIGHT.» — la respuesta deletreada sobre el oficial cuyo nombre el propio asistente dio a propósito, transcrita con las duplicaciones de letra tal como el registro las imprime

«HE IS HERE SPEAK.» — la corrección que la mesa deletrea después de un no en voz alta, y que la anotadora interpreta como que el comunicante está allí y espera

«AER Medium (sotto voce).—No, that can't be right. O. J. L. (ditto).—I don't know; it may be. Go on. OPLANE.» — el modo en que una sola palabra sale partida por el corte del alfabeto, con la médium dudando en voz baja de que pueda ser correcta y el asistente pidiendo que siga

«M. F. A. L. (misunderstanding, and thinking that he had said that he would like an aeroplane in preference to a Ford).—Still at your jokes, Raymond!» — la acotación que conserva el malentendido de una de las asistentes y la respuesta afirmativa que le siguió, sin que el registro lo armonice

«RAYMOND IS BEATING U. (The sitters here made a little explanatory comment to each other on what they understood this unimportant sentence to mean;» — la frase deletreada que Lodge califica de sin importancia y sobre la que el registro conserva solo el comentario aclaratorio de los asistentes entre sí

«M. F. A. L.—How do you read it? By looking over my shoulder? Table again called for alphabet and spelt:— SENSE IT.» — la pregunta de la madre sobre el modo en que el comunicante lee lo que ella escribe y la respuesta deletreada, que rechaza la explicación propuesta

«The table spelt:— MYRES AND GRA.» — el nombre que la mesa deletrea con su errata y la sílaba trunca que el asistente tomó por error, transcritos tal cual

«Here O. J. L. thought that he had got wrong—rather suspected that the A meant "No," and stupidly said:— O. J. L.—Well, it doesn't matter, it won't be evidential, so I may as well guess what you mean: Is it Gurney?» — y el error del propio Lodge que el registro conserva, y que él llama estúpido: sospechó que la letra significaba no y adelantó él mismo un apellido diciendo que de todos modos no sería evidencial

«The table assented. But it still went on spelling. It again spelt:— GRA and then ND, at which O. J. L. queried: Grand men? The table dissented, and went on and spelt:— FATHER.» — la escena en que la mesa asiente y sin embargo sigue deletreando, hasta que el asistente entiende que no era un apellido sino una palabra compuesta

«O. J. L.—I say, do you like this table method better than the 'Feda' method? Yes.» — la pregunta con que Lodge hace comparar al comunicante los dos métodos de comunicación, y la respuesta que prefiere la mesa

«M. F. A. L.—Do you remember showing olives? Yes. M. F. A. L.—What did you mean by them? OLIVER.» — la resolución del símbolo dado en la otra sesión y con otro médium, deletreada por la mesa: el nombre del padre

«O. J. L.—You intended no reference to Italy? [We had been doubtful at first of the significance of the olives; see p. 131.] No.» — y la hipótesis alternativa que Lodge propone él mismo y que la mesa niega, con la acotación que recuerda que al principio dudaron del significado

«O. J. L.—Can you explain how you do this? I mean how you work the table? The table then spelt with the alphabet for a long time, and as the words were not divided up, the sitters lost touch, one after the other, with what was being said. I, for instance, lost touch after the word "magnetism," and, for all I know, it was nonsense that was being said; but the recorder put all the letters down as they came, each letter being called out by me according to the stoppages of the table, and the record reads thus» — la pregunta con que Lodge pide al comunicante que explique el mecanismo de la mesa, y la advertencia de método que la acompaña: la mesa deletreó largo rato sin dividir palabras, los asistentes fueron perdiendo el hilo uno tras otro, y él mismo lo perdió después de una palabra, sin saber si lo que se decía era disparate

«You all supply magnetism gathered in medium, and that goes into table; and we manipulate.» — la respuesta deletreada por la mesa sobre su propio mecanismo: los presentes suministran un magnetismo reunido en la médium, que pasa a la mesa, y ellos manipulan

«O. J. L.—It is not what I should call "magnetism," is it? No.» — la objeción terminológica que Lodge opone a la respuesta recibida, y la conformidad de la mesa

«O. J. L.—Can you still make acrostics? [O. J. L. immediately regretted having asked this leading sort of question, but it was asked.]» — la pregunta sobre los acrósticos y el reproche que Lodge se hace en el acto dentro del propio registro: lamentó de inmediato haber hecho una pregunta de esa clase, que califica de conducente, pero quedó hecha

«M. F. A. L.—Can you see me, Raymond, at other times when I am not with a medium? Alphabet called for, and spelt:— SOMETIMES.» — la pregunta de la madre sobre si el comunicante la ve fuera de las sesiones, y la respuesta acotada que la mesa deletrea

«To complete the record I shall append the few annotations which I made a couple of days afterwards, before I supplement them with later information.» — Lodge declara la estratigrafía de sus propias anotaciones, que es lo que permite fechar cada capa: añade las hechas un par de días después de la sesión, antes de completarlas con información posterior

«Very many things were given right at the sitting above recorded, and in most cases the rightness will be clear from the comments of the sitters as recorded. But two names are given on which further annotation is necessary, because the sitters did not understand them; in other words, they were such as, if confirmed, would furnish excellent and indeed exceptional evidence.» — y el criterio con que aparta los dos nombres que le importan: muchas cosas salieron bien, pero dos nombres exigen anotación porque los asistentes no los entendieron, y son de los que, confirmados, darían evidencia excelente y aun excepcional

«The first is 'Norman,' about which a very important report could be made at once; but I think it better not to put anything in writing on that subject even now, at the present stage, since it is quite distinct, unforgettable, and of the first importance.» — la reticencia con que Lodge aplaza uno de los dos nombres en la anotación contemporánea: dice que podría informar mucho de inmediato y que prefiere no poner nada por escrito todavía

«The other is the name 'Mitchell,' which at present we have had no opportunity for verifying; hence annotation on that must be postponed. Suffice it to say that to-day (6 October 1915) it remains unknown. Whether an Army List has been published this year seems doubtful, and on the whole unlikely; and no Army List later than 1909 has been so far accessible. Such few inquiries as have up to now been made have drawn blank.» — y el estado del segundo nombre, fechado y con la razón práctica dentro: el 6 de octubre de 1915 sigue sin identificar, no hay lista del ejército accesible posterior a 1909, y las pocas averiguaciones hechas no dieron nada

«Please listen carefully now I want to speak to you about Norman. There is a special meaning to that because we always called my brother Alec Norman» — la escritura automática del 10 de octubre en que se da la explicación de ese nombre, con la anotadora declarando en el acto que no captó el resto

«Do you want to say anything more about that name 'Norman'? You gave a message about it to Mrs. Kennedy, but I don't know whether she got it clearly. Perhaps you want to amplify it? If so, now is your chance.» — la pregunta con que Lodge ofrece al comunicante la ocasión de ampliar el dato, dicha dentro del registro y sin adelantar la respuesta

«On which K. K. said: "I am afraid I often get names wrong. I suppose I got the name of the wrong brother.» — y la enmienda que la anotadora se hace a sí misma dentro del registro, sin que el libro decida cuál de las dos versiones vale

«It appears that 'Norman' was a kind of general nickname; and especially that when the boys played hockey together, which they often did in the field here, by way of getting concentrated exercise, Raymond, who was specially active at this game, had a habit of shouting out, "Now then, Norman," or other words of encouragement, to any of his other brothers whom he wished to stimulate, especially apparently Lionel, though sometimes Alec and the others. That is what I am now told, and I can easily realise the manner of it.» — la explicación que Lodge da del apodo con su procedencia declarada: era mote general, y en el hockey del campo de la casa el hijo gritaba así para animar a cualquiera de sus hermanos, sobre todo al parecer a Lionel; dice que eso es lo que ahora le cuentan

«But I can testify that I was not aware that a name like this was used, nor was Lady Lodge, we two being the only members of the family present at the Leonard table sitting where the name 'Norman' was given.» — y lo que Lodge sí testifica en primera persona, que es lo que hace evidencial el dato: ni él ni Lady Lodge sabían que se usara un nombre así, y eran los dos únicos miembros de la familia presentes en aquella sesión de mesa

«I told her that I called Lionel.» — la respuesta deletreada, que nombra a otro hermano distinto del que la escritura automática había dado

«It will be remembered that at that sitting I first asked him what name the boys had called him, and, after a few partial failures, obviously only due to mismanagement of the table, he replied, 'Pat,' which was quite right. I then asked if he would like to give the name of a brother, and he replied 'Norman,' which I thought was quite wrong. I did not even allow him to finish the last letter. I said he was confused, and had better begin again; after which he amended it to '*No�l,' which I accepted as correct.» — Lodge reconstruye el intercambio completo del apodo y de paso consigna su propio atropello: pidió primero el mote del muchacho y, tras algunos fallos parciales que atribuye al mal manejo de la mesa, salió el correcto; pidió después el nombre de un hermano, salió el que él tuvo por equivocado, y ni siquiera lo dejó terminar la última letra

«But it will now be observed that the name 'Norman' was the best he could possibly give, as a kind of comprehensive nickname applicable to almost any brother. And a nickname was an appropriate kind of response, because we had already had the nickname 'Pat,'» — y la lectura que Lodge propone de ese aparente error: el nombre dado era lo mejor que el comunicante podía dar, como mote comprensivo aplicable a casi cualquier hermano, y un mote era la respuesta apropiada porque ya habían tenido otro

«Furthermore, on subsequent occasions he explained that it was the name by which he had called Lionel; and, through Mrs. Kennedy—if she did not make a mistake— that it was a name he had called Alec by. It is quite possible, however, that he had intended to say 'Lionel' on that occasion, and that she got it wrong. I am not sure how that may be.» — y la discrepancia que Lodge deja sin armonizar: en ocasiones posteriores se dijo que era el nombre con que llamaba a Lionel y, por la escritura de Mrs. Kennedy, que era el de Alec, con la salvedad de que ella pudo equivocarse, cosa que él dice no saber

«Again, at a later stage, in a family sitting—no medium present—one of the boys said, "Pat, do you remember 'Norman'?" at which with some excitement, the girls only» — el remate del episodio en una sesión familiar sin médium: a la pregunta de uno de los hermanos por ese nombre se deletreó con excitación, con solo las muchachas tocando la mesa; el renglón se corta al pasar de plana

«touching the table, he spelt out 'Hockey'; thus completing the whole incident.» — la continuación con la palabra deletreada, que Lodge da por cierre del incidente entero

«The most evidential portions, however, are those obtained when nobody present understood what was being said—namely, first, the spelling of the name 'Norman' when those present thought that it was all a mistake after the first two letters; and secondly, the explanation to Mrs. Kennedy that it was a name by which he had called one of his brothers, showing that it was originally given by no accident, but with intention.» — el criterio con que Lodge escoge lo más evidencial dentro del episodio: lo obtenido cuando ninguno de los presentes entendía lo que se decía, es decir el deletreo del nombre cuando lo tenían por error, y la explicación dada después de que era el nombre con que llamaba a uno de sus hermanos, lo que muestra que no salió por accidente sino con intención

«As to the name 'Pat' (p. 140), I extract the following from a diary of No�l, as evidence that it was very much Raymond's nickname; but of course we knew it» — Lodge aporta un documento para el mote y a la vez declara que no es evidencial: extrae del diario de un hermano las entradas que prueban lo usado que era, aunque ellos lo sabían de sobra

«Sept. 9. Pat goes to L'pool re Commission. " 10. Pat gets commission in 3rd South Lanc's. " 14. Pat collecting kit. We inspect revolvers. " 18. Pat comes up to Harborne for some rifle practice. Does not find it too easy. " 19. I become member of Harborne Rifle Club. " 20. Pat shoots again. Sept. 23. Pat leaves for L'pool to start his training at Great Crosby. I give up commission-idea for the present. Oct. 17. Pat comes home to welcome Parents back from Australia. " 20. Pat returns to L'pool.» — las entradas del diario de un hermano, de septiembre y octubre de 1914, que muestran el mote en uso: la ida a Liverpool por la comisión, la comisión en los 3rd South Lancashires, la recogida del equipo, la práctica de tiro en Harborne que no le resultó fácil, y la vuelta a casa a recibir a los padres de Australia

«It can be remembered that, when asked on 28 September for the name of an officer, Raymond spelt out Mitchell, and indicated decisively that the word Aeroplane was connected with him; he also assented to the idea that he was one whom the family didn't know, and that so it would be better as evidence» — Lodge recuerda las tres cosas que el registro había dado sobre el segundo nombre y que le importan por juntas: el apellido deletreado, la palabra ligada a él, y el asentimiento a que fuera alguien desconocido para la familia y por eso mejor como evidencia

«After several failures at identification I learnt, on 10 October, through the kind offices of the Librarian of the London Library, that he had ascertained from the War Office that there was a 2nd Lieut. E. H. Mitchell now attached to the Royal Flying Corps. Accordingly, I wrote to the Record Office, Farnborough» — y la cadena de averiguación que Lodge describe paso a paso: tras varios fallos de identificación supo por el bibliotecario de la London Library, que lo averiguó en el Ministerio de la Guerra, que había un segundo teniente de ese apellido agregado al Royal Flying Corps

«Many thanks for your kind letter. I believe I have met your son, though where I forget. My wounds are quite healed, and I am posted to Home Establishment for a bit, with rank of Captain. Your letter only got here (Dover) from France this morning, so please excuse delay in answering.» — la tarjeta postal del oficial, fechada por la llegada tardía de la carta desde Francia, con la reserva del testigo dentro: cree haber conocido a su hijo aunque no recuerda dónde

«In concluding this chapter, I may quote a little bit of non-evidential but characteristic writing from 'Paul.' It was received on 30 September 1915 by Mrs. Kennedy, when alone, and her record runs thus» — Lodge declara de entrada que lo que va a citar no es evidencial y por qué lo cita: un fragmento característico de la escritura recibida por Mrs. Kennedy a solas el 30 de septiembre de 1915

«I think it hardly possible for you to believe how quickly Raymond learns; he seems to believe all that we have to fight to teach the others. "Poor chaps, you see no one has told them before they come over, and it is so hard for them when they see us and they feel alive, and their people keep on sobbing.» — lo que esa escritura da como dicho por Paul, y que es una queja sobre los vivos: que a los que llegan nadie les ha dicho nada antes de venir, y que les resulta durísimo verse vivos mientras los suyos siguen sollozando

«The business for you and me gets harder and harder as the days go on, mother; it needs thousand at this work, and you are so small. "I feel that God helps us, but I want Him to find others, darling; there is no time to waste either in your place or mine, but I know you are trying ever so hard.» — y lo que la misma escritura pone en boca de Paul sobre la tarea: que se vuelve más dura con los días, que hacen falta miles en ese trabajo y ella es tan pequeña, y que siente que Dios los ayuda aunque quiere que encuentre a otros

«IN a Table Sitting it is manifest that the hypothesis of unconscious muscular guidance must be pressed to extremes, as a normal explanation, when the communications are within the knowledge of any of the people sitting at the table.» — Lodge abre el capítulo de la evidencia más estricta concediendo de entrada la objeción: en una sesión de mesa es manifiesto que la hipótesis de la guía muscular inconsciente debe llevarse al extremo como explicación normal cuando lo comunicado está dentro del conocimiento de alguno de los sentados

«Many of the answers obtained were quite outside the knowledge of the medium or of Mrs. Kennedy, but many were inevitably known to us; and in so far as they were within our knowledge it might be supposed, even by ourselves, that we partially controlled the tilting, though of course we were careful to try not to do so. And besides, the things that came, or the form in which they came, were often quite unexpected, and could not consciously have been controlled by us.» — y las razones con que la matiza, dejando la concesión en pie: muchas respuestas quedaban fuera del conocimiento de la médium o de la anotadora, otras eran inevitablemente sabidas por ellos, y en la medida en que lo eran cabe suponer, aun para ellos mismos, que controlaran en parte la inclinación, por más que se cuidaran de no hacerlo

«Moreover, when the sentence spelt out was a long one, we lost our way in it and could not tell whether it was sense or nonsense; for the words ran into each» — la tercera razón de Lodge, que es a la vez una descripción del método: cuando la frase deletreada era larga se perdían en ella y no podían decir si era sentido o disparate; el renglón se corta al pasar de plana

«other. The note-taker, who puts each letter down as it is called out to him by the sitters at the table, has no difficulty in reading a message, although, with the words all run together, it hardly looks intelligible at first sight, even when written.» — y la continuación con el reparto de papeles que hace posible el registro: el anotador, que escribe cada letra conforme se la cantan, no tiene dificultad en leer el mensaje aunque con las palabras corridas apenas parezca inteligible a primera vista

«BELESSWORRIEDALECPLEASEOLDCHAP,» — uno de los dos ejemplos con que el volumen muestra cómo sale un mensaje deletreado, sin separación de palabras

«GATHEREDINMEDIUMANDTHATGOESINTOTABLEANDWEMANIPULATE which was part of another. Neither could be readily followed if called out slowly letter by letter.» — el segundo ejemplo y la observación que Lodge saca de ambos: ninguno podría seguirse con facilidad si se cantara despacio letra por letra

«Still, the family were naturally and properly sceptical about it all. Accordingly, my sons devised certain questions in the nature of tests, referring to trivial matters which they thought would be within Raymond's recollection, but which had happened to them alone during summer excursions or the like, and so were quite outside my knowledge.» — Lodge consigna el escepticismo de su propia familia y lo llama natural y propio, y describe el control que de él salió: los hijos idearon preguntas de prueba sobre asuntos triviales que creían dentro del recuerdo del muerto y que les habían ocurrido a ellos solos, fuera del conocimiento del padre

«They gave me a few written questions, devised in conclave in their own room; and on 12 October I took them to London with me in a sealed envelope, which I opened in the train when going up for a sitting; and after the sitting had begun I took an early opportunity of putting the questions it contained.» — y el procedimiento con que se cerró esa prueba, paso a paso: las preguntas escritas en cónclave en el cuarto de los hijos, el sobre sellado abierto en el tren y las preguntas hechas apenas empezada la sesión

«We had already had (on 28 September, reported in last chapter) one incident of a kind unknown to us, in the name 'Norman,' but they wanted more of the same or of a still more marked kind.» — Lodge declara por qué no bastaba lo anterior, y con ello el criterio de los hijos: ya tenían un incidente desconocido para ellos, pero querían más del mismo tipo o de uno aún más marcado

«I think it will be well to copy the actual» — la decisión de transcripción que Lodge anuncia: copiar entero el registro contemporáneo de esa parte de la sesión; el renglón se corta al pasar de plana

«At the beginning of the sitting O. J. L. explained that they were now engaged in trying to get distinct and crucial evidence; that preparations had been made accordingly; and that no doubt those on the other side approved, and would co-operate.» — lo que Lodge declaró al abrir la sesión y que el registro conserva: que estaban empeñados en obtener evidencia distinta y crucial, que se habían hecho preparativos, y que sin duda los del otro lado aprobarían y cooperarían

«Well now, look here, my boy, I have got a few questions which your brothers think you will know something about, whereas to me they are quite meaningless. Their object is to make quite sure that we don't unconsciously help in getting the answers because we know them. In this case that is impossible, because nobody here knows the answers at all. Do you understand the object?» — y cómo Lodge explica al comunicante el objeto de las preguntas selladas, que es la definición misma del control: que los hermanos creen que él sabrá algo y que a él, el padre, le resultan sin sentido, de modo que nadie presente conoce las respuestas y no cabe ayudar sin querer

«TELLTHEMINOWTRYTOPROVEIHAVEMESSAGESTOTHEWORLD.» — el mensaje que la mesa deletrea antes de las preguntas, impreso sin separación de palabras como sale del deletreo

«Well then, now I will give you one of the boys' questions, but I had better explain that you may not in every case understand the reference yourself. We can hardly expect you to answer all of them, and if you don't do one, I will pass on to another. But don't hurry, and we will take down whatever you choose to say on each of them.» — la advertencia con que Lodge rebaja de antemano la exigencia de la prueba, dentro del registro: puede que el comunicante no entienda la referencia, no esperan que responda todas, y pasará de una a otra sin prisa

«Do you remember anything about the Argonauts?" (Silence for a short time.) O. J. L.—'Argonauts' is the word. Does it mean anything to you? Take your time. Yes. O. J. L.—Well, would you like to say what you remember? Yes. Then, by repeating the alphabet, was spelt:— TELEGRAM.» — la primera de las preguntas selladas y la respuesta de una sola palabra que la mesa deletrea tras un silencio

«What do you recollect about Dartmoor?" The time for thought was now much briefer, and the table began to spell pretty soon:— COMING DOWN.» — la segunda pregunta sellada y el arranque de su respuesta, que el registro anota como venido mucho más de prisa

«On reporting to my sons the answers given about 'Argonauts' and 'Dartmoor' they were not at all satisfied.» — Lodge consigna el veredicto de quienes pusieron la prueba, que va contra su propio caso: los hijos no quedaron nada satisfechos con las respuestas

«I found, however, from the rest of the family that the word TELEGRAM had a meaning in connexion with 'Argonauts'—a meaning quite unknown to me or to my wife—but it was not the meaning that his brothers had expected. It seems that in a previous year, while his mother and I were away from home, the boys travelled by motor to somewhere in Devonshire, and (as they think) at Taunton Raymond had gone into a post office, sent a telegram home to say that they were all right, and had signed it 'Argonauts.' The girls at home remembered the telegram quite well; the other boys did not specially remember it.» — y el sentido que la palabra sí tenía, con la salvedad de que no era el esperado: en un viaje anterior en automóvil Raymond puso desde una oficina de correos un telegrama a casa firmado con esa palabra, que las hermanas recordaban bien y los hermanos no especialmente

«The kind of reference they had wanted, Raymond gave ultimately though meagrely, but only after so much time had elapsed that the test had lost its value, and only after I had been told to switch him on to» — lo que Lodge consigna sobre cómo llegó al fin la referencia buscada, y que le quita valor: vino escasa y tan tarde que la prueba ya había perdido su valor; el renglón se corta al pasar de plana

«Now that I know the answer I do not think the question was a particularly good one; and the word 'telegram,' which they had not expected and did not want, seems to me quite as good an incident as the one which, without a clue, they had expected him to recall in connexion with 'Argonauts.' Besides, I happened myself to know about an Iceland trip in Mr. Alfred Holt's yacht 'Argo' and its poetic description by Mr. Mitchell Banks and Dr. Caton in a book in the drawing-room at Tent Lodge, Coniston (though the boys were not aware of my knowledge), but it never struck me that this was the thing wanted; and if it had come, the test would have been of inferior quality.» — Lodge juzga la prueba de sus propios hijos y declara lo que él mismo sabía, contra su interés: no le parece buena pregunta, la palabra no esperada le resulta tan buen incidente como la esperada, y él conocía por su cuenta el viaje a Islandia en un yate de ese nombre descrito en un libro de la casa de Coniston, de modo que si eso hubiera salido la prueba habría sido de calidad inferior

«Concerning the answer to 'Dartmoor,' his brothers said that COMING DOWN HILL was correct but incomplete; and that they didn't remember any FERRY.» — el veredicto de los hermanos sobre la segunda respuesta, con su mitad correcta y su mitad desconocida

«I therefore on another occasion, namely, on 22 October, during a sitting with Feda (that is to say, not a table sitting, but one in which Mrs. Leonard's control Feda was speaking and reporting messages), said—still knowing nothing about the matter beyond what I had obtained in the table sitting—"Raymond, do you remember about 'Dartmoor' and the hill?» — y lo que Lodge hizo para ampliarla, declarando su propia ignorancia y el tipo de sesión: preguntó de nuevo en una sesión con el control hablando, no de mesa, sin saber del asunto más que lo obtenido antes

«Yes, he said something about that. He says it was exciting. What is that he says? Brake—something about a brake—putting the brake on. Then he says, sudden curve—a curve— he gives Feda a jerk like going round a quick curve.» — la respuesta que el registro atribuye a Feda, con la representación corporal consignada: algo sobre un freno, y una curva cerrada representada con un tirón

«[I thought at the time that this was only padding, but subsequently learnt from Alec that it was right. It was on a very long night-journey on their motor, when the silencer had broken down by bursting, at the bottom of an exceptionally steep hill, and there was an unnerving noise. The one who was driving went down other steep hills at a great pace, with sudden applications of the brake and sudden quick curves, so that those at the back felt it dangerous, and ultimately had to stop him and insist on going slower. Raymond was in front with the one who was driving.» — la acotación en que Lodge dice haber tomado eso por relleno y haber sabido después que era correcto, con la escena entera: el silenciador reventado al pie de una cuesta muy empinada en un viaje nocturno larguísimo, las bajadas a gran velocidad con frenazos y curvas súbitas, y los de atrás obligando al conductor a ir más despacio

«There is one: all the same there is one. But he didn't mean to say anything about it. He says it was a stray thought that he didn't mean to give through the table. He has found one or two things come in like that. It was only a stray thought. You have got what you wanted, he says. 'Hill,' he meant to give, but not 'ferry.' They have nothing to do with each other.» — la respuesta que el registro atribuye a Feda sobre la palabra que nadie reconocía, y que introduce la noción de pensamiento suelto: dice que la hay, que él no quiso decirla, que fue un pensamiento errante que no pensaba dar por la mesa, y que a veces se le cuelan cosas así

«On a later occasion I took an opportunity of catechising him further about this word FERRY, since none of the family remembered a ferry, or could attach any significance to the word. He still insisted that his mention of a ferry in connexion with a motor trip was not wrong, only he admitted that "some people wouldn't call it a ferry.» — Lodge consigna que insistió sobre esa palabra porque nadie en la familia la reconocía, y la respuesta con su concesión dentro: el comunicante mantuvo que no era errónea, aunque admitió que hay quien no lo llamaría así

«I waited to see if any further light would come; and now, long afterwards, on 18 August 1916 I receive from Alec a note referring to a recent trip, this month, which says» — y el modo en que Lodge deja abierto el asunto y lo fecha: esperó a ver si venía más luz, y mucho después, el 18 de agosto de 1916, recibió de un hijo una nota sobre un viaje reciente

«By the way, on the run to Langland Bay (which is the motor run we all did the year before the run to Newquay) we pass through Briton Ferry; and there is precious little ferry about it.» — la nota del hijo que da a esa palabra un sentido posible, con su propia ironía dentro: en aquel trayecto pasan por un lugar cuyo nombre la lleva y que de eso tiene poquísimo

«So even this semi-accidental reminiscence seems to be turning out not altogether unmeaning; though probably it ought not to have come in answer to 'Dartmoor.'» — y el juicio con que Lodge cierra el episodio, sin redondearlo a su favor: hasta esa reminiscencia medio accidental parece no resultar del todo sin sentido, aunque probablemente no debió venir en respuesta a la otra palabra

«It will be realised, I think, that a single word, apart from the context, thus thrown at a person who may be in a totally different mood at the time, is exceedingly difficult; and on the whole I think he must be credited with some success, though not with as much as had been hoped for.» — la observación general con que Lodge pesa ese tipo de pregunta: una sola palabra suelta, lanzada a alguien que puede estar en un humor del todo distinto, es sumamente difícil, y en conjunto cree que hay que acreditarle algún éxito, aunque no tanto como se esperaba

«If his brothers had been present, or had had any interview with him in the meantime, it would have spoilt the test, considered strictly; nevertheless, it might have made the obtaining of the answers they wanted much more feasible, inasmuch as in their presence he would have been in their atmosphere and be more likely to remember» — y la tensión que Lodge señala entre rigor y rendimiento: la presencia de los hermanos habría estropeado la prueba en sentido estricto, aunque habría hecho mucho más factible obtener las respuestas que querían; el renglón se corta al pasar de plana

«their sort of surroundings. Up to this date they had not had any sitting with a medium at all. In presence of his mother and myself, and under all the circumstances, and what he felt to be the gravity of some of his recent experiences, it is not to me surprising that the answers were only partially satisfactory; though, indeed, to me they seem rather good.» — la continuación con el saldo que Lodge hace: hasta esa fecha los hermanos no habían tenido sesión alguna con un médium, y dadas las circunstancias y lo que el comunicante sentía como gravedad de sus experiencias recientes no le sorprende que las respuestas fueran solo parcialmente satisfactorias, aunque a él le parecen bastante buenas

«Anyhow, they had the effect of stimulating his brothers to arrange some sittings with a table at home on their own account.» — y el efecto práctico que tuvieron: animaron a los hermanos a organizar por su cuenta sesiones de mesa en casa

«The sensations of those at the back of the car were» — lo que Lodge consigna de las sensaciones de los que iban atrás; el renglón se corta al pasar de plana

«strongly connected with the brake and with curves; but they had mainly expected a reference from Raymond to the noise from the broken silencer, which they ultimately repaired during the same night with tools obtained at the first town they stopped at.]» — la continuación con la expectativa fallida de los hermanos: sus sensaciones iban con el freno y las curvas, pero esperaban sobre todo una referencia al ruido del silenciador roto que repararon esa misma noche con herramientas conseguidas en el primer pueblo

«I might make many more extracts from this sitting of 22 October, of which a short extract has just been quoted, because, though not specially evidential, they have instructive and so to speak common-sense features, but it is impossible to include everything. I will therefore omit most of it, but quote a little, not because it is evidential, but because what is said may be instructive to inquirers.» — Lodge declara el criterio con que selecciona en ese capítulo y lo distingue del evidencial: omitirá casi todo y citará poco, no por ser evidencial sino porque lo dicho puede instruir a quien indague

«He wants to gather evidence and give something clearly. He seems to think that his brother had been coming here (looking about). O. J. L.—Your brother will come to see you to-morrow. [He was not coming to Mrs. Leonard.] Where is he? He got the impression that he had either been here or should be here now; he has got the thought of him. He has been trying to get into touch with him himself; he has been trying to speak to him.» — el registro en voz de Feda atribuye al comunicante la impresión de que un hermano suyo ha estado allí, y el intento de ponerse en contacto con él

«The trouble is, that he can't always see distinctly. He feels in the air, but can't see always distinctly. (To M. F. A. L.) When you are sitting at the table he sees you, and can see what you have got on. When he tries to come to you, he can only sense you; but at the table he can see you.» — y la distinción que el registro pone en boca del comunicante entre ver y sentir, según el canal: en la mesa ve a su madre y ve lo que trae puesto, y al ir hacia ella solo puede sentirla

«No, not at the table. He sensed them, and he thought they were trying to speak to him; but didn't feel as if he was going to get near. It has something to do with a medium.» — lo que el registro dice de los intentos de los hermanos sin médium: los sintió y creyó que trataban de hablarle, pero no sintió que fuera a acercarse

«When a medium is present he sees you quite distinctly. He saw you, not here, but at another place. Oh, it was in London, another place in London, some time ago. He was surprised to see you, and wondered how he could.» — y la condición que el registro atribuye a esa diferencia: con un médium presente la ve con nitidez, y la vio en otro sitio de Londres, con sorpresa de él mismo

«He does not seem sure if he got anything through. It is so peculiar. Even here, he is not always quite certain that he has said what he wanted to say, except sometimes when it is clear and you jump at it. Sometimes then he feels, "I've got that home, anyway!" He has got to feel his way. They must go easy with him—not ask too much all at once. If they have plenty of patience, in a while he will be able to come and talk as if he were there.» — el registro atribuye al comunicante una descripción de su propia incertidumbre al transmitir: ni allí está siempre seguro de haber dicho lo que quería, salvo cuando sale claro y el asistente lo capta, y ha de ir a tientas, por lo que pide paciencia y que no le pidan demasiado a la vez

«More important than talking is to get things through with his own people, and to give absolute evidence. He doesn't want them to bother him with test questions till he feels at home. It doesn't matter here, where there is a medium, but the conditions there are not yet good.» — y la prioridad que el registro le atribuye, con una petición sobre las pruebas: más que hablar, sacar cosas a los suyos y dar evidencia absoluta, y que no lo acosen con preguntas de prueba hasta que se sienta en casa, porque las condiciones de allá aún no son buenas

«He is bringing a girl with him now—a young girl, growing up in the spirit world. She belongs to Raymond: long golden hair, pretty tall, slight, brings a lily in her hand. There is another spirit too who passed out very young—a boy; you wouldn't know him as he is now; he looks about the same age as Raymond, but very spiritual in appearance; he brings a W with him; he doesn't know much of the earth plane, nor the lily either; he passed over too young. They are both with Raymond now. They look spiritual and young. Spirit people look young if they passed on young. Raymond is in the middle between them.» — la descripción que el registro atribuye a Feda de los dos que acompañan al comunicante, que la acotación de Lodge lee como un hermano y una hermana muertos: una muchacha de cabello dorado con un lirio y un muchacho de aspecto muy espiritual, ambos jóvenes porque pasaron jóvenes

«Raymond really is happy now. He doesn't say this to make you feel satisfied. He is really happy now. He says this is most interesting, and is going to be fifty times more interesting than on the earth plane. There is such a big field to work in. Father and he are going to do such a lot together. He says, "I am going to help for all I am worth.» — el registro insiste en la felicidad del comunicante negando el motivo que la haría sospechosa, y le atribuye un programa: que aquello es interesantísimo y será cincuenta veces más interesante que el plano terrestre, que hay un campo enorme donde trabajar y que padre e hijo van a hacer mucho juntos

«He is able to get to you by impression, and not only by writing. He thinks he can make you hear. He is trying to make you clair-audient. Let there be no misapprehension about that. He does it in order to help himself. He hopes to get something through.» — lo que el registro atribuye al comunicante sobre los canales que intenta abrir, con la advertencia contra el malentendido: puede llegar por impresión y no solo por escritura, cree poder hacerse oír, y lo intenta para ayudarse a sí mismo

«Try it on the same evening at first, and see what success is got; if only one word came through the same, he would be very pleased. He might get one word first, then two, then two or three. Tell them to reserve a little time for just that, and give him some time specially for it, not mix it up with other things in the sittings.» — el protocolo de correspondencia cruzada que el registro pone en boca del comunicante: probar la misma noche, contentarse con una palabra al principio y luego dos o tres, y reservarle un tiempo aparte sin mezclarlo con lo demás de la sesión

«He will think of some word—no matter if it is meaningless. What you have to do is, not to doubt, but take it down. One word might be much more valuable than a long oration. One word would do, no matter how silly it sounded; even if it is only a jumble, so long as it is the same jumble.» — y la regla que el registro le atribuye, que invierte el criterio de sentido: pensará una palabra aunque no signifique nada, y lo que se les pide es no dudar sino anotarla, porque una palabra puede valer mucho más que una larga peroración, aunque suene tonta y sea un revoltijo, con tal de que sea el mismo revoltijo

«On 13 October, through the kind arrangement of Mrs. Kennedy, we had an anonymous sitting with a medium new to us, a Mrs. Brittain, of Hanley, Staffordshire, in Mrs. Kennedy's house. It was not very successful—the medium seemed tired and worried— but there were a few evidential points obtained, though little or nothing about the boy; in the waking stage, however, she said that some one was calling the name 'Raymond.'» — Lodge consigna una sesión con un tercer médium y su resultado escaso, sin adornarlo: la médium parecía cansada y preocupada, hubo unos pocos puntos evidenciales y poco o nada sobre el muchacho, salvo que al despertar dijo que alguien llamaba el nombre

«I was just resting, thinking over the events of the day, and worrying just a little about my ordeal of next Monday, when I became conscious of the presence of such a dear soldier boy. He said, 'I am Pat, and oh, I did want to speak to my mother.' Then I saw with him your dear boy [Paul]; he asked me to tell you about Pat, and to give the message to his father that he would get proof without seeking it.» — el escrito de esa médium a Mrs. Kennedy, fechado el 14 de octubre de 1915, con el mote que el libro ya había hecho valer: dice haber sentido la presencia de un soldado que se nombró con él y quería hablar a su madre, y el mensaje para el padre de que obtendría prueba sin buscarla

«A WORD may be necessary about the attitude of Raymond's family to the whole subject. It may be thought that my own known interest in the subject was naturally shared by the family, but that is not so. So far as I can judge, it had rather the opposite effect; and not until they had received unmistakable proof, devised largely by themselves, was this healthy scepticism ultimately broken down.» — Lodge declara la posición de su propia familia y la llama sana: podría pensarse que su interés conocido era compartido por ellos y no es así, porque más bien tuvo el efecto contrario, y solo tras una prueba inequívoca ideada en buena parte por ellos mismos cedió ese escepticismo

«My wife had had experience with Mrs. Piper in 1889, though she continued very sceptical till 1906 or thereabouts, when she had some extraordinarily good evidence. But none of this experience was shared by the family, who read neither my nor anyone else's books on the subject, and had no first-hand evidence. For the most part they regarded it without interest and with practical scepticism. If in saying this I convey the impression of anything like friction or disappointment, the impression is totally false. Life was full of interest of many kinds, and, until Raymond's death, there was no need for them to think twice about survival or the possibility of communication.» — y el detalle de esa posición, con el cuidado de no dejarla sonar a queja: su mujer tuvo experiencia con Mrs. Piper en 1889 y siguió muy escéptica hasta 1906, la familia no leía sus libros ni los ajenos y no tenía evidencia de primera mano, y hasta la muerte de Raymond no hubo necesidad de que pensaran dos veces en la supervivencia

«The first sitting held by any of his brothers, apart from private amateur attempts at home,—the first sitting, I may say, held by any of them with any medium,—took place on 23 October, when Alec had a sitting with Peters; his mother also was present, but no names were given. Alec's record of this sitting, together with his preliminary Note, I propose to quote practically in full.» — Lodge fecha la primera sesión de cualquiera de los hermanos con cualquier médium y declara sus condiciones: el 23 de octubre, Alec con Peters, con la madre presente y sin que se dieran nombres

«Alec and his mother went in the morning to Mrs. Kennedy's house, where the sitting was to take place. M. F. A. L. stopped on the way to buy a bunch of violets, which she put on Peters' table. When he arrived and saw them, he was very pleased; ejaculated "my flower," and said that he could not have had anything that gave him more pleasure.» — la escena de las violetas que el registro conserva y que Lodge no descuenta ni hace valer: la madre las compró de camino y las puso en la mesa del médium, que al verlas se mostró muy complacido

«I may here remark, incidentally, that Peters is a man who takes his mediumship seriously, and tries to regulate his life so as to get good conditions. Thus, he goes into the country at intervals, and stops all work for a time to recuperate. He lives, in fact, at Westgate-on-Sea, and only has a room in London. He seems to lead a simple life altogether, and his "control" spoke of his having been prepared since six o'clock that morning for this sitting.» — el retrato de oficio que Lodge hace del médium: toma en serio su mediumnidad y regula su vida para lograr buenas condiciones, va al campo a intervalos y para de trabajar para reponerse, vive fuera de Londres y lleva una vida sencilla

«Mother and I arrived at Mrs. Kennedy's house at five minutes to eleven. We saw Mrs. Kennedy, who asked us if we would like her to be present. We said yes. Then she told us that Peters had come, and that she would ask him. Peters wanted her to be present. Mrs. Kennedy brought Peters up; he shook hands, without any introduction. We had all gone up to Mrs. Kennedy's private room, where Peters likes the sittings to take place. We four sat round a table about four feet in diameter. A. and M. with backs to one or other of the two windows, K. and P. more or less facing them. A. was opposite P.; M. was opposite K. There was plenty of light, but the room was partly» — el relato de Alec, que consigna la disposición exacta de la sesión: la hora de llegada, la pregunta de si la anfitriona debía estar presente, el deseo del médium de que estuviera, la falta de presentación, y los cuatro sentados alrededor de una mesa de unos cuatro pies con las espaldas a las ventanas; el renglón se corta al pasar de plana

«shaded by pulling down blinds. They talked about street noises at first. P. held K.'s and M.'s hands for a time. K. and M. talked together a little. P. now moved about a little and rubbed his face and eyes. Suddenly he jerked himself up and began talking in broken English. During the trance his eyes were apparently closed all the time; and when speaking to anyone he 'looked' at them with his eyelids screwed up. Sometimes a change of control occurred. While that was taking place, he sat quiet, and usually held K.'s and M.'s hands until another sudden jerk occurred, when he let go and started talking.» — el relato de Alec describe con detalle lo que el médium hacía con el cuerpo, que es el dato que un registro puede dar: las persianas bajadas a medias, las manos sostenidas, el sobresalto con que empezó a hablar en inglés roto, los ojos cerrados todo el trance y los cambios de control

«The sitting was rather disjointed, and most of it apparently not of much importance, but for a few minutes in the middle it was very impressive. It then felt to me exactly as if my hand was being held in both Raymond's, and as if Raymond himself was speaking in his own voice.» — y el juicio de Alec sobre esa sesión, con su propia impresión declarada como impresión: la tuvo por deslavazada y casi toda de poca importancia, salvo unos minutos del medio que le resultaron impresionantes, en que sintió exactamente como si su mano fuera sostenida por las dos de su hermano y como si este hablara con su propia voz

«My right hand was being held, but even if I had had it free I could not possibly have taken notes under the circumstances. (M. F. A. L. adds that neither could she nor anyone, while that part of the sitting was going on.)» — y la razón material por la que ese tramo no tiene registro, dicha por los dos asistentes: no habría podido tomar notas en esas circunstancias, y la madre añade que tampoco ella ni nadie

«Peters spoke often very quickly, and sometimes indistinctly, so that the notes are rather incomplete. (To this O. J. L. adds that it was Alec's first experience of a sitting, and that, even with experience, it is difficult to take anything like full notes.)» — las dos advertencias con que el volumen acota la calidad de esa transcripción: el médium hablaba muy rápido y a veces confuso, de modo que las notas están incompletas, y Lodge añade que era la primera sesión de Alec y que aun con experiencia cuesta tomar notas completas

«Somebody not easy to describe; old lady; not tall; grey hair, parted in centre; grey eyes; nose thin; mouth fairly large and full. This describes her as she was before she passed away. Had big influence on your early life. Good character; loving, but perhaps lived in narrow outlook; not only a mother to her own belongings, but she mothered every man, woman, or child she came into contact with. She is here this morning and has been before. Is it not your Mother?» — la descripción que el registro atribuye al control y que termina en pregunta, no en afirmación: una anciana de pelo gris partido al centro, de carácter bueno y acaso de miras estrechas, que fue madre no solo de los suyos

«She has been, and will go on, looking after the boy. You must not think she is not just as much with you because she has no body. She is just as much your mother. She has a body, though it is different.» — y la doctrina que el registro pone en boca del control sobre el cuerpo de los muertos: que no piense que está menos con ella por no tener cuerpo, porque tiene uno, aunque distinto

«It has always been what I thought: the triumph (?) has been a long time coming, but it will come greater than had been anticipated. There have been difficulties. I am glad of success. It will come greater than before. The book that is to be will be written from the heart, and not the head. But the book will not be written now. Not now! Not now! Not now! (loud). Written later on. The Book which is going to help many and convert many. The work done already is big. But what is coming is bigger.» — el registro atribuye al control una profecía sobre el libro que Lodge escribiría, con la insistencia consignada: que se escribirá desde el corazón y no desde la cabeza, que no ahora sino más adelante, y que ayudará y convertirá a muchos

«I have been drilling her to link up. You don't know what it is. It is like teaching people to transmit messages by the telegraph. Don't let the boy come, let Granny come.» — el registro atribuye a otro comunicante una comparación técnica sobre el enlace: dice que la ha estado adiestrando, como se enseña a transmitir mensajes por telégrafo

«You know, little Mother, you wonder why I was taken; but it is a great deal better like this. Thousands of people can be helped like this. You are the link, and the means of reaching thousands of mothers.» — y lo que el registro pone en boca de ese mismo comunicante sobre su propia muerte: que ella se pregunta por qué se lo llevaron y que así es mucho mejor, porque miles pueden ser ayudados y ella es el eslabón

«No, no, no, she does not go away; she stands back, to let some one else come forward—like actors take turns at a theatre.» — la figura con que el registro describe el relevo de los comunicantes: no se van, se retiran para dejar pasar a otro, como los actores se turnan en un teatro

«Good morning! I generally say, "Good evening," don't I? Don't be afraid for Medie; he has been prepared since six o'clock this morning.» — el registro atribuye al control una observación sobre el estado del médium al abrir la sesión: que no teman por él, preparado desde las seis de la mañana; el tramo se corta en el límite de chunk, dentro de la misma plana

«Magnetism has to be stored up, and therefore it is best to use the same room and the same furniture every time.» — y la regla de oficio que el registro le atribuye a continuación: el magnetismo ha de acumularse, por lo que conviene usar siempre el mismo cuarto y el mismo mobiliario

«I come dis little minute to try experiment. If we succeed, all right; if we don't, don't mind. There will be some difficulties.» — el registro conserva la entrada de un tercer control con su habla propia y su reserva sobre el resultado: viene a probar un experimento, y si salen bien, bien, y si no, que no importe

«I knew you knew the possibility of communicating, so when I went out as I did, I was in a better condition than others on the other side. We had often talked about this subject, father understanding it as he did; and now, coming into touch with his strength, makes it easy.» — lo que el registro atribuye al comunicante sobre su propia ventaja al morir, y que es la tesis que el libro sostiene sobre el conocimiento previo: sabía que ellos sabían de la posibilidad de comunicar, de modo que al salir estaba en mejores condiciones que otros, y el contacto con la fuerza del padre se lo facilita

«But no, wait. Because they tell me. I am not ashamed. I am glad. I tell you, I would do it again. I realise things differently to what one saw here. And oh, thank God, I can speak!» — el registro transcribe en renglones cortados lo que atribuye al comunicante en ese tramo: que no se avergüenza, que se alegra, que volvería a hacerlo, que allí ve las cosas de modo distinto, y el agradecimiento de poder hablar

«But I must keep quiet, I promised them to keep calm. The time is so short. Tell father that I am happy. That I am happy that he has not come. If he had come here, I couldn't have spoken.» — y lo que el registro le atribuye sobre la ausencia del padre, que repite la instrucción dada en otra sesión: se alegra de que no haya venido, porque de estar allí no habría podido hablar

«I find it difficult to express what I want. Every time I come back it is easier. The only thing that was hard was just before. The 15th, do you understand?» — la queja sobre la dificultad de expresarse y la única fecha que el registro le atribuye, seguida de una pregunta al asistente

«And the 12th. [We do not clearly understand these dates.]» — la segunda fecha y la acotación con que Lodge declara no entenderlas con claridad, dejando el dato sin resolver

«Surely it's meself that has come to speak. Here's another mother. I am helping the boy. I said to him to come out. (To A. M. L.) Just you go and do your work. When the boy comes as he did, it upsets the body. I come to help to soothe the nerves of the medium. It is a privilege to help. I am an old Irishwoman.» — el registro atribuye a ese nuevo control, con habla propia, la función de calmar los nervios del médium cuando el comunicante entra como entró, y la identidad que se da a sí mismo

«You don't realise that the world is governed by chains, and that you are one of the links. I was a washerwoman and lived next a church, and they say cleanliness comes next to godliness! One of my chains is to help mothers.» — y la doctrina que el registro pone en boca de ese control, con la biografía que se atribuye: el mundo se gobierna por cadenas y cada quien es un eslabón

«The one gone over is a brother. He wants to send a message.» — la relación que el registro fija entre el comunicante y el asistente antes de los mensajes

«So glad about the photograph. Something you have had done that is satisfactory.» — la frase del registro que Alec anota como buena, y que su acotación refiere a dos fotografías halladas en el cuerpo y devueltas a su dueña

«Wants to convey message to father, but it is not about himself this time. I get the initials F W M—not clear about all the letters—but F M wishes to be remembered. He says: I am still very active. Get into touch with Crookes re the Wireless.» — el registro atribuye al control un mensaje para el padre que no viene del hijo sino de otro comunicante, con las iniciales dadas incompletas y una instrucción técnica; la acotación de Alec sitúa a Lodge en ese mismo momento en unos talleres ocupado de ese asunto

«Then he gives me a curious thing, and laughs. One of the things I am most proud of is "St. Paul." [This puzzled K. K., the note-taker.]» — y la referencia que el registro atribuye a ese comunicante sobre lo que más le enorgullece, con la acotación de que dejó perpleja a la anotadora

«(Medium came-to, breathing and struggling. Said he had been under very deep» — la acotación sobre el modo en que el médium volvió en sí, con la comparación que él mismo hizo y que el troceo corrompe en la palabra final

«Lady Lodge impressed me considerably with the genuine and deeply affecting character of the above episode of personal control. It was evidently difficult to get over for the rest of the day. I doubt if the bare record conveys much: though it may to people of like experience.» — la nota de Lodge que declara de dónde le viene el juicio sobre ese episodio y a la vez duda del registro: le impresionó el carácter genuino y hondamente conmovedor que le refirió su mujer, y duda de que el registro escueto transmita mucho salvo a quien tenga experiencia parecida

«IT may be asked why I report so much of what may be called ordinary conversation, instead of abbreviating and concentrating on specific instances and definite statements of fact. I reply:— 1. That a concentrated version is hard to read, while a fuller version is really less tedious in spite of its greater length.» — Lodge se plantea la objeción a su propio método de transcripción y da la primera de seis razones: una versión concentrada resulta difícil de leer mientras que una más completa es menos tediosa a pesar de su extensión

«A record is always a poor substitute for actual experience; and too much abbreviation might destroy whatever relic of human interest the records possess.» — y el límite que reconoce al registro en sí: siempre es pobre sustituto de la experiencia, y abreviar demasiado destruiría el resto de interés humano que conservan

«That abbreviation runs the risk of garbling and amending; it is undesirable in reports of this kind to amend style at the expense of accuracy.» — la segunda razón, que es una regla de fidelidad: abreviar corre el riesgo de tergiversar y enmendar, y no conviene mejorar el estilo a costa de la exactitud

«That the mannerisms and eccentricities of a 'control' (or secondary personality) are interesting, and may be instructive; at any rate they exhibit to a novice the kind of thing to be expected.» — la tercera razón, que toma los amaneramientos del control por dato: son interesantes y pueden instruir, y muestran al novato qué cabe esperar

«A number of inquiries want to know—and I think properly want to know—what a sitting is like, what kind of subjects are talked about, what the 'communicators'—i.e. the hypothetical personalities who send messages through the 'control'—have to say about their own feelings and interests and state of existence generally. Hence, however the record be interpreted, it seems better to quote some specimens fully.» — la cuarta razón, que es de servicio al lector: muchos quieren saber cómo es una sesión, de qué se habla y qué dicen los comunicantes de sus propios sentimientos y de su estado, de modo que, se interprete como se interprete el registro, vale más citar muestras enteras

«I am aware that some of the records may appear absurd. Especially absurd will appear the free-and-easy statements, quoted later, about the nature of things 'on the other side,'—the kind of assertions which are not only unevidential but unverifiable, and which we usually either discourage or suppress. I have stated elsewhere my own reasons for occasionally encouraging statements of this kind and quoting them as they stand. (See beginning of Chapter XVI.) And though I admit that to publish them is probably indiscreet, I still think that the evidence, such as it is, ought to be presented as a whole.» — la quinta razón, en que Lodge concede la objeción más dura y sostiene igual su decisión: sabe que algunos registros parecerán absurdos, sobre todo las afirmaciones desenfadadas sobre la naturaleza de las cosas del otro lado, que no son ni evidenciales ni verificables y que suelen desalentar o suprimir; admite que publicarlas es probablemente indiscreto y aun así cree que la evidencia debe presentarse entera

«You bring with you a tremendous force. You don't always say what you think. A quick way of making up your mind. Your intuitional force is» — el registro atribuye al médium una caracterización general del asistente antes de cualquier dato comprobable; el renglón se corta al pasar de plana

«very strong. Your mind is very evenly balanced, [and so on].... The last three months, things have altered. It has stirred you to the depths of your innermost being. You had no idea how strong the bond was between you and one who has been here to-day.» — la continuación con lo que el registro le atribuye sobre los últimos tres meses: que lo han removido hasta lo hondo y que no tenía idea de lo fuerte que era el vínculo con el que había estado allí ese día

«The most evidential class of utterance, what we call cross-correspondence, is not overlooked; and while every now and then it occurs naturally and spontaneously, sometimes an effort is made to obtain it.» — la sexta razón de Lodge, que nombra la clase de enunciado que tiene por más evidencial: la correspondencia cruzada, que a veces ocurre natural y espontáneamente y a veces se procura con esfuerzo

«It will be convenient to explain that by the term "Cross-correspondence" is meant the obtaining through two or more independent mediums, at about the same time, a message from a single communicator on any one definite subject.» — la definición que Lodge da del término que tiene por más evidencial: obtener por dos o más médiums independientes, hacia el mismo tiempo, un mensaje de un solo comunicante sobre un mismo asunto definido

«It is usually impossible for the coincidence of time to be exact, because both mediums may not be sitting at the same time. But in some cases, wherein coincidence of subject is well marked, coincidence in time is of little moment; always provided that the subject is really an out-of-theway or far-fetched one, and not one common to every Englishspeaking person, like Kitchener or Roberts or Jellicoe.» — y la acotación con que Lodge limita su propio criterio: la coincidencia de tiempo rara vez puede ser exacta, y donde la de asunto está bien marcada la de tiempo importa poco, siempre que el asunto sea de veras raro o rebuscado y no uno común a cualquier angloparlante; el troceo parte *out-of-the-way* y *English-speaking* en el salto de renglón y el extractor lo devuelve fundido

«Some of these instances as expounded by Mr. Piddington may seem extraordinarily complicated and purposely concealed. That is admitted.» — Lodge concede sin rodeos la objeción de complicación contra los ejemplos más elaborados de otro investigador: pueden parecer extraordinariamente complicados y ocultados a propósito, y lo admite

«They are specially designed to eliminate the possibility of unintended and unconscious telepathy direct from one medium to another, and to throw the investigator back on what is asserted to be the truth, namely that the mind of one single communicator, or the combined mind of a group of communicators,—all men of letters,—is sending carefully designed messages through different channels, in order to prove primarily the reality of the operating intelligence, and incidentally the genuineness of the mediums who are capable of receiving and transmitting fragments of messages so worded as to appear to each of them separately mere meaningless jargon;» — y la razón de esa complicación, según Lodge: están diseñados para eliminar la telepatía involuntaria de un médium a otro y obligar al investigador a lo que se afirma como verdad, a saber, que la mente de un solo comunicante o la conjunta de un grupo manda mensajes cuidadosamente diseñados por cauces distintos, para probar la realidad de la inteligencia que opera y de paso la autenticidad de los médiums

«Moreover, we are assured that the puzzles and hidden allusions contained in these messages are not more difficult than literary scholars are accustomed to; that, indeed, they are precisely of similar order.» — la garantía que Lodge dice recibir y consigna como recibida: que los acertijos y alusiones ocultas de esos mensajes no son más difíciles que aquello a que están habituados los eruditos literarios, sino precisamente de orden semejante

«This explanation is unnecessary for the simple cross-correspondences (c.c.) sometimes obtained and reported here; but the subject itself is an important one, and is not always understood even by investigators, so I take this opportunity of referring to it in order to direct the attention of those who need stricter evidence to more profitable records.» — y por qué Lodge la da igual: las suyas son simples y no la necesitan, pero el asunto es importante y ni los investigadores lo entienden siempre, de modo que quiere dirigir a quien necesite evidencia más estricta hacia registros más provechosos

«The ease and freedom with which this Ralph managed to communicate are astonishing, and I am tempted to add as an appendix some records which his family have kindly allowed me to see, but I refrain, as they have nothing to do with Raymond.» — y la regla de pertinencia que Lodge se impone: se abstiene de añadir como apéndice esos registros, por notables que le parezcan, porque no tienen que ver con Raymond

«ON the 29th of October I had a sitting with Peters alone, unknown to the family, who I felt sure were still sceptical concerning the whole subject. It was arranged for, as an anonymous sitting, by my friend Mr. J. Arthur Hill of Bradford. The things said were remarkable, and distinctly pointed to clairvoyance. I am doubtful about reporting more than a few lines, however. There was a great deal that might be taken as encouraging and stimulating, intermixed with the more evidential portions. A small part of this sitting is already reported in Chapter III, and might now be read by anyone interested in the historical sequence.» — Lodge sitúa esa sesión y de inmediato declara sus dudas sobre publicarla: fue de incógnito, sin que lo supiera la familia que él creía aún escéptica, lo dicho le pareció notable y apuntado claramente a la clarividencia, y duda de reportar más de unas líneas porque había mucho de alentador y estimulante entreverado con lo más evidencial

«PETERS.—Before we begin, I must say something: I feel that I have a certain fear of you, I don't know what it is, but you affect me in a most curious way. I must tell you the honest truth before I am controlled» — el registro conserva lo que el médium dijo antes de entrar en trance y en su propio estado normal: que siente cierto temor del asistente, que no sabe qué es y que lo afecta de un modo muy curioso

«I come to speak to you, but I must get my Medie deep; we get superficial control first, and then go deeper and deeper; with your strong personality you frighten him a little; I find a little fear in the medium» — lo que el registro atribuye al control sobre la mecánica del trance y sobre el propio médium: primero un control superficial y luego más y más hondo, y la fuerte personalidad del asistente lo asusta un poco

«She tells me to tell you that they are all here. All. Because they are trying to reach out to you their love and sympathy at the present occasion, and they are thanking you both for the opportunity of getting back to you. "We are trying all we can also to bring him back to you, to let you realise that your faith, which you have held as a theory"—it is curious, but she wants me to say her message word for word—"as a theory for years, shall be justified.» — el registro atribuye a una comunicante un mensaje que ella pide dar palabra por palabra, y que toca a la posición del propio Lodge: que están todos allí tendiéndoles amor y simpatía, y que su fe, sostenida como teoría durante años, quedará justificada

«Cross-correspondences are of various grades. The simplest kind is when two mediums both use the same exceptional word, or both refer to the same non-public event, without any normal reason that can be assigned. Another variety is when, say, three mediums refer to one and the same idea in different terms,—employing, for instance, different languages, like 'mors,' 'death,' and 'thanatos.' (See Proc., S.P.R., xxii, 295-304.)» — Lodge gradúa las correspondencias cruzadas por sus dos formas más simples: dos médiums que usan la misma palabra excepcional o refieren el mismo suceso no público sin razón normal asignable, y tres que aluden a una misma idea en lenguas distintas

«Another is when the idea is thoroughly masked and brought in only by some quotation—perhaps by a quotation the special significance of which is unknown to the medium who reproduces it, and is only detected and interpreted by a subsequent investigator to whom all the records are submitted. Sometimes a quotation is maltreated, evidently with intention, by the communicator; the important word to which attention is being directed being either omitted or changed.» — y la forma más enmascarada: la idea oculta en una cita cuyo sentido especial el médium que la reproduce desconoce y solo detecta un investigador posterior, a veces con la cita maltratada a propósito y la palabra importante omitida o cambiada

«Returning to the kind of family records here given, in which evidence is sporadic rather than systematic though none the less effective, one of the minor points, which yet is of interest, is the appropriate way in which different youths greet their relatives. Thus, while Paul calls his father 'Daddy' and his mother by pet names, as he used to;» — Lodge vuelve a sus propios registros calificándolos él mismo, y nombra el rasgo menor que le interesa: la evidencia es esporádica y no sistemática aunque no menos efectiva, y el modo apropiado en que cada joven saluda a los suyos le parece de interés

«another youth named Ralph—an athlete who had fallen after splendid service in the war—greeted his father, when at length that gentleman was induced to attend a sitting, with the extraordinary salutation "Ullo 'Erb!," spelt out as one word through the table; though, to the astonishment of the medium, it was admitted to be consistent and evidential.» — y el ejemplo con que lo ilustra: el joven que saludó a su padre con una fórmula popular deletreada como una sola palabra, que para asombro de la médium se admitió como consistente y evidencial

«Now she brings up a young man from the back. I must explain what we mean by 'the back' some time.» — el registro atribuye al control una noción de su propio vocabulario que él mismo se propone explicar algún día: traer a alguien de lo que llama el fondo

«He tells me that he is pushing the door open wider. Now he wants me to give you a message. He is going to try to come down with you; because it looks to me as though you are travelling to-day. "Down," he says. "I come down with you. We will try" (he says 'we,' not 'I'), "we will try to bring our united power to prove to you that I am here; I and the other young man who helped me, and who will help me.» — lo que el registro atribuye al comunicante sobre su propia mejora y sobre el acompañante, con el plural marcado en el propio texto: que está abriendo más la puerta, que bajará con él y que unirán su poder para probarle que está allí

«Look here, it is your boy! Because he calls you 'Father'; not 'Pa,' nor anything, but 'Father.'» — el modo de trato que el registro toma por identificación y que la acotación de Lodge da por cierto en una palabra

«I am so glad that you took such a common-sense view of the subject, and that you didn't force it on mother. But you spoke of it as an actuality. She treated it like she treats all your things that she couldn't understand; giving you, as she always has done, the credit of being more clever than herself.» — el registro atribuye al comunicante un juicio sobre la conducta del padre en la casa: se alegra de que tomara el asunto con sentido común y no se lo impusiera a la madre, aunque hablara de él como de una realidad, y de que ella lo tratara como lo demás que no entendía, dándole a él el crédito de ser más listo

«But when I came over as I did, and in her despair, she came to you for help; but she wanted to get away from anything that you should influence.» — y la continuación de ese juicio sobre la madre, con la reserva que le atribuye: en su desesperación acudió a él en busca de ayuda, pero quería alejarse de todo lo que él pudiera influir

«Tell me where I was. (I repeated: "She wanted to get away from anything that you should influence.") Oh yes. He wants to say that you were quite right in staying away and letting her work altogether by herself. She was able to do better than if you had been there. You would have spoilt it.» — el registro conserva al control pidiendo que le recuerden dónde iba, y la consecuencia que saca: que el padre hizo bien en quedarse al margen y dejar trabajar sola a la madre, porque él lo habría echado a perder

«Towards the end 'Moonstone' began talking about himself, which he does in an interesting manner, and I shall perhaps give him an opportunity of saying more about the assumption of 'control' from his point of view. Meanwhile I quote this further extract» — Lodge anuncia que citará al control hablando de sí mismo y declara su interés: le parece que lo hace de manera interesante y piensa darle ocasión de decir más sobre la asunción del control desde su punto de vista

«Your heart's been bleeding. You never thought you could love so deep. There must be more or less suffering. Even though you are crucified, you will arise the stronger, bigger, better man. But out of this suffering and crucifixion, oh, how you are going to help humanity! This is a big work. It has been prophesied. It is through the sufferings of humanity that humanity is reached. It must be through pain.» — el registro atribuye al control una doctrina del sufrimiento dirigida al asistente: que de esa crucifixión saldrá más fuerte y que es por los sufrimientos de la humanidad como se llega a la humanidad, y que ha de ser por el dolor

«Let me tell you something about myself. I was Yogi—do you understand? O. J. L.—Yes; a kind of hermit. I lived a selfish life: a good life, but a selfish one, though I didn't know it then. I isolated myself and did not mix with people, not even with family life.» — y la autobiografía que el registro pone en boca del control, con la palabra con que se nombra a sí mismo y el juicio que hace de su propia vida: la llama buena y egoísta sin saberlo entonces, aislado y sin mezclarse con la gente ni con la vida de familia

«When I go over, I find it was a negative goodness, so then I wanted to help humanity, because I hadn't helped it.» — la conclusión que el registro atribuye a ese control sobre su propia vida: que al pasar halló que era una bondad negativa, y por eso quiso ayudar a la humanidad, porque no la había ayudado

«It is through suffering that humanity is helped. That is one great thing in your beautiful religion; you know what I mean—the sacrifice of Jesus. He demonstrated eternity, but to do it He must be sacrificed and taste death. So all who teach the high ... must tread the same path; there's no escaping the crucifixion, it comes in one way or another.» — la doctrina que el registro pone en boca del control y que el libro consigna sin hacerla suya: que es por el sufrimiento como se ayuda a la humanidad, con el sacrificio de Jesús por ejemplo de que quien enseña lo alto ha de recorrer el mismo camino, sin escapar a la crucifixión

«Mr. Stead was, I understand, a friend to Peters, and how much of the above is tinged by Mr. Stead's influence, I cannot say: but immediately afterwards his name was mentioned, in the following way» — Lodge consigna la única sospecha de contaminación que él mismo apunta en esa sesión: entiende que aquel publicista era amigo del médium y no puede decir cuánto de lo anterior está teñido por su influencia, y en seguida su nombre fue mencionado

«Flashing down the line comes a message from Mr. Stead. I can't help it, I must give it. He says: "We did not see eye to eye; you thought I was too impetuous and too rash, but our conclusions are about the same now. We are pretty well on the level, and I have realised, even through mistakes, that I have reached and influenced a world that is suffering and sorrowing. But you have a world bigger and wider than mine, and your message will be bigger and will reach farther.» — y el mensaje que el registro atribuye a ese comunicante, con el desacuerdo pasado dicho dentro: que no veían las cosas igual y que el otro lo tenía por impetuoso y temerario, que ahora sus conclusiones son casi las mismas, y que el mundo del asistente es más grande y su mensaje llegará más lejos

«It is true that I have not, through Peters, asked test questions of which the answers were unknown to me, as I did at one sitting with Mrs. Leonard (Chapter IX). But the answers there given, though fairly good, and in my view beyond chance, were not perfect. Under the circumstances I think they could hardly have been expected to be perfect.» — y lo que Lodge reconoce que le falta a esa comparación, con su propia explicación: por ese médium no hizo preguntas de prueba cuyas respuestas ignorara, y las que sí hizo con la otra médium, aunque razonables y a su juicio por encima del azar, no fueron perfectas

«It was little more than a month since the death, and new experiences and serious surroundings must have been crowding in upon the youth, so that old semi-frivolous reminiscences were difficult to recall.» — la razón que Lodge ofrece para esa imperfección, que es de las que un crítico le pediría: hacía poco más de un mes de la muerte, y experiencias nuevas y entornos graves debieron agolparse sobre el joven, de modo que las reminiscencias viejas y medio frívolas costaban de recordar

«There was, however, with Peters no single incident so striking as the name 'Norman,' to me unknown and meaningless, which was given in perfectly appropriate connexion through the table at Mrs. Leonard's.» — y la comparación que Lodge cierra contra el médium que acaba de elogiar: con él no hubo ningún incidente tan llamativo como el nombre que a él le resultaba desconocido y sin sentido y que salió por la mesa en conexión perfectamente apropiada

«AT length, on 17 November 1915, Raymond's brother Lionel (L. L.) went to London to see if he could get an anonymous sitting with Mrs. Leonard, without the intervention of Mrs. Kennedy or anybody. He was aware that by that time the medium must have sat with dozens of strangers and people not in any way connected with our family, and fortunately he succeeded in getting admitted as a complete stranger.» — Lodge fecha la sesión del segundo hermano y detalla las condiciones que la hacen valer: fue solo y sin intermediarios, sabiendo que para entonces la médium habría tenido ya docenas de sesiones con extraños sin relación con la familia, y logró entrar como completo desconocido

«A few portions are omitted, partly for brevity, partly because private, but some non-evidential and what may seem rather absurd statements are reproduced, for what they are worth.» — y la regla con que Lodge selecciona, declarando lo que conserva a sabiendas de que le perjudica: omite algo por brevedad y algo por privado, y reproduce afirmaciones no evidenciales y que pueden parecer más bien absurdas, por lo que valgan

«It must be understood that Feda is speaking throughout, and that she is sometimes reporting in the third person, sometimes in the first, and sometimes speaking for herself. It is unlikely that lucidity is constant all the time, and Feda may have to do some padding. She is quite good and fairly careful, but of course, like all controls, she is responsible for certain mannerisms, and in her case for childishly modified names like 'Paulie,' etc.» — la advertencia con que Lodge fija el estatuto de la voz del control a lo largo de todo el registro: habla ella todo el tiempo, a veces reportando en tercera persona, a veces en primera y a veces hablando por sí misma, es improbable que la lucidez sea constante, puede que tenga que rellenar, y como todo control es responsable de ciertos amaneramientos

«The dramatic circumstances of a sitting will be familiar to people of experience. The record tries to reproduce them—probably with but poor success. And it is always possible that the attempt, however conscientious, may furnish opportunity for ridicule, if any hostile critic thinks ridicule appropriate.» — y el reparo que Lodge se hace a sí mismo sobre lo que un registro puede rendir: el intento de reproducir las circunstancias dramáticas de una sesión tiene probablemente poco éxito, y siempre cabe que dé pie al ridículo si algún crítico hostil lo juzga apropiado

«Lionel wrote to Mrs. Leonard at her old address in Warwick Avenue, for I had forgotten that she had moved, and I had not told him her new address. He wrote on plain paper from Westminster without signing it, saying that he would be coming at a certain time. But she did not get the letter; so that, when he arrived about noon on Wednesday, 17 November, he arrived as a complete stranger without an appointment.» — la cadena de accidentes que Lodge consigna porque refuerza el anonimato: la carta fue a la dirección vieja porque él había olvidado la mudanza, iba sin firma y en papel liso, y la médium no la recibió, de modo que el hermano llegó como completo desconocido y sin cita

«He had at first gone to the wrong house and been redirected. Mrs. Leonard answered the door. She took him in at once when he said he wanted a sitting. She drew the blind down, and lit a red lamp as usual. She told him that she was controlled by 'Feda.' Very quickly—in about two minutes—the trance began, and Feda spoke.» — y el protocolo de la sesión tal como Lodge lo describe: la médium abrió la puerta, lo hizo pasar en cuanto dijo que quería una sesión, bajó la persiana y encendió una lámpara roja como de costumbre, le dijo quién la controlaba y en unos dos minutos empezó el trance

«Why, you are psychic yourself! L. L.—I didn't know I was. It will come out later.» — el registro atribuye al control una afirmación sobre el propio asistente que este niega saber, y el aplazamiento con que ella la sostiene

«There are two spirits standing by you; the elder is fully built up, but the younger is not clear yet.» — la fórmula con que el registro reparte los dos comunicantes por su grado de construcción, que es el vocabulario que ese control usa en todo el libro

«He won't let Feda see his face; he is laughing. (Whispered several times.) L, L, L. (Then said out loud.) L. This is not his name; he puts it by you. (Whispering again.) Feda knows him—Raymond. Oh, it's Raymond! (The medium here jumps about, and fidgets with her hands, just as a child would when pleased.) That is why he would not show his face, because Feda would know him.» — la escena que el registro construye alrededor del reconocimiento: el comunicante no deja ver su cara, ríe, se deletrea una letra que no es su nombre, y luego la razón que el control da de aquel ocultamiento

«As far as evidence is concerned, Peters has done well at each of the three sittings any member of my family has had with him since» — el balance que Lodge hace de ese médium en cuanto a evidencia: cree que ha estado bien en las tres sesiones que su familia ha tenido con él; el renglón se corta al pasar de plana

«Raymond's death. On the whole, I think he has done as well as any medium; especially as the abstention from supplying him normally with any identifying information has been strict.» — la continuación con la condición que sostiene ese juicio: tan bien como cualquier médium, sobre todo porque la abstención de darle por vía normal cualquier dato identificador ha sido estricta

«This is the way it is given—it's an impression.» — la fórmula con que el registro declara en un renglón el modo de la transmisión, y que es la reserva que gobierna toda la segunda parte

«He has been trying to come to you at home, but there has been some horrible mix-ups; not really horrible, but a muddle. He really got through to you, but other conditions get through there, and mixes him up.» — lo que el registro atribuye al comunicante sobre los intentos caseros: llegó de veras, pero otras condiciones se cuelan allá y lo enredan

«He does not understand it sufficiently himself yet. Other spirits get in, not bad spirits, but ones that like to feel they are helping. The peculiar manifestations are not him, and it only confuses him terribly. Part of it was him, but when the table was careering about, it was not him at all. He started it, but something comes along stronger than himself, and he loses the control.» — la explicación que el registro atribuye al comunicante sobre los fenómenos de aquellas sesiones caseras, y que reparte la autoría sin adjudicársela entera: otros espíritus se meten, no malos sino de los que gustan de sentir que ayudan, parte era él pero cuando la mesa andaba de un lado a otro no era él en absoluto, porque algo más fuerte que él llega y pierde el control

«Be very firm when it starts to move about. Prayer helps when things are not relevant.» — las dos recetas que el registro atribuye al comunicante para esas sesiones caseras

«He did not look at things in the right pers—perpec—— L. L.—Perspective? Yes, that's what he said.» — la escena en que el control tropieza con una palabra y el asistente se la suple, que el registro conserva tal cual

«Yes. What he principally wanted to say was about the place he is in. He could not spell it all out—too laborious. He felt rather upset at first. You do not feel so real as people do where he is, and walls appear transparent to him now. The great thing that made him reconciled to his new surroundings was—that things appear so solid and substantial. The first idea upon waking up was, I suppose, of what they call 'passing over.' It was only for a second or two, as you count time, [that it seemed a] shadowy vague place, everything vapoury and vague. He had that feeling about it.» — lo que el registro atribuye al comunicante sobre el sitio donde está, con la inversión de lo sólido que será su tesis constante: no pudo deletrearlo todo por laborioso, al principio se sintió trastornado, los vivos no le parecen tan reales como la gente de donde él está, los muros se le ven transparentes, y lo que lo reconcilió con su entorno nuevo fue que las cosas parecen sólidas y sustanciales

«The first person to meet him was Grandfather. (This was said very carefully, as if trying to get it right with difficulty.)» — el primer encuentro que el registro consigna y la acotación sobre el esfuerzo con que fue dicho

«And others then, some of whom he had only heard about. They all appeared to be so solid, that he could scarcely believe that he had passed over.» — la continuación del relato que el registro atribuye al comunicante: otros a quienes solo conocía de oídas, y todos tan sólidos que apenas podía creer que hubiera pasado

«He lives in a house—a house built of bricks—and there are trees and flowers, and the ground is solid. And if you kneel down in the mud, apparently you get your clothes soiled.» — la descripción material que el registro atribuye al comunicante y que el libro imprime sin atenuarla: vive en una casa de ladrillo, hay árboles y flores, el suelo es sólido, y si uno se arrodilla en el lodo se ensucia la ropa

«The thing I don't understand yet is that the night doesn't follow the day here, as it did on the earth plane. It seems to get dark sometimes, when he would like it to be dark, but the time in between light and dark is not always the same. I don't know if you think all this is a bore.» — y lo que el registro le atribuye como no entendido todavía, que es el modo en que ese relato se presenta como indagación y no como revelación: que allí la noche no sigue al día como en el plano terrestre, que a veces oscurece cuando él querría y que el intervalo entre luz y oscuridad no es siempre el mismo

«What I am worrying round about is, how it's made, of what it is composed. I have not found out yet, but I've got a theory. It is not an original idea of my own; I was helped to it by words let drop here and there.» — el registro atribuye al comunicante una pregunta de método sobre su propio entorno y declara la procedencia de su respuesta: no ha averiguado de qué está compuesto pero tiene una teoría, que dice no ser idea original suya sino armada con palabras sueltas oídas aquí y allá

«People who think everything is created by thought are wrong. I thought that for a little time, that one's thoughts formed the buildings and the flowers and trees and solid ground; but there is more than that.» — y la tesis que el registro le atribuye, dada como enmienda de una creencia que él mismo sostuvo: que quienes piensan que todo se crea por el pensamiento se equivocan, porque hay más que eso

«There is something always rising from the earth plane—something chemical in form. As it rises to ours, it goes through various changes and solidifies on our plane. Of course I am only speaking of where I am now. He feels sure that it is something given off from the earth, that makes the solid trees and flowers, etc. He does not know any more. He is making a study of this, but it takes a good long time.» — la teoría que el registro atribuye al comunicante sobre la materia de su entorno, dada como estudio en curso: algo de forma química sube siempre del plano terrestre, cambia al ascender y se solidifica en el suyo, y de ahí saldrían los árboles y las flores sólidos

«Not always. Only those wishing to see him, and who it would be right for him to see. Then he sees them before he has thought.» — la condición que el registro pone al encuentro con los vivos: solo aquellos que desean verlo y a quienes sería justo que viera

«I don't seem to wish for anything. He does not wish to see anybody unless they are going to be brought to him. I am told that I can meet anyone at any time that I want to; there is no difficulty in the way of it. That is what makes it such a jolly fine place to live in.» — lo que el registro atribuye al comunicante sobre su propio deseo y su libertad de movimiento, con la contradicción aparente dejada a la vista: dice no desear nada y que le dicen que puede encontrar a quien quiera cuando quiera

«That is part of his work, but there are others doing that; the greatest amount of his work is still at the war. I've been home—only likely I've been home—but my actual work is at the war. He has something to do with father, though his work still lies at the war, helping on poor chaps literally shot into the spirit world.» — y el reparto de su trabajo que el registro le atribuye: ayudar a los de aquí es parte, pero el grueso sigue en la guerra, socorriendo a los pobres muchachos disparados literalmente al mundo espiritual

«He thinks sometimes that he can, but it's not easy to predict. I don't think that I really know any more than when on earth.» — la respuesta que el registro atribuye al comunicante sobre su propia previsión, y que rebaja la expectativa: cree que a veces puede, no es fácil predecir, y no piensa saber en realidad más que cuando estaba en la tierra

«There are better prospects for the war. On all sides now more satisfactory than it has been before. This is not apparent on the earth plane, but I feel more ... the surface, and more satisfied than before.» — lo que el registro atribuye al comunicante sobre el curso de la guerra, con la salvedad de que no es aparente en el plano terrestre

«I can't help feeling intensely interested. I believe we have lost Greece, and am not sure that it was not due to our own fault. We have only done now what should have been done months ago.» — y el juicio político que el registro le atribuye sobre Grecia, con el reparto de culpa dentro: cree que la han perdido y no está seguro de que no fuera por culpa propia, porque solo ahora se ha hecho lo que debió hacerse meses atrás

«All agree that Russia will do well right through the winter. They are going to show what they can do. They are used to their ground and winter conditions, and Germany is not. There will be steady progress right through the winter.» — la previsión que el registro atribuye a los del otro lado sobre el invierno ruso, con su razón: están hechos a su terreno y a las condiciones de invierno y Alemania no

«Some of the piffling things I used to be interested in, I have forgotten all about. There is such a lot to be interested in here. I realise the seriousness sometimes of this war.... It is like watching a most interesting race or game gradually developing before you. I am doing work in it, which is not so interesting as watching.» — lo que el registro atribuye al comunicante sobre su propio cambio de intereses y sobre la guerra, con la comparación que la vuelve espectáculo: ha olvidado las nimiedades que le interesaban, a veces advierte la gravedad de la guerra y es como ver desarrollarse una carrera o un juego interesantísimo, en el que su trabajo le resulta menos interesante que mirar

«H. is helping him in a psychic way; she makes it easy for him. He doesn't think he need tell father anything, he is so certain in himself meaning Raymond, in spite of silly mistakes. It disappoints him. We must separate out the good from the bad, and not try more than one form; not the jig—jig» — el registro atribuye al comunicante una instrucción sobre las sesiones caseras que reconoce los errores: hay que separar lo bueno de lo malo y no probar más de una forma

«Just go very easily, only let one person speak, as he has said before. It can be H. or L. L. Settle on one person to put the questions, the different sound of voices confuses him, and he mixes it up with questions from another's thoughts. In time he hopes it will be not so difficult. He wouldn't give it up, he loves it. Don't try more than twice a week, perhaps only once a week. Try to keep the same times always, and to the same day if possible.» — el protocolo doméstico que el registro atribuye al comunicante y que enumera sus propias dificultades: que hable una sola persona, porque los distintos timbres de voz lo confunden y mezcla las preguntas con los pensamientos de otro, no más de dos veces por semana y a la misma hora y el mismo día si se puede

«Give my love to them all. Tell them I am very happy. Very well, and plenty to do, and intensely interested. I did suffer from shock at first, but I'm extremely happy now.» — la despedida que el registro atribuye al comunicante, con la conmoción inicial admitida dentro: sufrió de choque al principio y ahora dice estar sumamente feliz

«She builds up an L. Not like the description when she was on earth. Very little earth life. She is related to you. She has grown up in the spirit life.» — lo que el registro atribuye al control sobre la segunda comunicante: una letra, el aviso de que no es como la descripción de cuando estuvo en la tierra porque tuvo muy poca vida terrestre, y que creció en la vida espiritual

«Give her love to them at home, but also principally to mother. And say that she and her brother, not Raymond, have been also to the sittings at home.» — y el mensaje que el registro le atribuye, que toca a las sesiones caseras y nombra a otro hermano distinto del comunicante principal

«She is giving his name. She gives it in such a funny way, as if she was writing, so—— She wrote an N, then quickly changed it into a W.» — la escena en que el registro consigna cómo se da una letra, con la corrección hecha a la vista y sin que el libro decida cuál era

«A FEW things may be reported from a sitting which Lady Lodge had with Mrs. Leonard on 26 November, however absurd they may seem. They are of course repeated by the childish control Feda, but I do not by that statement of bare fact intend to stigmatise them in any way. Criticism of unverifiable utterances seems to me premature.» — Lodge declara el estatuto de lo que va a citar y se abstiene de juzgarlo, que es su posición sobre todo lo no verificable: lo reportará por absurdo que parezca, lo repite el control infantil, y con ese solo hecho no pretende estigmatizarlo, porque criticar enunciados no verificables le parece prematuro

«The sitting began without preliminaries as usual. It is not a particularly good one, and the notes are rather incomplete, especially near the end of the time, when Feda seemed to wander from the point, and when rather tedious descriptions of people began. These are omitted.» — y la calidad que Lodge atribuye a esa misma sesión, sin adornarla: no es particularmente buena, las notas están incompletas sobre todo hacia el final, cuando el control pareció apartarse del asunto, y omite las descripciones tediosas de personas

«Mother darling, I am so happy, and so much more so because you are.» — lo que el registro atribuye al comunicante al abrir esa sesión, con la reciprocidad puesta en el centro

«He says he is sorry he worried his mother about» — la enmienda que el registro atribuye al comunicante sobre algo dicho en una sesión anterior; el volumen omite el incidente entre corchetes

«He wants to strike a bargain with you. He says, "If I come there, there must be no sadness. I don't want to be a ghost at the feast. There mustn't be one sigh. Please, darling, keep them in order, rally them up. Don't let them. If they do, I shall have the hump.» — el trato que el registro atribuye al comunicante para la Navidad, con la condición puesta por él: que no haya tristeza porque no quiere ser el fantasma en el festín, y que no se oiga un suspiro

«They are all man-u-fac-tured. [Feda stumbling over long words.» — la respuesta del registro sobre la procedencia de la ropa, impresa con el tropiezo silábico del control tal como se transcribió

«Can you fancy you seeing me in white robes? Mind, I didn't care for them at first, and I wouldn't wear them. Just like a fellow gone to a country where there is a hot climate—an ignorant fellow, not knowing what he is going to; it's just like that. He may make up his mind to wear his own clothes a little while, but he will soon be dressing like the natives. He was allowed to have earth clothes here until he got acclimatised; they let him; they didn't force him. I don't think I will ever be able to make the boys see me in white robes.» — la explicación que el registro atribuye al comunicante sobre su propia ropa, con el símil del recién llegado a un país cálido: no las quiso al principio, le dejaron conservar ropas terrestres hasta aclimatarse sin forzarlo, y duda de que los hermanos lleguen nunca a verlo de blanco

«He says he comes and sees you in bed. The reason for that is the air is so quiet then. You often go up there in the spirit-land while your body is asleep.» — y la doctrina del sueño que el registro atribuye al comunicante: va a verla de noche porque el aire está quieto, y ella sube a menudo en espíritu mientras su cuerpo duerme

«William and Lily come to play with Raymond. Lily had gone on, but came back to be with Raymond.» — los dos nombres que el registro da como acompañantes del comunicante, que la acotación de Lodge identifica como un hermano y una hermana muertos de párvulos

«Do you know we sometimes have to prepare answers a little before we transmit them; it is a sort of mental effort to give answers through the table. When they say, do you ask, we begin to get ready to speak through the table. Write down a few questions and keep to them.» — y la descripción de la transmisión que el registro pone en boca del comunicante: a veces han de preparar las respuestas un poco antes, porque darlas por la mesa es una suerte de esfuerzo mental, y en cuanto se anuncia una pregunta empiezan a disponerse

«In all these 'Feda' sittings, the remarks styled sotto voce represent conversation between Feda and the communicator, not addressed to the sitter at all. I always try to record these scraps when I can overhear them; for they are often interesting, and sometimes better than what is subsequently reported as the result of the brief conversation.» — Lodge explica una convención de su registro y por qué la conserva: lo marcado como dicho en voz baja es conversación entre el control y el comunicante, no dirigida al asistente, y él trata siempre de anotarlo porque a menudo resulta interesante y a veces mejor que lo reportado después

«For she appears to be uttering under her breath not only her own question or comment, but also what she is being told; and sometimes names are in that way mentioned correctly, when afterwards she muddles them. For instance, on one occasion she said sotto voce, "What you say? Rowland?" (in a clear whisper); and then, aloud, "He says something like Ronald." Whereas in this case 'Rowland' proved to be correct.» — y el ejemplo con que Lodge muestra lo que gana con esa convención: el control murmura no solo su pregunta o comentario sino lo que le dicen, de modo que a veces un nombre sale bien en el murmullo y se enreda al decirlo en voz alta

«The dramatically childlike character of Feda seems to carry with it a certain amount of childish irresponsibility. Raymond says that he "has to talk to her seriously about it sometimes.» — la caracterización que Lodge hace del control y lo que el registro añade sobre ella: su carácter dramáticamente infantil parece traer consigo cierta irresponsabilidad de niño, y el comunicante dice tener que hablarle en serio a veces

«A few other portions, not about the photograph, are included in the record of this sitting, some of a very non-evidential and perhaps ridiculous kind, but I do not feel inclined to suppress them. (For reasons, see Chapter XII.) Some of them are rather amusing.» — Lodge declara que conserva lo no evidencial y acaso ridículo, y remite a su propia justificación: no se siente inclinado a suprimirlo

«Unverifiable statements have hitherto been generally suppressed, in reporting Piper and other sittings; but here, in deference partly to the opinion of Professor Bergson— who when he was in England urged that statements about life on the other side, properly studied, like travellers' tales, might ultimately furnish proof more logically cogent than was possible from mere access to earth memories—they are for the most part reproduced.» — Lodge nombra la autoridad en que se apoya para publicar lo no verificable y consigna el argumento de esa autoridad: hasta entonces se suprimía, y en deferencia en parte a Bergson, que urgió que los relatos sobre la vida del otro lado, estudiados debidamente como relatos de viajeros, podrían al cabo dar prueba más cogente que el mero acceso a memorias terrestres, los reproduce casi todos

«I should think, myself, that they are of very varying degrees of value, and peculiarly liable to unintentional sophistication by the medium. They cannot be really satisfactory, as we have no means of bringing them to book.» — y el juicio propio con que Lodge los acota en la misma frase: los cree de valor muy desigual y peculiarmente expuestos a deformación involuntaria por el médium, y sostiene que no pueden ser de veras satisfactorios porque no hay modo de contrastarlos

«The difficulty is that Feda encounters many sitters, and though the majority are just inquirers, taking what comes and saying very little, one or two may be themselves full of theories, and may either intentionally or unconsciously convey them to the 'control'; who may thereafter retail them as actual information, without perhaps being sure whence they were derived.» — la vía de contaminación que Lodge describe y que va contra su propio material: el control ve a muchos asistentes, la mayoría indaga y dice poco, pero uno o dos pueden estar llenos de teorías y transmitírselas intencionadamente o sin querer, y él puede devolverlas después como información sin estar seguro de dónde salieron

«Yes, tell her, because (etc. etc.). When I thought it over I knew it was a mistake. If it had been now, and I had a little more experience in control, I should not have said so; but it was at the beginning— everything seemed such a rush—and I was not quite sure of what I did get through.» — la razón de esa enmienda, en boca del comunicante: de haber tenido más experiencia en el control no lo habría dicho, porque al principio todo parecía una carrera y no estaba seguro de lo que transmitía; los paréntesis de omisión son del propio volumen

«Get some sittings soon, so as to get into full swing by Christmas. Tell» — la instrucción del registro sobre la frecuencia de las sesiones antes de la Navidad; el renglón se corta al pasar de plana

«them when they get him through, and he says, "Raymond," tell them to go very easily, and not to ask too many questions. Questions want thinking out beforehand. They are not to talk among themselves, because then they get part of one thing and part of another. And not to say, "No, don't ask him that," or he gets mixed.» — la continuación con las instrucciones que el registro atribuye al comunicante y que describen sus propias dificultades: ir despacio, no hacer demasiadas preguntas, pensarlas de antemano, no hablar entre ellos y no desdecirse en voz alta de una pregunta, porque se confunde

«This is a long record, because I took verbatim notes, but I propose to inflict it all upon the reader, in accordance with promise to report unverifiable and possibly absurd matter, just as it comes, and even to encourage it.» — Lodge declara la promesa que cumple al transcribir entera esa sesión: reportar la materia no verificable y acaso absurda tal como viene, y aun alentarla

«He is waiting; he's looking very pleased. He's awful anxious to tell you about the place where he lives; he doesn't understand yet how it looks so solid.» — lo que el registro atribuye al control sobre el comunicante y su asunto favorito: no entiende todavía cómo el lugar donde vive se ve tan sólido

«There are times you do go there, but you won't remember. They have all been over with him at night-time, and so have you, but he thought it very hard you couldn't remember. If you did, he is told (he doesn't know it himself, but he is told this), the brain would scarcely bear the burden of the double existence, and would be unfitted for its daily duties; so the memory is shut out. That is the explanation given to him.» — la doctrina del olvido que el registro atribuye al comunicante, con la cadena de atribución marcada dos veces: dice que le han dicho, porque él no lo sabe, que si recordaran el cerebro apenas soportaría la carga de la doble existencia y quedaría inútil para los deberes diarios, y por eso la memoria queda cerrada

«(Feda, sotto voce.—What, Raymond? Al—lec, he says, Al—lec, Al— lec.)» — el murmullo entre el control y el comunicante que el registro conserva, y que muestra el nombre formándose antes de decirse en voz alta

«And he also hopes to be able to talk to Lionel with the direct voice; not here, he says, but somewhere else. He is very anxious to speak to him. Through a chap, he says, a direct voice chap. O. J. L.—Very well, I will take the message. Well, he says, he wants to try once or twice. He wants to be able to say what he says to Feda in another way. He thinks he could get through in his own home sometime. He would much rather have it there. And he thinks that if he got through once or twice with direct voice, he might be able to do better in his own home.» — lo que el registro atribuye al comunicante sobre otros canales que quiere probar: hablar con voz directa por otro médium, no allí, y luego lograrlo mejor en su propia casa

«He really has got through at home; but silly spirits wanted to have a game. There was a strange feeling there; he didn't seem to know how much he was doing himself, so he stood aside part of the time.» — y el reparto de autoría que el registro le atribuye sobre lo ocurrido en casa, con la abstención dentro: llegó de veras, pero unos espíritus tontos quisieron divertirse, había allí una sensación extraña y no sabía cuánto hacía él, de modo que se apartó parte del tiempo

«He says it was only curiosity; but he likes to feel that he can look up anybody. But he says, if they take no notice, I shall give up soon, only I just like to see what it feels like to be looking at them from where I am.» — el motivo que el registro atribuye al comunicante para buscar a un conocido, dicho sin adorno: solo curiosidad, y el gusto de sentir que puede buscar a cualquiera y ver qué se siente al mirarlos desde donde está

«He says, my body's very similar to the one I had before. I pinch myself sometimes to see if it's real, and it is, but it doesn't seem to hurt as much as when I pinched the flesh body. The internal organs don't seem constituted on the same lines as before. They can't be quite the same. But to all appearances, and outwardly, they are the same as before. I can move somewhat more freely, he says.» — la descripción del cuerpo que el registro atribuye al comunicante, con la prueba casera que dice hacerse: se pellizca para ver si es real y lo es, aunque no duele tanto como la carne, los órganos internos no pueden estar constituidos igual, y por fuera es el mismo

«Oh, there's one thing, he says, I have never seen anybody bleed. O. J. L.—Wouldn't he bleed if he pricked himself? He never tried it. But as yet he has seen no blood at all.» — la observación que el registro atribuye al comunicante y la respuesta con que acota su propio alcance: nunca ha visto sangrar a nadie, y preguntado si sangraría al pincharse, dice que no lo ha probado

«Yes, yes, and eyelashes, and eyebrows, exactly the same, and a tongue and teeth. He has got a new tooth now in place of another one he had—one that wasn't quite right then. He has got it right, and a good tooth has come in place of the one that had gone.» — el inventario de partes que el registro atribuye al comunicante, con el detalle del diente nuevo en lugar de uno que no estaba bien

«He knew a man that had lost his arm, but he has got another one. Yes, he has got two arms now. He seemed as if without a limb when first he entered the astral, seemed incomplete, but after a while it got more and more complete, until he got a new one. He is talking of people who have lost a limb for some years.» — y el caso del miembro perdido que el registro atribuye al comunicante, con el proceso descrito: parecía incompleto al entrar en lo que llama lo astral y se fue completando hasta tener uno nuevo

«Some books, moreover, have been published of late, purporting to give information about ill-understood things in a positive» — la segunda vía de contaminación que Lodge señala: libros publicados últimamente que pretenden informar de cosas mal entendidas; el renglón se corta al pasar de plana

«and assured manner, and it is possible that the medium has read these and may be influenced by them. It will be regrettable if these books are taken as authoritative by people unable to judge of the scientific errors which are conspicuous in their more normal portions; and the books themselves seem likely to retard the development of the subject in the minds of critical persons.» — la continuación con el reparo que Lodge pone a esa literatura: el médium puede haberlos leído y ser influido, lamentaría que se tomaran por autoritativos por quien no puede juzgar los errores científicos conspicuos de sus partes más normales, y le parecen capaces de retrasar el desarrollo del asunto ante las personas críticas

«blown to pieces, it takes some time for the spirit-body to complete itself, to gather itself all in, and to be complete. It dissipated a certain amount of substance which is undoubtedly theric, theric—etheric, and it has to be concentrated again. The spirit isn't blown apart, of course, —he doesn't mean that,—but it has an effect upon it. He hasn't seen all this, but he has been inquiring because he is interested.» — lo que el registro atribuye al comunicante sobre los cuerpos destrozados, con la corrección que él mismo hace y la procedencia de su saber: el cuerpo espiritual tarda en completarse porque disipó una sustancia que llama etérica y hay que concentrarla de nuevo, aunque aclara que el espíritu no queda deshecho, y dice no haberlo visto sino haber preguntado por interés

«Oh, if they get burnt by accident, if they know about it on this side, they detach the spirit first. What we call a spirit-doctor comes round and helps. But bodies should not be burnt on purpose. We have terrible trouble sometimes over people who are cremated too soon; they shouldn't be. It's a terrible thing; it has worried me.» — la doctrina de la cremación que el registro atribuye al comunicante: si el fuego es accidental y allí lo saben, desprenden antes el espíritu con ayuda de lo que llama un médico espiritual, pero sostiene que los cuerpos no deberían quemarse a propósito y que a veces hay trastorno grande con los cremados demasiado pronto

«When it goes bad, the spirit is already out. If that much (indicating a trifle) of spirit is left in the body, it doesn't start mortifying. It is the action of the spirit on the body that keeps it from mortifying. When you speak about a person 'dying upwards,' it means that the spirit is getting ready and gradually getting out of the body.» — la doctrina que el registro atribuye al comunicante sobre la corrupción del cuerpo, que invierte el orden esperado: la putrefacción señala que el espíritu ya salió, porque es la acción del espíritu sobre el cuerpo lo que la impide

«He saw the other day a man going to be cremated two days after the doctor said he was dead. When his relations on this side heard about it, they brought a certain doctor on our side, and when they saw that the spirit hadn't got really out of the body, they magnetised it, and helped it out. But there was still a cord, and it had to be severed rather quickly, and it gave a little shock to the spirit, like as if you had something amputated; but it had to be done. He believes it has to be done in every case.» — el caso que el registro atribuye al comunicante como visto: un hombre que iba a ser cremado dos días después de declarado muerto, los suyos trayendo a un médico del otro lado, el espíritu magnetizado y sacado, y un cordón que hubo que cortar de prisa dándole un pequeño choque

«He doesn't mean that a spirit-body comes out of its own body, but an essence comes out of the body—oozes out, he says, and goes into the other body which is being prepared. Oozes, he says, like in a string. String, that's what he say. Then it seems to shape itself, or something meets it and shapes round it. Like as if they met and went together, and formed a duplicate of the body left behind.» — y la mecánica que el registro le atribuye con la palabra que el propio control repite: no es que un cuerpo espiritual salga de su cuerpo, sino que una esencia rezuma como en un hilo y pasa al otro cuerpo que se prepara, que luego se moldea hasta formar un duplicado del que queda atrás

«Yes, he says, they didn't force me, but most of the people here wear white robes.» — la respuesta del registro sobre la ropa, que concede la libertad y consigna a la vez la costumbre del lugar

«There are men here, and there are women here. I don't think that they stand to each other quite the same as they did on the earth plane, but they seem to have the same feeling to each other, with a different expression of it. There don't seem to be any children born here. People are sent into the physical body to have children on the earth plane; they don't have them here.» — lo que el registro atribuye al comunicante sobre los sexos en su entorno, con la distinción hecha a tientas: hay hombres y hay mujeres, no cree que estén el uno al otro como en el plano terrestre pero parecen tener el mismo sentimiento con expresión distinta, y allí no nacen niños

«He says he doesn't want to eat now. But he sees some who do; he says they have to be given something which has all the appearance of an earth food. People here try to provide everything that is wanted.» — lo que el registro atribuye al comunicante sobre la comida, con la distinción entre él y otros: él no quiere comer, pero ve a quienes sí, y a esos se les da algo con toda la apariencia de un alimento terrestre

«A chap came over the other day, would would have a cigar. "That's finished them," he thought. He means he thought they would never be able to provide that. But there are laboratories over here, and they manufacture all sorts of things in them. Not like you do, out of solid matter, but out of essences, and ethers, and gases. It's not the same as on the earth plane, but they were able to manufacture what looked like a cigar.» — el episodio del puro que el registro atribuye al comunicante, con los laboratorios del otro lado descritos por contraste con los de aquí: no fabrican con materia sólida sino con esencias, éteres y gases; el troceo duplica una palabra y así se conserva

«He didn't try one himself, because he didn't care to; you know he wouldn't want to. But the other chap jumped at it. But when he began to smoke it, he didn't think so much of it; he had four altogether, and now he doesn't look at one.» — y el desenlace de ese episodio, que el registro presenta como pérdida gradual del gusto: cuatro puros y ya no lo mira

«They don't seem to get the same satisfaction out of it, so gradually it seems to drop from them. But when they first come they do want things. Some want meat, and some strong drink; they call for whisky sodas. Don't think I'm stretching it, when I tell you that they can manufacture even that.» — lo que el registro atribuye al comunicante sobre los apetitos de los recién llegados, con la salvedad con que él mismo se adelanta a la incredulidad: algunos piden carne y otros bebida fuerte, y pide que no crean que exagera al decir que hasta eso pueden fabricarlo

«It's a terrible thing; it has worried me. People are so» — el reproche que el registro atribuye al comunicante sobre el descuido de los vivos con los cuerpos; el renglón se corta al pasar de plana

«careless. The idea seems to be—"hurry up and get them out of the way now that they are dead." Not until seven days, he says. They shouldn't be cremated for seven days.» — la continuación con la prisa que el comunicante atribuye a los vivos y el plazo que pide: no antes de siete días

«But there's a feeling of love between men» — la gradación de afectos que el registro atribuye al comunicante; el renglón se corta al pasar de plana

«and women here which is of a different quality to that between two men or two women; and husband and wife seem to meet differently from mother and son, or father and daughter.» — la continuación: un amor entre hombre y mujer de cualidad distinta del que hay entre dos hombres o dos mujeres, y un encuentro distinto entre esposos que entre madre e hijo o padre e hija

«He wants people to realise that it's just as natural as on the earth plane.» — la fórmula que el registro atribuye al comunicante y que resume su descripción entera del otro lado: que la gente comprenda que es tan natural como en el plano terrestre

«That's what he hasn't found out yet. He is told by some, who he doesn't think would lead him astray, that they are made from sort of emanations from the earth. He says there's something rising, like atoms rising, and consolidating after they come; they are not solid when they come, but we can collect and concentrate them—I mean those that are with me. They appear to be bricks, and when I touch them, they feel like bricks; and I have seen granite too.» — lo que el registro atribuye al comunicante sobre la materia de los ladrillos, con la procedencia declarada y la reserva sobre su fuente: se lo dicen algunos que no cree que lo extravíen, y habla de átomos que suben y se consolidan y que él y los suyos pueden reunir y concentrar

«There's something perpetually rising from your plane; practically invisible—in atoms when it leaves your plane—but when it comes to the ether, it gains certain other qualities round each atom, and by the time it reaches us, certain people take it in hand, and manufacture solid things from it. Just as you can manufacture solid things.» — y la teoría entera que el registro le atribuye: algo sube perpetuamente del plano de los vivos, prácticamente invisible y en átomos, gana ciertas cualidades al llegar al éter, y allí hay quien lo toma y fabrica cosas sólidas con ello

«All the decay that goes on on the earth plane is not lost. It doesn't just form manure or dust. Certain vegetable and decayed tissue does form manure for a time, but it gives off an essence or a gas, which ascends, and which becomes what you call a 'smell.' Everything dead has a smell, if you notice; and I know now that the smell is of actual use, because it is from that smell that we are able to produce duplicates of whatever form it had before it became a smell.» — la doctrina del olor que el registro atribuye al comunicante y que es la parte más citada de este libro: lo que se pudre da una esencia o gas que asciende y se vuelve lo que llamamos olor, y de ese olor se producen allí duplicados de la forma que tuvo antes

«Old rags, he says (sotto voce.—Yes, all right, Feda will go back), cloth decaying and going rotten. Different kinds of cloth give off different smells—rotting linen smells different to rotting wool. You can understand how all this interests me. Apparently, as far as I can gather, the rotting wool appears to be used for making things like tweeds on our side. But I know I am jumping, I'm guessing at it.» — y la aplicación que el registro le atribuye con su propia reserva dentro: distintas telas al pudrirse dan olores distintos, y de la lana podrida saldría allí algo como los casimires, aunque dice que está saltando y adivinando

«Some people here won't take this in even yet—about the material cause of all these things. They go talking about spiritual robes made of light, built by the thoughts on the earth plane. I don't believe it. They go about thinking that it is a thought robe that they're wearing, resulting from the spiritual life they led; and when we try to tell them that it is manufactured out of materials, they don't believe it. They say, "No, no, it's a robe of light and brightness which I manufactured by thought." So we just leave it.» — el desacuerdo dentro del otro lado que el registro atribuye al comunicante y que el libro consigna sin armonizar: algunos hablan de túnicas espirituales hechas de luz y construidas por los pensamientos, y él no lo cree; cuando les dicen que se fabrican con materiales no lo aceptan, y los dejan

«But I don't say that they won't get robes quicker when they have led spiritual lives down there; I think they do, and that's what makes them think that they made the robes by their lives.» — y la concesión con que el comunicante acota su propia objeción: no dice que no obtengan las túnicas más pronto quienes llevaron vidas espirituales, cree que sí, y supone que eso es lo que les hace pensar que las hicieron con sus vidas

«You know flowers, how they decay. We have got flowers here; your decayed flowers flower again with us—beautiful flowers. Lily has helped me a lot with flowers.» — la aplicación de esa misma doctrina a las flores, con el nombre de quien lo guía en ello

«He says he's afraid he wasn't very polite to her when he met her at first; he didn't expect a grown-up sister there. Am I a little brother, he said, or is she my little sister? She calls me her little brother, but I have a decided impression that she should be my little sister.» — el desconcierto de parentesco que el registro atribuye al comunicante y que el libro no resuelve: no esperaba una hermana ya crecida, y aunque ella lo llama hermano menor él tiene la impresión decidida de que debería ser al revés

«But he says, no earth life at all! That's what's strange. I've seen some one that I am told is a brother, but I can't be expected to recognise him, can I? I feel somehow closer to Lily than I do to that one. By and by I will get to know him, I dare say.» — lo que el registro atribuye al comunicante sobre ese hermano sin vida terrestre, con la reserva de reconocimiento dentro: no puede esperarse que lo reconozca y se siente más cerca de la hermana

«Yes, he sees the stars. The stars seem like what they did, only he feels closer to them. Not really closer, but they look clearer; not appreciably closer, he says.» — la respuesta que el registro atribuye al comunicante sobre las estrellas, con la corrección hecha a la vista: se siente más cerca de ellas, aunque no realmente más cerca sino que se ven más claras

«There's one more mystery to him yet, it doesn't seem day and night quite by regular turns, like it did on the earth.» — y el punto que el registro consigna como misterio no resuelto para el comunicante: que el día y la noche no se alternen con regularidad como en la tierra

«Yes, he sees the sun; but it seems always about the same degree of warmth, he doesn't feel heat or cold where he is. The sun doesn't make him uncomfortably hot. That is not because the sun has lost its heat, but because he hasn't got the same body that sensed the heat.» — la explicación que el registro atribuye al comunicante sobre el calor, y que desplaza la causa del sol al cuerpo: no siente calor ni frío, no porque el sol haya perdido su calor sino porque él no tiene el cuerpo que lo sentía

«Is it possible, he says, that he has got another brother— one that didn't live at all?» — la pregunta que el registro atribuye al comunicante sobre un segundo hermano, precedida por el murmullo en que el control le lleva la contraria

«Yes, he and Paulie had a scuffle. Paulie was singing first, and Yaymond thought he would like to sing too, so he chipped in at the end. He sang about three verses. It wasn't difficult, because there was a good deal of power there. Also nobody except Mrs. Kathie knew who he was, and so all eyes were not on him, and they were not expecting it, and that made it easier for him. He says it wasn't so difficult as keeping up a conversation; he just took the organs there, and materialised his own voice in her throat. He didn't find it very difficult, he hadn't got to think of anything, or collect his ideas; there was an easy flow of words, and he just sang.» — el episodio del canto que el registro atribuye al comunicante, con las condiciones que él mismo dice haberlo facilitado: que nadie salvo una persona supiera quién era, que no lo esperaran y que no todas las miradas estuvieran sobre él; explica que tomó los órganos y materializó su propia voz en la garganta de la médium

«And I did sing, he says; I thought I'd nearly killed the medium. She hadn't any voice at all after. When he heard himself that he had really got it, he had to let go. Raised the roof, he says, and he did enjoy it!» — y el efecto que el registro le atribuye sobre la médium, dicho con la jactancia dentro: creyó haberla casi matado, se quedó sin voz, y él disfrutó

«I don't know yet. I feel divided between two ways: One is to give you objective proof, such as simple materialisations and direct voice, which you can set down and have attested. Or else I should have to give you information about my different experiences here, either something like what I am doing now, or through the table, or some other way. But he doesn't know whether he will be able to do the two things together.» — la respuesta que el registro atribuye al comunicante sobre qué clase de prueba dar, planteada como dilema: o prueba objetiva, materializaciones simples y voz directa que puedan atestiguarse, o información sobre sus experiencias, y duda de poder hacer ambas cosas a la vez

«I want to study things here a lot. Would you think it selfish if I say I wouldn't like to be back now?—I wouldn't give this up for anything. Don't think it selfish, or that I want to be away from you all. I have still got you, because I feel you so close, closer even. I wouldn't come back, I wouldn't for anything that anyone could give me.» — lo que el registro atribuye al comunicante sobre su propio deseo de no volver, con el cuidado de que no se lea como desapego: pide que no lo tengan por egoísta, dice seguir teniéndolos porque los siente cerca, y que no volvería por nada

«He says he thinks he was lucky when he passed on, because he had so many to meet him. That came, he knows now, through your having been in with this thing for so long. He wants to impress this on those that you will be writing for: that it makes it so much easier for them if they and their friends know about it beforehand. It's awful when they have passed over and won't believe it for weeks,—they just think they're dreaming.» — la tesis práctica que el registro atribuye al comunicante y que es la que el libro quiere servir: se tuvo por afortunado porque muchos lo recibieron, y eso vino del trato del padre con el asunto, de modo que a quienes lo saben de antemano les resulta mucho más fácil

«He doesn't mind telling you now that, just at first, when he woke up, he felt a little depression. But it didn't last long. He cast his eyes round, and soon he didn't mind. But it was like finding yourself in a strange place, like a strange city; with people you hadn't seen, or not seen for a long time, round you.» — y la depresión inicial que el registro le atribuye, dicha ahora y no antes: duró poco, y fue como hallarse en un lugar extraño, una ciudad extraña, con gente no vista o no vista en mucho tiempo alrededor

«Grandfather was with me straight away; and presently Robert. I got mixed up between two Roberts. And there's some one called Jane comes to him, who calls herself an aunt, he says. Jane. He's uncertain about her. Jane—Jennie. She calls herself an aunt; he is told to call her 'Aunt Jennie.' Is she my Aunt Jennie?» — la confusión de nombres que el registro conserva en boca del comunicante: se enredó entre dos Robertos, y de una que se dice tía no está seguro

«When he comes into contact with the earth plane, and is manifesting, then he feels a little cold or warm—at least he does when a medium is» — la condición en que el registro dice que el comunicante sí siente temperatura, al manifestarse; el renglón se corta al pasar de plana

«present—not when he comes in the ordinary way just to look round.» — la continuación: no cuando viene del modo ordinario solo a mirar alrededor

«Yes, that's why he has been collecting information. He does so want to encourage people to look forward to a life they will certainly have to enter upon, and realise that it is a rational life. All this that he has been giving you now, and that I gave to Lionel, you must sort out, and put in» — el propósito que el registro atribuye al comunicante para esa información: animar a la gente a mirar hacia una vida en la que ciertamente entrará y ver que es una vida racional; el renglón se corta al pasar de plana

«order, because I can only give it scrappily.» — y la tarea que encarga al padre en la plana siguiente: ordenar lo que él solo puede dar a retazos

«It's surprising how many people come up to me, he says, and shake me by the hand, and speak to me. I don't know them from Adam. (Sotto voce.—Adam, he say.) But they are doing me honour here, and some of them are such fine men. He doesn't know them, but they all seem to be interested in you, and they say, "Oh, are you his son?— how-do-you-do?» — la escena que el registro atribuye al comunicante y que toca a la fama del padre: mucha gente que no conoce lo saluda y le hace honor, y le pregunta si es su hijo

«The conclusion of sittings is seldom of an evidential character, and by most people would not be recorded; but occasionally it may be best to quote one completely, just as a specimen of what may be called the 'manner' of a sitting.» — la razón por la que Lodge transcribe también el cierre de una sesión: rara vez tiene carácter evidencial y casi nadie lo registraría, pero conviene a veces citar una entera como muestra de lo que llama la manera de una sesión

«I have been here such a long time, please tell father I am here— Raymond.» — la escritura automática del 17 de diciembre de 1915, firmada con el nombre como todas las de esa sesión

«Father, it was difficult to say all one felt, but now I don't care. I love you. I love you intensely. Father, please speak to me.» — lo que esa escritura da como dicho por el comunicante sobre lo que en vida no dijo: era difícil decir todo lo que uno sentía y ahora no le importa

«I know. I shall be there; keep jolly or it hurts me horribly. Truly, I know it is difficult, but you must know by now that I am so splendid. I shall never be one instant out of the house on Christmas Day.» — la petición de la Navidad que la escritura atribuye al comunicante, con el daño que dice recibir de la tristeza ajena

«I have spoken, but I will speak again, if you keep quiet (meaning K. K.). Do cease to think, or you are useless. Tell Lodge I can't explain half his boy is to me. I feel as if I had my own dearly loved son here, yet I know he is only lent to me.» — lo que la escritura da como dicho por ese mismo comunicante sobre la escribiente y sobre el muchacho: que deje de pensar o es inútil, y que no puede explicar lo que el hijo de Lodge significa para él, como si tuviera un hijo propio muy amado aunque sabe que solo se lo prestan

«Pardon me if I rarely use you (to K. K.); I can't stand the way you bother."—Myers. K. K.—Do you mean the way I get nervous if I am taking a message from you? "Yes, I do.» — y el reproche que la escritura pone en boca de ese comunicante a la propia escribiente, con la pregunta de ella y la respuesta seca

«I have brought Mr. Myers. He says he doesn't often come to use this means, but he wants to speak for a moment. "Get free and go on," he says. "Don't let them trammel you. Get at it,» — lo que la escritura da como traído por el comunicante y dicho por Myers, en forma de instrucción breve al propio Lodge; el renglón se corta al pasar de plana

«Lodge."—Myers. He has gone, tell my father.» — el remate de esa instrucción con la firma, y la línea con que la escritura vuelve a la voz del hijo

«Yes, I know you have the photograph.» — la respuesta que la escritura da sobre la fotografía ya recibida

«I hear, father; I shall look, but I think you have had the one I want you to have; I have seen you looking at it. I have heard all that father has said. It is ripping to come like this. Tell my father I have enjoyed it.» — y lo que la escritura atribuye al comunicante sobre las otras copias, con la reserva dentro: mirará, pero cree que ya tienen la que él quiere que tengan, y dice haberlos visto mirarla

«Have you been let to see Christ?» — la pregunta que Lodge llama seria y que plantea dentro de la escritura, y que es la única de ese orden en todo el libro

«Father, I shall see him presently. It is not time yet. I am not ready. But I know he lives, and I know he comes here. All the sad ones see him if no one else can help them. Paul has seen him: you see he had such a lot of pain, poor chap. I am not expecting to see him yet, father. I shall love to when it's the time.» — la respuesta que la escritura atribuye al comunicante, que aplaza sin negar: lo verá más adelante y no es tiempo aún porque no está listo, aunque sabe que vive y que viene allí, y que lo ven todos los tristes si nadie más puede ayudarlos

«Father, tell mother she has her son with her all day on Christmas Day. There will be thousands and thousands of us back in the homes on that day, but the horrid part is that so many of the fellows don't get welcomed. Please keep a place for me.» — y lo que la escritura atribuye al comunicante sobre la Navidad de los muertos, con la parte que llama horrible: miles y miles volverán a las casas ese día y a muchos de los muchachos no se les da la bienvenida

«ON 21 December 1915 Alec had his first sitting with Mrs. Leonard; but he did not manage to go quite anonymously—the medium knew that he was my son. Again there is a good deal of unverifiable matter, which whether absurd or not I prefer not to suppress» — Lodge fecha la primera sesión del otro hermano con esa médium y consigna el fallo de anonimato: no logró ir del todo anónimo porque la médium sabía que era su hijo, y de nuevo hay mucha materia no verificable que, absurda o no, prefiere no suprimir

«Front room; curtains drawn; dark; small red lamp. No one else present. Mrs. Leonard shook hands saying, "Mr. Lodge?" (Medium begins by rubbing her own hands vigorously.)» — la descripción material de la sesión con que se abre el registro de Alec: cortinas corridas, oscuridad, lamparilla roja, nadie más presente, y el saludo de la médium con el apellido

«He has been trying hard to get to you at home. He thinks he is getting closer, and better able to understand the conditions which govern this way of communicating. He thinks that in a little while he will be able to give actual tests at home. He knows he has got through, but not satisfactorily. He gets so far, and then flounders.» — lo que el registro atribuye al comunicante sobre los intentos caseros, con su propio fracaso dentro: se acerca y entiende mejor las condiciones, cree que pronto podrá dar pruebas reales en casa, y sabe que ha llegado aunque no de modo satisfactorio

«He was waiting here; he knew you were coming, but thought you might not be able to come to-day.» — y el dato que la acotación de Lodge respalda con el retraso del tren

«Did you take notice of what he said about the place he is in? A. M. L.—Yes. But I find it very difficult to understand. He says, it is such a solid place, I have not got over it yet. It is so» — la pregunta con que el registro vuelve al asunto del lugar y la dificultad que el asistente confiesa; el renglón se corta al pasar de plana

«wonderfully real. He spoke about a river to his father; he has not seen the sea yet. He has found water, but doesn't know whether he will find a sea. He is making new discoveries every day. So much is new» — lo que el registro atribuye al comunicante sobre su exploración del sitio, con lo que aún ignora dicho dentro: ha hallado agua y no sabe si hallará un mar, y hace descubrimientos nuevos cada día

«He went into the library with his grandfather—Grandfather William— and also somebody called Richard, and he says the books there seem to be the same as you read.» — la biblioteca que el registro atribuye al comunicante, con los acompañantes nombrados

«Now this is extraordinary: There are books there not yet published on the earth plane. He is told—only told, he does not know if it is correct— that those books will be produced, books like those that are there now; that the matter in them will be impressed on the brain of some man, he supposes an author.» — la afirmación que el registro presenta con dos capas de reserva a la vez: hay allí libros aún no publicados en la tierra, y le dicen, aunque él no sabe si es correcto, que esos libros se producirán porque su materia se imprimirá en el cerebro de algún hombre, que supone un autor

«He says that not everybody on his plane is allowed to read those books; they might hurt them» — y la restricción que el registro le atribuye sobre esos libros: no a todos se les permite leerlos porque podrían dañarlos

«He can't remember. He can't always see more than a corner of the room—it appears vapourish and shadowy.» — y lo que el registro le atribuye como límite de su propia percepción: no siempre ve más que un rincón del cuarto, que le parece vaporoso y sombrío

«He tried to call out loudly: he shouted, 'Alec, Alec!' but he didn't get any answer. That is what puzzles him. He thinks he has shouted, but apparently he has not even manufactured a whisper.» — lo que el registro atribuye al comunicante sobre su intento fallido de hacerse oír, y que es la parte del relato que consigna el fracaso: creyó gritar y al parecer no fabricó ni un susurro

«A. M. L.—The questions that father asked about 'Evinrude,' 'Dartmoor,' and 'Argonauts,' are all trivial, but make good tests, as father knows nothing about them.» — y la definición de prueba que el asistente enuncia dentro del registro: las preguntas triviales hacen buenos ensayos justamente porque el padre no sabe nada de ellas

«Yes, yes. She'd got some wool and scissors. She had a square piece» — la respuesta que el registro atribuye al comunicante sobre qué hacía su madre, y que es de los detalles triviales que el libro presenta como prueba; el renglón se corta al pasar de plana

«of stuff—he is showing me this—she was working on the square piece of stuff. He shows me that she was cutting the wool with the scissors.» — la continuación en la plana siguiente, con el gesto mostrado: el trozo cuadrado de tela, el trabajo sobre él y el corte de la lana con las tijeras

«(While Alec was speaking, Feda was getting a message simultaneously:—) He says something burst.» — la acotación que consigna el mensaje llegado mientras el asistente hablaba, y la frase suelta que el registro atribuye al comunicante

«A. M. L.—Tell Raymond I am quite sure he gets things through occasionally, but that I think often the meaning comes through altered, and very often appears to be affected by the sitter. It appears to me that they usually get what they expect.» — la objeción que el hermano formula dentro del propio registro y que es la crítica más dura que el libro recoge de un asistente: cree que a menudo el sentido llega alterado y que muy a menudo parece afectado por el asistente, de modo que suelen obtener lo que esperan

«Raymond says, "I only wish they did!" But in a way you are right. He is never able to give all he wishes. Sometimes only a word, which often must appear quite disconnected. Often the word does not come from his mind; he has no trace of it.» — la respuesta que el registro atribuye al comunicante, que concede la objeción a medias: nunca puede dar todo lo que quiere, a veces solo una palabra que ha de parecer desconectada, y a menudo la palabra no viene de su mente y no tiene rastro de ella

«When you sit at the table, he feels sure that what he wants to say is influenced by some one at the table. Some one is helping him, some one at the table is guessing at the words. He often starts a word, but somebody finishes it.» — y lo que el registro le atribuye sobre la mesa, que coincide con la objeción del hermano: siente que alguien de la mesa influye en lo que quiere decir y adivina las palabras, y que él empieza una palabra y otro la termina

«Hello—Hullalo—sounds like Hullulu—Hullulo. Something about 'Hottentot'; but he is going back a long way, he thinks.» — el modo tanteante en que el registro consigna un título de canción, con la palabra deformándose a la vista

«Just before I go: Don't ever any of you regret my going. I believe I have got more to do than I could have ever done on the earth plane. It is only a case of waiting, and just meeting every one of you as you come across to him.» — la despedida que el registro atribuye al comunicante y que es su tesis en una línea: que ninguno lamente su partida, porque cree tener más que hacer de lo que habría podido hacer nunca en el plano terrestre

«He says: Not Willie of the weary proplic—propensities—that's it. He is joking. Just as many jokes here as ever before.» — la broma que el registro atribuye al comunicante con el tropiezo de palabra conservado, y la afirmación que la acompaña: allí hay tantas bromas como siempre

«No, of course not. He says a song extolling the virtues and beauties of an orange lady.» — la perífrasis con que el registro da un título de canción, que la acotación del hermano marca como excelente por ser la última que el muerto compró

«Feda understands. She only say exactly what she hear, even though it is double-Dutch.» — la regla que el propio control enuncia sobre su oficio, a petición del asistente: decir exactamente lo que oye aunque sea ininteligible

«A forgotten and overlooked song has now (11 April 1916) turned up, which is marked in pencil "R. L. 3.3.4.," i.e. 3 March 1904, which corresponds to his "going back a long way"—to a time, in fact, when he was only fifteen.» — el apéndice escrito tres meses y medio después, que cierra el episodio de la canción con la fecha a lápiz del ejemplar y la edad que el muerto tenía entonces

«Any little flower from a tulip to a rose, If you'll be Mrs. John James Brown Of Hon-o-lu-la-lu-la town.» — los versos que el muerto había alterado a lápiz en su ejemplar, y en que aparece la palabra que el registro había dado deformada

«Until these words were sung last night, nobody seems to have remembered the song "My Southern Maid," and there appears to be no reason for associating it with the word 'Honolulu' or any similar sound, so far as public knowledge was concerned, or apart from Raymond's alterations.» — y el argumento con que Lodge cierra ese apéndice: nadie parecía recordar la canción hasta que se cantó la noche anterior, y no hay razón para asociarla con esa palabra en cuanto al conocimiento público, fuera de las alteraciones del propio muerto

«Alec calls attention to the fact that, in answer to his question about songs, no songs were mentioned which were not actually Raymond's songs; and that those which were mentioned were not those he was expecting. Furthermore, that if he had thought of these songs he would have thought of them by their ordinary titles, such as "My Orange Girl" and "My Southern Maid"; though the latter he had forgotten altogether.» — la observación del hermano que Lodge recoge y que es doble: no se mencionaron canciones que no fueran suyas, las mencionadas no eran las que él esperaba, y de haberlas pensado él las habría pensado por sus títulos corrientes

«Records were at first carefully kept, but I do not report them, because clearly it is difficult to regard anything thus got as evidential. At the same time, the naturalness of the whole, and the ready way in which family jokes were entered into and each new-comer recognised and welcomed appropriately, were very striking.» — Lodge declara por qué no reporta las sesiones familiares y a la vez dice lo que en ellas le impresionó: es difícil tener por evidencial nada obtenido así, y aun así le resultaron muy llamativas la naturalidad del conjunto y el modo pronto en que se entraba en las bromas de familia y se reconocía y saludaba a cada recién llegado

«I do not, however, propose to report in this book concerning any purely physical phenomena. They require a more thorough treatment. Suffice it to say that the movements were not only intelligent, but were sometimes, though very seldom, such as apparently could not be accomplished by any normal application of muscular force, however unconsciously such force might be exerted by anyone—it might only be a single person—left in contact with the table.» — la abstención que Lodge declara sobre los fenómenos físicos, y lo poco que sin embargo afirma: requieren tratamiento más completo, y le basta decir que los movimientos no solo eran inteligentes sino a veces, muy rara vez, tales que al parecer no podían lograrse por aplicación normal de fuerza muscular por inconsciente que fuera

«A family sitting with no medium present is quite different from one held with a professional or indeed any outside medium. Information is freely given about the doings of the family; and the general air is that of a family conversation; because, of course, in fact, no one but the family» — la diferencia de régimen que Lodge señala entre una sesión familiar y una con médium: en la primera se dan datos de la familia sin reserva y el aire es el de una conversación doméstica; el renglón se corta al pasar de plana

«At any kind of sitting the conversation is rather one-sided, but whereas with a medium the sitter is reticent, and the communicator is left to do nearly all the talking, in a family group the sitters are sometimes voluble; while the ostensible control only occasionally takes the trouble to spell out a sentence, most of his activity consisting in affirmation and negation and rather effective dumb show.» — y el reparto del habla que Lodge describe en cada caso: con médium el asistente es reticente y el comunicante habla casi todo, y en un grupo familiar los asistentes son a veces locuaces mientras el control ostensible solo de cuando en cuando se toma el trabajo de deletrear una frase

«I am reluctant to print a specimen of these domestic chats, though it seems necessary to give some account of them.» — la reticencia que Lodge declara sobre publicar esas charlas domésticas, y la necesidad que igual reconoce

«At this date the room was usually considerably darkened for a sitting; but even partial darkness was unnecessary, and was soon afterwards dispensed with, especially as it interfered with easy reading of music at the piano.» — Lodge consigna el estado de la práctica en esa fecha y lo que cambió después, contra la expectativa del lector: entonces solía oscurecerse bastante el cuarto, pero ni siquiera la penumbra era necesaria y pronto se prescindió de ella, sobre todo porque estorbaba leer la música en el piano

«But occasionally the table got rather rampageous and had to be quieted down. Sometimes, indeed, both the table and things like flower-pots got broken. After these more violent occasions, Raymond volunteered the explanation, through mediums in London, that he couldn't always control it, and that there was a certain amount of skylarking, not on our side, which he tried to prevent» — lo que Lodge consigna de los desmanes de esas sesiones y la explicación que se dio de ellos: la mesa se desbocaba y hubo que calmarla, a veces se rompieron la mesa y macetas, y por los médiums de Londres el comunicante explicó que no siempre podía controlarla y que había cierto jugueteo ajeno a su lado que trataba de impedir

«though in certain of the surprising mechanical demonstrations, and, so to speak, tricks, which certainly seemed beyond the normal power of anyone touching the table, he appeared to be decidedly interested, and was represented as desirous of repeating a few of the more remarkable ones for my edification.» — y el reverso que Lodge añade sin ocultarlo: en algunas de esas demostraciones mecánicas sorprendentes, que parecían fuera del poder normal de quien tocara la mesa, el comunicante se mostraba decididamente interesado y fue representado como deseoso de repetir algunas para edificación del padre

«On Christmas Day, 1915, the family had a long table sitting. It was a friendly and jovial meeting, with plenty of old songs interspersed, which he seemed thoroughly to enjoy and, as it were, 'conduct'; but for publication I think it will be better to select something shorter, and I find a description written by one to whom such things were quite new except by report—a lady who had been governess in the family for many years, when even the elder children were small, and long before Raymond was born.» — el documento que Lodge escoge en lugar de la larga sesión de Navidad, con su procedencia declarada: la descripción escrita por una antigua institutriz de la casa, a quien esas cosas resultaban del todo nuevas salvo de oídas

«This lady, Miss F. A. Wood, commonly called 'Woodie' from old times, happened to be staying on a visit to Mariemont in March 1916, and was present at two or three of the family sittings. She was much interested in her first experience, and wrote an account immediately afterwards, which, as realistically giving the impression of a witness, I have obtained her permission to copy here.» — y la razón por la que Lodge la prefiere, nombrando a su autora: estuvo de visita en marzo de 1916, asistió a dos o tres sesiones familiares y escribió su relato en seguida, que él copia por dar realistamente la impresión de un testigo

«As it was the first time that I had ever been at a sitting of any kind, I shall put down the details as fully as I can remember them. The only light in the room was from the gas-fire, a large one, so that we could see each other and things in the room fairly distinctly; the table used at this time was a rather small octagonal one, though weighty for its size, with strong centre stem, supported on three short» — el relato de la testigo arranca declarando su falta de experiencia y describiendo el material con precisión: la única luz venía de la estufa de gas, bastante para verse unos a otros, y la mesa era octogonal, pequeña y pesada para su tamaño, con pie central; el renglón se corta al pasar de plana

«For some time nothing whatever happened. I only felt that the table was keeping my hands extremely cold.» — lo que la testigo consigna de la primera media hora: nada en absoluto, salvo que la mesa le mantenía las manos muy frías

«During the half-hour before Lady Lodge asked any questions I had felt every now and then a curious tingling in my hands and fingers, and then a much stronger drawing sort of feeling through my hands and arms, which caused the table to have a strange intermittent trembling sort of feeling, though it was not a movement of the whole table. Another 'feeling' was as if a 'bubble' of the table came up, and tapped gently on the palm of my left hand. At first I only felt it once; after a short interval three times; then a little later about twelve times. And once (I shall not be able to explain this) I felt rather than heard a faint tap in the centre of the table (away from people's hands).» — las sensaciones que la testigo describe con cuidado de no nombrarlas de más: un cosquilleo en manos y dedos, luego una especie de tirón por brazos y manos, un temblor intermitente de la mesa que no era movimiento del conjunto, y algo como una burbuja que le daba golpecitos en la palma

«Nearly every time I felt these queer movements Lady Lodge asked, "Did you move, Woodie?" I had certainly not done so consciously, and said so, and while I was feeling that 'drawing' feeling through hands and arms, I said nothing myself, till Lady Lodge and Norah both said, "What is the table doing? It has never done like this before." Then I told of my strange feelings in hands and arms, etc. Lady Lodge said it must be due to nerves, or muscles, or something of the sort.» — y la escena en que las dos explicaciones se enfrentan dentro del propio relato: la pregunta repetida de si se movía, la negativa de la testigo, el asombro de las otras porque la mesa nunca había hecho eso, y la atribución a nervios o músculos

«Woodie.—Do you think that I have any power? No. [Personally, I do not feel so sure of this. After the sitting and during it, I felt there might be a possibility.» — la pregunta de la testigo sobre su propia facultad, la negativa de la mesa, y la acotación firmada por ella en que no queda tan segura

«But I said, "Oh, do wait a little longer, that tingling feeling is coming back again." And Honor said, "Yes, I think there is something.» — el momento en que el relato consigna quién insistió en seguir y qué se dijo entonces

«(The table rocked to and fro with a pleased motion, most difficult to express on paper.)» — la acotación con que la testigo describe el movimiento de la mesa y a la vez declara el límite de su propia descripción

«Lady L.—Can you give its name? (They went through the alphabet, and it spelt out:—) Prince.» — la pregunta por el nombre de un caballo de balancín de la infancia y la respuesta deletreada, que la acotación del volumen completa con el nombre entero usado en la casa

«YOURLOVETOMYRTYPEKILL.» — el mensaje tal como salió deletreado, sin separación de palabras y con el tramo final corrompido, antes de que los asistentes lo corrigieran con el comunicante

«Before the whole of 'sister' was made out, he showed great delight; and when the message was repeated to him in full to see if it was right, he was so pleased, and showed it so vigorously, that he, and we, all laughed together. I could never have believed how real the feeling would be of his presence amongst us.)» — la escena del mensaje corregido a medias y la impresión que la testigo declara como suya: nunca habría creído lo real que sería la sensación de aquella presencia

«(The table now seemed to wish to get into Lady Lodge's lap, and made most caressing movements to and fro, and seemed as if it could not get close enough to her.» — la descripción del movimiento de la mesa con que se cierra esa sesión, dicha como impresión de la testigo

«One other family sitting, a still shorter one, may be quoted as a specimen also; though out of place. A question asked was suggested by something reported on page 230. It appears that Miss Wood was still here, but that on this occasion she was not one of those that touched the table.» — Lodge introduce un segundo relato familiar y declara por qué lo saca de su sitio, con el detalle que le importa: la testigo estaba presente y en esa ocasión no tocaba la mesa

«At this date the table generally used happened to be a chess-table with centre pillar and three claw feet. After this table and another one had got broken during the more exuberant period of these domestic sittings, before the power had got under control, a stronger and heavier round table with four legs was obtained, and employed only for this purpose.» — y el dato material que Lodge consigna sobre las mesas rotas: tras romperse aquella y otra durante el periodo más exuberante de esas sesiones domésticas, antes de que la fuerza quedara bajo control, se consiguió una redonda más fuerte y pesada de cuatro patas

«looking on to drive, Norah with back to windows looking on to tennislawn, and I, Woodie, had my back to the sofa. As we were about to sit down, Lady Lodge said: "We always say a little prayer first." I had hoped that she intended to pray aloud for us all, but she did it silently, so I did the same, having been upstairs before and done this also.» — la continuación en la plana siguiente, con el detalle que la propia testigo declara haber querido de otro modo: la oración que la dueña de casa dijo que siempre hacían antes, rezada en silencio; el troceo parte *tennis-lawn* en el salto de renglón y el extractor lo devuelve fundido

«The Shakespeare Society was meeting in the house, and at that time having coffee in the dining-room, so O. J. L. was not with us.» — el relato de la madre consigna por qué Lodge no estaba en aquella sesión, que es el modo en que el libro deja claro quién estaba presente

«However, I got the table ready near the piano, and Honor came to it, and the instant she placed her hands on it, it began to rock. I put my hands on too. We asked if it was Raymond, and if he had been waiting, and he said: — Yes. He seemed to wish to listen to the music, and kept time with it gently. And after a song was over that he liked, he very distinctly and decidedly applauded.» — el relato de la madre sobre una sesión junto al piano: la mesa empezó a mecerse en cuanto la hija puso las manos, llevó el compás de la música y aplaudió al acabar una canción que le gustó

«legs, top like a chess-board. Lady Lodge sat with her back to window» — la continuación del relato de la testigo tras el corte de chunk, con la colocación de las asistentes; el renglón se corta al pasar de plana

«It was determined to edge itself close to the piano, though we said we must pull it back, and did so. But it would go there, and thumped Barbie, who was playing the piano, in time to the music. Alec took one of the black satin cushions and held it against her as a buffer. The table continued to bang, and made a little hole in the cushion.» — el relato de la madre describe los movimientos de la mesa como si tuviera voluntad, que es el registro en que el libro los deja: se arrimó al piano pese a que la retiraban, golpeó al compás a quien tocaba, y siguió golpeando contra un cojín hasta hacerle un agujero

«It found a corner of the skirting board, where it could lodge one foot about 6 inches from the ground. It then raised the other three level with it, in the air; and this it did many times, seeming delighted with its new trick.» — y el movimiento que el relato describe con más detalle mecánico: la mesa apoyando un pie en el zócalo a seis pulgadas del suelo y levantando los otros tres en el aire muchas veces

«LIONEL.—Well, Pat, my hand is in a most uncomfortable position; won't you let me put the table up? It at once banged three times for Yes. So we raised it.» — la escena en que la mesa niega dos veces que la levanten y consiente en cuanto un asistente alega su propia incomodidad

«M. F. A. L.—Raymond, I want to ask you a question as a test: What is the name of the sphere on which you are living?» — la pregunta que la madre plantea explícitamente como prueba, y que apunta contra una fórmula que sospechaba de la médium

«SUMMERRLODGE.» — la respuesta tal como salió deletreada, con la duplicación de letra y sin separación, antes de que el anotador la leyera de otro modo

«We asked, after the second R, if there was not some mistake; and again when O came, instead of the A we had expected for 'Summerland.' But he said No.» — la escena en que los asistentes creen ver un error dos veces y la mesa lo niega las dos

«So we went on, though I thought it was hopelessly wrong, and ceased to follow. I felt sure it was mere muddle. So my surprise was the greater when the note-taker read out, 'Summer R. Lodge,' and I found he had signed his name to it, to show, I suppose, that it was his own statement, and not Feda's.» — y el desenlace que la madre consigna contra su propia expectativa: siguió creyendo que era un enredo sin remedio hasta que el anotador leyó las letras separadas de otro modo y vio que el comunicante había firmado su nombre, a su juicio para mostrar que era afirmación suya y no del control

«It is only necessary to add that the mechanical movements here described are not among those which, on page 218, I referred to as physically unable to be done by muscular effort on the part of anyone whose hands are only on the table top. I am not in this book describing any cases of that sort. Whatever was the cause of the above mechanical trick movements, which were repeated on a subsequent occasion for my observation, the circumstances were not strictly evidential. I ought to say, however, that most certainly I am sure that no conscious effort was employed by anyone present.» — la salvedad con que Lodge deslinda esos movimientos de los que él llama imposibles por esfuerzo muscular, y lo único que afirma de ellos: no describe en ese libro casos de esa clase, las circunstancias no fueron estrictamente evidenciales, y está seguro de que ningún presente empleó esfuerzo consciente

«It may be well to give a word of warning to those who find that they possess any unusual power in the psychic direction, and to counsel regulated moderation in its use. Every power can be abused, and even the simple faculty of automatic writing can with the best intentions be misapplied. Self-control is more important than any other form of control, and whoever possesses the power of receiving communications in any form should see to it that he remains master of» — la advertencia que Lodge dirige a quien se descubra alguna facultad psíquica, y que es de las pocas prescripciones del libro: aconseja moderación regulada en su uso, porque todo poder puede abusarse y hasta la simple escritura automática puede aplicarse mal con la mejor intención, y sostiene que el dominio de sí importa más que cualquier otra forma de control; el renglón se corta al pasar de plana

«the situation. To give up your own judgement and depend solely on adventitious aid is a grave blunder, and may in the long run have disastrous consequences. Moderation and common sense are required in those who try to utilise powers which neither they nor any fully understand, and a dominating occupation in mundane affairs is a wholesome safeguard.» — el remate de esa advertencia: dar por perdido el propio juicio y depender solo de ayuda adventicia le parece error grave y de consecuencias acaso desastrosas, y sostiene que una ocupación dominante en asuntos mundanos es salvaguarda sana

«AFTER Christmas I had proposed to drop the historical order and make selections as convenient, but I find that sequence must to some extent be maintained, because of the inter-locking of sittings with different mediums and development generally. I shall, however, only preserve historical order so far as it turns out useful or relevant» — Lodge declara el cambio de criterio en la composición del libro y por qué no puede llevarlo hasta el final: quería dejar el orden histórico y seleccionar a conveniencia, pero la secuencia debe mantenerse en parte por el entrelazamiento de sesiones con médiums distintos

«I propose now to pass on to some unverifiable matter (see Chapters XII and XVI), and especially to a strange and striking sitting which Lady Lodge had with Mrs. Leonard on 4 February 1916.» — y el anuncio de la sesión que el propio Lodge llama extraña y llamativa, y que reservará como materia no verificable

«This may as well be reported almost in full, in spite of unimportant and introductory portions, since it seems fairer to give the context, especially of unverifiable matter. But I feel bound to say that there is divergence of opinion as to whether this particular record ought to be published or not. I can only say that I recognise the responsibility, and hope that I am right in partially accepting it.» — la declaración más franca que Lodge hace sobre su propia decisión editorial: conviene reportarla casi entera porque parece más justo dar el contexto de la materia no verificable, pero se siente obligado a decir que hay divergencia de opinión sobre si ese registro debe publicarse, y solo puede decir que reconoce la responsabilidad

«He say, he was telling Feda, it was awful funny the things some of them did—it has a funny side, going to see the mediums. You see, Paul and he couldn't help having a joke; they are boys themselves, laughing over funny things.» — y el reverso cómico que el registro le atribuye del mismo trabajo: que ir a ver a los médiums tiene su lado gracioso y que ellos, siendo muchachos, no pueden evitar reírse

«There's a lot in prayer. Prayer keeps out evil things, and keeps nice clean conditions. Raymond says, keeps out devils.» — la doctrina de la oración que el registro atribuye primero al control y luego al comunicante, en dos formulaciones seguidas

«Mother, I don't want to talk about material things, but to satisfy anxiety. I was very uneasy on Monday night. I tried to come near, but there was a band round me. We were all there.» — lo que el registro atribuye al comunicante sobre un ataque aéreo, con la figura de la banda alrededor y el propósito declarado de aliviar una inquietud

«He says, they worked in a circular way, east and south of you. Awful! He hoped it wouldn't upset you; he didn't want them to come too close. I know you're not nervous, but I fear for you. If he'd been on the earth plane, he'd have been flying home.» — y el detalle que el registro le atribuye sobre ese ataque, con la afirmación que lo delata como muchacho: de haber estado en el plano terrestre habría volado a casa

«Feda.—Oh, it's Miss Olive! M. F. A. L.—So glad to meet you, Feda! Feda love you and Soliver best of all. SLionel and SAlec too she love» — la apertura de esa sesión en la voz del control, con las deformaciones de nombre que el libro conserva tal cual; el renglón se corta al pasar de plana

«Yaymond is here. He has been all over the place with Paulie, to all sorts of places to the mediums, to try and get poor boys into touch with their mothers. Some are very jealous of those who succeed. They try to get to their mothers, and they can't—they are shut out. They make me feel as though I could cry to see them. We explain that their mothers and fathers don't know about communicating. They say, why don't they all go to mediums?» — lo que el registro atribuye al comunicante sobre su trabajo con los otros muertos, y que es la queja que el libro quiere remediar: van a los médiums a poner en contacto a los muchachos con sus madres, y los que quedan fuera preguntan por qué no acuden todos a un médium

«M. says, it will be a test, that she was with his father at a medium's, where she saw a control named Alice Anne, a little girl control; she didn't speak to Soliver, but was with him at the medium's. "The old Scotch girl" what Paulie calls her; old Scotch lady—same thing.» — el dato que el registro presenta él mismo como prueba y que la acotación de Lodge da por cierto: que esa comunicante estuvo con el padre en casa de otro médium y vio allí a un control determinado

«Some friends will be interested in this lady,—a really beautiful character, with initials M. N. W.,—so I record something that came through from Feda on a much later occasion—in July 1916» — Lodge declara que añade después un pasaje de una sesión muy posterior sobre la misma persona, con sus iniciales

«Raymond's got rather a young lady with him. Not the sister who passed away a little baby. But she's young—she looks twenty-four or twenty-five. She's rather slender, rather pretty. Brown hair, oval face. Not awful handsome, but got a nice expression. She's very nice, and comes from a high sphere.» — la descripción que el registro atribuye al control de esa comunicante, con la esfera dicha como procedencia

«She brings a lot of flowers—pansies, not quite pansies, flower like a pansy, and not quite a pansy. Heartsease, that's what it is. She brings lots of those to you. She brought a lot of them when Raymond wented over there. But not for very long, she didn't—they wasn't wanted very long.» — el modo tanteante en que el registro nombra una flor, corrigiéndose hasta dar con el nombre, y lo que dice de ellas al morir el comunicante

«Those who are fond of you never go too far to come back to you— sometimes too far to communicate, never too far to meet you when you pass over.» — la doctrina que el registro atribuye al comunicante sobre la distancia entre los muertos, con su gradación: a veces demasiado lejos para comunicar, nunca demasiado lejos para recibirte al pasar

«You gravitate here to the ones you're fond of. Those you're not fond of, if you meet them in the street, you don't bother yourself to say 'how-do-you-do.'» — y la ley que el registro le atribuye sobre las compañías del otro lado, dicha con un símil callejero

«At one time, I thought it might be created by one's own thoughts. You gravitate to a place you are fitted for. Mother, there's no judge and jury, you just gravitate, like to like.» — la enmienda que el registro atribuye al comunicante sobre su propia creencia anterior, y la fórmula que la sustituye: no hay juez ni jurado, uno gravita, lo semejante a lo semejante

«I've seen some boys pass on who had nasty ideas and vices. They go to a place I'm very glad I didn't have to go to, but it's not hell exactly. More like a reformatory—it's a place where you're given a chance, and when you want to look for something better, you're given a chance to have it. They gravitate together, but get so bored. Learn to help yourself, and immediately you'll be helped. Very like your world; only no unfairness, no injustice—a common law operating for each and every one.» — lo que el registro atribuye al comunicante sobre el destino de los viciosos, con la negativa explícita de la palabra esperada: no es exactamente el infierno sino más bien un reformatorio donde se da una oportunidad, muy parecido a este mundo salvo que sin injusticia y con una ley común para todos