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A Fable is a novel set in the battlefield of World War I. After four years of the most destructive war in the history of humanity, many of the enlisted men are exhausted, injured, or dead. The officers, conversely, are constantly assuring themselves that they are on the precipice of victory. With no end in sight, the corporal and his small band of disciples convince 3,000 men to stop fighting. This moment of peace is the subject of the novel and the event that sets the plot in motion. The peace emerges during a chaotic war but ends quietly within a week. This brief moratorium of fighting, however, inexorably alters the characters. The short-lived vision of an alternative world is too dangerous an idea to bear, both for the enlisted men and the officers. The tension between war and peace emerges as a key theme, as the transition from one to the other and back again inspires the soldiers to reflect on the nature of their lives. Many lose their faith in their country, their cause, and themselves as a result of the contrast between war and peace. After four years of total war, peace is intolerable, and the intolerability and unsustainability of the brief peace is a commentary on the brutality of World War I.
In the novel, war and peace are presented as a dichotomy. If the armies are not at war, then they are presumed to be at peace. This is the premise of the corporal’s promise, that the enlisted men can end the war by simply refusing to fight. After four years of brutal warfare, however, peace is not tenable. The officers cannot tolerate it because such a peace would render the entire martial history of the world as absurd. If men can simply refuse to fight, then their careers as officers are meaningless. If they are not trusted with the lives of their men; if these men can simply decide for themselves whether they should live or die, then the entire structure of the war is revealed as a horrific absurdity. To the officers, peace must be achieved through war. They must defeat the enemy; a peace brought about by simply rejecting war is not a peace at all. In this sense, peace and war are not opposite sides of a dichotomy, but equal partners in a perpetual battle. The officers only accept peace that perpetuates their importance and enshrines their particular vision of war, glory, and honor. The cycles of war and peace are only permitted on their terms, so the corporal’s brief peace is quickly quashed.
The duality of war and peace is also evident in the physical geography of the novel. The French countryside is permanently altered by the cycles of war and peace. The artillery shells reshape the landscape during wartime and the farmers dig up bodies and old ammunition during peace time. The corporal’s body is just one of many that are dug up during peace time as evidence that peace on the officers’ terms is no real peace at all. The irony of the officers’ vision of peace is that A Fable was released in 1954. By this time, Europe had already descended into another brutal war, the causes of which can largely be traced back to the ineffective peace negotiated during the conclusion to World War I. France is forever changed by the war, reshaped into something new with old traumas buried just beneath the surface, but the cycle of war and peace is not broken, despite the corporal’s best efforts.
Within the nuances of war as presented in A Fable, the dynamics between the social classes is an important theme. In the context of the novel, the characters can be split broadly into two classes: enlisted men and officers. The enlisted men are typically drawn from working class backgrounds, both in the countries of France, America, and Britain, as well as those countries’ respective colonies. These men grew up largely without material wealth and were drafted into the war either by law or through a deluded idea of nationalism that does not benefit them, but which benefits from the blood they shed. These men are the key demographic for the corporal’s argument that they should simply lay down their weapons. The corporal helps to show these men that they do not belong to the same social class—or even the same abstract conception of war—as the officers who direct them into battle. Even across national and ethnic lines, the corporal tries to show his followers that the enlisted men have more in common with one another than they do with officers from their own countries. The corporal’s message is not just one of peace, but one of class solidarity. His message is feared by the officers, not only because they resent the kind of peace he tries to bring about, but because he undermines their elite status within the military.
The corporal’s message may seem radical to the enlisted men, but the officers immediately understand why it is dangerous. Gragnon’s first instinct is to execute everyone who has been contaminated with an understanding of their class relations. The generals who outrank him go one step further, inviting their German counterpart to share a drink and discuss the resumption of the war. After four years of sending enlisted men to die at their behest, the German and French generals sip brandy and discuss the war in abstract terms, a privilege never afforded to an enlisted man. When the enlisted men try to reach out to their counterparts across no-man’s land, they are bombed by their own side. When the generals do it, they treat their meeting between enemies as a matter of necessary etiquette. Furthermore, the German general immediately shoots his enlisted pilot after landing in the enemy base. He is able to step foot in the enemy base, but the lower ranked men are not. The generals recognize their own class solidarity and encourage and indulge it in one another, all while conspiring to ensure that they maintain control over the military. Their main concern is not for the outcome of the war, but to ensure that the enlisted men do not realize the power they have.
Between the officers and the enlisted men are the soldiers who do not quite belong in either category. At the front line, Gragnon demands the enlisted men attack and, when they do not, he wants them shot. Later, he is shot for failing to control his men. He does not realize that he does not belong among the true elite and, as he demanded the execution of 3,000 men, he actually condemns himself. Similarly, the runner is someone who has forsaken the officers’ privilege and asked to be demoted to the position of an enlisted man. Having been promoted, he resents the hypocrisy and the violence that he witnessed as an officer. This is why the corporal’s suggestion is so tempting for him and why, after he is maimed in an attack by his own side, he harbors his resentment for years. He interrupts the marshal’s funeral to try to draw attention to the man’s hypocrisy but, after the successful conclusion of the war, people are ready to forget rather than acknowledge that they are still locked in a class war.
One of the distinctions between the officers and the enlisted men is the way in which they conceive of war. To the officers, war is a matter of glory. They are seduced by a mythological conception of warfare, in which they are the inheritors of a great legacy of military history. They are continuing a glorious tradition. To the enlisted men, however, four years of brutal battles such as the Somme and Verdun have obliterated any vestigial idea of war as a glorious venture. They spend their lives in trenches, coated in mud and blood, waiting to be sent over the top into no-man’s land where they can expect to die. They have grown sick of the myth of glorious war and the self-mythologizing of the generals. The corporal’s message is so appealing because it peels back the layers of myth to reveal the truth about the war—that it is not glorious at all. The officers are sickened by the corporal’s vision because it goes against everything they choose—everything they need—to believe.
The corporal’s ability to reveal the mythological reality of glorious warfare is particularly apt given his allegorical role in the novel. A Fable is titled in such a way so as to draw attention to its own mythology. The novel is a work of fiction, weaving together something new from something old. The Biblical story of the execution of Jesus Christ is a template for a new myth, one which tries to imagine a new world in which the inglorious nature of war is made apparent. This myth cannot be sustained, however, and the corporal is killed. The execution of the corporal, in this context, is akin to the execution of Christ, but with the added tragedy of nothing of consequence emerging from his death. While the death of Christ spawned an entire new religion, the corporal’s sole remaining follower is the maimed runner who cannot even interrupt a funeral without being overwhelmed by the act of mythmaking. The allegorical nature of the story of the corporal adds to the theme of myth and glory. The inglorious is made mythical while the glorious attempt to save lives is forgotten. The corporal’s story becomes a fable, a frivolous story which leaves no lasting impact on a society which will eventually succumb to World War II.
The ending of the novel continues this exploration of the theme of myth and glory. The funeral of the marshal is a wedding of myth and glory. The reality of the marshal is that he fathered a son that he quickly abandoned; this son helped to bring about a peace in a devasting war, a peace which was covered up by his father who ordered his execution. The marshal’s story is more tragedy than glory. He is doomed by his beliefs, and executes his own son to preserve his military idealism. After the false armistice is covered up, after the corporal is executed, and after the act war is ended by men like the marshal, the entire world constructs a new myth built on glory. The marshal’s funeral is lavish and splendid, fitting for the glorious victor of a devastating war. This appearance is a myth, however, something constructed from hopes and desires rather than actual truths. The runner’s attempts to puncture this false glory are quickly swatted aside; the French people would rather believe in the myth which allows them to feel glory, however fleetingly, than confront the true nature of the marshal’s character or the true extent of what was lost in the war.
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