Barbarians — Background and Themes

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Chambers, Robert W. (Robert William), 1865-1933 Project Gutenberg 2008 Not confirmed
World War, 1914-1918 -- Fiction; France -- Fiction Readers of public-domain and historical texts
Project Gutenberg digital edition en

Edition facts

Words 62,044
Reading time 270 min
Text sections 12

The source record for Barbarians — Background and Themes measures this digital text at 62,044 words, 4 hr 30 min estimated reading time, and 12 detected text sections.

The text analysis averages about 14.5 words per sentence, while the detected sections provide another way to judge how the source is divided.

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

In Robert W. Chambers's 'Barbarians', a group of disillusioned Americans flees political corruption to serve as muleteers in WWI France. The narrative contrasts the brutality of war with the ethereal beauty of a carillon player's music, using recurring images of bells, sky, and silence.
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Editorial Edition Score 4.8/5

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hery in the Senate, treason in the House. A plague of liars infested the Republic; the land was rotting with plots.

But if the authorities at Washington remained incredulous, stunned into impotency, while the din of murder filled the world, a few mere men, fed up on the mess, sickened while awaiting executive galvanization, and started east to purge their souls.

They came from the four quarters of the continent, drawn to the decks of the mule transport by a common sickness and a common necessity. Only two among them had ever before met. They represented all sorts, classes, degrees of education and of ignorance, drawn to a common rendezvous by coincidental nausea incident to the temporary stupidity and poltroonery of those supposed to represent them in the Congress of the Great Republic.

The rendezvous was a mule transport reeking with its cargo, still tied up to the sun-scorched wharf where scores of loungers loafed and gazed up at the rail and exchanged badinage with the supercargo.

The supercargo consisted of this dozen-odd fed-up ones--eight Americans, three Frenchmen and one Belgian.

There was a young soldier of fortune named Carfax, recently discharged from the Pennsylvania State Constabulary, who seemed to feel rather sure of a commission in the British service.

Beside him, leaning on the blistering rail, stood a self-possessed young man named Harry Stent. He had been educated abroad; his means were ample; his time his own. He had shot all kinds of big game except a Hun, he told another young fellow--a civil engineer--who stood at his left and whose name was Jim Brown.

A youth on crutches, passing along the deck behind them, lingered, listening to the conversation, slightly amused at Stent’s game list and his further ambition to bag a Boche.

The young man’s lameness resulted from a trench acquaintance with the game which Stent desired to hunt. His regiment had been, and still was, the 2nd Foreign Legion. He was on his way back, now, to finish his convalescence in his old home in Finistère. He had been a writer of stories for children. His name was Jacques Wayland.

As he turned away from the group at the rail, still amused, a man advancing aft spoke to him by name, and he recognized an American painter whom he had met in Brittany.

"Oh, yes. I’m fed up with watchful waiting."

"Where are you bound, ultimately?"

"I’ve a hint that an Overseas unit can use me. And you, Wayland?"

"Going to my old home in Finistère where I’ll get well, I hope."

"Oh. Get that leg in the trenches?" inquired Neeland.

"Yes. Came over to recuperate. But Finistère calls me. I’ve _got_ to smell the sea off Eryx before I can get well."

A pleasant-faced, middle-aged man, who stood near, turned his head and cast a professionally appraising glance at the young fellow on crutches.

His name was Vail; he was a physician. It did not seem to him that there was much chance for the lame man’s very rapid recovery.

Three muleteers came on deck from below--all young men, all talking in loud, careless voices. They wore uniforms of khaki resembling the regular service uniform. They had no right to these uniforms.

One of these young men had invented the costume. His name was Jack Burley. His two comrades were, respectively, "Sticky" Smith and "Kid" Glenn. Both had figured in the squared circle. All three were fed up. They desired to wallop something, even if it were only a leather-rumped mule.

Four other men completed the supercargo--three French youths who were returning for military duty and one Belgian. They had been waiters in New York. They also were fed up with the administration. They kept by themselves during the voyage. Nobody ever learned their names. They left the transport at Calais, reported, and were lost to sight in the flood of young men flowing toward the trenches.

They completed the odd dozen of fed-up ones who sailed that day on the suffocating mule transport in quest of something they needed but could not find in America--something that lay somewhere amid flaming obscurity in that hell of murder beyond the Somme--their souls’ salvation perhaps.

Twelve fed-up men went. And what happened to all except the four French youths is known. Fate laid a guiding hand on the shoulder of Carfax and gave him a gentle shove toward the Vosges. Destiny linked arms with Stent and Brown and led them toward Italy. Wayland’s rendezvous with Old Man Death was in Finistère. Neeland sailed with an army corps, but Chance met him at Lorient and led him into the strangest paths a young man ever travelled.

The opening chapter of Barbarians introduces a dozen-odd malcontents who, fed up with treachery in the Senate and treason in the House, head east to purge their souls. They are drawn to a mule transport by a common sickness and necessity, representing all sorts and classes. The novel immediately establishes a structure that moves between the gritty reality of war logistics and moments of transcendent beauty, as seen in the carillon music that drifts from a belfry under summer stars.

Movement Between Front and Rear

The narrative frequently shifts between the corral, where Burley manages mules, and the front lines, where the mellow thunder of the great bell might be audible. This movement is not just geographical but tonal: the reader is taken from the practical details of inspecting mules and sorting papers to the celestial melody of the carillon. The structure mirrors the protagonist's own oscillation between duty and wonder, as when Burley, listening to the music, leans against a post with one hand across his eyes, feeling the birth of things ineffable.

Recurring Images of Sound and Silence

Sound functions as a leitmotif throughout the excerpts. The carillon's bell-music is described as drifting, floating, and filling the night with magic messages of hope. In contrast, the silence of listeners—widowed or childless—is punctuated by quiet tears. The narrative also notes the hum of life growing numb and the lips of life undone by Death. This interplay between sound and silence underscores the tension between the brutality of war and the solace of art.

The Carillon as a Structural Anchor

The carillon and its player, Maryette, serve as a recurring focal point. She is introduced through her music, which is heard before she is seen. Her absence is marked by the drum in the belfry set to play automatically. When Burley overtakes her on the road to Nivelle, he calls out 'Carillonnette!'—a nickname that blends her identity with her instrument. This device ties together disparate scenes, from the corral to the village fête, and provides a consistent emotional touchstone.

Contrast Between the Mundane and the Sublime

The novel juxtaposes prosaic details—pipe-clay boots, saddle mules, veterinary inspections—with moments of profound beauty. The same man who sorts papers and talks to the brigadier also stands bareheaded under the sky, moved by celestial melody. This contrast is embodied in the setting: the trenches and No-Man's-Land versus the calm, fragrant evening air where listeners weep less bitter tears. The structure reinforces the idea that even in war, moments of grace persist.

Readers should attend to how Chambers uses the carillon as a narrative device that bridges the physical and the spiritual. The novel's structure rewards attention to recurring motifs—bells, sky, silence—and the way they modulate between scenes. The excerpts suggest a work that is as much about the inner life of its characters as about the external conflict.

There’s a moment in Barbarians where the shelling stops, and the silence feels heavier than the noise ever did. That same hush lingers in The Wit and Humor of America, Volume IX (of X) — A Closer Reading, though it’s gentler—a quiet chuckle rather than a held breath. I kept noticing how both books listen for what isn’t said, and that stayed with me afterward.

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