The Downfall

'The subject was to be War. I had to consider War in its relation to various classes of society—War vis-à-vis the bourgeois, War vis-à-vis the peasant, War vis-à-vis the workman. How the war was brought about—that is to say, the state of mind of men in France at the time—was a consideration which also supplied me with a number of characters. I had to show, in a series of types, France who had lost the use of liberty, France drunk with pleasure, France fated irrevocably to disaster. I had to have types to show France so prompt to enthusiasm, so prompt to despair. And then there were to be shown the immense faults committed, and to show by character how the commission of such faults was possible, a natural sequence of a certain psychological state of mind of a certain preponderating class, which existed in the last days[Pg vii] of the Empire. Then each phase of action had to be typified. The question of the Emperor and his surroundings—I had to have characters to explain "the sick man" and his state at the time. I had to show how it was with the peasants of the period, and hence to equip a character or two for that purpose. The Francs-tireurs played an important part in the epoch; it therefore became necessary for me to incarnate these, to create a typical Franc-tireur. The spies and spying had their influence on the whole; I had to have a spy. By the way, the spy in my book is one of the few German characters that I have created—four or five—this spy and an officer or two. Then, having thus, with a stroke of the rake, dragged together all that I could find as likely to illustrate my period, both historically and psychologically considered, I wrote out rapidly—the work of one feverish morning—a maquette, or rough draft of all I wanted to do, some fifteen or twenty pages.