“Surrounded by masked men during a phosgene attack at Verdun, Pierre de Mazenod was reminded of a ‘carnival of death.’ For many, gas took the war into the realm of the unreal, the make-believe. When men donned their masks they lost all sign of humanity, and with their long snouts, large glass eyes, and slow movements, they became figures of fantasy, closer in their angular features to the creations of Picasso and Braque than to soldiers of tradition. Dorgelès called the gas mask ‘this pig snout which represented the war’s true face.’ British comment on the German gas attacks included the following: ‘With used by the Germans of poison gas the war took a more bitter turn and horror followed horror until the soldier of civilization had to rise to a height of courage putting altogether in the shade that of the Knights of old, who went out to fight loathly dragons which breathed fire and mephitic vapours. In this mortal struggle with a race of scientific orang-outans, it requires a shutting of the eyes to externals and a looking inward to see the nimbus shining from the brow of the soldier... But how much more splendid than that of any beplumed, caparisoned soldier of old, is his courage as he rides, or squats in mud or dust, swathed in his chemical bandages so that all human likenesses is lost, awaiting not only shot and shell and steel, but flammenwerfer, asphyxiating gas, lachrymatory gas, stink gas, and other instruments of German warfare!’”
Modris Eksteins Rites of Spring: The Great War and the Birth of the Modern Era