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Despite Ehni's lack of a clear definition for paramyth, some critics and scholars including Denton J.
For example, he uses the Greek word for "family," comments on the derivation of the French mythe from Greek, and refers to his own grandfather with the Swiss German word gr?bi (10), a confusing play of language for the reader who nevertheless understands that this information about Ehni's family is meant to accompany the account of the narrator's military service.
In contrast to the narrator of Le Feu who plunges into the authoritative retelling of his squadron's experiences as part of the image of the soldier intent on speaking of his peers' bravery, Ehni's narrators reveal little about their quotidian military duties.
Ehni's dramatic narrator pales in comparison with Barbusse's raconteur who bravely details trench warfare without dwelling on his own suffering as a participant in the war or as an author.
If Ehni's narrators de-emphasize their physical involvement in the war through the figures of digression, occupatio, and lamentation, they also use synecdoche for diminishing their army commanders who engage in killing for sport.
According to Rosello, Ehni, who identified as a Jew his whole life, converted to Orthodox Catholicism owing to his meeting with Aissa ("Rene-Nicolas" 76).
If Barbusse's Le Feu conveys a message of pacifism in its final chapter on the devastation caused by the First World War, Ehni's novel continues its quest for closure even after its final sentence: "Il s'ensuivit une errance" (156).
"Eschentzwiller, le paradis perdu de Rene-Nicolas Ehni." ("Eschentzwiller, the Lost Paradise of Rene-Nicolas Ehni") (3 August 2012):< eschentzwiNer-le-paradis-perdu-de-rene.html>.