“Dans les affreux wagons de la guerre” Hauptmotiv or variation in Le Rivage des Syrtes, Un Balcon en forêt, and La Presqu’île?

Can we paradoxically argue that war, whether rejected or diluted, is a “hauptmotiv,” a unifying theme organizing the rest around its own dynamic? Or is it just a variation on the agon, a chronotope that binds other sentimental, political, and narrative conflicts? By lifting inhibitions, by bringing together people who were once separated by everything, war becomes a source of renewal.