His philosophy is often really great, even if he does not himself deserve the appellation, while his letters read as if he had reached a stage in educating himself wherein the ordinary troubles of life, which we as a rule are accustomed to regard as very serious, were during this campaign shrunk in his eyes to the calibre of the very small. What he does set forth as being a really terrible difficulty is that of obtaining water for an “honest wash.”
Chapter Thirty Six.
The Turkish Army.
Henty carefully studied the ways and means of the Turkish army, not only the uniform and ornament, but the customs in connection with the various battalions. Though the Ottoman forces are not such as can be held up as examples of military excellence, he extols them as being composed of brave and admirable fighting men who are on the whole abominably paid, whose pittance is shamefully in arrear, but who still go patiently and uncomplainingly on, content with the small mercies they receive, and the kindly treatment of their officers who suffer with them. They march the more cheerfully from the fact that during a campaign every battalion has its own band, while as a rule the bandsmen have gained so much from the West that their performances of popular music are far above contempt.
As a rule here in England ordinary people do not know much of Turkish music. “The Turkish Patrol” and that very old favourite, “The Caliph of Bagdad”, seem to belong nearly as much to the West as to the East; but in Servia Henty was made familiar with plenty of good Western operatic music, which was always bright and cheering in dreary times when on march. And while discoursing upon the bands he notes that, just as in English regiments, they take their serious part in the war, their play being of course connected with the production of enlivening strains to lighten the dull hours of a heavy march, their work being as bearers of the wounded.
National music such as is familiar to the people of the country is abundant and popular, of course; but it was amusing at one time in camp, when the war was dragging slowly on, to find that a band which played every evening under the Pasha General’s tent finished up with a few bars of “God Save the Queen.”
Constantly observant, Henty was always attracted by everything connected with the Turkish hospitals. He was quite fair. If he saw anything in their management deserving of condemnation he spoke out. On the other hand, if he noticed anything, however trifling, worthy of praise, it was carefully noted. He records with something like a feeling of pride in his fellow-men, how an officer, having the power to command, had ordered that one of the bands should go down to the camp hospital to play for an hour every day, the Turkish officers declaring to him that the music raised the spirits and improved the condition of the sick and wounded. He continues with an anecdote of the se non è vero, è ben trovato type, namely, that a poor fellow, who had lost his arm in one of the first skirmishes, had been so revived by the music that he had begged permission to join the ranks again with a limb of wood! Of course it may be true; but everyone is at liberty to doubt, and one cannot help giving the Turkish narrators the credit of trying a joke upon their foreign chronicler.
During this campaign, on the principle that straws sometimes indicate the direction from which the wind blows, Henty grew more observant of matters connected with the sufferings of human life. It was as if many of his notes and remarks were forced upon him by his own feelings, and as though his personal sensations sharpened his observation.