The Noise of Drums and Trumpets

Grey, Elizabeth. The Noise of Drums and Trumpets: W. H. Russell Reports from the Crimea. London, Longman, 1971.

This is a good book for learning about both Sir William Howard Russell’s writing style and about the Crimean war.  Russell covered the Crimean War for 22 months so this is first-hand descriptive writing.  The title of the book refers to the beginnings of the war effort in England with “It all began, literally, to the sound of drums and trumpets, in the early spring of 1854.  One by one the regiments of Guards, in the full splendour of their ridiculous uniforms, swung through London – bands playing, rows of little drummer-boys thrumming out their blood-stirring call” (19).  Punctuated with a special character to show Russell’s exact reporting, the effect of music to excite civilians is contained in his report: “At the head of the column marched the splendid regimental band, playing ‘Oh Where, and Oh Where is my Highland Laddie Gone?’.  The plaintive and rather melancholy air of which gave, for the moment, an impression of solemnity to the whole scene which well became the occasion.

“But this feeling was only momentary, as the instant the troops began to pass in front of the Palace, the crowd outside the railings commenced such deafening cheers as quite drowned the notes of the whole band” (19).  That would seem quite a noise to drown out an entire military band.  But the noise was not there when the troops, the next morning, were loading in a disorganized way onto the ships.  However, “from the raucous singing of the troops, celebrating victory even before war had been declared” (21), it seems that singing together would have provided the troops the excitement of going to war, just as the day before the formal marching through the streets and blasting of the band excited the civilian population.

Russell had an eloquent style as would be expected of an Englishman at that time in British history.  Such as the following from the chapter, Soldiering with the gilding off: “The British and the French, many of whom had been murdered by the Russians as they lay wounded, wore terrible frowns on their faces, with which the agonies of death had clad them.  Some in their last throes had torn up the earth in their hands, and held the grass between their fingers up towards heaven” (134).

Descriptive of the power that music had for soldiering comes from Russell in the chapter No drums, no bugle-calls: “No drums, no bugle-calls, no music of any kind, was ever heard within our precincts, while our neighbours (the French) close by kept up incessant rolls, fanfaronnades and flourishes, relieved every evening by the fine performances of their military bands. . .

“I think, judging from one’s own feelings, and from the expressions of those around, that the want of music in camp was productive of graver consequences than appeared likely to occur at first blush from such a cause.  Every military man knows how regiments, when fatigued on the march, cheer up at the strains of their band, and dress up, keep step and walk on with animation and vigour when it is playing” (106-107).

The book is admirably illuminated with drawings and maps that enliven the text.  There is a Reading list, a Glossary, and a thorough Index.  Ends with Russell: “I . . . wonder what would have come of it all had I followed the quiet path . . . instead of those noisy drums and trumpets” (246).