[Footnote 1: There is a little volume, called _Voices from the Ranks_, in which numerous letters written by privates, corporals, etc., in the Crimea, are collected and arranged. They are full of incident and pathos. Suffering, daring, and humor, the love of home, and the religious dependence of men capable of telling their own Iliad, make this a very powerful book. In modern times the best literature of a campaign will be found in private letters. We have some from Magenta and Solferino, written by Frenchmen; the character stands very clear in them. And here is one written by an English lad, who is describing a landing from boats in Finland, when he shot his first man. The act separated itself from the whole scene, and charged him with it. Instinctively he walked up to the poor Finn; they met for the first time. The wounded man quietly regarded him; he leaned on his musket, and returned the fading look till it went out.]
One would think that a poet in the ranks would sometimes exchange the pike or musket for the pen in his knapsack, and let all the feelings and landscapes of war distil through his fine fancy from it drop by drop. But the knapsack makes too heavy a draught upon the nervous power which the cerebellum supplies for marching orders; concentration goes to waste in doing porter's work; his tent-lines are the only kind a poet cares for. If he extemporizes a song or hymn, it is lucky if it becomes a favorite of the camp. The great song which the soldier lifts during his halt, or on the edge of battle, is generally written beforehand by some pen unconscious that its glow would tip the points of bayonets, and cheer hearts in suspense for the first cannon-shot of the foe. If anybody undertakes to furnish songs for camps, he prospers as one who resolves to write anthems for a prize-committee to sit on: it is sutler's work, and falls a prey to the provost-marshal.
Nor are poets any more successful, when they propose to make camp-life and soldiers' feelings subjects for aesthetic consideration. Their lines are smooth, their images are spirited; but as well might the campaign itself have been conducted in the poet's study as its situations be deliberately transferred there to verse. The "Wallenstein's Camp" of Schiller is not poetry, but racy and sparkling pamphleteering. Its rhyming does not prevent it from belonging to the historical treatment of periods that are picturesque with many passions and interests, that go clad in jaunty regimental costumes, and require not to be idealized, but simply to be described. Goethe, in his soldier's song in "Faust," idealizes at a touch the rough work, the storming and marauding of the mediaeval _Lanzknecht;_ set to music, it might be sung by fine _dilettanti_ tenors in garrison, but would be stopped at any outpost in the field for want of the countersign. But when Goethe describes what he saw and felt in the campaign in France, with that lucid and observant prose, he reproduces an actual situation. So does Chamisso, in that powerful letter which describes the scenes in Hameln, when it was delivered to the French. But Chamisso has written a genuine soldier's song, which we intend to give. The songs of Körner are well known already in various English dresses. [2]