Picture to yourself a tent with grimy, sodden sides, lighted by three or four guttering candle-ends, stuck wherever space or ingenuity permits. An atmosphere tobacco laden, but not stuffy, rifles piled round the tent-pole, haversacks, “dunnage” bags, blankets, and oil-sheets spread about, and their owners, some of them lying on the floor wrapped in blankets, some seated, one or two perhaps reading or writing in cramped positions, yet quite content. Yonder is a lusty Yorkshireman, big, blue-eyed, and fair, who for some reason best known to himself _will_ call himself an Irishman. We know him as “the man with three voices,” for he has a rich, tuneful, though uncultivated tenor, a wonderful falsetto, and a good alto. His tricks are remarkable, but his ear is fine. He loves to lie sprawled on his great back, and lift up his voice to the skies. All the words of half the old and new songs of two peoples, British and American, he has committed to memory. He is our “leading man,” a shining light in the concert firmament. We have heard and helped him to sing in the course of one crowded period of thirty minutes the following varied programme: “Tipperary,” “Silver Threads Among the Gold,” “My Old Kentucky Home,” “Fight the Good Fight,” “A Wee Deoch an’ Doris,” “When the Midnight Choochoo Leaves for Alabam,” “The Maple Leaf,” “Cock Robin,” “Get Out and Get Under,” “Where is My Wandering Boy To-Night,” “Nearer, My God, to Thee,” and “I Stand in a Land of Roses, though I Dream of a Land of Snow.” But there is one song we never sing, “Home, Sweet Home.” Home is too sacred a subject with us; it touches the deeper, aye, the deepest, chords, and we dare not risk it, exiles that we are. Very often there are strange paradoxes in the words we sing, when compared with reality.... “I stand in a land of roses!” Well, not exactly, although Salisbury Plains in the summer time are, like the curate’s egg, “good in parts.” But the following line is true enough of many of us. We do “dream of a land of snow”; of the land, and those far, far away in it. Sometimes we sing “rag-time melodee,” but that is only _pour passer le temps_. There is something which prompts us to other songs, and to sacred music. It often happens that in our tent there are three or four men with voices above the average who take a real delight in singing. One of the most beautiful things of the kind the writer has ever heard was a quartette’s singing of “Nearer, My God, to Thee.” Fine, well-trained voices they possessed, blending truly and harmoniously, which rang out almost triumphal in the frosty night. They sang it once, and then again, and as the last notes died away the bugles sounded the “Last Post.” Taa-Taa, Taa-Taa, Ta-ta-ti-ti-ti-ti-ta-ta-ta-ta-ta. Ti-ti-ti-ti-ti-ti-ti-ta-ta-ta-ta-taa, Taa-Taa, Taa-Taa, Taaa, Tiii! Verily, even under canvas music _hath_ charms to soothe the savage breast. RATTLE-SNAKE PETE