A roar of applause drowns the mother’s amused assent; and they look up
to see this father, the colonel of the 71st, uncover for a moment to the
noisy greeting whose vigour seems to stamp with approval his younger
daughter’s good opinion of him. In a moment a trumpet-call breaks
through and strikes down and overwhelms all this clamour of applause,
and there is no sound save the hurrying into ranks of the men on the
floor. Then comes the confused shouting of a dozen roll-calls at once,
the cracking of the rifle-butts on the floor, the boisterous counting of
fours, a succession of sharp commands and trumpet-calls,—and the noise
and confusion grow rapidly less until only is heard the voice of the
adjutant as he salutes and presents the regiment in line of masses to
the colonel, saying, "Sir, the regiment is formed."
A short command brings the rifles to the floor, and there is absolute
quiet as every one waits to catch each word that its commander will say
in asking the regiment to volunteer. But Colonel Phillips knows the
value of the psychological moment and the part that emotion plays in
patriotism, and he does not intend to lose a feather-weight of force in
his appeal to the loyal spirits of his men. So he brings the guns again
quickly to salute as the colour-guard emerge from an office door behind
him, bearing "Old Glory" and the 71st’s regimental colours; and,
turning, he presents his sword as the field music sounds _To the Colour_
and the bullet-torn standards sweep proud and stately to their posts in
the centre battalion. This sudden and unexpected adaptation of the
ceremony for _The Escort of the Colour_, which for lack of space is
never attempted in the armory, is not without effect. The men in the
ranks, being restrained, are bursting to yell. The onlookers, free to
cheer, cannot express by cheap hand-clapping what wells up in them at
sight of the flags, and they, too, are silent. When the rifle-butts
again rest on the floor the Colonel begins his soldierly brief address:
Public-domain text, read in full here on John Shaqi.
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