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Browsing named entities in a specific section of Cambridge History of American Literature: volume 2 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.). Search the whole document.

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1865 AD (search for this): chapter 2.16
In a series of poems, Do Ye Quail? The Angel of the Church, and Our city by the sea, he presents in passionate words the claims of the historic city upon its inhabitants. Especially vivid is his plea for St. Michael's church, whose spire for full a hundred years had been a people's point of light, and the sweet, clear music of whose bells, made liquid-soft in Southern air, had been a benediction in the life of the city. But the words of her poets could not avail the doomed city when, in 1865, Sherman's army marched north from Savannah. Timrod, now a citizen of Columbia, wrote his greatest lyric, Carolina, which comes nearest to My Maryland of all the poems of the war in its indignation and power. He reproaches the idle hands and craven calm of the inhabitants, but calls upon the descendants of Rutledge, Laurens, and Marion to rouse themselves against the despot who treads their sacred sands. The answer to this appeal was the burning of Columbia. Hayne and John Dickson Bruns s
1789 AD (search for this): chapter 2.16
or a single volume, and thenceforth prone to lead a life of culture rather than of creative activity. The result was that the South, in 1860, had found no adequate expression of her life, no interpretation of her ideals, not even a description of her natural scenery. What writing there was, with few exceptions, was not of the soil nor of the people. Poe, See Book II, Chap. XIV. Edward Coate Pinkney (1802-28), author of the exquisite love-compliment A Health, and Richard Henry Wilde (1789-1847), who wrote the fragrant Stanzas beginning My life is like the summer rose, might have written anywhere. One poem of the War of 1812, one or two of the Mexican War, and some half dozen other lyrics constituted, despite the appearance of not a few volumes of well-meant verse, See Bibliography the poetic output of the South before the Civil War. The Civil War aroused intense emotions that found expression in a large body of lyric poetry, written by some men who were professedly poet
1866 AD (search for this): chapter 2.16
med the basis of the selections from Southern poetry published as an appendix to Richard Grant White's Poetry, lyrical, narrative, and satirical of the Civil War (1866). In his preface White says: I have read all that I could discover of the war poetry, written by the confederated enemies of my government, and have preserved no longer exists. Inadequate as these anthologies were, they were much better than the volume entitled War lyrics and Songs of the South, published in London in 1866, and edited by a faithful few Southern women who had thrown hastily together this book of poems, in the hope that its sale to the charitable might secure a fun selections by Lucas, McCabe, Flash, and others. The improvement in this edition may doubtless be attributed to William Gilmore Simms's War poetry of the South (1866). It was a noble task undertaken by this weary old Titan of Southern letters to preserve the writings of the younger poets, many of whom had been inspired by his f
1802 AD (search for this): chapter 2.16
he poetic instinct and the influence of other poets, content with an occasional poem or a single volume, and thenceforth prone to lead a life of culture rather than of creative activity. The result was that the South, in 1860, had found no adequate expression of her life, no interpretation of her ideals, not even a description of her natural scenery. What writing there was, with few exceptions, was not of the soil nor of the people. Poe, See Book II, Chap. XIV. Edward Coate Pinkney (1802-28), author of the exquisite love-compliment A Health, and Richard Henry Wilde (1789-1847), who wrote the fragrant Stanzas beginning My life is like the summer rose, might have written anywhere. One poem of the War of 1812, one or two of the Mexican War, and some half dozen other lyrics constituted, despite the appearance of not a few volumes of well-meant verse, See Bibliography the poetic output of the South before the Civil War. The Civil War aroused intense emotions that found expr
1857 AD (search for this): chapter 2.16
poetry is our lives; our fiction will come when truth has ceased to satisfy us; as for our history, we have made about all that has glorified the United States. A. B. Meek, author of The land of the South, in the preface to a volume of his poems (1857) said: The author is not a poet by profession or ambition; he has written only at long intervals or at the instigation of trivial or transient causes. The present volume is composed of occasional effusions through many years of my life. Some yeaoet's life in words that are in striking contrast to the views of the Southern people in general, and even of Southern poets, who had looked on the writing of poetry as a pastime and not a passion. Before the war he had edited Russell's magazine (1857-60) and had published three volumes of poetry—poems characterized by a certain imitativeness and yet a genuine love of nature and a feeling for idyllic life. When the war came he volunteered, only to find that his delicate health would not allow
1858 AD (search for this): chapter 2.16
can War and had written My wife and child and The red old Hills of Georgia, served under Hood in the battles around Atlanta, commanded a brigade in the Army of Tennessee, and was captured in the battle of Nashville. Their poems of the Mexican War were frequently quoted, and in fact were printed in nearly all the Southern anthologies of the Civil War. James Barron Hope, who had been Virginia's official poet at the Jamestown celebration and the unveiling of the Washington monument in Richmond (1858), was quartermaster and captain in the Army of Virginia, and came out of the struggle broken in fortune and in health. Albert Pike, See also Book II, Chap. VII. born in Massachusetts and author of Hymns to the gods (1839), was Confederate Commissioner to the Indians and afterwards a brigadier-general. Margaret Junkin Preston, born in Philadelphia, revealed in Beechenbrook—a poetical transcript of her experiences and impressions of the war—what the war meant to a woman who was the wife of
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