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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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Pointe Coupee (La.) (Louisiana, United States) (search for this): chapter 2.16
olina. But none of Timrod's poems had the lyric quality that fits them for popular music. The union of music and poetry in a splendid impassioned utterance came from James Ryder Randall (1839-1909). Seldom in history have the man, the moment, and the word met in such happy conjunction as in the composition of My Maryland. Randall, a native of Baltimore—just from college in Maryland, and, as he said, full of poetry and romance —was teaching English literature in Poydras College at Pointe Coupee, Louisiana, when he read in the New Orleans Delta an account of the attack on the Massachusetts troops as they passed through Baltimore: This account [he said in later years] excited me greatly; I had long been absent from my native city, and the startling event there inflamed my mind. That night I could not sleep, for my nerves were all unstrung, and I could not dismiss what I had read in the paper from my mind. About midnight I arose, lit a candle, and went to my desk. Some powerful s
Atlanta (Georgia, United States) (search for this): chapter 2.16
participants in the actual struggle or were intimately connected with those who were. Theodore O'Hara, who had been in active service during the Mexican War and had written The Bivouac of the dead in honour of those who died in that war, was colonel of an Alabama regiment and later a staff officer in the Confederate Army. Henry Rootes Jackson, who had also fought in the Mexican 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 healt
Georgia (Georgia, United States) (search for this): chapter 2.16
honour of those who died in that war, was colonel of an Alabama regiment and later a staff officer in the Confederate Army. Henry Rootes Jackson, who had also fought in the Mexican 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 Southms are characterized by delicacy of feeling, conscientious workmanship, and a certain assimilation of the best qualities of other poets. His magnanimous spirit after the war, as revealed in his tributes to Whittier and Longfellow, his revelation of the picturesqueness of the Southern landscapes and especially of the pine forests of Georgia, are the substantial features of his poetry. As a connecting link between Simms and Lanier he has a permanent place in the literary history of the South.
Maryland (Maryland, United States) (search for this): chapter 2.16
if any, on either side to understand the issues thus clearly defined. In fact, as soon as Fort Sumter was attacked and Maryland was invaded there was no longer a question of political issues—it was rather, to Southerners, a struggle of human passiomet in such happy conjunction as in the composition of My Maryland. Randall, a native of Baltimore—just from college in Maryland, and, as he said, full of poetry and romance —was teaching English literature in Poydras College at Pointe Coupee, Louis of an exiled son at the invasion of his home, the crushing of liberty under the despot's heel, the peerless chivalry of Maryland's former heroes of history and tradition, his love for the state as a mother, the appeal for a sister state's aid to Virnted ground, But not a Knight asleep. One phase of the struggle ends with Lee's whole army crossing the Potomac into Maryland—an event celebrated by Hayne in his Beyond the Potomac. Then the fighting changed to the West, and we have Thompson's
Jackson (Mississippi, United States) (search for this): chapter 2.16
rudely chronicled as fast as made in this rough minstrelsy. Every corps and command contributed some commemorative stanza. The current events of campaigns were told in improvised verse as rapidly as they occurred and were thereafter skillfully recited by the rhapsodist who professed to know the whole fragmentary epic. Forms of such rhymed narratives may be seen in typical stanzas: Marse Robert said, ‘My soldiers, You've nothing now to fear, For Longstreet's on the right of them, And Jackson's in the rear.’ The Fourteenth Louisiana, They charged 'em with a yell; They bagged them buck-tailed rangers And sent 'em off to hell. O Morgan crossed the river, And I went across with him; I was captured in Ohio Because I could not swim. No matter where this song was sung, or by whom, or which of its multitude of stanzas happened to be selected by the minstrel, the following verse always closed it: But now my song is ended, And I haven't got much time, I'm going to run the blockade To
United States (United States) (search for this): chapter 2.16
ular orator, William L. Yancey, expressed the views of many when he said in a grandiose way: Our 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 causesy Moore says: It has been the purpose of the editor to present as full a selection of the songs and ballads of the Southern people as will illustrate the spirit which actuates them in their rebellion against the government and laws of the United States. Most of these pieces have been published in the magazines and periodicals of the South, while many are copies of ballad-sheets and songs circulated in the Rebel armies, and which have come into the possession of the forces of the Union in t
Chicago (Illinois, United States) (search for this): chapter 2.16
ted by Joel Chandler Harris. The mention of Harris suggests that in this volume he himself appears as the author of several poems which are as unlike his later writings as anything could well be. Davidson has the credit too of publishing for the first time in this volume McCabe's Dreaming in the trenches and Christmas night of ‘62, and certain recent poems of Maurice Thompson and Sidney Lanier. He also has much to say of poems that do not relate to the war. In 1882 Francis F. Browne of Chicago carried out the purpose that Richard Grant White had expressed by publishing Bugle echoes—a collection of poems of the Civil War, Northern and Southern. Drawing upon the anthologies that have been discussed and upon separate editions of Southern poets, such as Hayne's edition of Timrod (1873), of Ticknor (1879), of Hayne (1882), he finds a much larger number of Southern poems that fit into his plan of suggesting the story of the Civil War by poems written at the time. Thus for the first t
Baltimore, Md. (Maryland, United States) (search for this): chapter 2.16
l (1839-1909). Seldom in history have the man, the moment, and the word met in such happy conjunction as in the composition of My Maryland. Randall, a native of Baltimore—just from college in Maryland, and, as he said, full of poetry and romance —was teaching English literature in Poydras College at Pointe Coupee, Louisiana, when he read in the New Orleans Delta an account of the attack on the Massachusetts troops as they passed through Baltimore: This account [he said in later years] excited me greatly; I had long been absent from my native city, and the startling event there inflamed my mind. That night I could not sleep, for my nerves were all unstr Delta, from which it was copied in nearly every Southern journal. The finding of an appropriate melody for the words was the achievement of the Cary sisters of Baltimore. A glee club, which was in the habit of singing at their home, sang the words to the tune Lauriger Horatius, well known as a college tune that had come from a m
Savannah (Georgia, United States) (search for this): chapter 2.16
ngel 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 still had hope that Charleston might escape
Point Lookout, Md. (Maryland, United States) (search for this): chapter 2.16
d as a chaplain the heroism and tragedy of the long struggle. William Gordon McCabe, who went from the University of Virginia as one of the Southern Guards, was a poet of the trenches, giving expression in his Dreaming in the trenches and Christmas night of ‘62 to the quieter and gentler aspects of a soldier's life. Sidney Lanier and John B. Tabb, See Book III, Chap. IV. after living the romantic life of soldiers, sealed a memorable friendship by a common suffering in the prison at Point Lookout. The feeling of the South as represented by all these poets first expressed itself in music. Southern soldiers were quick to seize upon Dixie, the words of which had been written by Dan D. Emmett for Bryant's minstrels in 1859. Except for the refrain and a few haunting phrases, the words were totally inadequate, but the music proved to be the chief inspiration of Southern armies throughout the long conflict. Sung for the first time by Mrs. John Wood in New Orleans late in 1860, it
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