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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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Titan (search for this): chapter 2.16
the only noteworthy one being Mrs. Preston. There are thirteen poems on Stonewall Jackson, only two poems by Timrod, an indiscriminate list by Randall, and many anonymous poems. In the third edition we have eight by Timrod, four by Father Ryan, and good, though not the best, 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 friendship or by his lifelong devotion to Southern letters. The spirit in which he made the book is indicated in the following words from the preface: Though sectional in its character, and indicative of a temper and a feeling which were in conflict with nationality, yet, now that the States of the Union have been resolved into one nation, this collection is essentially as much the p
Sallie A. Brock (search for this): chapter 2.16
h during the war—seven each by Randall, J. R. Thompson, and Simms himself, six by Hayne, three by Ticknor, three by Flash, and, above all, eleven by Timrod. It is this recognition of Timrod's greatness as a poet, this first setting him forth as the poet of the South who expressed in adequate verse every aspect of the struggle, that increases the value of the book and our appreciation of Simms's critical judgment. In 1869 appeared The Southern Amaranth, characterized by its editor, Miss Sallie A. Brock, as a carefully selected collection of poems growing out of and in reference to the late war. In the preface of March, 1868, she expresses a wish to render to her Southern sisters some assistance in gathering up the remains of the Confederate dead. Her regret is that a vast number of beautiful and worthy productions are compelled for want of space to be crowded out of this volume. In florid style she exclaims: The Muse of the Southland is one of tireless wing, and though her th
James Barron Hope (search for this): chapter 2.16
e later editors and collectors, they preserve heroes and incidents, landscapes and sentiments that will always endear them to the Southern people. If we consider the poems from this last point of view, they serve to suggest the principal events of the war in rapid review. The gauntlet was thrown down in the poems hitherto cited and also in Tucker's The Southern Cross, Miles's God save the South, Randall's Battle Cry of the South, Mrs. Warfield's Chant of Defiance, Thompson's Coercion, and Hope's Oath of freedom. Among the group of Virginia poets who wrote of the early battles on Virginia soil, John R. Thompson (1822-73) and Mrs. Preston (1820-97) stand out as the most conspicuous. Of distinctly higher quality than the crude rhymes already referred to were Thompson's humorous poems on some of the early Southern victories. His On to Richmond, modelled on Southey's March to Moscow, is an exceedingly clever poem. His mastery of double and triple rhymes, his unfailing sense of the v
Dan D. Emmett (search for this): chapter 2.16
ion 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 was taken up by the Louisiana regiments and was soon heard by the campfires and hearthstones of the South. From New Orleans, too, came The Bonnie blue flag, an old Hibernian melody, with words writte
Beers (search for this): chapter 2.16
of a careful editor in weighing evidence as to the authorship of All quiet along the Potomac—a poem that all Southerners had claimed as the work of Lamar Fontaine. Now by some ascribed to Thaddeus Oliver (1826-64). Davidson publishes Fontaine's letter claiming positively the authorship, but side by side with it is one from Joel Chandler Harris, who was at that time, according to the editor, planning an edition of Southern poems, and who after much deliberation expresses the opinion that Mrs. Beers is the author of the poem. He quotes also a letter to the same effect from the editor of Harper's magazine. While he himself does not express an opinion, it is not difficult for the reader to be convinced by the reasoning submitted 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 thi
October, 1867 AD (search for this): chapter 2.16
Southland is one of tireless wing, and though her theme is lofty and glorious as the golden sunset splendor upon the purple sky of evening, her song is often as sad as the weary echoes of the winter wind through her matchless forests—the mournful wailings of broken hearts. The most striking new features of the volume are Timrod's Ode on the Confederate dead (written in 1867) and Dr. Ticknor's Little Giffen of Tennessee, which, though probably written in 1863, was not published until October, 1867, in The land we love. The latter poem is not given, however, as it appears in the revised form of later years, the last stanza being especially faulty. All these anthologies had appeared with but little introductory material or notes regarding the lives of the writers or the circumstances under which the poems were written. They were all practically a conglomeration of poems with little to aid the student of literary history. In 1869 James Wood Davidson's Living writers of the Sou
1882 AD (search for this): chapter 2.16
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, Nort 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 firstwater; by my poems I will live or I will starve. In 1872 he brought out a volume of Legends and lyrics; in 1875 The Mountain of the lovers and other poems; and in 1882, a complete edition of his poems. Two or three of his best poems were written in his last years, notably A Little While I Fain Would Linger Yet, and In Harbor. W
1812 AD (search for this): chapter 2.16
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 poets and by more who were but occasionally such. It is difficult for one of the present generation to realize the unity and the fervour of th
February, 1861 AD (search for this): chapter 2.16
and, while our banners wing Northward, strike with us! till the Goth shall cling To his own blasted altar—stones, and crave Mercy; and we shall grant it, and dictate The lenient future of his fate There, where some rotting ships and crumbling quays Shall one day mark the Port which ruled the Western seas. The closing lines—partly ridiculous and partly pathetic in the light of today—are typical of the absolute confidence of the South. When the Confederate Congress met in Montgomery in February, 1861, Timrod hailed the birth of the new nation in his stateliest ode, Ethnogenesis. All nature's blessings are with the South and take part with her against the North, mad and blinded in its rage. The strength of pine and palm, the firmness and calm of the hills, the snow of Southern summers (cotton), the abundance of the harvests, the heart of woman, the chivalry of men are arrayed against materialism and fanaticism. To doubt the end were want of trust in God. The poem closes with a pas<
1879 AD (search for this): chapter 2.16
istmas 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 time a systematic arrangement was made of this material. The result is altogether striking. The Southern poems, while slightly fewer in number (the proportion is 60 to 85), measure up well with those of the North. Side by side in this volume appear Bryant's Our country's call and Timrod's A Cry to Arms, Whitman'
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