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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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1828 AD (search for this): chapter 2.16
oetic 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 expressi
July, 1885 AD (search for this): chapter 2.16
here there were so many means of communication and of publication. Southern readers had to be satisfied with scrapbooks in which were treasured many of the poems that in this way became the common property of a good many people. Of distinctly different quality from the poems already referred to, and all other literary poems, are certain crude vernacular verses. With some of the characteristics of popular ballads, they had much currency in the camps. A writer in the Southern Bivouac (July, 1885) recalls and characterizes some of these as follows: As the long contest dragged on, and war, losing much of its earlier illusions, became a stern, bitter, and exceedingly monotonous reality, these high-toned lyrics were tacitly voted rather too romantic and poetical for the actual field, and were remitted to the parlor and the piano stool. The soldiers chanted in quite other fashion on the march or seated at the campfire. In these crude rhymes, some of them improvised for the moment
1822 AD (search for this): chapter 2.16
iles'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 Soutch she expresses one of the favourite ideas of the South—that the struggle was between the cavaliers and men of low breeding. The tragic aspects of Virginia and the heroism of her people were visualized also by a Georgia poet, Francis O. Ticknor (1822-74), whose wife was one of the distinguished Nelsons of the Old Dominion. His Our left is the most vivid account of the second battle of Manassas. Virginia is the best tribute we have to the commonwealth that bore the brunt of the struggle. The
1887 AD (search for this): chapter 2.16
dead by 1875. Randall spent many years in the drudgery of a newspaper office, never recapturing the first fine careless rapture of his great song. Ticknor and Bruns followed with devotion the life of a doctor, while McCabe became one of the best-known schoolmasters of Virginia—a position which seemed to deaden his poetic inspiration, though he remained an inimitable raconteur, and the friend of some of the most gifted poets of England and America. Mrs. Preston continued to write as late as 1887, when she published Colonial ballads, but she added nothing to her fame. Flash became a merchant and lived for many years in the Far West. Paul Hamilton Hayne alone made progress after the war. With magnificent courage and faith, after the destruction of his city and his home, he moved to a small cabin of his own building in the pine barrens near Augusta, Georgia. Here on a writing desk made out of a carpenter's work-bench he wrote poems for the remainder of his life. To Mrs. Preston he
1820 AD (search for this): chapter 2.16
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 value of words, and his happy use of the refrain (the pleasant excursion to Richmond) make this poem one of the marked achievements of the period. Scarce
1825 AD (search for this): chapter 2.16
ttles of the war. This event more than any other pierced the heart of the South and called forth scores of poems from all sections. One of the early collectors claimed to have found forty-eight of these; at least four or five rise to a high level of expression. No other poem gives anything like so adequate an expression of Jackson—his personal appearance, his religious faith, his impressive commands, his almost magical control of his men—as Stonewall Jackson's way by John Williamson Palmer (1825-1906). Excellent also are Margaret J. Preston's Stonewall Jackson's grave and Under the shade of the trees, Flash's Death of Stonewall Jackson, Randall's The Lone Sentry, and the anonymous The brigade must not know, Sir. In 1863 Charleston was attacked by the Northern fleet and her group of devoted poets gathered about her in suspense. Timrod described the dawn of the eventful day as the city in the broad sunlight of heroic deeds waited for the foe. The hostile smoke of the enemy's fleet
1826 AD (search for this): chapter 2.16
rk there is not the remotest chance for an enduring reputation, and at the same time makes the same suggestion to others who may have acquired a reverence for inspiration so called, and a contempt for the art of versification. Apart from his critical judgment Davidson shows the ability 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 convinc
1886 AD (search for this): chapter 2.16
ng men, two of whom especially were to respond as poets to the call of the new nation. He himself was now an old man, moving among his friends like a Titan maimed. As the struggle tightened about Charleston in the later years of the war, he wrote some fiery appeals against the besieging foe, but there is in his verse excitement rather than inspiration, heat rather than light. Of the group of friends and younger men who gathered about Simms, the most promising was Paul Hamilton Hayne (1830-86). The descendant of several generations of Carolina gentlemen and gentlewomen, he had deliberately turned away from the attractive profession of law and politics and had definitely chosen literature as his profession. In his first published poem he had announced his dedication to the poet'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
March, 1868 AD (search for this): chapter 2.16
ove 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 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 ech
1847 AD (search for this): chapter 2.16
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 poets and
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