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The Photographic History of The Civil War: in ten volumes, Thousands of Scenes Photographed 1861-65, with Text by many Special Authorities, Volume 9: Poetry and Eloquence. (ed. Francis Trevelyan Miller), Chapter 6: lyrics (search)
e as a paradise. But with years the term Dixie's Land was transferred to their new home and was taken up by both white and black as a name for the South. Emmet's production was sung for the first time on Monday night, September 19, 1859, at 472 Broadway, New York City, where Bryant's Minstrels were then showing. It enjoyed instant popularity. Its vogue in the South was begun in New Orleans in the Spring of 1861. Mrs. John Woods was then playing at the New Orleans Varieties Theater in John Brougham's burlesque of ‘Pocahontas.’ In the last scene was a zouave march. At the first performance the zouaves were led by Miss Susan Denin, singing ‘Dixie,’ and reappearing seven times in answer to the persistent applause. The whole South took it up. Swear upon your country's altar Never to submit or falter, Till the spoilers are defeated, Till the Lord's work is completed!Halt not till our Federation Secures among earth's powers its station! Then at peace, and crowned with glory, Hear you
William Alexander Linn, Horace Greeley Founder and Editor of The New York Tribune, Chapter 4: the founding of the New York Tribune (search)
a, sending in from four to nine columns a day. He aroused a warm discussion by characterizing the whole moral atmosphere of the theater as unwholesome, and refusing to urge his readers to attend dramatic performances, as we would be expected to if we were to solicit and profit by its advertising patronage. Greeley always considered the stage inimical to many of his pet reforms. He remembered a song that he heard in a theater in derision of temperance, and a ridiculing of socialism by John Brougham, and he thought some of the impersonators of Irishmen deserving of indictment as libelers of an unlucky race. In summing up his Dramatic Memories in his Busy Life, he said: I judge that the wise man is he who goes but once to the theater, and keeps the impression then made on his mind fresh and clear to the close of his life ; but he had faith in a future stage which will exert a benign influence over the progress and destiny of our race. At the same time he offended the religious ele
Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Chapter 2: the early drama, 1756-1860 (search)
. The fifth was a significant and creative period, from 1825 to the Civil War, with its climax in Francesca da Rimini in 1855. This development was interrupted naturally by the Civil War. What would have been its course had the war not occurred it is perhaps fruitless to speculate. There were signs of a quickening of dramatic interest in the late fifties under the encouragement of such managers as Lester Wallack and Laura Keene, but the domination of the stage by Dion Boucicault and John Brougham, while it resulted in some significant plays, especially in a later period, was not an unmixed blessing from the point of view of the production of American drama. The dramatization of English and French novels with resultant long runs, indeed the very success of Boucicault's original dramas, made for conditions in which the work of new playwrights became less in demand. The old days in which a manager was willing to put on a play for a few nights were going fast, and with them went ou
Cambridge History of American Literature: volume 1, Colonial and Revolutionary Literature: Early National Literature: Part I (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Index. (search)
301 Brayley, Rev., James, 153 Bread and Cheese Club, 297 Brewster, Benjamin H., 222 Brief account of the Agency of the Honorable John Winthrop, a, 152 Brief remarks on the defence of the Halifax libel, etc., 128 Brillon, Mme., 100 Bristed, John, 293 British prison ship, the, 182 British review, the, 206 British spy in Boston, the, 237 n. Broker of Bogota, 222,224 Brook Farm, 339-340, 345 Brooke, Henry, 165 Brother Jonathan, 309 Brothers, Thomas, 207 Brougham, John, 232 Brown, Charles Brockden, 287-292, 293, 295, 307, 308, 313 Brown, David Paul, 223 n., 224--John, 344 Brown, T. A., 227 n. Browne, Sir, Thomas, 104, 322 Browning, 261, 264, 266, 268, 274 Brownson, Orestes A., 333 Bruce, P. A., 216 n. Brutus, 220, 224 Bryant, Dr., Peter, 263 n. Bryant, W. C., 150, 163, 180, 183, 212, 240, 260-278, 279, 280, 281, 282, 283 Buccaneer, the, 278 Buch, Leopold von, 187 Buckingham, J. S., 190 Buckingham, J. T., 236 n. Buc
Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Book III (continued) (search)
es and fashions that emanated from London and Paris. Neither the Wallacks, John Brougham, W. E. Burton, nor Augustin Daly showed, by their actual productions, that their tastes were native, although Brougham was led, through burlesque, to exercise his Irish wit on the land of his adoption, and Daly, as shown by his recent biograort life on the stage. When 1860 dawned, Dion Boucicault (1822-1890) and John Brougham (1810-1880) reigned supreme in American popularity, and they were both Irisphi, 4 September, 1865). One would say of Boucicault, as one would claim of John Brougham, that his local influence was due to local popularity rather than to any impetus he gave to native drama. While Brougham's Po-ca-hon-tas; or, the gentle savage (Burton's Lyceum, 24 December, 1855) and his Columbus et Filibustero (Burton's L started just when the old-time stock company tradition passed from Burton and Brougham and Laura Keene to Mrs. John Drew (1820-1897), who assumed control of the Phil
Cambridge History of American Literature: volume 3 (ed. Trent, William Peterfield, 1862-1939., Erskine, John, 1879-1951., Sherman, Stuart Pratt, 1881-1926., Van Doren, Carl, 1885-1950.), Index (search)
Briefwechsel (Schlozer), 577 Briggs, C. A., 203-4, 205, 206, 207 Briggs, C. F., 313 Brigham's destroying angel, 143 Bright, James Wilson, 459, 480 n. Brighton, 275 Brinsley, George, 183 Brinton, Daniel, 619, 620 Brisbane, Albert, 437 Brisk young lover, a, 510 Bristed, John, 432 Broadhurst, George, 289, 293 Brodhead, J. R., 173, 175, 179 Brooks, A. H., 167 Brooks, Phillips, 218-225 Brotherhead, W., 545 n. Brother Jonathan, 547 Brothers, Thos., 437 Brougham, John, 267, 268 Brown, A. J., 165 Brown, Alice, 291, 294 Brown, C. B., 68, 542, 546, 548 Brown, Frank M., 158 Brown, J. C., 183 Brown, John, 496 Brown, W., 438 Browne, Charles F., 4, 7, 22, 23, 375 Browne, Sir, Thomas, 34 Brownell, H. H., 496 Browning, E. B., 34 Browning, Robert, 34, 38, 54, 63, 64, 111, 372, 487 Brownlow, W. G., 340, 352 Brown of Harvard, 289 Brownson, O. A., 302, 303, 347 Brownson's quarterly Review, 301, 302, 303 Brown University, 210, 357,
Southern Historical Society Papers, Volume 21. (ed. Reverend J. William Jones), chapter 1.14 (search)
ring the war. It was considered a rebel song, and a sapient Maine editor declared Dan to be a Secesh, and that he should be treated as one, although Dixie was written two years before the commencement of the war, and as originally written there was not a line that could be charged with any political hearing. The crowning popularity of this well-known ditty was secured in New Orleans in the spring of 1861, when Mrs John Wood played an engagement at the Varieties Theatre. Pocahontas, by John Brougham, was the attraction, and in the last scene a zouave march was introduced. Carlo Patti, brother of Adalina Patti, was the leader of the orchestra. At the rehearsal Carlo was at a loss as to what air to appropriate. Crowning triumph. Trying several, he finally hit upon Dixie. Tom McDonough shouted:That will do—the very thing; play it to-night. Mrs. John Wood, Mark Smith, Loffingwell, and John Owens were delighted. Night came, the Zouaves marched on, led by Miss Susan Denin, sing
The Daily Dispatch: January 30, 1861., [Electronic resource], article 3 (search)
John Brougham, the well-known actor, who is now in London, has determined not to return to this country. He has sent over for his family to join him in England.
The Daily Dispatch: November 12, 1860., [Electronic resource], Affairs at the South. (search)
Camp Lee. --The rain on Friday night was in no way conducive to the enjoyment of camp life, and no doubt many persons thought of John Brougham's witticism, that the sufferings of the soldiers were in tents. In this case, however, the idea was somewhat exaggerated; for although the soldiers occupied their canvas houses during the storm, they got along quite comfortably. The sentinels experienced a little of the hardship consequent on exposure to the rain, but the majority of the men that we saw on Saturday seemed to be as dry as anybody else. The evolutions on the parade ground were very good, and the steady movements of the troops exhibited a marked improvement since the camp was established. A few ladies, undaunted by the chilling atmosphere, were there to see the parade, but the number of spectators, compared with that of the previous day, was small. Among the military officers present we observed Gen. Scott, of Powhatan, and Gen. Coleman, of Louisa — We missed the fine co
The Daily Dispatch: December 27, 1860., [Electronic resource], A New method of giving out Offices. (search)
A complimentary supper, presided over by Mr. Beverly Tucker, United States Consul, was given to John Brougham, the actor, on the occasion of his first appearance in Liverpool.
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