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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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1864 AD (search for this): chapter 2.15
. Brownell thus had an opportunity, in actual service, to become acquainted with the details of warfare. The best of his pieces, all included in Lyrics of a day (1864) and War-Lyrics (1866), still deserve praise as strong as that pronounced by Lowell and Aldrich in Brownell's own generation. His power lay in combining vivid det 1871 the efficient secretary of the Union League of Philadelphia, and prominent in patriotic activities throughout the struggle. His Poems of the War appeared in 1864. It contained a few pieces, some of them still remembered, which adequately represent the faith and deep feeling of that time. Most interesting are the Dirge for West was not without its poet— annalists, of whom the most notable perhaps was Forceythe Willson (1837-67), a native of New York who lived in Indiana from 1852 to 1864 and wrote Union editorials for the Louisville Journal. During the first year of the war he began his sombre, disheartened In state, a poem which spoke of the Unio
November 19th, 1863 AD (search for this): chapter 2.15
ok III, Chap. III. on the death of Stonewall Jackson, led George Parsons Lathrop to write his dashing ballad, Keenan's charge. Perhaps it was again because poets sing best in defeat that no Union poem on Gettysburg quite equals Will Henry Thompson's later High tide (1888). Stedman, however, made a ringing ballad, Gettysburg, and Bret Harte preserved a real episode of the day in his John Burns of Gettysburg. Best of all, of course, was Lincoln's famous address at the battle-field on 19 November, 1863, which lacks nothing of poetry but its outer forms. As Grant rose to fame the poets kept pace with his deeds: Melville with Running the Batteries and Boker with Before Vicksburg dealt with the struggle to open the Mississippi. Lookout Mountain was commemorated by Boker—The battle of Lookout Mountain—and William Dean Howells—The battle in the clouds. Two poems this year honoured the negro soldiers that the Union army had begun to use. Boker's The black regiment concerns itself with t<
October, 1862 AD (search for this): chapter 2.15
after published his masterpiece, The old Sergeant, which Holmes thought the finest thing since the war began,— the death-scene of a nameless soldier wounded at Shiloh. Richer in melody than Brownell, Willson was like him in directness and realism; his output, however, was very slight. The struggle for the possession of Missouri was recorded in Stoddard's The little Drummer, Henry Peterson's The death of Lyon, and Boker's Zagonyi. During the Confederate attempt to recapture Corinth in October, 1862, the Eighth Wisconsin imaginatively carried, instead of a flag, a live eagle which circled over the battlefield and which gave Brownell his occasion for The Eagle of Corinth. This same year on the sea the duel between the Merrimac and the Cumberland stirred the poets as did almost no other episode of the entire war. Thomas Buchanan Read wrote The attack; Longfellow, The Cumberland; Boker, On Board the Cumberland; Melville, The Cumberland; Weir Mitchell, How the Cumberland went down,—
1866 AD (search for this): chapter 2.15
earty appreciation and afterwards made the poet his secretary. Brownell thus had an opportunity, in actual service, to become acquainted with the details of warfare. The best of his pieces, all included in Lyrics of a day (1864) and War-Lyrics (1866), still deserve praise as strong as that pronounced by Lowell and Aldrich in Brownell's own generation. His power lay in combining vivid detail with lyric exultation, accurate pictures of still life with fiery episodes of heroic action. No otherso Book III, Chap. X. wrote, in Sheridan's Ride, one of the most rousing of all the martial ballads called forth by the war. Herman Melville, See also Book II, Chap. VII. who said in the preface to his Battle-Pieces and Aspects of the War (1866) I seem, in most of these verses, to have but placed a harp in a window, and noted the contrasted airs which wayward winds have played upon the strings, suffered in his verse as in his minor romances from a fatal formlessness, but he had moments o
1852 AD (search for this): chapter 2.15
lifornia loyal. The advance of Lee to Antietam, his repulse there, and his retreat found a record in Whittier's Barbara Frietchie, Melville's The Victor of Antietam, Boker's The crossing at Fredericksburg, John Boyle O'Reilly's At Fredericksburg, and Aldrich's exquisite sonnets Fredericksburg and By the Potomac. Meanwhile the war in the West was not without its poet— annalists, of whom the most notable perhaps was Forceythe Willson (1837-67), a native of New York who lived in Indiana from 1852 to 1864 and wrote Union editorials for the Louisville Journal. During the first year of the war he began his sombre, disheartened In state, a poem which spoke of the Union as dead and lying on its bier: The Sisterhood that was so sweet, The Starry System sphered complete, Which the mazed Orient used to greet, The Four and Thirty fallen Stars glimmer and glitter at her feet. The next year he wrote Boy Brittan to commemorate a seventeen-year-old lieutenant killed in the attack on Fort Henr
1888 AD (search for this): chapter 2.15
at made that section very obnoxious to the South. Boker in the spring of 1863 greeted the news of the Federal advance with his Hooker's across; and Chancellorsville, which called forth so many Confederate poems See also Book III, Chap. III. on the death of Stonewall Jackson, led George Parsons Lathrop to write his dashing ballad, Keenan's charge. Perhaps it was again because poets sing best in defeat that no Union poem on Gettysburg quite equals Will Henry Thompson's later High tide (1888). Stedman, however, made a ringing ballad, Gettysburg, and Bret Harte preserved a real episode of the day in his John Burns of Gettysburg. Best of all, of course, was Lincoln's famous address at the battle-field on 19 November, 1863, which lacks nothing of poetry but its outer forms. As Grant rose to fame the poets kept pace with his deeds: Melville with Running the Batteries and Boker with Before Vicksburg dealt with the struggle to open the Mississippi. Lookout Mountain was commemorate
1820 AD (search for this): chapter 2.15
f producing the loftiest and best Northern poetry of the War. The purpose of this chapter is to tell not of the major poets of the mid-century period, most of whom, in the intervals of full poetic careers traced elsewhere in this history, lent powerful voices to the cause of anti-slavery and union, but of some of the lesser figures whose best or most significant work deals almost wholly with the conflict. At least one of them has not received his due share of praise-Henry Howard Brownell (1820-1872), called by Holmes Our Battle Laureate. Born at Providence, he went with his family to Hartford, where he graduated from Trinity College in 1841. After a short season of teaching in Mobile, he returned to Hartford, was admitted to the bar, and began the practice of his profession, while also joining his brother in literary work. His early devotion to the sea, stimulated by frequent voyages, inspired him to sing of its awe and its beauty. Like his brother, who lost his life in 1859 ex
1856 AD (search for this): chapter 2.15
f poetry in the fifties had enjoyed the verse of Bryant See also Book II, Chap. V. and Longfellow See also Book II, Chap. XII. and of others who modestly portrayed aspects of quiet nature, mildly moralized upon conduct, or willingly submitted to the spell of beauty. For not a few of the poets, poetry was something apart from the actuality of life, too often little more than commonplace sentiment inspired by earlier poets. It is interesting to find Longfellow writing in his diary in 1856: Dined with Agassiz to meet Emerson and others. I was amused and annoyed to see how soon the conversation drifted off into politics. It was not until after in the library that we got upon anything really interesting. Longfellow, Taylor, Story, and Stoddard (in his early days) were practitioners of the poetic art rather than workers in the real material of human experience. There were other singers, however, who, though surrounded by much that was crude and raw, petty and vulgar, st
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