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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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John Boyle O'Reilly (search for this): chapter 2.15
erland, Running the Batteries, Sheridan at Cedar Creek, The fall of Richmond, and The surrender at Appomattox. Most intimately associated with hostilities of all was Charles Graham Halpine, See also Book II, Chap. XIX. better known as Miles O'Reilly, who entered the Union army and became a brigadier-general. Although his verse lacks metrical skill, it is vigorous and full of feeling, generally free of animosities, and in the tone of the soldier rather than of the bitter poet who stays at hplayed a large part in holding California 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
Forceythe Willson (search for this): chapter 2.15
ossing 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 ded in the attack on Fort Henry, and the year 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 Confed
Henry Wadsworth Longfellow (search for this): chapter 2.15
ng of the Lord. Readers of 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 couality 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 sion 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 m 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,
Julia Ward Howe (search for this): chapter 2.15
his officers at Mobile Bay: William Tuckey Meredith, who wrote Farragut—— Farragut, Farragut, Old Heart of Oak, Daring Dave Farragut, Thunderbolt stroke—— and Brownell, whose The Bay fight, though perhaps too long, can hardly be matched for martial energy. In the armies themselves the most popular verses were naturally less fine than those which have chiefly been remembered as the poetic fruits of the war. It was to furnish more worthy words to the tune of John Brown's body that Julia Ward Howe wrote her noble poem The battle hymn of the republic, but the words proved too fine to suit the soldiers, who would not sing of grapes of wrath or the beauty of the lilies. They preferred instead such pieces as Three hundred thousand more, Marching through Georgia, and The year of Jubilee, which have been already mentioned, the equally favoured The battle Cry of freedom, Tramp, Tramp, Tramp, and Just before the battle, mother, of George Frederick Root, and Walter Kittredge's Tenting o
Augusta Cooper Bristol (search for this): chapter 2.15
to the South, full of prophetic challenge; Richard Realf's Io Triumphe, hopeful and resolute; W. A. Devon's Give Me Your hand, Johnny bull, a friendly, earnest bid for British sympathy. Still more interesting are the numerous pieces that reveal the feelings of sorrowing men and women at home, and of soldiers sick for home. Specially memorable are Lucy Larcom's Waiting for news, Kate Putnam Osgood's extraordinarily pathetic Driving home the Cows, C. D. Shanly's The Brier Wood Pipe, Augusta Cooper Bristol's Term of service ended, Read's The brave at home, The Drummer boy's burial (anonymous), and William Winter's After all. From civil life came the tender and moving note of reconciliation in Francis Miles Finch's The blue and the Gray, written in 1867 when the news came that the women of Columbus, Mississippi, had decorated the graves both of Northern and Southern soldiers. To civil life, too, belongs the supreme poetry that the war called forth, associated, for the most part, wit
Walter Kittredge (search for this): chapter 2.15
n's body that Julia Ward Howe wrote her noble poem The battle hymn of the republic, but the words proved too fine to suit the soldiers, who would not sing of grapes of wrath or the beauty of the lilies. They preferred instead such pieces as Three hundred thousand more, Marching through Georgia, and The year of Jubilee, which have been already mentioned, the equally favoured The battle Cry of freedom, Tramp, Tramp, Tramp, and Just before the battle, mother, of George Frederick Root, and Walter Kittredge's Tenting on the old camp ground. Now forgotten, but famous in its day, was William B. Bradbury's Marching along, most frequently sung by soldiers of the Army of the Potomac. The song perhaps most frequently heard from soldiers of both sides in the conflict was When this Cruel War is over by C. C. Sawyer. In the Northern version blue rhymes with true; with cheerful unconcern for the rhyme, the Southerners substituted gray. This song was sentimental, without poetic merit or rhythm,
Elizabeth Stuart Phelps (search for this): chapter 2.15
ion armies, and survived innumerable parodies and rival versions—to be sung not only by American but by British troops in the present war. The secession of South Carolina called forth the earnest, affectionate Brother Jonathan's lament for sister Caroline by Oliver Wendell Holmes. Stedman and Brownell were but two of the many stirred to verse by the attack on Sumter. The spirit of the volunteers was celebrated in A Call to True Men by Robert Traill Spence Lowell, Who's ready? by Elizabeth Stuart Phelps, The heart of the War by J. G. Holland; Theodore Tilton published in The independent for 18 April, 1861, his clanging and exciting tocsin The great Bell Roland; even Bryant had a strange fire in Our country's call: Lay down the axe; fling by the spade; Leave in its track the toiling plough; The rifle and the bayonet-blade For arms like yours were fitter now; And let the hands that ply the pen Quit the light task, and learn to wield The horseman's crooked brand, and rein The charger
Grant (search for this): chapter 2.15
ons 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 the assault on Fort Hudson; Brownell's Bury them is a stern and terrib<
Barbara Frietchie (search for this): chapter 2.15
s Dunn English's The charge by the Ford and Melville's Malvern Hill deal with the later events of McClellan's first campaign. Lincoln's call for new troops gave rise to the sentimental but immensely effective Three hundred thousand more by James Sloan Gibbons and to Bret Harte's The Reveille (sometimes called The Drum), which is said to have played a large part in holding California 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,
Kearny (search for this): chapter 2.15
with the intellectual to dignify and elevate the race. Stedman See also Book III, Chap. X. himself, brought up in an older school of lovers of beauty, turned to a more resonant lyre, and wrote such pieces as How Old Brown Took Harper's Ferry, Kearny at Seven Pines, Wanted—A Man, Gettysburg, and the stirring romance Alice of Monmouth—pieces full of metrical energy, strong, high spirit, and convinced devotion to the union. Stoddard, See ibid. writer of delicate Melodies and Catches, rose t The black regiment, The battle of Lookout Mountain. Boker's lyrics, however, lack the passionate truthfulness of Brownell's, and play too much with allegory and ancient mythology for the best effect. The Dirge, called forth by the death of General Kearny, is spontaneous and haunting. Bayard Taylor, See also Book III, Chap. X. a friend of Boker, while ardently sympathetic toward the Union cause, and a speaker in its behalf in America and England, shows a slighter imprint of the conflict
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