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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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Theodore Winthrop (search for this): chapter 2.15
light task, and learn to wield The horseman's crooked brand, and rein The charger on the battle-field. Thereafter the passion of events is recorded in the poems of the war, North and South. Bayard Taylor's Through Baltimore cried out against the opposition offered by Southern sympathizers to the passage through Baltimore streets of the Sixth Massachusetts. A. J. H. Duganne, in his impetuous Bethel, sang of the heroism but not the blunders of that battle, the chief victim of which, Theodore Winthrop, See also Book III, Chap. XI. was the subject of Thomas William Parsons's lofty Dirge for one who fell in battle. Bull Run, theme of many exultant Southern ballads and satires, See also Book III, Chap. III. brought from Boker the impassioned Upon the Hill before Centreville. In the controversy with England which followed the seizure of Mason and Slidell, Lowell wrote his spirited and determined Jonathan to John, second in the new series of Biglow papers. During September, 186
Ethel Lynn (search for this): chapter 2.15
ok III, Chap. XI. was the subject of Thomas William Parsons's lofty Dirge for one who fell in battle. Bull Run, theme of many exultant Southern ballads and satires, See also Book III, Chap. III. brought from Boker the impassioned Upon the Hill before Centreville. In the controversy with England which followed the seizure of Mason and Slidell, Lowell wrote his spirited and determined Jonathan to John, second in the new series of Biglow papers. During September, 1861, Mrs. Ethelinda, (Ethel Lynn) Beers wrote The Picket-Guard (attributed in the South to Lamar Fontaine or Thaddeus Oliver), a widely popular piece expressing sympathy with the minor and unnoted victims of the conflict. Also popular was the anonymous Tardy George, that is, General McClellan, of whom the North demanded more activity than he ever attained. In the same cause, though without the mention of names, was Wanted—A Man, by Stedman, who shortly after had to write another elegy, Kearny at seven pines, upon the ga
Annabel Lee (search for this): chapter 2.15
ines, upon the gallant officer commemorated by Boker in the Dirge for a soldier. Thomas 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 editor
Zagonyi (search for this): chapter 2.15
year-old lieutenant killed 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 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; Mel
Thaddeus Oliver (search for this): chapter 2.15
l in battle. Bull Run, theme of many exultant Southern ballads and satires, See also Book III, Chap. III. brought from Boker the impassioned Upon the Hill before Centreville. In the controversy with England which followed the seizure of Mason and Slidell, Lowell wrote his spirited and determined Jonathan to John, second in the new series of Biglow papers. During September, 1861, Mrs. Ethelinda, (Ethel Lynn) Beers wrote The Picket-Guard (attributed in the South to Lamar Fontaine or Thaddeus Oliver), a widely popular piece expressing sympathy with the minor and unnoted victims of the conflict. Also popular was the anonymous Tardy George, that is, General McClellan, of whom the North demanded more activity than he ever attained. In the same cause, though without the mention of names, was Wanted—A Man, by Stedman, who shortly after had to write another elegy, Kearny at seven pines, upon the gallant officer commemorated by Boker in the Dirge for a soldier. Thomas Dunn English's T
Lucy Larcom (search for this): chapter 2.15
went down,—all of them poems which, with a larger eloquence than then appeared, sounded the knell of the wooden battleship. As might have been expected, defeat had more poets than victory; Boker, however, wrote The Cruise of the Monitor, and Lucy Larcom The sinking of the Merrimac. For the capture of New Orleans there were Boker's The ballad of New Orleans and The Varuna (the name of a Federal ship sunk during the action), while Brownell's The River fight was as triumphant as the attack. D 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 Wi
Laus Deo (search for this): chapter 2.15
Proclamation, can hardly be matched for pungency and pregnancy of matter by any other American poem for an occasion. Whittier, who had already hailed Fremont's action in freeing the slaves of secessionists in Missouri in the poem To John C. Fremont, and the abolition of slavery in the District of Columbia in his hopeful Astroea at the Capital, hailed the actual Proclamation with passion, and, later, the passage of the constitutional amendment abolishing slavery with the rapt exultation of Laus Deo. Stedman's Treason's last device glowed with anger at a proposal made, as late as 1863, to bar New England from the Union because of an opposition to slavery that 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 bal
Robert Gould Shaw (search for this): chapter 2.15
iers 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 terrible poem on the slaughter of the Fifty-Fourth Massachusetts, with their Colonel, Robert Gould Shaw, at Fort Wagner, South Carolina. The Confederates buried Shaw in a pit under a heap of his men, and Brownell thought of them as dragon's teeth buried in the sacred, strong Slave-Sod only to rise—Southerners are supposed to be speaking—as sShaw in a pit under a heap of his men, and Brownell thought of them as dragon's teeth buried in the sacred, strong Slave-Sod only to rise—Southerners are supposed to be speaking—as sabres and bayonets: And our hearts wax strange and chill, With an ominous shudder and thrill, Even here, on the strong Slave-Sod, Lest, haply, we be found (Ah, dread no brave hath drowned!) Fighting against Great God. In the fourth year of the war the note of triumph passed from the Southern to the Northern poets. S. H. M. Byers's Sherman's March to the sea and Halpine's The song of Sherman's Army are almost gay, and Henry Clay Work's Marching through Georgia if not gay is nothing else.
John Brown (search for this): chapter 2.15
d look less to individual writers or groups of writers than to the subjects which were most commonly their themes. The John Brown affair found many poets: Stedman in How old Brown took Harper's Ferry, Brownell in The battle of Charlestown, fiercely Brown took Harper's Ferry, Brownell in The battle of Charlestown, fiercely ironic, Whittier in Brown of Ossawatomie, and, above all, the anonymous author (he may have been Charles Sprague Hall) of John Brown's body, which, set to the air of an old Methodist hymn, became the most popular marching song of the Union armies, aJohn Brown's body, which, set to the air of an old Methodist hymn, became the most popular marching song of the Union 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 Oliv 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
John Burns (search for this): chapter 2.15
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 commemorated by Boker—The battle of Lookout Mountain—and William Dean Howells—The battle in the clouds. Two poems this year honoured<
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