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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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George Henry Boker (search for this): chapter 2.15
mportant than Brownell as a war poet was George Henry Boker, See also Book II, Chap. II. a nativr, See also Book III, Chap. X. a friend of Boker, while ardently sympathetic toward the Union c Frietchie, Melville's The Victor of Antietam, Boker's The crossing at Fredericksburg, John Boyle Oummer, Henry Peterson's The death of Lyon, and Boker's Zagonyi. During the Confederate attempt to wrote The attack; Longfellow, The Cumberland; Boker, On Board the Cumberland; Melville, The Cumber expected, defeat had more poets than victory; Boker, however, wrote The Cruise of the Monitor, andac. For the capture of New Orleans there were Boker's The ballad of New Orleans and The Varuna (the that section very obnoxious to the South. Boker in the spring of 1863 greeted the news of the issippi. Lookout Mountain was commemorated by Boker—The battle of Lookout Mountain—and William Deasoldiers that the Union army had begun to use. Boker's The black regiment concerns itself with the [4 more...]<
Bret Harte (search for this): chapter 2.15
'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 t 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, 1tramping, camping soldier by John Savage. All these are primarily concerned with the military side of the conflict. Civil matters, too, found poetic voices: Bret Harte's The Copperhead and The Copperhead Convention, and Thomas Clarke's Sir Copp, stinging denunciations; F. W. Lander's Rhode Island to the South, full of propheti
R. B. Sheridan (search for this): chapter 2.15
gnity and power expected of it. It seems, for all its large weight of thought and knowledge, unimportant when compared with Lowell's Commemoration ode. Still a third Pennsylvanian, Thomas Buchanan Read, See also 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, at Cedar Creek, The fall of Richmond, and The surrender at Appomattox, though never widely known, are full of that distinction which Melville, with all his irregularities, was never long without, in prose or verse. Thomas Buchanan Read's famous Sheridan's Ride is a better ballad than Melville's piece on the same theme, but purely as poetry it is inferior. Henry Clay Work's The year of Jubilee, supposed to be written by a slave full of delight in the coming freedom, is too amusing and racy to n
William Emerson (search for this): chapter 2.15
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 down On tyrant fort and town, 'Mid cannon cloud and rattle— And the great guns once more Thunder back the roar Of the traitor wall ashore, And the traitor flags come down! It was in New England that Emancipation was most eagerly acclaimed. Emerson's Boston hymn, written in honour of Lincoln's 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 secess
J. G. Holland (search for this): chapter 2.15
s 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 on the battle-field. Thereafter the pas
Keenan (search for this): chapter 2.15
tedman'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 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
F. W. Lander (search for this): chapter 2.15
rick of melody to recommend it, but it voiced the eager longing for peace and was heard in every camp many times every day. Other popular songs were the Song of the soldiers by Halpine and I'd rather be a soldier, A tramping, camping soldier by John Savage. All these are primarily concerned with the military side of the conflict. Civil matters, too, found poetic voices: Bret Harte's The Copperhead and The Copperhead Convention, and Thomas Clarke's Sir Copp, stinging denunciations; F. W. Lander's Rhode Island 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 W
Thomas Dunn English (search for this): chapter 2.15
ne 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 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 Friet
Hosea Biglow (search for this): chapter 2.15
e poems commemorative of the chief personage of the War. Lowell See Book II, Chap. XXIV. wrote a second series of The Biglow papers, confirming his right to be called the great American satirist in verse; and Whittier, See also Book II, Chap. 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 Lanship, but his chanting was never elsewhere so rapt or melodious. Lowell, a fiery partisan, had in his second series of Biglow papers applied his satirical powers to every step of the conflict, and had at times risen to thrilling elevation, as in MMr. Hosea Biglow to the Editor of The Atlantic Monthly, but in his Ode he outstripped himself and brought American civic poetry to its highest point. An intensely pacific people had the happiness to have poets who sang peace better than they had sung
Stonewall Jackson (search for this): chapter 2.15
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 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
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