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Browsing named entities in John Esten Cooke, Wearing of the Gray: Being Personal Portraits, Scenes, and Adventures of War..

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Stonewall Jackson (search for this): chapter 1.1
present the likeness of the actor in the drama, his character and endowments; and to know what great men are, is better than to know what they perform. What Lee, Jackson, Johnston, Stuart, and their associates accomplished, history will record; how they looked, and moved, and spoke, will attract much less attention from the histor read the most eloquent sentences which the imagination could invent for him. And in regard to others, the truth would possess an equal superiority over fiction. Jackson was a noble human soul; pure, generous, fearless, of imperial genius for making war; but why claim for him personal graces, and the charm of social humour? Stuarand the purest traits of the gentleman and Christian; but why draw the gallant cavalier as utterly faultless, never moved by anger, ever serious and devout as was Jackson? By such a process the actual characters disappear; the real men, with faults and virtues, grand traits and foibles, become mere lay-figures to hang uniforms upo
terest of a tragedy whose scenes sweep on before the spectator to the catastrophe. Nor were the actors in the tragedy blocks of wood, or merely official personages playing coldly their stage parts. They were men of flesh and blood, full of high resolve, vehement passion; subject to hope, fear, rejoicing, depression; but faithful through all to the great principles which drove them on-principles in which they believed, and for which they were ready to die. They were noble types of the great Norman race of which the Southern people come-brave, honourable, courteous, social; quick in resentment, proud, but placable; and these conspicuous traits were everywhere seen in their actions and daily lives. The portraits here presented of a few of these men may be rude and incomplete, but they are likenesses. No personage is spoken of with whom the writer was not more or less acquainted; and every trait and incident set down was either observed by himself or obtained from good authority.
ch the imagination could invent for him. And in regard to others, the truth would possess an equal superiority over fiction. Jackson was a noble human soul; pure, generous, fearless, of imperial genius for making war; but why claim for him personal graces, and the charm of social humour? Stuart ranked justly with the two or three greatest cavalry commanders of the world, and in his character combined gaiety, courage, resolution, winning manners, and the purest traits of the gentleman and Christian; but why draw the gallant cavalier as utterly faultless, never moved by anger, ever serious and devout as was Jackson? By such a process the actual characters disappear; the real men, with faults and virtues, grand traits and foibles, become mere lay-figures to hang uniforms upon. The pictures should either be made likenesses, or not be painted; events should be represented in their real colours, or not at all. These few words will explain the character of the sketches here presented
r trivial or ignoble. They elucidate biography and history-which are the same — for they present the likeness of the actor in the drama, his character and endowments; and to know what great men are, is better than to know what they perform. What Lee, Jackson, Johnston, Stuart, and their associates accomplished, history will record; how they looked, and moved, and spoke, will attract much less attention from the historian of the future. The august muse of history will make her partial and pasf or obtained from good authority. Invention has absolutely nothing to do with the sketches; the writer has recorded his recollections, and not his fancies. The picturesque is a poor style of art, when truth is sacrificed to it. To represent General Lee decked out in a splendid uniform bedizzened with gold lace, on a prancing steed, and followed by a numerous and glittering staff, might tickle the ears of the groundlings; but the picture would be apt to make the judicious grieve. The latter
Hardeman Stuart (search for this): chapter 1.1
all things visible in their natural colours and proportions. To the good work of placing upon record the actual truth in relation to the lives and characters of Stuart and some other noble soldiers of the Southern army, the writer of this page has here brought a few of his recollections-aiming to draw these worthies rather as ths of the actor in the drama, his character and endowments; and to know what great men are, is better than to know what they perform. What Lee, Jackson, Johnston, Stuart, and their associates accomplished, history will record; how they looked, and moved, and spoke, will attract much less attention from the historian of the future.ckson was a noble human soul; pure, generous, fearless, of imperial genius for making war; but why claim for him personal graces, and the charm of social humour? Stuart ranked justly with the two or three greatest cavalry commanders of the world, and in his character combined gaiety, courage, resolution, winning manners, and the
m and features of his sitter with the brush. Such personal details of the characters of these eminent men will not be uninteresting to the lovers of noble natures of whatever faction; nor is the fondness for such particulars either trivial or ignoble. They elucidate biography and history-which are the same — for they present the likeness of the actor in the drama, his character and endowments; and to know what great men are, is better than to know what they perform. What Lee, Jackson, Johnston, Stuart, and their associates accomplished, history will record; how they looked, and moved, and spoke, will attract much less attention from the historian of the future. The august muse of history will make her partial and passionate, or fair and dignified, summary of the events of the late war; will discuss the causas resum with learned philosophy; and mete out in rounded periods what she thinks the due amount of glory or shame to the actors, in gray or in blue. But meanwhile the real p
Gettysburg (Pennsylvania, United States) (search for this): chapter 1.1
of art, when truth is sacrificed to it. To represent General Lee decked out in a splendid uniform bedizzened with gold lace, on a prancing steed, and followed by a numerous and glittering staff, might tickle the ears of the groundlings; but the picture would be apt to make the judicious grieve. The latter class would much prefer the actual man, in his old gray cape and plain brown coat, riding, unattended, on his sober iron-gray along the lines; would rather hear him say amid the storm of Gettysburg, in his calm brave voice, Never mind; it is not your fault, General; I am to blame, than read the most eloquent sentences which the imagination could invent for him. And in regard to others, the truth would possess an equal superiority over fiction. Jackson was a noble human soul; pure, generous, fearless, of imperial genius for making war; but why claim for him personal graces, and the charm of social humour? Stuart ranked justly with the two or three greatest cavalry commanders of the
ted friend; the devoted Christian, husband, and father; the gayest of companions; full of fun, frolic, laughter, courage, hope, buoyancy, and a certain youthful joyousness which made his presence like the sunshine. Upon this last trait I have dwelt much — the youth, and joy, and hope, which shone in his brilliant eyes and rang in his sonorous laughter. He passed before you like an incarnate spring, all mirth and sunshine; but behind was the lightning. In those eyes as fresh and blue as the May morning, lurked the storm and the thunderbolt. Beneath the flowers was the hard steel battle-axe. With that weapon he struck like Cceur de Lion, and few adversaries stood before it. The joy, romance, and splendour of the early years of chivalry flamed in his regard, and his brave blood drove him on to combat. In the lists, at Camelot, he would have charged before the eyes of ladies and of kings, like Arthur; on the arena of the war in Virginia he followed his instincts. Bright eyes were e
ame by the ride around McClellan on the Chickahominy. Thenceforth he was the right hand of Lee until his death. The incidents of his career from the spring of 1862 to May, 1864, would fill whole volumes. The ride around McClellan; the fights on the Rapidan; the night march to Catlett's, where he captured General Pope's coat s under the gallant. Some day a generation will come who will like to know all about the famous Jeb Stuart --let me therefore limn him as he appeared in the years 1862 and 1863. His frame was low and athletic-close knit and of very great strength and endurance, as you could see at a glance. His countenance was striking and aamp-couch and play with one of his children, appeared to be the summit of felicity with him; and when, during the hard falling back near Upperville, in the fall of 1862, the news came of the death of his little daughter Flora, he seemed almost overcome. Many months afterwards, when speaking of her, the tears gushed to his eyes, a
attack on Flint Hill; the hard rear-guard work at South Mountain; holding the left at Sharpsburg; the circuit of McClellan again in Maryland; the bitter conflicts near Upperville as Lee fell back; the fighting all along the slopes of the Blue Ridge; the crowding 'em with artillery on the night at Fredericksburg; the winter march upon Dumfries; the battle of Chancellorsville, where he commanded Jackson's corps; the advance thereafter, and the stubborn conflict at Fleetwood Hill on the 9th of June; the hard, obstinate fighting once more to guard the flanks of Lee on his way to Gettysburg; the march across the Potomac; the advance to within sight of Washington, and the invasion of Pennsylvania, with the determined fights at Hanovertown, Carlisle, and Gettysburg, where he met and drove before him the crack cavalry of the Federal army; the retreat thereafter before an enraged enemy; the continuous combats of the mountain passes, and in the vicinity of Boonsboroa; the obstinate stand he ma
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