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Browsing named entities in a specific section of The Photographic History of The Civil War: in ten volumes, Thousands of Scenes Photographed 1861-65, with Text by many Special Authorities, Volume 9: Poetry and Eloquence. (ed. Francis Trevelyan Miller). Search the whole document.

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Stonewall Jackson (search for this): chapter 1
ed no imperishable literature to prolong their fame to a busy and forgetful posterity. Their deeds are their fittest memorial. The like may be said of Stonewall Jackson, although his picturesque campaigns have been sung in the vivid, rousing stanzas of Palmer's Stonewall Jackson's way. Yet it remains true that fine feeling has usStonewall Jackson's way. Yet it remains true that fine feeling has usually been touched by the thought of men now overshadowed, of some Zollicoffer, or Ashby, or Pelham. The greatest figure of the war has received a more enduring commemoration. Indeed, Lincoln has inspired the finest imaginative product of the period. Walt Whitman's mystic dirge, When Lilacs last in the Dooryard Bloom'd, which all who never returned from the colossal struggle. The large, sweet soul that has gone Sidney Lanier in 1879 Sidney Lanier's war poems The death of Stonewall Jackson and The Tournament appear in this volume. Lanier was born in Macon, Georgia, February 3, 1842. In early childhood he developed a passion for music, learnin
S. G. Howe (search for this): chapter 1
ney worthless, starvation in view within a period of two or three years, and causes enough to make the bravest tremble. Yet I see no signs of let-up—some few deserters, plenty tired of war, but the masses determined to fight it out. By no means was the spirit of brotherly sympathy lacking Julia Ward Howe in 1861 The author of the magnificent Battle-hymn of the Republic was born in New York in 1819, a daughter of the banker Samuel Ward. In 1843 she married the philanthropist, Dr. S. G. Howe, best known as the head of Perkins Institute for the Blind. She assisted him in editing his anti-slavery journal, the Boston Commonwealth. In 1861, at the time of this picture, she made her first trip to Washington, where her husband became interested in the work of the Sanitary Commission. During the visit the party was invited to a military review in the Virginia camps. On the way back she and the others in the carriage sang John brown's body to the applause of the soldiers by the
Fitzhugh Lee (search for this): chapter 1
ong when compared with actual achievement, unless it rush forth from genuine enthusiasm and fine feeling. But the silent, impassive Grant and the quiet, chivalrous Lee have furnished small personal impulse to poetic flight. No cause for regret in this; they need no imperishable literature to prolong their fame to a busy and forge had been captured. President Cleveland accordingly ordered their return, but on account of dissatisfaction in some quarters soon revoked the order. When Governor Fitzhugh Lee, of Virginia, heard of the Northern protest he declared: The country should not again be agitated by pieces of bunting that mean nothing now. The South is member of Landis's Philadelphia battery, he enlisted for the emergency campaign of the summer of 1863, and took part in the defense of Carlisle, Pennsylvania, when Lee made the invasion of the North ending at Gettysburg. His long editorial career began the next year, when he joined the staff of the Newark Advertiser, of Newark, N
Julia Ward Howe (search for this): chapter 1
or three years, and causes enough to make the bravest tremble. Yet I see no signs of let-up—some few deserters, plenty tired of war, but the masses determined to fight it out. By no means was the spirit of brotherly sympathy lacking Julia Ward Howe in 1861 The author of the magnificent Battle-hymn of the Republic was born in New York in 1819, a daughter of the banker Samuel Ward. In 1843 she married the philanthropist, Dr. S. G. Howe, best known as the head of Perkins Institute foroudest memories. James Ryder Randall's fervid call of Maryland, my Maryland will live, by reason of its martial ring and splendid vigor, long after the last vestige of the hostility that evoked it has passed away. The other notable song is Julia Ward Howe's Battle hymn of the Republic, whose swinging, deep-toned measures form a significant contrast to Randall's high-pitched lyric. The two poems are, indeed, typical of the two sections. One surges forward with the fire and dash of Southern t
Drum Taps (search for this): chapter 1
Orleans to Canada. In 1855 he brought out the first edition of Leaves of grass, at first a thin volume of ninety-four pages, later growing until it had become several times the size of the original. At the end of the second year of the Civil War, Whitman went to Washington to care for his brother, who had been wounded in the battle of Fredericksburg. For the next three years he served as an army nurse, chiefly in the hospitals of Washington. The literary outcome of this experience was Drum Taps, from which the poems in the present volume are taken, and which he described as a little book containing life's darkness and blood-dripping wounds and psalms of the dead. For several years after the war he remained in Government employ in Washington, but in 1873 he moved to Camden, New Jersey, where in 1892 he died in cheerful poverty. crescendo. The other trumpets forth the calmer faith and determination of the North in the reiteration that God is marching on. Both are sectional, and
Walt Whitman (search for this): chapter 1
al of the two sections. One surges forward with the fire and dash of Southern temperament through an impassioned Walt Whitman during the war The most individual of American poets was born at Westhills, Long Island, in 1809, the son of a carpter growing until it had become several times the size of the original. At the end of the second year of the Civil War, Whitman went to Washington to care for his brother, who had been wounded in the battle of Fredericksburg. For the next three yes received a more enduring commemoration. Indeed, Lincoln has inspired the finest imaginative product of the period. Walt Whitman's mystic dirge, When Lilacs last in the Dooryard Bloom'd, which Swinburne enthusiastically pronounced the most sonorouning recognition when the end came in 1881 in the mountains of North Carolina. was there mourned in a symbolic way, but Whitman spoke in a poignant, personal way in O Captain, my Captain, which, partly on that account and partly because of its more
Albert Sidney Johnston (search for this): chapter 1
the amber of fit poetic form, these achievements shine with no trace of sectional pride. The charge of Kearny at the battle of Fair Oaks, or Seven Pines, as sung in Stedman's ringing verse, is familiar to many who have never read a military account of the battle, and cannot tell whether it occurred in the first or the last year of the war. Ticknor's ballad on the touching devotion of Little Giffen of Tennessee will likewise go straight to the hearts of thousands who may never learn whether Johnston was a Northern or a Southern leader. Such instances demonstrate the capacity of the American citizen for heroism, and the poetic record of his daring should be enshrined in memory as the heritage of a reunited people. Those greater incidents known as battles have been made the subject of numerous poetic efforts. Virtually every important battle and many a minor engagement were seized upon by the chroniclers in verse. Some of these descriptions are spirited, and the greater combats hav
John Williamson Palmer (search for this): chapter 1
th actual achievement, unless it rush forth from genuine enthusiasm and fine feeling. But the silent, impassive Grant and the quiet, chivalrous Lee have furnished small personal impulse to poetic flight. No cause for regret in this; they need no imperishable literature to prolong their fame to a busy and forgetful posterity. Their deeds are their fittest memorial. The like may be said of Stonewall Jackson, although his picturesque campaigns have been sung in the vivid, rousing stanzas of Palmer's Stonewall Jackson's way. Yet it remains true that fine feeling has usually been touched by the thought of men now overshadowed, of some Zollicoffer, or Ashby, or Pelham. The greatest figure of the war has received a more enduring commemoration. Indeed, Lincoln has inspired the finest imaginative product of the period. Walt Whitman's mystic dirge, When Lilacs last in the Dooryard Bloom'd, which Swinburne enthusiastically pronounced the most sonorous nocturn ever chanted in the church o
Francis Miles Finch (search for this): chapter 1
recently embattled section as possible. But even during this period the spirit of reconciliation was abroad. Those noble phrases, with malice toward none, with charity for all, that closed Lincoln's Second inaugural expressed a very general attitude among the mass of the people. Several Decoration Day odes during the height of Reconstruction breathed the same spirit. Peterson's line, Foes for a day and brothers for all time epitomized the calmer feeling of the victorious section, and Judge Finch's The blue and the gray so perfectly echoed the generosity of both North and South that it became a national classic. Appomattox was hardly a half-dozen years in the past when a bill of general amnesty was passed by Congress. Carl Schurz made a notable speech on the subject, and though his proposals were more liberal than the majority was willing to adopt, the debate showed that the political atmosphere was beginning to clear for a broader and more generous view of Reconstruction. Th
Daniel Coit Gilman (search for this): chapter 1
ckly the prayer was being answered appeared in 1876. The hundredth anniversary of the signing of the Declaration of Independence was celebrated by the International Industrial Exhibition at Philadelphia. The honor of writing the official cantata for this national occasion was conferred upon the Southern poet, Sidney Lanier. The cantata, composed for Dudley Buck's music, was sung in the open air, by a chorus of many hundred voices, and with the accompaniment of a majestic orchestra. Daniel Coit Gilman thus describes the occasion: The devotional exercises awakened no sentiment of reverence. At length came the cantata. From the overture to the closing cadence it held the attention of the vast throng of listeners, and when it was concluded loud applause rang through the air. A noble conception had been nobly rendered. The same glorification of American freedom was expressed by Lanier in the freer poetic form of the Psalm of the West, and by including the revised ballad, The Tourname
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