hide Sorting

You can sort these results in two ways:

By entity
Chronological order for dates, alphabetical order for places and people.
By position (current method)
As the entities appear in the document.

You are currently sorting in descending order. Sort in ascending order.

hide Most Frequent Entities

The entities that appear most frequently in this document are shown below.

Entity Max. Freq Min. Freq
William Tecumseh Sherman 118 2 Browse Search
Robert E. Lee 105 1 Browse Search
Maryland (Maryland, United States) 96 0 Browse Search
Stonewall Jackson 78 0 Browse Search
Washington (United States) 72 0 Browse Search
Abraham Lincoln 72 0 Browse Search
Gettysburg (Pennsylvania, United States) 72 0 Browse Search
Ulysses S. Grant 68 0 Browse Search
Jefferson Davis 64 0 Browse Search
Ulysses Simpson Grant 62 0 Browse Search
View all entities in this document...

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.

Found 310 total hits in 107 results.

1 2 3 4 5 6 7 ...
Canaan, N. H. (New Hampshire, United States) (search for this): chapter 15
's wealth in honest labor; Cheer, boys, cheer for the new and happy land. To Canaan This is an example of the many spontaneous lyrics sung to old tunes,—lyricre are you going, soldiers, With banner, gun and sword? We're marching south to Canaan To battle for the Lord. What Captain leads your armies Along the rebel coasts? The mighty One of Israel, His name is Lord of Hosts. Chorus- To Canaan, to Canaan, The Lord has led us forth, To blow before the heathen walls The trumpets of the NorCanaan, The Lord has led us forth, To blow before the heathen walls The trumpets of the North. Dixie: the original version Dixie was first written as a walk-a-round by an Ohioan, Dan Emmet, and was first sung in Dan Bryant's minstrel show on Broadwais famous melody have been collected by the Daughters of the Confederacy. To Canaan Where are you Going, soldiers, with banner, gun, and sword? these soldihe mountains to join the army, inspired by the leaping rhythm of war songs like Canaan. many youngsters like him never returned to their homes after the trumpets had
Benedict (Maryland, United States) (search for this): chapter 15
peated the second time with perfect recollection of the original melody and intonations. The wild, sad strains of these primitive melodies, born of their desire for musical expression amid the dull, daily routine of cotton field and rice swamp, express above and beyond their plaintive lament, a simple trust in the future—in the happy land—the Canaan, toward which their yearning eyes were forever turned. The enlisted soldiers Sung by the Ninth regiment U. S. Colored troops at Benedict, Maryland, winter of 1863-4. General Armstrong calls this the negro battle hymn. At Petersburg, July 29, 1864, a trooper of General Henry G. Thomas's brigade sat before the Camp fire singing this negro battle hymn, they look like men of war. General Thomas describes the scene — the dark men with their white eyes and teeth, crouching over a smouldering Camp fire, in dusky shadow, lit only by the feeble rays of the lanterns of the first sergeants dimly showing through the tents. After the terrib<
Ladies Island (South Carolina, United States) (search for this): chapter 15
the toll of the ‘cruel war’ was not yet complete. Negro spirituals Some of the negro chants or spirituals are particularly interesting because of their direct connection with the incidents of the Civil War. Their sources were generally obscure; their origin seeming to be either by gradual accretion or by an almost unconscious process of composition. Colonel T. W. Higginson told the story of the beginning of one of these slave songs as related to him by a sturdy young oarsman of Ladies Island. Once we boys he said went to tote some rice and de nigger driver lie keep a-callina on us; and I say, O, de ole nigger-driver. Den anudder said, Fust ting my mammy tole me was —notina so bad as nigger drivers. Den I make a sing, just puttina a word ana den anudder word. Thus, said Colonel Higginson, almost unconsciously a new song was created, which was repeated the second time with perfect recollection of the original melody and intonations. The wild, sad strains of these prim<
Chancellorsville (Virginia, United States) (search for this): chapter 15
ipped Confederate Navy, brought forth several lyrical tributes. This roystering father Abraham this photograph shows some of the members of the twenty-second New York Infantry, who fought at the Second battle of Bull Run, Antietam, and Chancellorsville. It lost during service eleven officers and sixty-two men killed and mortally wounded and one officer and twenty-eight enlisted men by disease. Notwithstanding, many of these men were among the first to enlist again when Lincoln issued histomac, Brandy Station. She was even then looking at her soldier husband, who sat near her in his ‘suit of blue,’ or perhaps thinking of the three years of terrific fighting that had passed. Shiloh, Chickamauga, Chattanooga, Fredericksburg, Chancellorsville, Gettysburg-all of these had been fought and the toll of the ‘cruel war’ was not yet complete. Negro spirituals Some of the negro chants or spirituals are particularly interesting because of their direct connection with the incidents
Kentucky (Kentucky, United States) (search for this): chapter 15
suggested this; a few lines are borrowed from it. Kentucky's banner spreads Its folds above our heads; We arerave Duke and all his men; Fight for our homes and Kentucky's old glory. Chorus— March! March! Brave Duke a sold of Swanee Rubber, and as many more of My old Kentucky home and Massa's in the cold, cold ground. My old Kentucky home, good night The sun shines bright in the old Kentucky home; 'Tis summer, the darkeys are gayKentucky home; 'Tis summer, the darkeys are gay, The corn-top s ripe and the meadow s in the bloom, While the birds make music all the day. The young folks d times comes a-knocking at the door:— Then my old Kentucky home, good-night! Chorus— Weep no more, my lady,p no more today! We will sing one song for the old Kentucky home, For the old Kentucky home, far away. Old Kentucky home, far away. Old folks at home Way down upon de Swanee Ribber, Far, far away, Dere's wha my heart is turning ebber, Dere's wha s, cheer was sung by every man who fought in a Southern Kentucky or Tennessee regiment. General Basil Duke in <
Texas (Texas, United States) (search for this): chapter 15
ing, Father Abraham, three hundred thousand more. You have called us, and we're coming, by Richmond's bloody tide To lay us down, for Freedom's sake, our brothers' bones beside; Or from foul treason's savage grasp to wrench the murderous blade, And in the face of foreign foes its fragments to parade. Six hundred thousand loyal men and true have gone before: We are coming, Father Abraham, three hundred thousand more! Song of the Texas rangers Mrs. J. D. Young Air: the yellow rose of Texas. this song was dedicated to Captain Dave Terry, a Texas Ranger, who was conspicuous for bravery in General Wharton's division on the battlefield of Chickamauga. It is said to have been sung by Captain Terry's regiment on the battlefield just previous to the actual engagement. The morning star is paling; the Camp fires flicker low Our steeds are madly neighing; for the bugle bids us go: So put the foot in stirrup and shake the bridle free, For today the Texas Rangers must cross the Tennes
Fredericksburg, Va. (Virginia, United States) (search for this): chapter 15
e of hair-dressing that ruled in 1864, in flowered skirt and ‘Garibaldi blouse,’ this beautiful woman, the wife of a Federal army officer, was photographed in front of the winter quarters of Captain John R. Coxe, in February, at the headquarters of the Army of the Potomac, Brandy Station. She was even then looking at her soldier husband, who sat near her in his ‘suit of blue,’ or perhaps thinking of the three years of terrific fighting that had passed. Shiloh, Chickamauga, Chattanooga, Fredericksburg, Chancellorsville, Gettysburg-all of these had been fought and the toll of the ‘cruel war’ was not yet complete. Negro spirituals Some of the negro chants or spirituals are particularly interesting because of their direct connection with the incidents of the Civil War. Their sources were generally obscure; their origin seeming to be either by gradual accretion or by an almost unconscious process of composition. Colonel T. W. Higginson told the story of the beginning of one
Massa (Italy) (search for this): chapter 15
uaves! Do nothing by halves: Home to the hilt, with the bay'net, Zouaves. The songs of Stephen C. Foster Stephen C. Foster, an American song-writer of Irish descent, was the most famous American folk-song writer of his day. While many of the songs antedate the actual years of the war, they were sung far and wide throughout the struggle and have continued to be popular down to the present day. Half a million copies were sold of Swanee Rubber, and as many more of My old Kentucky home and Massa's in the cold, cold ground. My old Kentucky home, good night The sun shines bright in the old Kentucky home; 'Tis summer, the darkeys are gay, The corn-top s ripe and the meadow s in the bloom, While the birds make music all the day. The young folks roll on the little cabin floor, All merry, all happy and bright; By-'n-by hard times comes a-knocking at the door:— Then my old Kentucky home, good-night! Chorus— Weep no more, my lady, Oh! weep no more today! We will sing one song for th
Georgetown, S. C. (South Carolina, United States) (search for this): chapter 15
terrible battle of the crater they sang these words no more. Hark! listen to the trumpeters, They call for volunteers, On Zion's bright and flowery mount— Behold the officers! Chorus— They look like men, They look like men, They look like men of war. My father, how long? This primitive chant is thought by Mr. G. H. Allan, who wrote down the stanzas, to have originated from the Florida plantations. At the outbreak of the Civil war several negroes were thrown into jail at Georgetown, South Carolina, for singing the verses. Although the spiritual was an old one, the words were considered as being symbolical of new events. A little colored boy explained the matter tersely to Mr. Allan. Dey tink de Lord mean fo‘ to say de Yankees call us. We'll fight for liberty, We'll fight for liberty, We'll fight for liberty, When de Lord will call us home. And it won't be long, And it won't be long, And it won't be long, When de Lord will call us home. Many thousand go This spiritu<
Richmond (Virginia, United States) (search for this): chapter 15
ys, set your sails all free: And soon the booming cannon's roar Shall ring out merrily. Run up your bunting, caught a-peak, And swear, lads, to defend her: 'Gainst every foe, where'er we go, Our motto—‘No surrender.’ Chorus— Then sling the bowl, drink every soul A toast to the Alabama, Whate'er our lot, through storm or shot, Here's success to the Alabama. The Southern soldier boy Air: the boy with the Auburn hair. as sung by Miss Sallie Partington, in the Virginia Cavalier, Richmond, Va., 1863. composed by Captain G. W. Alexander. the sentiments of this song pleased the Confederate soldiers, and for more than a year, the New Richmond theater was nightly filled by blockade Rebels, who greeted with wild hurrahs, Miss Sallie the prima donna of the Confederacy. Bob Roebuck is my sweetheart's name, He's off to the wars and gone, He's fighting for his Nannie dear, His sword is buckled on; He's fighting for his own true love, His foes he does defy; He is the darling of my
1 2 3 4 5 6 7 ...