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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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Zollicoffer (search for this): chapter 2.16
e war with the keenest interest. Henry Lynden Flash was on the staff of General Joseph Wheeler and was thus prepared by his experience to write his tributes to Zollicoffer, Polk, and Jackson. Dr. Francis O. Ticknor was in charge of the hospital work at Columbus, Georgia, and ministered to the needs of soldiers, among them the brablished. He wrote his poem on Polk when his foreman told him that he lacked six or seven inches for the makeup of The daily Confederate. You have written about Zollicoffer and Jackson, you might as well write about Polk, who was killed the other day. Flash quickly responded to the suggestion, and in five minutes the poem was in tJoseph E. Johnston in which he exhorts the West to emulate Virginia in its struggle for freedom. Requier's Clouds in the West is followed by Flash's tribute to Zollicoffer, Ticknor's poem on Albert Sidney Johnston, Hayne's The Swamp Fox—a spirited characterization of Morgan, who seems to the poet a reincarnation of the South Carol
William L. Yancey (search for this): chapter 2.16
South Among the many reasons that have been suggested for the lack of literature in the ante-bellum South—the absorption in politics, the pre-eminence of the spoken word as compared with the written, the absence of centres of thought and life—must be considered the failure of the people as a whole to appreciate the literary efforts of their writers, and, what is more important, the failure of writers of talent to devote themselves to literature as a profession. The popular orator, William L. Yancey, expressed the views of many when he said in a grandiose way: Our poetry is our lives; our fiction will come when truth has ceased to satisfy us; as for our history, we have made about all that has glorified the United States. A. B. Meek, author of The land of the South, in the preface to a volume of his poems (1857) said: The author is not a poet by profession or ambition; he has written only at long intervals or at the instigation of trivial or transient causes. The present volume
common suffering in the prison at Point Lookout. The feeling of the South as represented by all these poets first expressed itself in music. Southern soldiers were quick to seize upon Dixie, the words of which had been written by Dan D. Emmett for Bryant's minstrels in 1859. Except for the refrain and a few haunting phrases, the words were totally inadequate, but the music proved to be the chief inspiration of Southern armies throughout the long conflict. Sung for the first time by Mrs. John Wood in New Orleans late in 1860, it was taken up by the Louisiana regiments and was soon heard by the campfires and hearthstones of the South. From New Orleans, too, came The Bonnie blue flag, an old Hibernian melody, with words written by an Irish comedian, Harry McCarthy, a volunteer soldier in the Confederate Army from Arkansas. The enthusiasm aroused by its first rendition at the Varieties Theatre in 1861 is well described by a later writer. The theatre was filled with soldiers from
William Wilson (search for this): chapter 2.16
f not a few volumes of well-meant verse, See Bibliography the poetic output of the South before the Civil War. The Civil War aroused intense emotions that found expression in a large body of lyric poetry, written by some men who were professedly poets and by more who were but occasionally such. It is difficult for one of the present generation to realize the unity and the fervour of the Southern people at the beginning of the war. Most intelligent Southerners would now agree with President Wilson that the principles for which the South fought meant stand-still in the midst of change; it was conservative, not creative; it was against drift and destiny; it protected an impossible institution and a belated order of society; it withstood a creative and an imperial idea, the idea of a united people and a single law of freedom. But it was given to few men, if any, on either side to understand the issues thus clearly defined. In fact, as soon as Fort Sumter was attacked and Maryland
Richard Henry Wilde (search for this): chapter 2.16
asional poem or a single volume, and thenceforth prone to lead a life of culture rather than of creative activity. The result was that the South, in 1860, had found no adequate expression of her life, no interpretation of her ideals, not even a description of her natural scenery. What writing there was, with few exceptions, was not of the soil nor of the people. Poe, See Book II, Chap. XIV. Edward Coate Pinkney (1802-28), author of the exquisite love-compliment A Health, and Richard Henry Wilde (1789-1847), who wrote the fragrant Stanzas beginning My life is like the summer rose, might have written anywhere. One poem of the War of 1812, one or two of the Mexican War, and some half dozen other lyrics constituted, despite the appearance of not a few volumes of well-meant verse, See Bibliography the poetic output of the South before the Civil War. The Civil War aroused intense emotions that found expression in a large body of lyric poetry, written by some men who were pr
John Greenleaf Whittier (search for this): chapter 2.16
my literary craft—I will win my bread and water; by my poems I will live or I will starve. In 1872 he brought out a volume of Legends and lyrics; in 1875 The Mountain of the lovers and other poems; and in 1882, a complete edition of his poems. Two or three of his best poems were written in his last years, notably A Little While I Fain Would Linger Yet, and In Harbor. While Hayne did not strike a deeply original note, he cultivated faithfully the talents with which he was endowed. His best poems are characterized by delicacy of feeling, conscientious workmanship, and a certain assimilation of the best qualities of other poets. His magnanimous spirit after the war, as revealed in his tributes to Whittier and Longfellow, his revelation of the picturesqueness of the Southern landscapes and especially of the pine forests of Georgia, are the substantial features of his poetry. As a connecting link between Simms and Lanier he has a permanent place in the literary history of the South
Walt Whitman (search for this): chapter 2.16
(1879), of Hayne (1882), he finds a much larger number of Southern poems that fit into his plan of suggesting the story of the Civil War by poems written at the time. Thus for the first time a systematic arrangement was made of this material. The result is altogether striking. The Southern poems, while slightly fewer in number (the proportion is 60 to 85), measure up well with those of the North. Side by side in this volume appear Bryant's Our country's call and Timrod's A Cry to Arms, Whitman's Beat, beat drums and Randall's My Maryland, Pike's Dixie and The battle hymn of the republic, Holmes's Voyage of the good ship Union and Ticknor's Virginians of the Valley, Lowell's Commemoration ode and Timrod's Ode to the Confederate dead, and at the very end Finch's The blue and the Gray and Lanier's The Tournament—both of them prophetic of a new national era. Not only was Browne's idea happy and well executed; his introduction and notes are invaluable. He established the fact that t
Richard Grant White (search for this): chapter 2.16
probably this collection that formed the basis of the selections from Southern poetry published as an appendix to Richard Grant White's Poetry, lyrical, narrative, and satirical of the Civil War (1866). In his preface White says: I have read alWhite says: I have read all that I could discover of the war poetry, written by the confederated enemies of my government, and have preserved here all that, in a most catholic spirit, I deemed of any intrinsic merit or incidental interest. It was my original purpose to embored Banner was published in a New York newspaper, The Freeman's journal. Omitting the humorous poems published by Moore, White has only the ten or twelve of a more serious and important nature, and these, in the main, not the ones that might be cono say of poems that do not relate to the war. In 1882 Francis F. Browne of Chicago carried out the purpose that Richard Grant White had expressed by publishing Bugle echoes—a collection of poems of the Civil War, Northern and Southern. Drawing u
Joseph Wheeler (search for this): chapter 2.16
the Commonwealth of Virginia and was later sent to England in the hope that his poems and articles might help to win English sympathy for the Confederacy. Of the younger poets Paul Hamilton Hayne, Henry Timrod, and James Ryder Randall volunteered for service but were prevented by delicate constitutions from remaining in the army, though as staff officers, correspondents, or poets they followed the events of the war with the keenest interest. Henry Lynden Flash was on the staff of General Joseph Wheeler and was thus prepared by his experience to write his tributes to Zollicoffer, Polk, and Jackson. Dr. Francis O. Ticknor was in charge of the hospital work at Columbus, Georgia, and ministered to the needs of soldiers, among them the brave Tennessean whom he made immortal in Little Giffen. Abram J. (Father) Ryan could never have written The conquered Banner and The sword of Robert Lee if he had not visualized as a chaplain the heroism and tragedy of the long struggle. William Gordo
olumes like those of Simms and Miss Mason, sifted by the later editors and collectors, they preserve heroes and incidents, landscapes and sentiments that will always endear them to the Southern people. If we consider the poems from this last point of view, they serve to suggest the principal events of the war in rapid review. The gauntlet was thrown down in the poems hitherto cited and also in Tucker's The Southern Cross, Miles's God save the South, Randall's Battle Cry of the South, Mrs. Warfield's Chant of Defiance, Thompson's Coercion, and Hope's Oath of freedom. Among the group of Virginia poets who wrote of the early battles on Virginia soil, John R. Thompson (1822-73) and Mrs. Preston (1820-97) stand out as the most conspicuous. Of distinctly higher quality than the crude rhymes already referred to were Thompson's humorous poems on some of the early Southern victories. His On to Richmond, modelled on Southey's March to Moscow, is an exceedingly clever poem. His mastery o
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