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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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Bayard Taylor (search for this): chapter 2.16
tion inevitably arises as to how these poets developed after the Civil War. One would naturally suppose that many of the younger ones especially would grow in power and influence. But all the causes generally assigned for the lack of poetry in the ante-bellum South prevailed in the new era; and thereto were added poverty, widespread disaster, and an overwhelming confusion in the public mind. Lanier tersely expressed the chief limitation under which the writer laboured when he wrote to Bayard Taylor: Perhaps you know that with us of the younger generation of the South since the war, pretty much the whole of life has been merely not dying. Simms wrote to Hayne just before his death in 1870: I am rapidly passing from a stage where you young men are to succeed me, and inscribed for his tombstone the poignant words: Here lies one who, after a reasonably long life, distinguished chiefly by unceasing labours, has left all his better works undone. Meek, O'Hara, John R. Thompson, and Henr
John Banister Tabb (search for this): chapter 2.16
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 Gordon McCabe, who went from the University of Virginia as one of the Southern Guards, was a poet of the trenches, giving expression in his Dreaming in the trenches and Christmas night of ‘62 to the quieter and gentler aspects of a soldier's life. Sidney Lanier and John B. Tabb, See Book III, Chap. IV. after living the romantic life of soldiers, sealed a memorable friendship by a 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 prov
Burton E. Stevenson (search for this): chapter 2.16
d Banner. The volume as a whole was so marked by a careful critical judgment and good taste as to distinguish it from the hastily prepared anthologies by Southerners. Two books of similar nature are Eggleston's American War ballads and Burton E. Stevenson's Poems of American history, in both of which the poems are published in chronological order, and in Stevenson's book with the historical setting which interprets many of the individual poems. In later years selections from Southern writeary or social history, a larger number must be considered significant. They rightly find their place in such a collection as Stedman's American Anthology as affording material for the comprehensive survey of American poetry; or in the books of Stevenson and Browne, where the various stages of the Civil War are suggested in poems rather than in army orders, political tracts, or newspaper comment. When President Lincoln said at the end of the war that the Northern army had captured Dixie he mi
Southey (search for this): chapter 2.16
iles'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 of double and triple rhymes, his unfailing sense of the value of words, and his happy use of the refrain (the pleasant excursion to Richmond) make this poem one of the marked achievements of the period. Scarcely less successful in their brilliant satire are his Farewell to Pope, England's Neutrality, and The Devil's delight. The humour of these poems soon gave way, however, to the more heroic and tragic aspects of the war. T
William Gilmore Simms (search for this): chapter 2.16
idered a literary centre. Here for many years Simms, See also Book II, Chap. VII. as the edito of friends and younger men who gathered about Simms, the most promising was Paul Hamilton Hayne (1 Sea. Henry Timrod (1829-67), the friend of Simms and Hayne, had also definitely dedicated himseedition may doubtless be attributed to William Gilmore Simms's War poetry of the South (1866). It w said for the critical standards which allowed Simms to publish so much unworthy poetry, none more the value of the book and our appreciation of Simms's critical judgment. In 1869 appeared The S, biographical sketches, and bibliographies of Simms, Hayne, Mrs. Preston, Flash, and Randall, and crap-books, collected in volumes like those of Simms and Miss Mason, sifted by the later editors ancame more and more uncertain, William Gilmore Simms, now in his old age, did all in his power to rs of his poetry. As a connecting link between Simms and Lanier he has a permanent place in the lit[3 more...]
Sherman (search for this): chapter 2.16
ries of poems, Do Ye Quail? The Angel of the Church, and Our city by the sea, he presents in passionate words the claims of the historic city upon its inhabitants. Especially vivid is his plea for St. Michael's church, whose spire for full a hundred years had been a people's point of light, and the sweet, clear music of whose bells, made liquid-soft in Southern air, had been a benediction in the life of the city. But the words of her poets could not avail the doomed city when, in 1865, Sherman's army marched north from Savannah. Timrod, now a citizen of Columbia, wrote his greatest lyric, Carolina, which comes nearest to My Maryland of all the poems of the war in its indignation and power. He reproaches the idle hands and craven calm of the inhabitants, but calls upon the descendants of Rutledge, Laurens, and Marion to rouse themselves against the despot who treads their sacred sands. The answer to this appeal was the burning of Columbia. Hayne and John Dickson Bruns still ha
C. C. Sawyer (search for this): chapter 2.16
neral pyre, And thus, with paean sung and anthem rolled, Give her unspotted to the God of Fire. The fall of Charleston was the beginning of the end. Various poems on Lee, notably Ticknor's Lee, Thompson's Lee to the Rear, and the anonymous Silent March, suggest the last battles in Virginia. The dominant note of the later poetry is that of melancholy, now and then tempered by a sort of pathetic longing for peace. Eggleston tells us that the most popular poem on both sides came to be C. C. Sawyer's When This Cruel War Is Over. See Book III, Chap. II The sentiment of the poem is echoed in poems on peace by George Herbert Sass, Ticknor, Bruns, and Timrod. Very different from the concluding lines of the Cotton boll is Timrod's pathetic yearning for peace, in the poem entitled Christmas: Peace in the quiet dales, Made rankly fertile by the blood of men, Peace in the woodland, and the lonely glen, Peace, in the peopled vales! Peace on the whirring marts, Peace where the scholar
George Herbert Sass (search for this): chapter 2.16
eginning of the end. Various poems on Lee, notably Ticknor's Lee, Thompson's Lee to the Rear, and the anonymous Silent March, suggest the last battles in Virginia. The dominant note of the later poetry is that of melancholy, now and then tempered by a sort of pathetic longing for peace. Eggleston tells us that the most popular poem on both sides came to be C. C. Sawyer's When This Cruel War Is Over. See Book III, Chap. II The sentiment of the poem is echoed in poems on peace by George Herbert Sass, Ticknor, Bruns, and Timrod. Very different from the concluding lines of the Cotton boll is Timrod's pathetic yearning for peace, in the poem entitled Christmas: Peace in the quiet dales, Made rankly fertile by the blood of men, Peace in the woodland, and the lonely glen, Peace, in the peopled vales! Peace on the whirring marts, Peace where the scholar thinks, the hunter roams, Peace, God of Peace! peace, peace, in all our homes, And peace in all our hearts! When peace came,
Ryan (search for this): chapter 2.16
ital 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. WilStonewall Jackson, only two poems by Timrod, an indiscriminate list by Randall, and many anonymous poems. In the third edition we have eight by Timrod, four by Father Ryan, and good, though not the best, selections by Lucas, McCabe, Flash, and others. The improvement in this edition may doubtless be attributed to William Gilmornd its sad resignation at the inevitable found expression in Mrs. Preston's Acceptation, Requier's Ashes of glory, Flash's The Confederate flag, and, above all, Father Ryan's The sword of Robert Lee and The conquered Banner. Not until the end of the war did the last-named poet suddenly flash forth as the most popular of all Southe
John Rutledge (search for this): chapter 2.16
clear music of whose bells, made liquid-soft in Southern air, had been a benediction in the life of the city. But the words of her poets could not avail the doomed city when, in 1865, Sherman's army marched north from Savannah. Timrod, now a citizen of Columbia, wrote his greatest lyric, Carolina, which comes nearest to My Maryland of all the poems of the war in its indignation and power. He reproaches the idle hands and craven calm of the inhabitants, but calls upon the descendants of Rutledge, Laurens, and Marion to rouse themselves against the despot who treads their sacred sands. The answer to this appeal was the burning of Columbia. Hayne and John Dickson Bruns still had hope that Charleston might escape the doom. As Timrod from Charleston had given to the world the first expression of the new nation's hope, so his friend and fellow townsman, Dr. Bruns, was to utter the last appeal for Charleston in his The foe at the Gates. There is nothing more tragic in the Civil War t
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