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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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George Tucker (search for this): chapter 2.16
or in meditative lyrics. Written for local newspapers, preserved in scrap-books, collected in volumes 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
Annie Laurie (search for this): chapter 2.16
have come into the possession of the forces of the Union in their various moves and advances during the present conflict. We find in the volume many humorous poems of the kind just described. The more serious include two poems each by Randall and Ticknor, one each by Hayne, Hope, Flash, Meek, Pike, Simms, and J. R. Thompson, Timrod's A Cry to Arms and Palmer's Stonewall Jackson's way, the last two published, however, anonymously. There are also many parodies of famous songs such as Annie Laurie, Gideon's band, Bannockburn, Columbia, Wait for the wagon, The star Spangled Banner, etc. It was 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 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 cat
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
Marion (search for this): chapter 2.16
ells, 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 than the fall of Charle
Turner Ashby (search for this): chapter 2.16
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. Thompson himself wrote dirges for Ashby and Latane, both of them the finest types of Virginia gentlemen. Mrs. Preston wrote a still more beautiful tribute to Ashby, in which she expresses one of the favourite ideas of the South—that the struggle was between the cavaliers and men of lAshby, in which she expresses one of the favourite ideas of the South—that the struggle was between the cavaliers and men of low breeding. The tragic aspects of Virginia and the heroism of her people were visualized also by a Georgia poet, Francis O. Ticknor (1822-74), whose wife was one of the distinguished Nelsons of the Old Dominion. His Our left is the most vivid account of the second battle of Manassas. Virginia is the best tribute we have to the commonwealth that bore the brunt of the struggle. The more popular Virginians of the Valley suggests the most romantic story of early years and adds that the same spi
Albert Sidney Johnston (search for this): chapter 2.16
minion keep, Whose foes have found enchanted ground, But not a Knight asleep. One phase of the struggle ends with Lee's whole army crossing the Potomac into Maryland—an event celebrated by Hayne in his Beyond the Potomac. Then the fighting changed to the West, and we have Thompson's poem on Joseph 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 Carolina Revolutionary patriot Marion. Connected also with the battles of the West were Ticknor's Loyal and Little Giffen of Tennessee—the latter based on a story of real life and a striking illustration of the heroism with which the sons of the masses threw themselves into the Southern struggle. This poem, so dramatic in its quality, so concise in its expression, so vit<
Harry McCarthy (search for this): chapter 2.16
s 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 Texas, Arkansas, and Louisiana on their way to the front. McCarthy appeared on the stage accompanied by his sister waving a Confederate flag. Before the first verse was ended the audience was quivering with excitement. After he sang the second stanza the audience joined in the chorus and sang it over and over again amid the most intensive excitement. It was wafted to the streets and in twenty-four hours it was all over the Southern Army. For the crude words of both these melodies were soon substituted various v
Warfield (search for this): chapter 2.16
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
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
Henry Wadsworth Longfellow (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
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