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 ascending order. Sort in descending order.

hide Most Frequent Entities

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

Entity Max. Freq Min. Freq
New England (United States) 286 0 Browse Search
James Russell Lowell 177 1 Browse Search
Edgar Allan Poe 168 0 Browse Search
Walt Whitman 160 0 Browse Search
Oliver Wendell Holmes 160 0 Browse Search
United States (United States) 128 0 Browse Search
Henry Thoreau 122 0 Browse Search
Henry Wadsworth Longfellow 112 0 Browse Search
Mary Benjamin Motley 102 0 Browse Search
Noah Webster 100 0 Browse Search
View all entities in this document...

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.

Found 336 total hits in 138 results.

... 5 6 7 8 9 10 11 12 13 14
Francis Miles Finch (search for this): chapter 2.15
umerous pieces that reveal the feelings of sorrowing men and women at home, and of soldiers sick for home. Specially memorable are Lucy Larcom's Waiting for news, Kate Putnam Osgood's extraordinarily pathetic Driving home the Cows, C. D. Shanly's The Brier Wood Pipe, Augusta Cooper Bristol's Term of service ended, Read's The brave at home, The Drummer boy's burial (anonymous), and William Winter's After all. From civil life came the tender and moving note of reconciliation in Francis Miles Finch's The blue and the Gray, written in 1867 when the news came that the women of Columbus, Mississippi, had decorated the graves both of Northern and Southern soldiers. To civil life, too, belongs the supreme poetry that the war called forth, associated, for the most part, with the name of Lincoln. Stoddard's Abraham Lincoln, Whitman's When Lilacs Last in the Door-yard Bloomed (not to be mentioned with the popular but less valuable O Captain! My Captain!), and Lowell's Ode recited at the H
W. H. Read (search for this): chapter 2.15
nge; Richard Realf's Io Triumphe, hopeful and resolute; W. A. Devon's Give Me Your hand, Johnny bull, a friendly, earnest bid for British sympathy. Still more interesting are the numerous pieces that reveal the feelings of sorrowing men and women at home, and of soldiers sick for home. Specially memorable are Lucy Larcom's Waiting for news, Kate Putnam Osgood's extraordinarily pathetic Driving home the Cows, C. D. Shanly's The Brier Wood Pipe, Augusta Cooper Bristol's Term of service ended, Read's The brave at home, The Drummer boy's burial (anonymous), and William Winter's After all. From civil life came the tender and moving note of reconciliation in Francis Miles Finch's The blue and the Gray, written in 1867 when the news came that the women of Columbus, Mississippi, had decorated the graves both of Northern and Southern soldiers. To civil life, too, belongs the supreme poetry that the war called forth, associated, for the most part, with the name of Lincoln. Stoddard's Abra
William B. Bradbury (search for this): chapter 2.15
s proved too fine to suit the soldiers, who would not sing of grapes of wrath or the beauty of the lilies. They preferred instead such pieces as Three hundred thousand more, Marching through Georgia, and The year of Jubilee, which have been already mentioned, the equally favoured The battle Cry of freedom, Tramp, Tramp, Tramp, and Just before the battle, mother, of George Frederick Root, and Walter Kittredge's Tenting on the old camp ground. Now forgotten, but famous in its day, was William B. Bradbury's Marching along, most frequently sung by soldiers of the Army of the Potomac. The song perhaps most frequently heard from soldiers of both sides in the conflict was When this Cruel War is over by C. C. Sawyer. In the Northern version blue rhymes with true; with cheerful unconcern for the rhyme, the Southerners substituted gray. This song was sentimental, without poetic merit or rhythm, without even a trick of melody to recommend it, but it voiced the eager longing for peace and w
Bayard Taylor (search for this): chapter 2.15
d to see how soon the conversation drifted off into politics. It was not until after in the library that we got upon anything really interesting. Longfellow, Taylor, Story, and Stoddard (in his early days) were practitioners of the poetic art rather than workers in the real material of human experience. There were other singd play too much with allegory and ancient mythology for the best effect. The Dirge, called forth by the death of General Kearny, is spontaneous and haunting. Bayard Taylor, See also Book III, Chap. X. a friend of Boker, while ardently sympathetic toward the Union cause, and a speaker in its behalf in America and England, showhorseman's crooked brand, and rein The charger on the battle-field. Thereafter the passion of events is recorded in the poems of the war, North and South. Bayard Taylor's Through Baltimore cried out against the opposition offered by Southern sympathizers to the passage through Baltimore streets of the Sixth Massachusetts. A. J
Watson (search for this): chapter 2.15
n our high poop-deck he stood, And round him ranged the men Who have made their birthright good Of manhood, once and agen— Lords of helm and of sail, Tried in tempest and gale, Bronzed in battle and wreck— Bell and Bailey grandly led Each his Line of the Blue and Red— Wainwright stood by our starboard rail: Thornton fought the deck. And I mind me of more than they, Of the youthful, steadfast ones, That have shown them worthy sons Of the Seamen passed away— （Tyson conned our helm, that day, Watson stood by his guns.) Lord of mercy and frown, Ruling o'er sea and shore, Send us such scene once more! All in Line of Battle Where the black ships bear down On tyrant fort and town, 'Mid cannon cloud and rattle— And the great guns once more Thunder back the roar Of the traitor wall ashore, And the traitor flags come down! It was in New England that Emancipation was most eagerly acclaimed. Emerson's Boston hymn, written in honour of Lincoln's Proclamation, can hardly be matched for
Charles Graham Halpine (search for this): chapter 2.15
ing the Batteries, Sheridan at Cedar Creek, The fall of Richmond, and The surrender at Appomattox. Most intimately associated with hostilities of all was Charles Graham Halpine, See also Book II, Chap. XIX. better known as Miles O'Reilly, who entered the Union army and became a brigadier-general. Although his verse lacks met Great God. In the fourth year of the war the note of triumph passed from the Southern to the Northern poets. S. H. M. Byers's Sherman's March to the sea and Halpine's The song of Sherman's Army are almost gay, and Henry Clay Work's Marching through Georgia if not gay is nothing else. Holmes's Sherman's in Savannah rhymed the to recommend it, but it voiced the eager longing for peace and was heard in every camp many times every day. Other popular songs were the Song of the soldiers by Halpine and I'd rather be a soldier, A tramping, camping soldier by John Savage. All these are primarily concerned with the military side of the conflict. Civil m
Thomas Bailey Aldrich (search for this): chapter 2.15
thus had an opportunity, in actual service, to become acquainted with the details of warfare. The best of his pieces, all included in Lyrics of a day (1864) and War-Lyrics (1866), still deserve praise as strong as that pronounced by Lowell and Aldrich in Brownell's own generation. His power lay in combining vivid detail with lyric exultation, accurate pictures of still life with fiery episodes of heroic action. No other Northern poet reported real warfare so accurately. Some of Brownell's ia loyal. The advance of Lee to Antietam, his repulse there, and his retreat found a record in Whittier's Barbara Frietchie, Melville's The Victor of Antietam, Boker's The crossing at Fredericksburg, John Boyle O'Reilly's At Fredericksburg, and Aldrich's exquisite sonnets Fredericksburg and By the Potomac. Meanwhile the war in the West was not without its poet— annalists, of whom the most notable perhaps was Forceythe Willson (1837-67), a native of New York who lived in Indiana from 1852 to
Bell (search for this): chapter 2.15
hundred leagues of bayous and lakes,) To die in the great Gulf Stream? Would you hear of the River-Fight? It was two, of a soft spring night— God's stars looked down on all, And all was clear and bright But the low fog's clinging breath— Up the River of Death Sailed the Great Admiral. On our high poop-deck he stood, And round him ranged the men Who have made their birthright good Of manhood, once and agen— Lords of helm and of sail, Tried in tempest and gale, Bronzed in battle and wreck— Bell and Bailey grandly led Each his Line of the Blue and Red— Wainwright stood by our starboard rail: Thornton fought the deck. And I mind me of more than they, Of the youthful, steadfast ones, That have shown them worthy sons Of the Seamen passed away— （Tyson conned our helm, that day, Watson stood by his guns.) Lord of mercy and frown, Ruling o'er sea and shore, Send us such scene once more! All in Line of Battle Where the black ships bear down On tyrant fort and town, 'Mid cannon clo
William Cullen Bryant (search for this): chapter 2.15
t went, the bands played Annie Laurie, and the men sang the sentimental songs of adolescent America; they returned chanting Mine eyes have seen the glory of the coming of the Lord. Readers of poetry in the fifties had enjoyed the verse of Bryant See also Book II, Chap. V. and Longfellow See also Book II, Chap. XII. and of others who modestly portrayed aspects of quiet nature, mildly moralized upon conduct, or willingly submitted to the spell of beauty. For not a few of the poetsrue Men by Robert Traill Spence Lowell, Who's ready? by Elizabeth Stuart Phelps, The heart of the War by J. G. Holland; Theodore Tilton published in The independent for 18 April, 1861, his clanging and exciting tocsin The great Bell Roland; even Bryant had a strange fire in Our country's call: Lay down the axe; fling by the spade; Leave in its track the toiling plough; The rifle and the bayonet-blade For arms like yours were fitter now; And let the hands that ply the pen Quit the light task, a
C. C. Sawyer (search for this): chapter 2.15
of Jubilee, which have been already mentioned, the equally favoured The battle Cry of freedom, Tramp, Tramp, Tramp, and Just before the battle, mother, of George Frederick Root, and Walter Kittredge's Tenting on the old camp ground. Now forgotten, but famous in its day, was William B. Bradbury's Marching along, most frequently sung by soldiers of the Army of the Potomac. The song perhaps most frequently heard from soldiers of both sides in the conflict was When this Cruel War is over by C. C. Sawyer. In the Northern version blue rhymes with true; with cheerful unconcern for the rhyme, the Southerners substituted gray. This song was sentimental, without poetic merit or rhythm, without even a trick of melody to recommend it, but it voiced the eager longing for peace and was heard in every camp many times every day. Other popular songs were the Song of the soldiers by Halpine and I'd rather be a soldier, A tramping, camping soldier by John Savage. All these are primarily conce
... 5 6 7 8 9 10 11 12 13 14