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The Southern War Poetry of the Civil War

BY

ESTHER PARKER ELLINGER

Thesis presented to the Faculty of the Graduate School of the University of Pennsylvania, May 1918, in partial fulfilment of the requirements for the degree of Doctor of Philosophy

PHILADELPHIA, PA. 1918

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THE HERSHEY PRESS
HERSHEY, PA.

In the assembling of material so widely scattered and so long unsought either by students or by collectors, it has been necessary for me to depend in some measure on the efforts of others who have been most generous with their help and assistance. I desire to record my gratitude especially to my Father and my Mother, without whose unfailing sympathy and co-operation this work could not have been done: and to Mrs. C. Francis Osborne of Philadelphia, Miss Sallie Shepherd of Norfolk, Virginia, and Miss Florence D. Johnston of Philadelphia, for books and individual poems. For their courtesy in allowing me free access to the collections committed to their charge I must acknowledge further indebtedness to Mr. Wallace H. Cathcart, Vice-President and Director of the Western Reserve Historical Society, Cleveland, whose splendid collection of Civil War items contains many rare and important imprints and broadsides: and to Mr. Bunford Samuel, of the Ridgway Branch of the Library Company of Philadelphia, to whose private collection I am indebted for several poems which I have not found elsewhere.

Particularly to Dr. Arthur Hobson Quinn of the University of Pennsylvania, under whose direction this thesis was written, I wish to acknowledge my obligation and to express my sincere appreciation for his guidance and advice.

E. P. E.

University of Pennsylvania, 15 April, 1918.

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The Significance of the Southern War Poetry

“The emotional literature of a people,” wrote one of the greatest of the Southern poets, William Gilmore Simms,1 “is as necessary to the philosophic historian as the mere detail of events in the progress of a nation.... The mere facts in a history do not always or often indicate the true animus of the action. But in poetry and song the emotional nature is apt to declare itself without reserve ... speaking out with a passion which disdains subterfuge, and through media of imagination and fancy, which are not only without reserve, but which are too coercive in their own nature, too arbitrary in their own influence, to acknowledge any restraint upon that expression which glows or weeps with emotions that gush freshly and freely from the heart.”

Edmund Clarence Stedman2 put the matter a little differently. Asking what may constitute the significance of any body of rhythmical literature, restricted to its own territory, he answered the question thus: “Undoubtedly and first of all, the essential quality of its material as poetry; next to this, its quality as an expression and interpretation of the time itself. In many an era, the second factor may afford a surer means of estimate than the first, inasmuch as the purely literary result may be nothing rarer than the world already has possessed, nor greatly differing from it: nevertheless it may be the voice of a time, of a generation, of a people ... all of extraordinary import to the world’s future.”

“Our own poetry,” he continues elsewhere,3 “excels as a recognizable voice in utterance of the emotions of a people. The storm and stress of youth have been upon us, and the nation has not lacked its lyric cry.... One who underrates the significance[Pg 8] of our literature, prose or verse, as both the expression and the stimulant of national feeling, as of import in the past and to the future of America, is deficient in that critical insight which can judge even of its own day unwarped by personal taste or deference to public impression. He shuts his eyes to the fact that at times, notably throughout the years resulting in the Civil War, this literature has been a ‘force.’”

That the poetry written in the Confederate States during the days of the Civil War was a “force” in potency second only to the army in the field, is a fact that has been too long unnoticed by commentators on the literature of our country. In the rare cases when its influence was recognized, its quality has been mistaken, its character misunderstood, its quantity and volume under-estimated. Due perhaps in part to the intensity of feeling engendered between victors and vanquished in the Lost Cause, the darkness of the days following the close of the war effectively hid from view and kept from national circulation the verses and songs which the war had produced in the South. This was the primary cause which prevented them from attaining the universal and critical appreciation of their value that was the right of so large and important a movement in the history of American letters. The ruin of the South financially and economically, prevented her from calling attention to her own achievement: while the widespread destruction and dispersal of property, as well as the necessarily ephemeral nature of many of her publications, offers not the least satisfactory explanation for the comparative restriction of Southern Civil War verse to the land whence it sprang.

If, however, to the modern critic these poems and songs are comparatively unknown, by the Southerner of Civil War days their value was understood and appreciated to the full. Within a year after war broke out, early in the days of ’62, at least two definite attempts to assemble the fast multiplying verses and songs were being made, the first4 by Professor Chase and John R. Thompson of Richmond, editor of the Southern Field and Fireside; the second by “Bohemian,” Mr. W. G. Shepperson, who was a correspondent for the Richmond Despatch. The latter effort resulted, in the spring of ’62, in a volume of “War Songs of [Pg 9]the South,” containing some one hundred and eight poems, and with the following significant words in the Preface:

“Written contemporaneously with the achievements which they celebrate, [these poems] possess all the vitality and force of the testimony of eye-witnesses to a glorious combat, or even of actors in it. The spontaneous outburst of popular feeling, they give the lie to the assertion of our enemy that this revolution is the work of politicians and party leaders alone.

“Through the Poets’ Corner in the newspaper, they have sped their flight from and to the heart and mind of the people. They showed which way the wind was blowing when the war arose ‘a little cloud like a man’s hand,’ and black as the heavens may now appear, they bravely sing above the storm, soaring so high that their wings are brightened by the sun behind the clouds.

“They cannot fail to challenge the attention of the philosophic historian by their origin, and their influence.... In every age, martial songs have wrought wonders in struggles for national independence.

“And surely these newspaper waifs have played no unimportant part in the actual drama which surrounds us....

“A single volume of ordinary size cannot contain a tithe of the songs which have already appeared, and are daily appearing. This, however, offers enough to show that during the present eventful period, what was said of the early Spaniard is true of the Southron: ‘He has been unconsciously surrounding history with the light of imagination, linking great names with great deeds, concentrating those universal recollections in which everyone feels he has a part, and silently building up the fabric of national poetry on the basis of national enthusiasm.’”

Fifty years later another Southerner, William Malone Baskerville,5 wrote this: “A young Marylander, a stripling just from college, was dreaming dreams from which he was awakened by the guns of Sumter. One sleepless night in April, 1861, he wrote the poem, ‘My Maryland,’ which may not inaptly be called the first note of the new Southern literature ... ‘new in strength, new in depth, new in the largest elements of beauty and truth.’ He that had ears to hear might have heard in the booming of [Pg 10]those guns not only the signal for a gigantic contest, but also the proclamation of the passing away of the old order, and along with it the waxflowery, amateurish and sentimental race of Southern writers.” The passing of this school, of course, meant the passing of what usually has been recognized as the typical literary mode of the South. It meant, however, much more than this: for the changing order was made possible only by the passing of the particular type of civilization that had fostered it, and this, in its turn indicated a complete and thorough renaissance not only of life and letters, but also of Southern soul and spirit.

The type of civilization that endured in the South, to the days of the Civil War, was one of the most picturesque periods of society that can be imagined, but not one that induced or encouraged serious literature. In the North, on the other hand, where there were to be found many large cities as centres of population, and the great national colleges, literature had developed with the people. The earliest settlers of New England had been of a religious, thoughtful, and philosophical disposition, and their manners and mode of life had served to strengthen these tendencies in their descendants. Even the climate of the country had a marked influence in emphasizing New England’s bent towards literature. Rigorous winters and inclement temperatures led to long enforced periods of indoor life, conducive to study and reflection. The effort and stress required to wring a living from the stubborn soil made them an active and a vigorous people. At the same time the comparatively small size of their territory, the number of their towns and cities and the ease of travel over the hard and rocky roads brought them much in contact with each other, and insured communication of thought. Theirs was a civilization founded on civil ties. Farms were small, cultivated usually by the family of the owners, with a few “hired help,” and centered about the smaller villages and townships, which in their turn were satellites of the towns. The towns, again, clustered around the cities, which were thus as hubs in the wheels of society. The rising individual graduated from the town to the city, where were gathered the leading spirits and forces of the day. From the cities back to the smaller communities returned the great newspapers and magazines, whose spiritual and mental authority went unchallenged, and which served the more to amalgamate into a living thoughtful whole the inhabitants of the farthest[Pg 11] corner of the countryside. For everyone life was hard and plain; and there followed the accepted corollary of high and resolute thought.

In the South, the thought unquestionably was as grave and lofty. It was, however, neither in the hands of the people, as a whole, nor so thoroughly co-ordinated into an entity. This lack of centralization and unity arose from the very order of society, and was at once its destruction, its charm, and its misfortune. In the first place, as regards its territory in comparison with the North, there were few large cities, and these were far apart. From Richmond to Charleston and New Orleans as the crow flies is nearly three times the distance from Boston to Philadelphia. In the days of postillions, and in the later days of steamboats and railroads, a warm damp climate made travel tedious and tiresome. Neither did the large cities occupy the positions of importance of their Northern rivals. Because of the fertile soil, fair climate and multiplicity of laborers the financial and political power of the country was to be found quite as often among the owners of the great plantations, as in the counting rooms or law offices of the metropolis. For various reasons, there were no great and powerful publishing houses, or influential magazines in general circulation, the newspaper taking these places. Another factor there was also, that was especially disintegrating for society at large. Before the war, education in the South was not universal. For about half the population, the women were educated at home, or in the case of the well-to-do, at seminaries and boarding schools. The men, as in the old Colonial days, had their private tutors, and were then sent to the Universities at home or abroad, and to travel. But for the mass of the poorer people, there was little to be had beyond the rudiments of training: and for many years the University of Virginia was the only educational institution below the line, which was the academic equal of the Northern colleges. Education here, as everywhere in the South, was along purely classic lines, which trained the people to find authority in the past, and which tended to create a lack of sympathy with problems other than those immediately concerning the public polity. Hence it was that the intellectual relationships of the North were exchanged in the South for social ties; which proved in times of stress more powerful and unifying than those beyond the Line, and which made possible, later on, the sympathetic[Pg 12] consolidation and confederacy of the States at the first minute of invasion. In that instant, they were “a band of brothers,” in a common fellowship and interest: and thus it was that the very conditions militating against their literature and literary progress before the War, became in 1861, at once their allies in the field, and on Parnassus.

It is undeniable that the literary history of the antebellum South could brook no comparison with that of the North. An agricultural people such as the Southerners were, are apt to live their lyrics and romances, rather than write them. Her greatest novelists, Simms and Kennedy and John Esten Cooke, had given her quiet old-fashioned historical or pseudo-historical tales after the pattern of Sir Walter Scott. Today these seem curiously dull and prosy, and more so when placed in comparison with the extraordinarily ornate and grotesque Gothic romances of her women writers. That style of fiction of which Mrs. Hentz, Mrs. Southworth and Miss Evans were the representative authors may only be described as unreal and utterly false in tone and color. It is sensational to a degree, but its popularity was in proportion to its lack of artistic conception. Further than this, what was true of her prose, was true of her verse. Just as the fiction of the South was an echo of earlier modes, so her chief lyrists wrote in the manner of the cavaliers. On the whole, the Southern character had seemed better adapted to the practice of politics and the management of plantations, than to government in the province of literature. Southerners wrote easily and gracefully, but without the sincerity and beauty that arise from perfect sympathy between the craftsman and his craft.

It was when a great emotion had thrilled the heart of the South, and her spirit kindled to a single mighty flame in the prosecution of a cause on which she could unite all her energies, that the artificiality of her literature dropped away, and was replaced by strength of color, truth of outline and power of expression. Before the terror of civil war, the horror of invasion, and the indignity of submission to what she deemed a false interpretation of the Constitution and the principles of Liberty for which her fathers had fought, the literature of the South lost its superficiality, its romantic characteristics. From the earliest days of the war, prose in the form of history, philosophical essays and controversial debate, became the recognized and powerful weapon[Pg 13] wielded by her greatest minds: while poetry, in the hands alike of poet and peasant, became the great national organ for emotional expression.

Fully to appreciate the themes and refrains that filled her war verse, it is necessary to understand for just what principles, and with what a temper, the South began the fight. Whatever had been the immediate excuse for war, for the Southerner the conflict very quickly resolved itself into a struggle for liberty. The principle of States’ Rights had always been cherished in the South since the days of the Articles of Confederation, in 1781, which declared at the very onset that while adopting this plan that was designed to make of the various integers a government that might be per se recognizable,—“each state retained its sovereignty, freedom and independence.” “Submission to any encroachment, the least as well as the greatest, on the rights of a state means slavery,” wrote Dr. Basil Gildersleeve.6 “The extreme Southern States considered this right menaced by the issue of the presidential election.” The South had always clung to the earlier conception of national union of separate and independent units. That the North regarded her as a rebel against the Constitution of her fathers but goaded her the more bitterly, who felt that above all things she battled in the right, for the freedom of which Washington himself had dreamed, and which her own ancestors had been the greater part of the instrument in winning and perfecting. It was therefore to the South a holy contest. “Right or wrong, we were fully persuaded in our own minds, and there was no lurking suspicion of any moral weakness in our cause,” continued Dr. Gildersleeve.7 “Nothing could be holier than the cause, nothing more imperative than the duty of upholding it. There were those in the South who when they saw the issue of the War, gave up their faith in God, but not their faith in the cause.”

With Lincoln’s decision to provision Fort Sumter, on April 1, 1861, and his call for troops, two weeks later, the question of States’ Rights was amplified by the addition of two other sentiments which three together formed the lofty inspiration that, in the South lifted the struggle above the commonplaces of civil[Pg 14] strife. At once it was dignified into a war in defence of home, of native land, and of liberty. It was therefore with a certain nobility of purpose that the Confederate Army went forth to battle. The North had enlisted on a punitive expedition: the South had engaged in a crusade for her ideals. This was the magic touch that transmuted the comparative dross of her literature to pure gold. “When there flashed upon poetic souls not the political issues that were at stake, but the great human situation of the struggle, they gave voice to the pent up feelings of the new nation.”

The poetic genius of the Southerners had always been lyric in character, partly as the result of environment, partly that of racial temper, partly as an inheritance from the old Cavaliers who had been their ancestors. Nor had the lyrists of the South been of slender numbers. Professor Manly’s “Southern Literature” credits the land with over two hundred poets whom he considered worthy of mention. More than fifty of these belong to Virginia alone, and Dr. Painter wrote8 of their work that “examination ... reveals among a good deal that is commonplace and imitative, many a little gem that ought to be preserved.” Their method was usually Byronic and amorous. They had, it is true, made little or no use of local color or legend, and had given over the narrative and the dramatic for the lyric. Their work, however, was always melodious and of easy numbers. This was their particular characteristic. The second, and indeed the more interesting, was the lack of the professional touch. Before the War, there had been few vocational poets, as there had been few professed literateurs. Poetry was the possession of the many, not of a small group of favored ones, and these wrote purely for the pleasure of the art, with so little care for fame or reputation that many of their verses still remain uncollected. When, therefore, the emotion of the conflict was borne upon the South, there were poets to fight her battles—just as there were soldiers in the field,—who were using an accustomed mode, though with unaccustomed sincerity and felicity. Indeed, the number of [Pg 15]war poets is one of the amazing phenomena of the time: and as in the North, literature was mainly in their hands. Beyond the line there were Longfellow, Whittier, Lowell, Emerson, Holmes, Boker, Whitman and Mrs. Stowe. In the South, Hayne, Timrod, Ticknor, Simms, John R. Thompson, George Bagby, Dr. Holcombe, Mrs. Preston, Mrs. Charles, and Father Ryan filled roles as lofty, and as surely inspired. There was, however, this difference in their work. The poets of the North lived and wrote in comparative security and remoteness from the field. Their verses were characterized by a virtuous indignation against the rebellion, by appeals for men, anger at constant delay and unnecessary defeat, and deliberate exhortations in the name of the Union.

In the South, on the other hand, conditions were quite different. The whole land was a battle field, which every man, woman and child was bound by his principles to defend with his very life, and from which they had pledged themselves to drive the invading hordes. Each soul was personally involved in the conflict, and the poets, instead of looking on the struggle from afar, and distantly applauding it, looked out from the very centres of confusion, calling to their people words of help and cheer and courage. Theirs was not a plea to engage in the conflict. Theirs was the shout of “Come to the battle! Help us or we perish, and with us the sacred fires of true and personal Freedom.” It was the “terrible experience of a mighty conflict,9 in which the soul of the people was ... brought out through struggles, passion, partings, heroism, love, death, ... all effective in the production of genuine feeling and the development of real character. While the battles were being fought in the homes of the Southerners, their poets sent forth now a stirring martial lyric, now a humorous song or poem recounting the trials and hardships of camp, hospital and prison life ... these becoming ever more and more intermingled with dirges for Jackson, for Albert Sidney Johnston, for Stuart, for Ashby, and finally for the Conquered Banner. In all these there was no trace of artificiality, no sign of the mawkish sentimentality of the old waxflowery, amateurish and sentimental race of Southern writers.... They were surcharged with deep, genuine, sincere feeling. They were instinct with life. In this respect the war poetry laid the foundation of the new Southern literature ... [Pg 16]‘new in strength, new in depth, new in the largest elements of beauty and truth.’”

It was a terrible price to pay for a renaissance of art, wrung as it was from the heart of a wounded people. It appeared still more a vain and useless sacrifice because at first the Southern war poetry gave rise to no literary genre. Indirectly, however, in its return to reality, to simplicity of emotion and truth of passion, this war verse was of inestimable value to the rising school of Southern fiction and prose. Nevertheless, the renaissance could not come at once. It was only when the pain and ruin of war had somewhat passed, and the South had begun to recover from the waste which the conflict had wrought on the land, when the bitterness of the struggle had softened with the changing years and generations, and after the new attitude towards life had had time to crystalize into permanency, that one of her younger poets could write of her, with truth:10

The Historical Development of the Southern War Poetry

Contemporary criticism is seldom safely to be trusted, but there are times when contemporaneous comment is as valuable as it is enlightening. It is so with this statement by T. C. de Leon—in his introduction to an anthology of the Southern Civil War verse.11 “If poems born of revolution bore no marks of the bitter need that crushed them from the hearts of their authors, they would have no value whatever, intrinsic or historical.”

Southern war poetry is worthy of preservation because it is an expression of vital appeal and of sentiment wrung from the heart of a people. For the most part, it was written under the stress of the moment. It was indeed the spontaneous overflow of powerful emotion, but only occasionally does it take its origin from emotion recollected in tranquillity. Nevertheless, it speaks the language of men and women, and in it we may read, as perhaps through no other medium, the true story of the development of Southern character, of national spirit, and of definite sectional consciousness.

Today the poetry remains to us in the newspapers and magazines of the period, and in the anthologies and various collections of war verse (the best of these appearing either during the war or shortly after). Most interesting, but most ephemeral of them all, it remains in part in the small printed broadsides, or single sheets in handbill form, which usually appeared anonymously and mysteriously, at times even without the name of the printer. Issued in varying numbers, on wretched paper, and seldom gathered together, so many of these have perished in the passage of the years, that in many instances a single copy may remain in existence. Of the verses that circulated in MSS. there is now little trace. Occasionally, as in the case of K—s “To the Memory of Stonewall Jackson,” some old copy-book or diary will restore them to the light: but of the various sources, less result is obtained from this field than from the others.

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Next to the appearance of the poems in the papers and journals, publication by broadside was probably the most common usage. Especially in the later days of the war, when newspaper publication was either temporarily or entirely suspended, this medium insured the quickest distribution of verse particularly applicable to the moment, a battle ode, a dirge of a fallen leader, or a song of peculiarly inspiriting phraseology. It was in this broadside form that “My Maryland” spread through the South almost in a day, anonymously, and often suffering from lines badly copied or cut. That Randall was the author was a fact silently understood and communicated: for it was safest and wisest in those early days, and particularly in the border states, that names be not mentioned. Even later, and after months of war, this condition still obtained. The appearance, in September, 1862, of “Stonewall Jackson’s Way,” written by Dr. John Williamson Palmer, as he listened to the guns of Sharpsburg, is a case in point. Dr. Palmer gives this history of the poem, and its publication:12

“In September, 1862, I found myself ... at Oakland ... in Garrett County, Maryland. Early on the sixteenth there was a roar of guns in the air, and we knew that a great battle was toward ... I knew that Stonewall was in it, whatever it might be: it was his way,—‘Stonewall Jackson’s Way.’ I had twice put that phrase into my war letters, and other correspondents, finding it handy, had quoted it in theirs. I paced the piazza and whistled a song of Oregon lumbermen and loggers that I had learned from a California adventurer in Honolulu. The two thoughts were coupled and welded into one to make a song: and as the words gathered to the call of the tune I wrote the ballad of ‘Stonewall Jackson’s Way’ with the roar of these guns in my ears. On the morrow I added the last stanza....

“In Baltimore I told the story of the song to my father, and at his request made immediately another copy of it. This was shown cautiously to certain members of the Maryland Club: and a trusty printer was found who struck off a dozen slips of it, principally for private distribution. That first printed copy of the song was headed ‘Found on a Rebel Sergeant of the Old Stonewall Brigade, Taken at Winchester.’ The fabulous legend was [Pg 19]for the misleading of the Federal provost marshal, as were also the address and date, ‘Martinsburg, September 13, 1862.’”

It must not be supposed that this war verse which has survived to our day consists merely of battle songs and popular ballads on themes arising from the nature of the conflict. Just as the war was far reaching and general in its effect, touching every Southerner personally, and too often poignantly, so the poetic response was varied and modified to meet the demand of the moment. There is description, and narration; there are of course dialectics and polemics; there is satire; and there is even a little humor. And because through all this rings the personal and individual appeal, the prevailing note is lyric. Of the dramatic there is very little, notably Hayne’s “The Substitute,” and “The Royal Ape.” This last is a long dramatic narrative in iambic pentameter rimed couplets that is possibly more interesting as satire and propaganda than as pure drama. Yet neither of these is a work of free inspiration. The Southern war poet did his best work when out of the fulness of his heart, he either vowed allegiance to his beloved land, and her leaders, or wrote in passion and defiance as a resolved defender of the freedom of his Fathers.

Judged from an emotional point of view, this poetry falls into three distinct periods, obvious enough in themselves, but interesting in that by them we may see more clearly the issues of the war as reflected in the hearts of the warriors. There are the first poems of rebellion against oppression: lyrics of passionate defiance as well as of hortatory counsel: appeals to remember the glory of the past and the danger of the present. The second period started at the moment of invasion after which there was no longer need for a Congress to formulate the principles for which they fought, or to arrange for the unifying of the various State integers. Then began the poetry of actual conflict, taking the form of verses concerning particular battles, the narration of some heroic deed, the lament for a great hero, as well as camp ballads, and marching songs. As a connecting link with the first period, there are still the poems breathing the national spirit, and loyalty to the Southern cause. Even in the third and last period, that of disappointment, discouragement and actual defeat, this note continues, and is the more poignant for its unfaltering persistence in the face of calamity.

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The poetry of the first period began in the closing days of 1860. In November of that year there had been elected by the North and West a President whose principles of government seemed to threaten the South with danger of extermination of her most precious interests. The platform of Republicanism she considered in every respect inimical to her importance as a unit in the central organization of states. Her very identity was endangered, and that to a section where pride of historic heritage was as dear as actual power of wealth and commerce, aroused her as could perhaps nothing else. Therefore, on December twentieth, 1860, South Carolina passed her order of secession, following it with the “Declaration of Independence,” which justified the previous action by recalling the two great principles asserted by the early colonies, namely, “the right of a state to govern itself, and the right of a people to abolish a government when it becomes destructive to the ends for which it was instituted. And concurrent with the establishment of these principles was the fact that each colony became and was recognized by the mother country as a free, sovereign and independent state.” It was a proud imperious challenge, and made immediate appeal to every Southerner to whom freedom and independence, personal or otherwise, was a precious birthright. The proclamation fired the imagination, as it did the poetic spirit of the land: the poetic response struck the same note. S. Henry Dickson’s “South Carolina” was one of the first poems to appear. Its verses are as lofty in tone as the lines of the proclamation, and equally as sincere. They are frankly exultant.

This may be the expression of the hour, but it proved as well to be the poetic sentiment of the next four years. Every poet of the South, from the humblest maker of camp catches to the greatest of her lyrists, shared this attitude of resolve, as they watched their Spartan nation continue to wage what they consented to be a righteous war for freedom, against a tyrant power. Naturally, expression became more sharply crystalized with the actual invasion. None the less, even thus early, before the end of ’60, we have a precise foreshadowing of the war attitude of the Confederate poet.

With the passage of secession in South Carolina, at once the remaining “Cotton States” were torn by the conflict of making a great decision. There were those to whom the indignity of submitting their conception of government to what they called a usurpation of authority was inconceivable treachery to an ancient and honorable past: and there were those to whom unquestioning obedience to the Government at Washington was the only way of fulfilling the heritage of their ancestors. In the end, the extremists won. The North would offer no compromise: indeed, it would have been contrary to the Southern code of honor to have accepted halfway measures. To them there appeared no other course to pursue, no solution but to follow Carolina’s lordly lead. Mississippi seceded on January ninth, Florida on the tenth, Alabama on the eleventh, Georgia on the nineteenth, Louisiana on the twenty-sixth.

For the South as a whole, as well as for her poets, January had been a month of tempest. Following the secession of Carolina, the situation that had developed over Fort Sumter was dangerous[Pg 22] to the extreme. As it afterwards proved, Sumter was the tinder which kindled the flame of war; and as early as January, when Major Anderson refused to surrender the fort the menace within the South began to show itself. The authorities of Charleston, endangered by Federal possession of Sumter, demanded its surrender. No decision could have been reached until after March fourth, when Lincoln was inaugurated. Meanwhile, on the fourth of February, the six states which had already left the Union, and Texas, which seceded three days earlier, formally met at convention in Charleston, and united in a Confederacy, in opposition to the Government at Washington. It was a move which their poets, as well as their more practically visioned men, had been frantically urging. Two of the most interesting of the poems of this period appeared, the one in the Southern Literary Messenger for January, by William Gilmore Simms, the other in the Charleston Courier, about the middle of the month, addressed in French, by R. Thomassy, under date of Nouvelle Orleans, 2 Janvier 1861, to “Les Enfants du Sud.” It is fiery and eloquent of passion.

Gilmore Simms’ poem is less a call to arms, and more a warm and affectionate tribute to a beloved land, noteworthy because it proves that even before the Confederacy was formed, the people of the South were united in her love. The second stanza is better than the first.

Already there had begun the actual war verse, taking here the form of the invitation to arms. That war, the “irrepressible conflict,” was inevitable, was recognized by all sensible men. “Barhamville” in January addressed one of the first of these, “The Call,” to the editor of the South Carolinian. At this time, too, there appeared the fervid “Spirit of ’60,” in the Columbus Times, forerunner of a series in which were contrasted the spirit of the present and of ’76. To the South, both were wars for liberty, both struggles against oppression, in both contests the South was a vital factor; and the analogy was too good for a poetic eye to miss.

The finest single poem produced in this preliminary stage of the contest was that by Henry Timrod, “Ethnogenesis,” written during the meeting of the first Southern Congress, at Montgomery, in the early days of February. To the poet the Congress meant indeed the birth of a great nation, a nation among nations, strong in its right, and secure in national resource,

It is a noble utterance and its dignity and melody of expression must have added greatly to the deep impression it created. In the Southern Literary Messenger for the month there are Joseph Brennan’s “Ballad for the Young South”—“Men of the South! our foes are up, in fierce and grim array,”—and the defiant “The Southland Fears No Foeman,” by J. W. M., in which is the richly suggestive line, “Her eagles yet are free;” while “from the Georgia papers,” under date of Atlanta, February first, there is the anonymous “Cotton States’ Farewell to Yankee Doodle.” This latter is especially interesting because it is one of the first of a “Farewell to Brother Jonathan” group which enjoyed considerable vogue during the late winter and which was answered in the North by Oliver Wendell Holmes, with the lines “Brother Jonathan’s Lament for Sister Caroline,” under date of March 25. Of the Confederate poems on this theme, “Farewell to Brother Jonathan” by “Caroline,” which appeared about this time seems[Pg 24] closely connected with Holmes’ verses. The metre of the two poems is the same and the thought antithetic, although it would be difficult to determine which is the reply. The last two stanzas of “Farewell to Brother Jonathan” are particularly good.

Three other poems, apparently of this month, should be mentioned in passing, as exemplifying the note of personal interest of the Southern poet in the issue of the struggle. Robert Joselyn’s “Gather! Gather!” the anonymous war song, “Come, Brothers! You are called!” and Millie Mayfield’s triumphant “We Come! We Come!” may not be poetry of the first order: nevertheless these are verses written by people to whom the threatened conflict is not a matter distant and aloof, but of intimate and vital concern.

March was a month of little action on both sides. In the North it witnessed the inauguration of Lincoln; in the South the completer organizing and unification of the Confederacy, and the beginning of negotiations by the Confederacy by which they might secure possession of Fort Sumter. If, however, the South was marking time, her poets were not. They continued to urge her on to fulfillment of her “destiny.” Indeed, this month saw written some of the very best and most resolute of her war verse. There is the indignant “Coercion,” by John C. Thompson—

There is the anonymous “Prosopopeia,” also in the Southern Literary Messenger, which with Timrod’s “Cry to Arms,” written a little later, is the best of the verse of this kind which the period produced. Another widely known poem of the month was St. George Tucker’s “The Southern Cross,” verses patterned after Key’s “Star Spangled Banner,” and which had enormous vogue, and was even set to music, later on. This in so far as can be determined[Pg 25] is the first poetic use of the Southern Cross as the symbol of the Confederacy, a figure that was later adopted for the design of her flag, and which finally became, not only her ensign, but as well a symbol of the righteousness of her faith and cause. James Barron Hope’s “Oath of Freedom,”—

is of a kind with Thompson’s “Coercion,” and was widely copied during this time. Another poem must be mentioned here, as presaging the turmoil to follow, “Fort Sumter,” by “H.,” in the New Orleans Delta, with the command of its refrain, “Carolina, take the Fort.”

The most eventful months of the year 1861 were April and July, for April inaugurated “the irrepressible conflict,” and July saw the first great battle of the war, and a complete Confederate victory. On the first of April, President Lincoln announced his decision to refuse surrender of Fort Sumter to the Confederates, and added that he would undertake to provision the garrison imprisoned there immediately. At once the South was aflame. On the morning of the twelfth of April, Beauregard, commander of the Southern forces at Charleston, ordered the shelling of the Fort, which continued through the thirteenth, and ended with the evacuation of the Fort on the fourteenth. The war had begun, and though the opening engagement had been without loss to either side, and had ended in a Confederate victory, a far bloodier and disastrous conflict was inevitable. To the rejoicing South, however, there was only the glory of the first decision to consider, and the poets in their rapture gave utterance to a sheaf of verse, innumerable ballads about Sumter, affectionate odes to the nation so gloriously born and baptized by victorious fire, two great national songs, and frantic appeals to North Carolina, Virginia and Maryland, Tennessee and Kentucky to join fortunes of the Confederacy.

The first song published in the South after the war began, and corresponding, in the North, to E. C. Stedman’s “The Twelfth of April” was, fittingly enough, “God Save the South” by George[Pg 26] H. Miles of Frederick County, Maryland. Sung to music by C. W. A. Ellerbrock, it was designed to be, and accepted as the national hymn. It did not however, succeed in becoming a favorite. On the twenty-sixth of the month, James Rider Randall, inflamed by the circumstances of the “Baltimore Massacre” on April nineteenth, wrote his “My Maryland,” the most famous Southern poem produced by the war, and one whose influence was greater than a hundred battles. Circulated at first by broadsides it swept through the South like wildfire, and if any force could have drawn Maryland to the side of the Confederacy, it would have been that exerted by this poem. Her Union Governor, however, aided by Federal troops and tactful advice from Washington, succeeded in holding the State to the Union, although many Marylanders were ardent Southern sympathizers. Virginia, on the other hand, who, like Maryland, had been hesitating over her decision, hesitated no longer, after the episode of Sumter, implying as it did, Federal coercion. On the seventeenth of April she seceded from the Union. Her “pausing” had long been considered a shame and a reproach by Southern poets. Now, they burst forth in delight. “Virginia, Late But Sure!” was the triumphant shout of Dr. Holcombe, and Virginia’s answer was expressed in poems such as “Virginia to the Rescue,” “Virginia’s Rallying Call,” or “Virginia’s Message to the Southern States.”

The poetry produced or published in May chiefly concerns the decision of Virginia, and the assembling of the Southern armies, those “Ordered Away” to the field. Virginia’s entrance into the Confederacy had burnt all the bridges leading back—though remotely—to peace. At once the South proceeded to rally her forces to the standard of her cause, and gradually during May and June, flung out her battle line across Virginia, West Virginia and Kentucky to the Mississippi. Down the river it stretched through Forts Henry and Donelson to New Orleans. At one time, in ’63, the Confederate line surged forward through Western Virginia and Maryland so far into Pennsylvania that Harrisburg was directly menaced. It was the four years’ uncertain task of the Union forces to control this line, to break through it, turn it back and in upon itself, and finally to starve its scattered remnants into submission. As this was accomplished the first lyric outburst of the War—Timrod’s “Cry to Arms,” for example—was gradually exchanged for a slenderer volume of song. At first her poets[Pg 27] encouraged the people to faith and labor; then they sang of hope and courage, attempting to relieve the despair of a nation whose cause was lost, and whose ruin seemed irretrievable.

In the spring of ’61, however, there was only exultation, while in the North the cry of “On to Richmond” welled and grew fiercer during May, June and the summer months. Especially did it grow imperative after July twentieth, when the Confederate Capital was transferred there from Montgomery. On the next day, July twenty-first, came the great opening battle of the war, when the Union army under General Scott, joined with Beauregard’s men at Manassas Junction. The result was a complete Confederate victory, and there was unrestricted panic and flight among the Federal troops (the source of much satiric comment among the Southern poets) when Joseph E. Johnston’s army, which had not been expected to arrive until too late to be of assistance to Beauregard, appeared at the crucial moment.

It was only natural that the wave of triumphant exultation which had thrilled the South after the fall of Sumter should again sweep the land. Her poets responded with a sheaf of poems, in which they wrote of the contest from every angle,—odes of thanksgiving for victory, narratives of the course of the flight, eulogies of Beauregard and Johnston, satires on the behavior of the Union forces, camp catches half satiric and half comic, poems of particular incidents of the fight, finally words of regret and sorrow for the slain, and the manner of their slaying. This last theme is particularly interesting, for the feeling of horror at the situation “where brother fought with brother” was ever-present with the Southerners throughout the four years of the War. The very best of the poems occasioned by Manassas were those of Mrs. Warfield, “Manassas,” Susan Archer Talley’s “Battle Eve,” Ticknor’s “Our Left,” and the lines by “Ruth,” entitled “The Battle of Bull Run,” dated Louisville, Kentucky, July twenty-fourth, and written in curious and effective stanzas of irregular “unrhymed rhythms.” Mrs. Warfield’s poem was stirring and vigorous, bold in metaphor and in expression.

Miss Talley’s “Battle Eve,” with its beautiful picture of twilight calm before the darker night of storm and death, is affecting in its simple direct appeal, and sincerity of regret for the carnage of conflict—and was called forth by the seriousness of the impending meeting at Manassas. Francis Orray Ticknor’s “Our Left”—suggested by the indomitable courage and perseverance of the Confederate left wing before McDowell’s men, until reinforced by the timely arrival of Johnston’s army, who brought victory with them, is a spirited, almost exalted account of the actual battle, and was immensely popular at the time. There are many versions of it still extant, in broadsides and anthologies,—for the most part anonymous, since the poem evidently was not at first acknowledged by Ticknor. This has led to a curious connection of names. In one of the broadsides versions in the collection of the Ridgway Library, in Philadelphia, the poem is dated Baltimore, Maryland, October 20, 1861, and is signed by “Old Secesh.” This signature is also given to “The Despot’s Song,” a popular Lincoln satire of a later period of the War, which again is assigned to Baltimore, and from circumstantial evidence seems to be the work of Dr. N. G. Ridgely, a Baltimorean who was a popular satirist of the day, and who signed his work variously “N. G. R.,” “Le Diable Baiteux,” “O. H. S.,” “Cola,” and “B.”[Pg 29] This last signature is further associated with the name of James Ryder Randall, for in the Baltimore City Librarian’s Office, in Ledger 1411, there is a broadside version of “Maryland, My Maryland,” published in Baltimore, as were these other broadsides, and signed “B,” Point Coupee (La.), April 26, 1861. It would, of course, be impossible, so many years later, to puzzle out the interrelation of the poems and signatures, and indeed their value would hardly warrant the labor. It is, nevertheless, an interesting example of the chaos which at times arose from the necessarily surreptitious publication and circulation of the Confederate verse.

Manassas was the last great event of the year. There were several minor engagements between the two armies, notably the fight at Ball’s Bluff, on the twenty-first of October; and there was the “Trent Affair,” with the capture of the Confederate emissaries to England, Mason and Slidell, on November eighth. Nevertheless, the Southern poets did not lack inspiring material, the continued “aloofness” of Maryland and Kentucky being among their most vital themes. They were, of course, never idle with their lyrics of loyalty and continued to sound the war note or to sing of the South, with indomitable zeal. They had even by this time, become so accustomed to the state of war, that they could begin to work seriously with satire. The best in this genre written in ’61 are John R. Thompson’s “On to Richmond,” satirizing Winfield Scott’s first campaign, and “England’s Neutrality” (England had passed a proclamation of neutrality towards the two belligerents early in May, on the thirteenth): “O Johnny Bull, My Jo John,” an anonymous ballad occasioned by the presence of English frigates off the coast in ’61, and the unfortunately anonymous, but delightfully humorous “King Scare” (prompted by the terror in the North regarding the Confederate power in the field).

The close of the year was marked by a poem in the Southern Field and Fireside—a “Requiem for 1861,” by H. C. B. It is not of any particular excellence or poetic merit, but it is worthy of note for its expression of sincere sorrow for the conflict that was severing a land of brothers; and for a sense of the horror that war had brought to the South.

The same longing for peace is shown in the verses “Christmas Day, A. D. 1861,” by M. J. H. But it must be a peace with victory. That was the earliest conception. By the lives of her sons who had died for her in the year just passed, the South was resolved on whatever sacrifice it might cost her to prevail, despite the fact that she was already weary of the struggle. No better expression of her unchecked purpose may be found than in Mrs. War field’s lines, written in the spring months before Manassas, “The Southern Chant of Defiance.” With Timrod’s “Ethnogenesis,” and Randall’s “Maryland,” it stands the finest poetry which the year produced in the Confederacy.

1862 began with the Confederacy prevailing. Nevertheless, the first six months of the year seemed to bring to the South nothing but gloom. In February of ’62, came news of the capture of Fort Henry on the Tennessee River, February sixth, and on February eighth, of the fall of Fort Donelson, on the Cumberland. There was much more importance in these two defeats than at first appeared to the poets; for these forts were the two most valuable gateways to the Southwestern Confederacy, and their fall meant not only the first break in the Confederate line, but as well, direct menace of Southern control of the Mississippi,[Pg 31] and New Orleans. It foreshadowed the later evacuation of Nashville, before Grant.

In January, the month before, the chief theme of the Southern poets had been the meditated burning of the cotton crop, by the Southern planters, and this cry of “Burn the Cotton!” had brought forth at least one finely phrased poem. In February, the themes concerned the siege and evacuation of Donelson, and there began the days of wretched anxiety that were to possess the Confederacy until the end of July, when the land was to know that the Virginia part of her line still held, and Richmond was safe. In March McClellan assumed chief control of the Union forces, and began his Peninsula campaign, in response to Lincoln’s reiterated cry, “On to Richmond.” On the eighth of the month, the Confederate ram “Merrimac” out from Norfolk, succeeded in breaking the Federal blockade of Hampton Roads, much to the consternation of the North. The next day, however, in her encounter with the “cheesebox” Monitor, “the turtle” Merrimac was too badly hurt to be of further or immediate use, and the elation of the day before gave way to depression, which was in no way relieved by the events of the next few months. April saw the practical occupation of the Mississippi, with the fall of Corinth, the evacuation of Fort Pillow, and on the lower river, Farragut and Porter’s occupation of New Orleans. Of the Mississippi line, there remained to the Confederates only Vicksburg and Port Hudson. For the South everything depended on the defeat of McClellan’s “On to Richmond” march, since on the sixth of the month, Albert Sidney Johnston, attempting to retrieve the disaster to the middle line in Tennessee, had engaged Grant at Shiloh and Pittsburgh Landing, with tremendous carnage. The battle had proved an incomplete Confederate defeat, but what was worse for the South, had occasioned Johnston’s death.

To all of the many events of these opening months, the Southern poets made continuous response. National songs inspiring faith and courage, as for example, Hewitt’s “Lines Written During These Gloomy Times, To Him Who Despairs,” spoken at the Richmond “Varieties” by Mr. Ogden, Wednesday night, May 7, 1862,—occasional verses suggested by various incidents and episodes of the war’s progress, camp catches and marching ballads praising individual troops and regiments, the poets poured forth in unstinting measure. However, the death of Albert Sidney[Pg 32] Johnston, at Shiloh, made a deeper impression on the poets than any event of these spring months. The affection and pure love which the Southerners lavished on their leaders is one of the several remarkable phenomena of the war. In no other war, and in no other country do the leaders appear to have been so beloved, so idolized. To us today, the expression of sentiment seems extravagant and excessive. One attribute it has, however, and one that is not to be denied. The praise of the South for her great men is always passionately sincere. During the war, the Southerners were, as never before, a band of brothers. There was, therefore, in their relations with their great men, a personal contact and appeal which in the North was not so keenly felt. Albert Sidney Johnston, who with Beauregard, had been one of the heroes of Manassas, was the first of Confederate heroes to fall. The South mourned him, as she did all of her sons who fell in her defence, truly and warmly.

When “Stonewall” Jackson died, after Chancellorsville, almost a year later, the outburst of the poets with dirges and elegies was quite typical. S. A. Link quotes T. C. de Leon, the editor of South Songs (1866), as saying:13 “I had in my collection no fewer than forty-seven monodies and dirges on Stonewall Jackson, some dozen on Ashby, and a score on Stuart.” Even today there are extant a round dozen of poems lamenting the death of Albert Sidney Johnston.

With all the sorrow that came to the South in these first months of depression, it is pleasant to see that she had not lost the saving humor and satiric sense that was so to strengthen her in the evil days which followed. On April sixteenth, for example, the Confederate Congress, alarmed by the condition of the Southern army, passed a measure for conscription. This was commented upon in the Southern Literary Messenger for the month, with a delightful epigram:

[Pg 33]

During May and June of ’62 Jackson and Lee endeavored to arrest McClellan’s progress by their counter campaign in the Shenandoah. For the South it was a most successful move. Not only were the Southern arms carried to victory, but, through the unfortunate wounding of Joseph E. Johnston at Seven Pines, Lee, whose fame had grown in the Shenandoah, was placed in supreme command of the army of Northern Virginia. The turning point of the Southern fortunes had arrived. The battle of the Chickahominy, Malvern Hill, and the Seven Day’s fighting before Richmond, resulted in the defeat of McClellan’s campaign, and Richmond, for the next two years, was saved.

The army of the Confederacy, through the hardships and reverses of the first year of fighting, had become a seasoned and experienced (though, thanks to the blockade, a sadly ill-equipped) machine. Its three great leaders were Lee and Jackson and Beauregard. The Southerners at home were beginning to be accustomed to the privations of war. They were all as confident as ever of the righteousness of their war. Thus with a united Confederacy behind him and after another victory at “Second Manassas,” in ’62, Lee began his ill-starred Maryland campaign, as a counter-stroke against the Army of the Potomac. Lee’s part of the Confederate line, the Army of Northern Virginia, was the only part of the original battle wall still intact. Butler and his forces were in possession of New Orleans, the fall of Vicksburg, already in siege, was but a matter of time, and in the West, uncertainty still prevailed. John R. Thompson’s spirited “A Word to the West,” was written when Joseph E. Johnston was dispatched to relieve Vicksburg. It was at the same time an answer to A. J. Requier’s impassioned plea, “Clouds in the West.”

Those were anxious days, indeed. September saw the desperate conflict at Sharpsburg, the bloodiest single day’s battle of the war, which, although it was not a conclusive defeat, left the Confederate forces wretchedly crippled, and brought deepest anguish to the South. The gloom, however, was relieved in December by Lee’s victory at Fredericksburg. So the second year of war closed on a people and a nation, whose hearts were sick of the conflict. A second Christmas came to the Confederacy to find only the grim realities of life instead of the plumes and pomp of circumstance with which the war had begun. Mrs. Preston drew the picture for her countrywomen, in Beechenbrook:

[Pg 34]

None the less, the South was still firm in her resolve to battle to the end. No sacrifice could be demanded so great that it would not be willingly offered on the altar of Liberty—

1863 proved another “Year of terror, year of strife.” In the far South, Butler, in possession of New Orleans, had begun his reign of terror that was the savage inspiration of several poems. From Hayne, in particular, it wrung one of the most powerful lyrics of the war.14 Up the river, the siege of Vicksburg still continued. How spring came to the land was most poignantly expressed by Henry Timrod, in “Spring.”

Spring brought with it another bloody engagement and Confederate victory, the Battle of Chancellorsville, fought in the first four days of May. In that, however, it caused the death of Stonewall Jackson it was, next to the actual surrender of the Southern army, the worst blow the Confederacy could have sustained. His death, some one once said, was like the death of an army. Certainly it took from Lee, already overburdened, his good right hand.

The outburst of mourning that followed on Jackson’s death, has already been noted. The South and her poets loved him, not only as a leader, but personally, as a great and good man. He represented, moreover, that element of faith and religious fervor which was one of the essential factors of the Southern character, and without which the faith that sustained the Confederacy through four years of war, and the days of ruin that followed, is inexplicable.

“Let me say,” wrote Dr. Gildersleeve,15 “that the bearing of the Confederates is not to be understood without taking into account the deep religious feeling of the army and its great leaders. It is a historical element, like any other, and is not to be passed over in summing up the forces of the conflict.” Many are the poems, the “Prayers for the South,” and the individual supplications which still remain to attest the fact. For example, there is the “Battle Hymn of the Virginia Soldier,” an anonymous lyric of striking beauty. There is the simpler, yet equally sincere and devout “Soldier’s Battle Prayer” from the Southern Literary Messenger for April, ’62. “A Mother’s Prayer,” is another very touching poem, in the same theme: and there could be no more impressive evidence of the true religious strain in Southern hearts, than the verses, terrible in their satire, and burning in their indignant phrases, “The War Christians’ Thanksgiving,” by S. Teackle Wallis of Maryland, occasioned by the Union proclamation for a day of prayer in the North, and “Respectfully Dedicated to the War-Clergy of the United States, Bishops, Priests and [Pg 36]Deacons.” Written as it was by a prisoner then in the dungeon of Fort Warren, it is one of the most powerful human documents of the War. At the same time, the South held her own days of national prayer and fasting: and the verses which her poets wrote on these occasions, were quite in character with the national temper.

In the dark days of the next two years, the South was to find need for all her faith and confidence in the right. As if Jackson’s death was not sufficient evil, July first to third brought Lee’s defeat at Gettysburg, and on the day after this battle, the fall of Vicksburg, on the Mississippi. This meant the complete breaking of the Confederate line in the Southwest, and the return of the Army of Northern Virginia to its original position in Virginia. To complete the rout of the Confederate line, the Union forces now began to beat through the Southern defense in Tennessee and Kentucky, while Lee, back once more in Virginia, maneuvered to and fro against Meade. In the Southern campaign, the Confederates were steadily forced out of Tennessee, and Chattanooga, the objective of the Union troops. This, (which was with Richmond, the last important strategic point left to the Confederacy) was wrested from Bragg, and occupied by Rosecrans on the ninth. The latter thought that the fall of the city would be sufficient warning to the Southerner, and that he and his forces would at once withdraw. Far from doing that, however, Bragg engaged him, ten days later, at Chickamauga. It was a two days’ battle, on the nineteenth and twentieth, and was, next to Sharpsburg, the bloodiest engagement of the War. Though a Confederate victory, it was dearly bought. Yet even after all her suffering, the South willingly paid the price. Verses in the Richmond Sentinel called the river “Chickamauga, The Stream of Death,” where the foe—

None the less, in the battles that followed, the Union forces prevailed. In the three days’ fighting before Chattanooga, culminating in the Battle of Missionary Ridge, on November twenty-fifth, the Confederates were set in full flight. J. Augustine Signaigo described this fight in “The Heights of Mission Ridge.” The final catastrophe had begun.

It had been threatening for a long time. By the end of ’63, nearly every Southern home had suffered some loss or sorrow. “Our Christmas Hymn” by Dr. John Dickson Bruns of Charleston, put the grief of the land into words.

Timrod’s “Christmas, 1863,” shows a South that is sobered, and weary of battle: who with no idea of yielding, nevertheless, yearns for peace.

1864 was a year to be endured in stricken anguish. After a comparative lull during the first months of the war, on the fourth of May three Union armies moved forward, two destined for Richmond to shatter what part of the original Confederate line there was left, and one for Atlanta against Johnston and Hood, setting out to employ the troops still in the far South, and keep them from the relief of Lee and Richmond. This latter campaign was to end in the fall of Atlanta, and “Sherman’s March to the Sea,” and caused the invention of a new word.

Atlanta fell, despite Hood’s frantic efforts, on September third, ’64. Hood’s rashness in engaging in a counter attack against Nashville, cost him several severe defeats, and finally his army. Tennessee was thus brought entirely under Union control, and[Pg 39] late in December, on the twenty-fourth, Sherman occupied Savannah. Two poems, by the same author, Alethea S. Burroughs of Georgia, commemorate this incident most poignantly, “Savannah,” written in encouragement when her ruin seemed impending, and “Savannah Fallen,” written after the occupation of the town.

On the way to Savannah, Sherman’s route had lain through Columbia, which had been pillaged and burned, a circumstance that was the savage inspiration of James Barron Hope’s flaming verses, “A Poem that Needs No Dedication.” The sack of Columbia caused the evacuation of Charleston by the Confederate forces, then directly menaced, and before the oncoming destroyer the city was deserted. The pitiful fate of the city which had witnessed the birth and earliest days of the Confederacy, could not fail to stir the anguish of the Southern poets. “The Foe at the Gates,” by Dr. Bruns, for example, reveals the still prevailing temper of the South.

To the poets of the South, the fate of this city was particularly significant, for if any place may be said to have been the literary centre of the Confederacy, it was Charleston. There, for example, lived Simms and Timrod and Hayne, the leaders of her lyrists, who, in the general destruction of the city, suffered the loss of their homes and libraries. Had Charleston been spared to them and to others, the literary history of the South in the days[Pg 40] after the war might have been a different tale. As it was, the disaster to each of these particular men proved irretrievable.

Lee, during the summer months, though stoutly resisting, and adroitly circumventing the enemy at nearly every turn, was nevertheless being forced back against Richmond. The Battles of the Wilderness, May fifth and sixth, the Spottsylvania fighting, on the eighth to the twentieth, and Cold Harbor, on June third, resulted in advantage first to one side and to the other. Then the conflict swung below Richmond to Petersburg, and for the next month, the Union forces were halted before that strongly fortified town. The “Battle of the Crater” was fought on July thirtieth, over ground destroyed by Federal mines, but it was unsuccessful for the Unionists, and their losses were so terrific that for the next winter, at least, Richmond was safe.

The Petersburg siege is noteworthy since during it were written some of the most attractive lyrics of the war, like “Dreaming in the Trenches,” by Gordon McCabe, and “A Bloody Day is Dawning,” by William Munford. It is remarkable that such freshness of phrase could be given to men wearied by three years of disappointing struggle. One may imagine that this is but another indication of the vitality and spirit that was an integral part of the Southern character.

By the end of ’64, the Confederate battle wall had been crumpled and was beaten in, everywhere except in Virginia, before Richmond. Peace for a stricken land was the immediate concern alike of poets and people. Beyond that they did not trust themselves to think: but peace was the universal prayer.

[Pg 41]

The end came quickly. After a winter of preparation, determined among the Union forces, despairing among Lee’s men, the attack on Petersburg was resumed and carried on April second, of ’65. The next day, Richmond fell. Lee found escape impossible, and on the twelfth the little white farmhouse at Appomattox Court House, in the meeting of Lee and Grant, witnessed at once the death of a young nation and the rebirth of an older one.

Lyric as had always been the poetic genius of the South, it was but natural that her anguished cry of despair and defeat should be put into the mouths of her poets. For the most part, the poems on this theme are of beautiful quality, and those still extant form the largest single class in the war poetry of the four years.18 Correspondingly, they constitute a glass wherein one may see how defeat came to the South, and how she met the challenge of the issue. There were, of course, some spirits which cried out beneath the unendurable prick that death itself had been preferable to defeat. There is not emotion more appalling than despair for which one sees no relieving element of comfort. Such poems as “Stack Arms,” by Joseph Blythe Alston, “Doffing the Gray,” by Lieutenant Falligant, “The Price of Peace” by “Luola” or “Peace” by Alethea Burroughs of Savannah are terrible expressions of this attitude. At the same time, there were those who like Mrs. Preston, in “Acceptation,” met the issue more bravely and gently:

There were others who accepted the inevitable gracefully, but defiantly.

There were yet others to whom the fall of the Confederacy was typified in the furling of its banner. Poems like “The Conquered Banner,” by Father Ryan, and J. C. M.’s “Cruci Dum Spiro, Fido,” and A. J. Requier’s “Ashes of Glory” are typical expressions of such spirits. Then there were those who, like D. B. Lucas, “In the Land Where We Were Dreaming,” began to regard the struggle as the passing of a spirit world with which had passed all chivalry and beauty.

There are many of these verses portraying the end, each slightly differing in spirit from the one before, each repaying careful study with the beauty of its melody, and as a class, forming the noblest group of the war poems, whose only companions may be the earliest of the “Cry to Arms” series. Yet these poems of defeat are infinitely the more appealing in that the fire and dash of the earlier verses has here given way to the dignity of sorrow. “For the people’s hopes are dead.”

Hundreds of poems written during the four years of conflict reflect either individual reactions to war conditions, or incidents of battle. Besides these there are the prison verses, humorous pieces, and the southern songs, which in no way concern the historical passage of the War. There are poems of personal feeling, for example, like the exquisite and tender “The Confederate Soldier’s Wife Parting From Her Husband” or Major[Pg 43] S. Y. Levy’s “Love Letter,” or Fanny Downing’s “Dreaming.” There are poems that picture the life of the civilian population, like “The Homespun Dress” by Miss Sinclair, or the anonymous “Your Mission” which is of more than passing interest since in the South it was attributed equally to John R. Thompson, Mrs. Preston, Paul H. Hayne, and Mrs. Browning.20 There are poems reflecting the ravages of the war on the families of the soldiers, like “Heart Victories,” “Somebody’s Darling,” “Reading the List,” “Volunteered,” and “The Unreturning.” One could continue the catalogue indefinitely.

The prison verse, while not extensive, is for the most part, of good quality. There are five men whose work may be considered as representative, S. Teackle Wallis, who was imprisoned at Fort Warren, and four at Johnson’s Island. Wallis’s “To The Exchanged Prisoners” was written in Fort Warren in July ’62, and is one of the first of the prison poems which we can identify as such. The others, Major A. S. Hawkins, Colonel Beuhring H. Jones, Colonel W. W. Fontaine, and Major George McKnight, (“Asa Hartz,”) wrote two years later, in ’64 and ’65. Hawkins was the author of many poems, all of them popular, “The Hero Without a Name,” “To Infidelia,” “True to the Last,” “Give Up,” “A Prisoner’s Fancy.” About the best known of Beuhring Jones’ verses were “To a Dear Comforter,” and the rather humorous “Rat den Linden.” Fontaine was the author of many poems, notably “The Countersign,” “Virginia Desolate,” and “The Cliff Beside the Sea.” It remained for “Asa Hartz” to while away his prison hours in writing lines so delightfully humorous, so free and swift moving, that it is difficult to believe they could have been written within prison walls. “Living or Dying,” “Will No One Write to Me?” “To Exchange-Commissioner Ould,” and “My Love and I” are among the best of his lighter verses: “Exchanged,” and “Farewell to Johnson’s Island” are of more sober temper. “My Love and I” is the best example of his work:

The poetry dealing with incidents of the war is varied, and touches many subjects. There were such verses for example, as “The Silent March,” by Walker Meriweather Bell, written on an occasion during the war when General Lee was lying asleep by the wayside and an army of fifteen thousand men “passed by with hushed voices and footsteps, lest they should disturb his slumbers;” “Stonewall Jackson’s Way,” written on the theme of the great general’s ability “always to be where needed and in the thick of things;” “The Lone Sentry,” based on an incident, common to all wars, of the great general relieving a weary sentry; “The Battle Rainbow” by John R. Thompson, inspired by the rainbow that appeared the evening before the beginning of the Seven Days of Battle before Richmond. “The rainbow overspread the eastern sky, and exactly defined the position of the Confederate army, as seen from the Capitol at Richmond.” There were poems like “Music in Camp” also by John R. Thompson, suggested by an[Pg 45] incident that occurred just after Chancellorsville: and “The Unknown Hero,” by W. Gordon McCabe, based on the discovery, “after the Battle of Malvern Hill, of a [Confederate] soldier lying dead fifty yards in advance of any man or officer, his musket firmly grasped in the rigid fingers, name unknown, simply ‘2 La’ on his cap.”

Another interesting group of poems, closely connected with the war, although not with the actual progress of events, is found in the national and the army songs which were sung in camp and field and by the fire-side. It was natural that “Dixie” should be the most popular of airs, and while it admitted of endless variations and sentiments, the words that were generally sung to it were those by Albert Pike. The Marseillaise was another widely popular air, to which were sung any number of poems. One of these “The Southern Marseillaise” by A. E. Blackmar, written early in 1861, was sung by the troops as they marched to their assembling points, and may very properly be called the Rallying Song of the South.

“The Bonnie Blue Flag,” by Harry Macarthy was the favorite of the popular national songs. It was first sung by him on the stage of the Academy of Music in New Orleans, in September, 1861, and caused such excitement that the event precipitated a riot. When General Butler was in command of the city, two years later, he threatened to impose a fine of twenty-five dollars on any man, woman or child who sang it. In addition he arrested the publisher, A. E. Blackmar, destroyed the sheet music, and fined him five hundred dollars. After the tune became established as a favorite, Mrs. Annie Chambers Ketchum of Kentucky wrote other words to the air, which were frequently used.21 In addition to the national songs, the various states used particular anthems. Maryland had Randall’s song, “Maryland, My Maryland.” For South Carolina there were Timrod’s noble lines in the same strain, “Carolina.” “Georgia, My Georgia” was written by Carrie Bell Sinclair, and the “Song of the Texas Rangers” by Mrs. J. D. Young. These are but a few among a longer list.

It has been said22 that while the Confederate Army was not “absolutely destitute of songs, it simply lacked a plentiful supply[Pg 46] of songs written especially for the moment.” This is far from being the case. Indeed, the camp songs and marching ballads written in the Confederate camps during the war, are legion. They vary in excellence from “The Cavaliers’ Glee” by Captain William Blackford of Stuart’s staff, to the extremely popular and delightful “Goober Peas,” by A. Pender. For the camp catches there were certain stock tunes, such as the “Happy Land of Canaan,” “Wait for the Wagon,” “We’ll Be Free in Maryland,” “Gay and Happy,” which were used over and over, and to which words were improvised to fit the occasion. Even the slender Confederate Navy had her stock of ballads. “The Alabama,” by E. King, author of “Naval Songs of the South,” is the best representative of this class.

It is not strange that during the chaotic days of the Confederacy, poems that had been written by Southerners in antebellum days were published in the South as of Confederate origin; and that poems of the war period written in the North or abroad should be attributed to Confederate authors. In the first category are verses such as “My Wife and Child,” by Henry R. Jackson of Georgia, which he wrote during the Mexican War, and in the second class, “The Soldier Boy,” a widely popular poem which was really by the Englishman, Dr. William Maginn (1793-1842), whom Thackeray satirized as “Captain Shalow” in Pendennis, but which was assigned to “H. M. L.” of Lynchburg, and even given the circumstantial date of May 18, 1861. Another poem that was widely copied, but which was really written by T. Buchanan Read in Rome in 1861, was “The Brave at Home.”

Two other poems whose origins have attracted much attention are “The Confederate Note,” by Major S. A. Jonas of Mississippi, and “All Quiet Along the Potomac Tonight,” by Mrs. Ethel Lynn Beers. Major Jonas seems to have established unquestionable claim to his poem in a letter to the Louisville Courier, under date of December 11, 1889. The poem by Mrs. Beers was a long time claimed for Lomar Fontaine. Mrs. Beers had written the verses in 1861, in which year they had appeared in Harper’s Weekly. Late in ’62 they began to circulate in the South, and for some unknown reason were assigned to Lomar Fontaine. He was at once showered with praise and eulogy, but it is interesting to note that in the Editor’s Table of the Southern Literary Messenger for June, 1863 (p. 375) at the end of verses by Henry C. Alexander[Pg 47] “To Lomar Fontaine, the author of the verses entitled ‘All Quiet Along the Potomac Tonight,’ and if report be true, one of the unrewarded heroes of the South” the Editor has subscribed the following discriminating comment: “It is questionable whether Fontaine wrote the ‘All Quiet Along the Potomac.’ There was no occasion to incite such a poem. Our pickets along the Potomac were rarely if ever shot: those of the Yankees were shot night after night.23 We have heard that the author of the lines attributed to Fontaine is an Ohioan. A brave man—a hero, if you will,—Fontaine has yet to prove that he is a poet.”

One other poem whose origin has been questioned is “The Countersign,” which, reprinted in the Philadelphia Press in 1861, was declared to have been written by a private in Company G, Stuart’s Engineer Regiment, at Camp Lesley, near Washington. F. F. Browne, in Bugle Echoes, cryptically adds: “But it may now be stated positively that it was written by a Confederate soldier, still living. The third line of the fifth stanza affords internal evidence of Southern origin.” This Confederate soldier was Colonel W. W. Fontaine.

Metrical study of the Southern war poetry leads inevitably to the conclusion that Southern temperament lent itself naturally to rhythmic expression. The poets of the South, many of them untrained in the technique of their art, wrote in every metrical arrangement that can be imagined, from curious irregular unrhymed rhythms to ballad measure, and to the long and intricate stanzaic forms used by Simms and Timrod. In nearly every case, except, of course, with the cruder camp songs, the verses flow felicitously, and the effect is melodious. Even in the sonnet form24 although the Southerner did not seem capable of writing a true sonnet, the rhythm moves with ease and harmony. The verses may infringe every rule of the sonnet form, but the result is effective.

Such is the achievement of the Southern war verse. It is a wonderfully effective expression of sentiment, and becomes all the more remarkable when one considers the conditions under which it was created. It was written in a land first rich and prosperous, then through four weary years ravaged and [Pg 48]starved into ruin: by soldiers in the field and in the prisons, and women suffering silently at home. Even the mediums through which this poetry was published, shared the vicissitudes of the land, and have been generally destroyed or scattered. Nevertheless the war poetry of the Confederacy which remains to us today, stands as an enduring memorial to the inherent nobility of the Southern heart and to the fidelity of devotion to principle, which has always given the South the admiration of those who, while they cannot agree with her point of view, must nevertheless respect her courage and spirit. At the same time it forms a notable contribution to the literature of our land. Best of all, this poetry satisfies the function of those “Sentinel Songs” of which Father A. J. Ryan wrote, on May sixth, 1867:

• An American Anthology, 1787-1900. Selections illustrating the editor’s critical review of American poetry in the nineteenth century. Edited by Edmund Clarence Stedman. Boston and New York: Houghton Mifflin Company. The Riverside Press, Cambridge, 1900.
• The Creed of the Old South, 1865-1915. By Basil L. Gildersleeve. Baltimore: The Johns Hopkins Press, 1915.
• History of the Civil War, 1861-1865. By James Ford Rhodes, LL.D., Litt.D.: with maps. New York: The Macmillan Company, 1917.
• The Photographic History of the Civil War, Vol. IX. Poetry and Eloquence of the Blue and Gray: edited by Dudley H. Miles, Ph.D., Columbia, introduction by Dr. W. P. Trent, of Columbia. Appendix. Songs of the War Days—Soldier Songs and Negro Spirituals. New York: The Review of Reviews Co., 1911.
• Poets of the South: A series of Biographical and Critical Studies with typical poems, annotated by F. U. N. Painter, A.M., D.D. New York, Cincinnati, Chicago, 1903.
• The South in History and Literature: A Handbook of Southern Authors from the Settlement of Jamestown, 1607, to Living Writers. By Mildred Lewis Rutherford, Athens, Ga. Atlanta: The Franklin-Turner Co., 1907.
• South Songs: From the Lays of Later Days. Collected and Edited by T. C. De Leon. New York: Blelock & Co., No. 19 Beekman Street, 1866.
• The Southern Literary Messenger. Dr. G. W. Bagby, Editor, January, 1862. Macfarlane & Fergusson, Proprietors, Richmond, Va.
• Southern Prose and Poetry: for Schools. By Edwin Mims and Bruce R. Payne. Charles Scribner’s Sons: New York, Chicago, Boston, 1910.
• Southern Writers: Biographical and Critical Sketches: “Irwin Russell.” By William Malone Baskerville. September, 1896. Barber & Smith, Agents, Nashville, Tenn.
• War Poetry of the South. Edited by William Gilmore Simms, LL.D. New York: Richardson & Company, 540 Broadway, 1867.[Pg 50]
• War Poets of the South: Singers on Fire. By Samuel Albert Link. Nashville, Tenn: Barber & Smith, Agents, c. 1898.

• Abram: A Military Poem. By A. Young Rebelle, Esq., of the Army. Richmond: Macfarlane & Fergusson, 1863.
  

  [“A string of smoothly running rhymes about Lincoln, Stonewall, McClellan, Pope, Burnside & Co., with a very droll preface in place of an appendix. The author is a Texan, and we doubt not his comrades of Hood’s old brigade will enjoy this little book nearly as much as they do a hard day’s fight after a long march.”—Review in The Southern Literary Messenger, for March, 1863.]

• Allan’s Lone Star Ballads: A collection of southern patriotic songs, made during Confederate times ... compiled and revised by Francis D. Allan. Galveston, Texas: J. D. Sawyer, 1874.
• American War Ballads and Lyrics: Edited by George Cary Eggleston. New York and London: G. P. Putnam’s Sons, 1889.
• The Army Songster: Dedicated to the Army of Northern Virginia. Published by George L. Bidgood, Richmond, Va., and printed by Macfarlane & Fergusson, 1864. (Reprinted by J. W. Fergusson & Son, 1902.)

  [“This is one of the almost numberless catalogues of ‘Songbooks,’ ‘Songsters,’ etc., which has been published during the War,—rejoicing in such patriotic titles as the ‘Rebel,’ ‘Stonewall,’ ‘Soldiers,’ etc., which with a most refreshing contempt for consistency in name and date, embrace sprinklings from the lyric music of almost every age and clime. ‘No One to Love,’ ‘Rory O’More,’ ‘Kathleen Mavourneen,’ ‘Marseillaise,’ etc., etc., of course, figure extensively. We suppose the ‘Army Songster’ is quite as good as the rest, and we are not quite sure this is extravagant praise.”—Review in The Southern Literary Messenger for April, 1864.]

• The Beauregard Songster: Being a collection of Patriotic, Sentimental and Comic Songs, The Most Popular of the Day. Arranged by Hermann L. Schreiner. Published by John C. Schreiner & Son, Macon and Savannah, Ga., 1864.
• Beechenbrook: A Rhyme of the War, by Margaret J. Preston. Richmond: J. W. Randolph, 121 Main Street, 1865.
• Same: Baltimore, 1867.
• Bugle-echoes: A collection of poems of the Civil War, Northern and Southern. New York: White, Stokes & Allen, 1866.
• The Cavalier Songster: Containing a Splendid Collection of Original and Selected Songs, Compiled and Arranged Expressly for the Southern Public. Staunton, Va., 1865.[Pg 52]
• Confederate Scrap Book: Copied from a Scrapbook kept by a young girl during and immediately after the war, with additions from war-copies of the “Southern Literary Messenger” and “Illustrated News” loaned by friends, and other selections as accredited. Published for the benefit of the Memorial Bazaar, held in Richmond, April 11, 1893. Richmond, Va.: J. L. Hill Printing Co., 1893.
• Corinth, and Other Poems of the War: By Cornelia J. M. Jordan. “Praeritorum Memoria Eventorum.” Lynchburg: Johnson & Schaffter, Printers, 60 and 62 Market Street, 1865.

  [“Publicly burnt on its appearance in 1865, by order of General Terry, as an objectionable and incendiary publication.” See Adams, Dictionary of American Authors (1905), p. 213.]

• Cullings from The Confederacy: A Collection of Southern Poems, Original and Others, popular during the War between the States, and Incidents and Facts worth recalling. 1862-1866. Including the Doggerel of the Camp, as Well as Tender Tribute to the Dead. “From grave to gay, from reverend to severe.” Compiled by Nora Fontaine M. Davidson, Petersburg, Va. Washington, D. C.: the Rufus H. Darby Printing Co., 1903.
• The General Lee Songster: Being a collection of the most popular, sentimental, patriotic and comic songs. Arranged by Hermann L. Schreiner. Published by John C. Schreiner & Sons, Macon and Savannah, Ga., 1865.
• Hopkins’ New Orleans 5c Song Book. New Orleans, 1861.
• Immortal Songs of Camp and Field. By Rev. Louis Albert Banks, D.D. With portraits and illustrations. The B. B. Co., Cleveland. The Burrows Brothers Company, Publishers, 1899.
• Immortelles: A tribute to “The Old South.” A Compilation by Sarah Robinson Reid. Little Rock, Ark.: published by the Brown Printing Company, 1896.
• The Jack Morgan Songster. Compiled by a Captain in General Lee’s Army. Raleigh, N. C. Branson & Farrar, Fayetteville St., 1864.
• Original Collection of War Poems and War Songs of the American Civil War. Compiled by Angie C. Beebe. Edited and Published by The Argus Press at Red Wing, Minnesota.
• Our War Songs, North and South. Cleveland, Ohio; S. Brainard’s Sons, c. 1887. (Words and music.)
• Personal and Political Ballads. Arranged and edited by Frank Moore. New York: George P. Putnam, 1864.
• The Photographic History of the Civil War, Vol. IX, Poetry and Eloquence of the Blue and Gray. Edited by Dudley N. Miles, Ph.D., Columbia. Introduction by Dr. W. P. Trent,[Pg 53] of Columbia. Appendix: Songs of the War Days—soldier songs and negro spirituals. New York: The Review of Reviews Company, 1911.
• Poetry, Lyrical, Narrative and Satirical, of the Civil War. Selected and Edited by Richard Grant White. New York: The American News Company, 1866.
• Rebel Rhymes and Rhapsodies: Collected and edited by Frank Moore. New York: George P. Putnam, 1864.
• Richmond, Her Glory and Her Graves. By Cornelia J. M. Jordan. Richmond: Medical Journal Printing Co., 1866.
• The Royal Ape: A Dramatic Poem. Richmond: West & Johnston, 145 Main Street, 1863.
• Songs and Ballads of the Southern People, 1861-1865. Collected and edited by Frank Moore. New York: D. Appleton & Co., 1, 3, and 5 Bond Street, 1886.
• Songs of Love and Liberty. Compiled by a North Carolina Lady. Raleigh, N. C.: Branson & Farrer, Fayetteville St., 1864.
• Songs of the Confederacy and Plantation Melodies. Compiled by Mrs. A. Mitchell. G. B. Jennings, 1907.
• Songs of the South: Choice selections from southern poets from Colonial times to the present day. Collected and edited by Jennie Thornley Clarke. Philadelphia: J. B. Lippincott Company, 1896.
• Songs of the South. J. W. Randolph, 121 Main Street, Richmond, Va., 1863.

  [There was an earlier edition in 1862.]

• Songs Written by Capt. T. F. Roche, C. S. A., Prisoner of War at Fort Delaware, 1865. Sung by the Fort Delaware minstrel troop, organized by the Confederate officers to aid sick comrades in hospital. Winchester, Va.: The Enterprise Printing Company.
• South Songs: From the Lays of Later Days. Collected and Edited by T. C. De Leon. New York: Blelock & Co., 19 Beekman Street, 1866.
• The Southern Amaranth: A carefully selected collection of poems growing out of and in reference to the late war. Edited by Miss Sallie A. Brock. New York: George S. Wilcox, Publisher, successor to Blelock & Co., 49 Mercer Street, 1869.
• Southern and Miscellaneous Poems. By Thomas Q. Barnes, Mobile, Ala., 1886.
• Southern Odes: By The Outcast, a gentleman of South Carolina. [C. B. Northrup.] Published for the benefit of the Ladies Fuel Society. Charleston: Harper and Calvo, 1861.
• The Southern Literary Messenger: Devoted to every department of Literature, and the Fine Arts. Edited by Dr. G. W. Bagby,[Pg 54] 1861-1864, and F. H. Alfriend, 1864. Richmond: Published by Macfarlane & Fergusson, Proprietors, 1861-1863, and Wedderburn & Alfriend, Proprietors, 1864. January, 1861-June, 1864.

  [Owing to war conditions, the magazine suspended publication after June, 1864.]

• The Southern Poems of the War: Collected and arranged by Miss Emily V. Mason. Baltimore: John Murphy & Co., Publishers, 182 Baltimore Street, 1867.
• Same. Third edition revised and enlarged. Baltimore, 1869.
• The Southern Songster: A collection of the best original songs of the Confederate states. Published for sale at the Southern Bazaar, at Liverpool, October, 1864.
• Southern War Songs. Atlanta: Franklin Printing & Publishing Co., 1895.
• Southern War Songs: Camp Fire, Patriotic & Sentimental. Collected and arranged by W. L. Fagan. Illustrated. New York: M. T. Richardson & Co., 1890.
• The Stonewall Song Book: Being a collection of patriotic, sentimental and comic songs. Richmond: West & Johnston, 1865.
• The Sunny Land, or Prison Prose & Poetry: Containing the Productions of the Ablest Writers of the South, and Prison Lays of Distinguished Confederate Officers, by Colonel Beuhring H. Jones, 60th Virginia Infantry. Edited, with Preface, Biographies, Sketches and Stories by J. A. Houston, Baltimore, 1868.
  
  “The land we love—a queen of lands,

  No prouder one the world has known;

  Though now uncrowned, upon her throne

  She sits with fetters on her hands.”
• War: A poem, with copious notes, founded on the revolution of 1861-62. (Up to the battles before Richmond, inclusive) by John H. Hewitt ... Richmond, Va.: Weston & Johnston, 1862.
• War Flowers: Reminiscences of Four Year’s Campaigning. Respectfully dedicated to the Ladies of New Orleans. By F. B. 1865.
• War Lyrics and Songs of the South. London: Spottiswoode & Co., 1866. “Printed of necessity in England, and not revised.”
• War Poetry of the South. Edited by William Gilmore Simms, LL.D. New York: Richardson & Co., 540 Broadway, 1867.
• War Poets of the South and Confederate Camp Fire Songs. Compiled by Charles William Hubner. Atlanta, Ga.: Chas. P. Byrd, Printer.
• War Songs & Poems of the Southern Confederacy, 1861-1865. Compiled by H. M. Wharton. Philadelphia: Winston, 1904.[Pg 55]
• War Songs of the Blue and the Gray: As sung by the Brave Soldiers of the Union & Confederate Armies in camp, on the march, and in the garrison; with preface by Professor Henry L. Williams, etc. New York: Hurst & Co., Publishers, 1905.
• War Songs of the South: Edited by “Bohemian,” Correspondent, Bichmond Despatch. [W. G. Shepperson.] Bichmond: West & Johnson, 145 Main St., 1862.

  [“I said, I knew a very wise man so much of Sir Chr——’s sentiment, that he believed if a man were permitted to make all the ballads, he need not care who should make the laws of a nation.”—Fletcher’s Political Works, p. 372.]

Abe’s Cogitations: (Randolph.)

Abraham Lincoln: The Mohammed of the Modern Hegira. New Orleans, March 5, 1861. (P. & P. B. from the New Orleans Crescent.)

Acceptation: By Mrs. M. J. Preston. (E. V. M.)

Acrostic [Davis]: February 22, 1862. (R. N. S. from the Charleston Courier.)

Acrostic [B. F. Butler]: Baltimore, March 14, 1863. (R. B. B. 11½.)

Acrostic in Memory of O. Jennings Wise: By Miriam. (S. L. M. Ed. Table, September, ’63.)

Acrostic on Magruder: By G. B. Milner, Harrisburg, Texas. (Alsb.)

Addition to the Bonnie Blue Flag: A Tribute to True Kentuckians. (W. L.)

[Pg 59]

Address: Delivered at the opening of the New Theatre at Richmond: A Prize Poem, by Henry Timrod. (W. G. S. from Southern Illustrated News.)

Address to the Exchanged Prisoners: On the 31st of July, 1862, all the prisoners of war in Fort Warren, (about 250 soldiers of the Confederate army) embarked for Fortress Monroe, to be exchanged. They left in Fort Warren, 14 gentlemen, who were imprisoned under the designation of “political prisoners.” These were all Marylanders by birth, all but one (Mr. Winder) were residents of that state when arrested. On their behalf the following lines were addressed to their departing friends: By T. S. Wallis, Fort Warren, July 31, 1862: S. L. M., July and August, 1862. (E. V. M.)

Address to the Women of the Southern Troops: Air—“Bruce’s Address:” By Mrs. J. T. H. Cross. (R. R.)

After the Battle: By Miss Agnes Leonard. (W. G. S. from the Chicago Journal of Commerce, June, 1863.)

After the Battle of Bull Run: July 21, [1861.] (W. L.)

Afraid of a Dead Baby: By Kentucky. (S. O. S.)

Alabama: (Randolph).

The Alabama: Respectfully dedicated to the Gallant Captain Semmes, His Officers and Crew and to the Officers and Seamen of the C. S. Navy: by E. King, author of Naval Songs of the South. Richmond, Va., George Dunn & Co. (R. B. M., 1864.)

The Alabama Cottage: A Homely Scene. (R. B. B.)

[Pg 60]

Albert Sidney Johnston: (Im.)

Albert Sidney Johnston: By A. G. (E. V. M., ’69.)

Albert Sidney Johnston: Killed at Battle of Shiloh, April, 1862. By Fleming James. (E. V. M.)

Albert Sidney Johnston: Dirge by Colonel A. W. Terrell. (Alsb.)

All Is Gone: By Fadette. (W. G. S. from the Memphis Appeal.)

All Over Now: (Im.)

All Quiet Along the Potomac Tonight: By Mrs. Randolph Harrison. (C. S. B.)

All Spice: Or Spice for All: By Cola, Le Diable Boiteux. Baltimore, March 7, 1862: Baltimore, April 1, 1862. (R. B. B.)

All’s Noise Along the Appomattox: Battle of the Crater, A. D., 1863. (C. C.)

All’s Well: By Mrs. Margaret J. Preston of Va. (Amaranth, from The Land We Love.)

All’s Well: Come to the Rescue. (R. B. B.)

Allons Enfants: The Southern Marseillaise: Air “Marseillaise.” By A. E. Blackmar, New Orleans, 1861. (C. S. B.)

[“This may be called the rallying song of the Confederacy. Composed early in 1861, it was sung throughout the South while the soldiers were hurried to Virginia with this, the grandest of martial airs, as a benediction.”]

[Pg 61]

The American Star: Air “Humors of Glen.” Published by Louis Bonsai, Baltimore and Frederic Streets, Baltimore. (R. B. B. p. 7)

The Angel of the Church: By W. Gilmore Simms. January, 1864. (W. G. S.)

The Angel of the Hospital: By S. C. Mercer. (R. N. S. from the Louisville Journal.)

Another Flag: A Second Thought: [By C. B. Northrup.] (Outcast.)

Another Yankee Doodle: (R. R.)

An Answer to the Poem Entitled “How They Act in Baltimore:” By Redgauntlet. (Md. Hist. B.)

An Appeal: By Kentucky. (S. O. S.)

An Appeal for Jefferson Davis To His Excellency, Andrew Johnson, President of the United States: By a Lady of Virginia. (E. V. M.)

An Appeal for Maryland: By B. Baltimore, January 20, 1862. (R. B. B. 84.)

Appeal to Maryland: From a Dying Soldier at Manassas: by a Lady of Maryland. (S. L. M., Oct., 1861.)

Appeal to the South: (R. B. B.)

[Pg 62]

An Appeal to the South: By A Daughter of Dixie H. Baltimore, Jan. 24, 1862; also Norfolk, Va., Jan. 24, 1862. (R. B. B. 2 & 41.)

(The) Approaching Battle Hour: By Kentucky. Richmond, Virginia, June, 1862. (S. O. S.)

April 26th: In the ceremonies at Memphis, Tennessee, 26th April, “In Memory of the Confederate Dead,” Dr. Ford one of the speakers improvised the following appropriate lines: (E. V. M.)

April Twenty-Sixth: By Annie Chambers Ketchum. Memphis, Tenn. (E. V. M.)

Are We Free? By James R. Brewer. Annapolis, Oct. 22, 1861. (E. V. M.)

Are You Ready? (Bohemian from the Macon Telegraph.)

Arise! Ye Sons of Freeborn Sires! By A. E. Morris, Company C, 20th Infantry. (Alsb.)

Arlington: By Margaret J. Preston. (E. V. M.)

Arm for The Southern Land: By General Mirabeau B. Lamar. (S. B. P.)

The Army and Its Flag of Stars and Stripes: [By C. B. Northrup] (Outcast.)

Arouse, Kentuckians! By Kentucky. (S. O. S.)

[Pg 63]

Ashby: By John R. Thompson of Virginia. Richmond, June 13, 1862: S. L. M., Editor’s Table, May, 1862. (S. S.)

The Ashbys: By D. B. Lucas, of Va. (E. V. M. ’69.)

Ashby’s Avengers: Air “Annie Lyle.” (Cav.)

Ashby’s Death: Air: “Annie Laurie.” (Cav.)

Ashes of Glory: By A. J. Requier. (W. G. S.)

At Fort Pillow: By James R. Randall. (W. G. S. from the Wilmington Journal, April 25, 1864.)

At Galveston, Texas: By H. L. Flash. (Alsb.)

Attention! By B. Baltimore, Oct. 16, 1861. (R. B. B. 7.)

Audax Omnia Perpeti, etc. By B. (R. B. B. 4.)

Auld Lang Syne: A supposed song of Morgan’s Cavalry on entering a Kentucky town. By Kentucky. (S. O. S.)

Autumn Thoughts, 1862: By Miss Mary A. Grason. (E. V. M. ’69.)

The Autumn Rain: By Susan Archer Talley. Richmond, Va. (E. V. M.)

The Avatar of Hell: Sonnet, by “Pax.” (W. G. S. from the Charleston Mercury.)

[Pg 64]

Awake! Arise! By G. W. Archer, M. D. (W. G. S.)

Awake in Dixie: By H. T. S., Winchester, Va., February 24, 1862. Air, “Dixie’s Land.” (R. B. B. 7.)

Away with the Dastards Who Whine of Defeat: By Paul H. Hayne of S. C. Charleston, May 10, 1862. (E. V. M.)

Away with the Stripes: By Kentucky. (S. O. S.)

A Ballad for the Young South: By Joseph Brennan. S. L. M., Feb., 1861, from the New Orleans Crescent. (S. S.)

The Ballad of the Right: By J. W. Overall. (S. S. from the New Orleans True Delta.)

A Ballad of the War: By George Herbert Sass, of Charleston, S. C. (W. G. S., originally published in Southern Field and Fireside.)

Baltimore: (West. Res.)

Baltimore: By C. (Mr. Samuel’s Scrapbook: Ridgway Library.)

Baltimore Girls: Air, “Dearest Mae.” (West Res.)

The Band in the Pines: Heard after Pelham died: by John Esten Cooke. (W. G. S.)

[Pg 65]

Banks’ Skedaddle: (Alsb.)

Banner Song: Written and Expressly Dedicated to the Armstrong Guards. By Wm. H. Holcombe, M. D. (S. L. M., July 1861.)

The Banner-Song: By James B. Marshall. (R. R.)

The Barefooted Boys: (S. S.)

The Bars and Stars: Air, “Star Spangled Banner:” by A. W. Haynes. (Randolph.)

Le Bataille des Mouchoirs: The Greatest Battle of the War: fought Feb. 20, 1863. By a young lady of 17, Eugenie. (S. L. M., Oct., ’63.)

The Battle at Bethel: Air, “Dixie.” (Bohemian from the Richmond Whig.)

The Battle at Bull Run: By Ruth. Louisville, Ky., July 24, 1861. (R. R.)

Battle at Bull’s Run: (R. B. B. 7.)

Battle Before Richmond: By G. B. S., 1862. (W. L.)

Battle Call, Nec temere, nec timide: Dedicated to her countrymen, the Cavaliers of the South, by Annie Chambers Ketchum. Dunrobin Cottage, May, 1861. (R. R.)

The Battle Call: By Mrs. E. V. McCord Vernon, Richmond, Va., Feb. 20, 1862. (C. C.)

[Pg 66]

Battle Call to Kentucky, 1862: By Walker Meriweather Bell. (Amaranth.)

Battle Cry of Freedom: By Wm. H. Barnes. (Lee.)

The Battle Cry of the South: By James R. Randall. (W. G. S.)

Battle Eve: By Susan Archer Talley. S. L. M., Aug., 1861. (S. S.)

The Battle Field of Manassas: By M. F. Bigney. (R. R.)

Battle Hymn: (W. G. S. from the Charleston Mercury).

Battle Hymn: Columns Steady: By Wm. Gilmore Simms. (Bohemian.)

Battle Hymn of the Virginia Soldier: (R. B. B. 8.)

Battle Ode to Virginia: (R. R.)

Battle of Belmont: (Wash’n.)

Battle of Belmont: By J. Augustine Signaigo. (W. G. S. from the Memphis Appeal, Dec. 21, 1861.)

Battle of Bethel: (Randolph.)

[Pg 67]

The Battle of Bethel Church: (C. C. from the New Orleans Delta, 10 June, 1861.)

Battle of Big Bethel: (West Res.)

The Battle of Buena Vista: Inscribed to Jefferson Davis: by a Mississippian. (E. V. M. from the Louisville Courier, April 1866.)

The Battle of Charleston Harbor: April 7th, 1863: by Paul H. Hayne. (W. C. S.)

Battle of Galveston: Air, “The Harp that Once Through Tara’s Halls:” by Mrs. E. L. Caplen, of Galveston. (Alsb.)

The Battle of Great Bethel: Fought on Sunday, June 9, 1861. Dedicated to Magruder and his command: by “C.,” an American patriot not 14 years old. (Mr. Samuel’s Scrapbook, Ridgway Library.)

Battle of Hampton Roads: By Ossian D. Gorman. (W. G. S. from the Macon Daily Telegraph.)

The Battle of Hampton Roads: By Tenella, [Mrs. Clarke of N. C.] (E. V. M.)

Battle of Manassas: July 21, 1861. (W. L.)

The Battle of Manassas: Dedicated to General Beauregard, C. S. A.: by Mrs. Clarke, wife of Colonel Clarke, 14th Regiment, N. C. (E. V. M.)

[Pg 68]

Battle of Manassas (July 21, 1861): By Cornelia J. M. Jordan. (Corinth.)

The Battle of Manassas: By Susan Archer Talley: Richmond, Aug. 3, 1861. S. L. M., Sept., 1861. (R. B. B. 61.)

The Battle of Richmond. (Psalm xliv. 3-4): By George Herbert Sass, Charleston, S. C. (W. G. S.)

The Battle of St. Paul’s (N. O.): Sung by a Louisiana Soldier. Conquered Territory of Louisiana, New Orleans, Aug. 17, 1866. (C. C.)

Battle of Shiloh: Louisville, Ky. (W. L.)

Battle of Shiloh Hill: Air, “Wandering Sailor,” by M. B. Smith, Company C, 2nd Regiment, Texas Volunteers. (Alsb.)

The Battle of the Mississippi: (R. R.)

The Battle of the Stove Pipes: [By Nannie Lemmon (?).] (R. B. B. 86½.)

The Battle Rainbow: By John R. Thompson, of Va. S. L. M., June, ’62. (W. G. S.)

Battle Song: (C. S. B.)

Battle Song: Air, “Humors of Glen.” (Randolph.)

Battle Song: Dedicated to Captain Ben Lane Posey, who commanded the Red Eagle Battery at Pensacola. (S. L. M., Ed. Table, June ’62, from the Montgomery Mail.)

[Pg 69]

Battle Song of the “Black Horsemen:” Air, “Dixie:” By C. Winchester, Va., Oct., 1861. (R. B. B. p. 8.)

Battle Song of the Invaded: (R. R.)

Battle Song of the Maryland Line: (R. B. B. 77.)

Battle Song of the South: By P. E. Collins. (Fag.)

Bay Blossom Cottage: By Lieutenant H. C. Wright. (Sunny.)

Baylor’s Partisan Rangers: Air, “Dixie.” By Mary L. Wilson, of San Antonio. (Alsb.)

Bayon City Guard’s Dixie: By the Company’s own poet. (Alsb.)

Bayon City Guard’s Song in the Chickahominy Swamp: (Alsb.)

Beaufort: By W. J. Grayson, of South Carolina. (W. G. S.)

Beau-Regard: Sung at the Montgomery Theatre on Friday night, by Mr. M. A. Arnold: by Baron, April 12, 1861. (R. N. S. from the Montgomery Mail.)

Beauregard: A Historical Poem: by Kate Luby F——. (P. & P. B.)

Beauregard: By Catherine A. Warfield of Mississippi: (W. G. S.)

[Pg 70]

Beauregard: Written after the Battle of Shiloh, when Beauregard became Commander-in-Chief: by C. A. Warfield of Kentucky. (E. V. M.)

Beauregard at Shiloh: Lines found on the dead body of a Confederate soldier after the battle of Williamsburg. (R. B. B.)

Beauregard’s Appeal: By Paul H. Hayne. (S. S. from the Charleston Courier.)

The Beleaguered City: By Rosa Vertner Jeffrey. (E. V. M.)

Ben M’Culloch: Air, “Something new comes every day.” (R. B. B. 65.)

Ben M’Culloch—He Fell At His Post! By Ned Bracken. (Alsb.)

Bentonville: Written on the field, at the close of the first day’s fight: by T. B. Catherwood. (Hubner.)

Bethel: (S. L. M. January, ’62.)

A Betrayal: By Kentucky. (S. O. S.)

Beyond the Potomac: By Paul H. Hayne. (R. R. from the Richmond Whig.)

Bill Hoosier’s Advice to the Hoosiers of Louisville: Three days after the battle of Richmond, Kentucky. Air, “Sing, sing, Darkies, sing:” by Kentucky. Sept. 2, 1862. (S. O. S.)

The Black Flag: By Paul H. Hayne. (Alsb.)

[Pg 71]

The Blessed Hand: Respectfully dedicated to the Ladies of the Southern Relief Fair: by S. T. Wallis, Baltimore, April 8, 1866: “There is a legend of an English Monk, who died at the monastery of Aremberg, where he had copied and illuminated many books, hoping to be rewarded in Heaven. Long after his death, his tomb was opened, and nothing could be seen of his remains but the right hand with which he had done his pious work, and which had been miraculously preserved from decay.” (E. V. M.)

The Blessed Heart: Suggested by “The Blessed Hand.” Gratefully dedicated to the Ladies of the Southern Relief Fair by Mrs. M. M. of Columbia, S. C. (E. V. M.)

The Blessed Union—Epigram: (W. G. S.)

The Blockaders: Dedicated to A. Lincoln: by Paul H. Hayne. (Bohemian from the Charleston Mercury.)

A Bloody Day is Dawning: By William Munford. July, 1864; In the trenches before Petersburg. (Newspaper clipping from The Baltimore American, c. 1895.)

Blue Coats Are Over the Border: Air, “Blue Bonnets are over the Border:” Inscribed to Captain Mitchell: by Kentucky. (S. O. S.)

The Blue Cockade: By Mary Walsingham Crean: (R. R.)

The Bold Engineer: Air, “Young Lockinvar:” by O. H. S. Baltimore, Oct. 14, 1861. (R. B. B. 59.)

The Bold Privateer: Published by Thomas G. Doyle, Bookseller, Stationer, and Song Publisher, No. 279 N. Gay St., Baltimore. (Wash. No. 29.)

[Pg 72]

Bombardment and Battles of Galveston: Air, “Auld Lang Syne.” June 1, 1862-January 1, 1863: by S. R. Ezzell, of Captain Daly’s Company. (Alsb.)

The Bonnie Blue Flag: By Annie Chambers Ketchum. (G. C. E.)

The Bonnie Blue Flag: By Harry Macarthy. (C. S. B.)

The Bonnie Dundee of the Border: Inscribed to Colonel Wm. S. Hawkins, of the Western Army: by Clarine Rirnarde. (W. L.)

The Bonnie White Flag: Or the Prisoners’ Invocation to Peace: Air, “Bonnie Blue Flag:” by Colonel W. S. Hawkins, C. S. A., in Camp Chase Ventilator, 1864. (Fag.)

The Border Ranger: The Mountain Partisan: by W. G. Simms. (S. L. M., Feb. March, ’62.)

Bouquet de Bal: A Ballad dedicated to Miss J——: by F. B. (W. F.)

The Boy Picket: or Charley’s Guard: By a Lady of Kentucky. (E. V. M.)

The Boy Soldier: By a Lady of Savannah. (W. G. S. from the Richmond Dispatch.)

Boy Who Thinkest to Be Wed: By Kentucky. (S. O. S.)

Boys! Keep Your Powder Dry: (Alsb.)

Bowing Her Head: (W. G. S.)

[Pg 73]

Brave Deeds—Brave Fruits: Sonnet: by Wm. Gilmore Simms. (Am. from Southern Opinion.)

A Brave Girl’s Fate: By Miriam Erle. Charleston, S. C., A. D., 1864. (C. C.)

The Brass-Mounted Army: Air, “Southern Wagon:” by ——, of Colonel A. Bucher’s Regiment. (Alsb.)

The Bridal Gift: By Kentucky. (S. O. S.)

Brigadier General John H. Morgan in a Penitentiary! By Kentucky. (S. O. S.)

The Brigand Brigade: (Bohemian.)

Broken Bench: A Ballad: By F. B. Chattawa, August, 1862. (W. F.)

The Broken Mug: Ode (So-called) on a Late Melancholy Accident in the Shenandoah Valley (so-called): by John Esten Cooke. (W. G. S.)

The Broken Sword: Suggested by an incident which occurred after the surrender of Fort Donaldson: by Walker Meriweather Bell. (W. L.)

The Broker’s ‘Stamp Act’ Lament: July, 1862: (R. B. B. 10.)

The Brotherly Kindness of 1861: By Kentucky. (S. O. S.)

Bugle Call: By Colonel John Milledge, of Ga. (Im.)

[Pg 74]

Bugle Note: By A. Lansing Burrows. (Bohemian from the Richmond Dispatch.)

Bull Run—A Parody: (W. G. S.)

Bull’s Run: Air, “Wait for the Wagon.” (R. B. B. 11.)

Burial of Brigadier General M. Jenkins: At Summerville, Whitsunday, May 15, 1864: by “C. G. P.” (Amaranth.)

The Burial of Captain O. Jennings Wise: Killed at Roanoke Island, Feb. 8, 1862: by Accomac. (E. V. M.)

The Burial of Latane: By Jno. R. Thompson. S. L. M., July and August 1862. Note: The beautiful image in the including stanza is borrowed and some of the language is versified from the eloquent remarks of the Honorable R. M. T. Hunter, on the death of Ex-President Tyler. (E. V. M.)

Burial of Lieutenant General Jackson: Air, “Oporto:” by R. W. Kercheval, Esq. (Im.)

Burial of the Tough Beef in Galveston: March 5, 1864. (Alsb.)

Burn the Cotton: By Estelle, Memphis, Tenn., May 16, 1862. (R. R.)

Bury Me on the Field, Boys: By Mary S. Grayson, of Md. (Amaranth.)

Bury Our Dead: (Sunny.)

Butler’s Proclamation: By Paul H. Hayne, of S. C. (E. V. M.)

[Pg 75]

By the Banks of Red River: By E. E. Kidd. (Fag.)

By the Camp Fire: By Fanny Murdaugh Downing. (E. V. M. ’69)

By the Camp Fire: By Viola. [Fannie M. Downing] (E. V. M.)

The Cadets at New Market: By Cornelia J. M. Jordan. (Corinth.)

The Call: By A. B. Baltimore, Oct., 1862. (R. B. B. 71.)

The Call: To Editor South Carolinian. By Barhamville. Jan., 1861. (R. N. S.)

The Call! By Jennie. (B. C. L. Ledger 1411.)

Call All! Call All! By Georgia. (C. C. from the Rockingham, Va., Register.)

The Call of Freedom: Richmond, May 1, 1861. (R. A.)

A Call to Kentuckians: By a Southern Rights Woman. Louisville, Ky., June 24, 1862. (R. R.)

The Cameo Bracelet: By James B. Randall, of Maryland. (W. G. S.)

Campaign Ballad: By Rev. J. E. Carnes. (Alsb.)

[Pg 76]

Camp Douglas By the Lake: A Prison Song. Air, “Cottage by the Sea.” (Fag.)

Cannoneer’s Doom: A legend of the 19th century: by F. B., Cottage Hill, Ala., Sept. 7, 1863. (W. F.)

Cannon Song: (S. S.)

Captain Maffit’s Ballad of the Sea: (W. G. S. from the Charleston Mercury.)

The Captain’s Story: (E. V. M.)

The Captain With His Whiskers: (Alsb.)

The Cap That Poor Henderson Wore: By Willie Lightheart. Charleston, S. C. (C. C.)

Captives Going Home: (W. G. S.)

The Captured Epaulette: By M. J. P. [Mrs. M. J. Preston?] (P. & P. B.)

The Captured Flag: By Kentucky. Jan. 29, 1862. (S. O. S.)

Capture of 17 of Company H., 4th Texas Cavalry: Air, “Wake Snakes and Bite a Biskit.” (Alsb.)

Carmen Triumphale: By Henry Timrod. (W. G. S. from the Southern Illustrated News.)

Carolina: By Mrs. C. A. B. (Fag.)

[Pg 77]

Carolina: Inscribed to the Pee Dee Legion, General W. W. Harlee, New Orleans, Dec. 1, 1861: by Mrs. Anna Peyre Dennies. (E. V. M.)

Carolina: By Henry Timrod. (W. G. S.)

Carolina: April 14, 1861: by John A. Wagener, of S. C. (W. G. S.)

Carolina’s Hymn: For the Courier: by E. B. C., Jan. 1861. (R. N. S.)

Cavalier and Roundhead: By Kentucky. (S. O. S.)

The Cavaliers’ Glee: Air, “The Pirates’ Glee:” by Captain Wm. Blackford, of General Stuart’s staff. (S. S.)

The Cavalier’s Serenade: By Colonel Wm. S. Hawkins. (Sunny.)

Charade: [Jackson?] (E. V. M.)

The Charge of the Georgia Eighth: At the Battle of Manassas, July 21, 1861: by Marie Key Steele, of Md. (E. V. M., ’69.)

Charge of Hagood’s Bridage: Weldon Railroad, Aug. 21, 1864. (W. G. S.)

Charge of the Louisiana Brigade at Atlanta: July 28, 1864: by F. B., Atlanta, Aug. 17, 1864. (W. F.)

Charge of the Night Brigade: Baltimore, July 13, 1861. (E. V. M.)

[Pg 78]

Charles B. Dreux: By James R. Randall. (E. V. M.)

Charleston: Written for the Charleston Courier in 1863: by Miss E. B. Cheeseborough. (W. G. S.)

Charleston: By Paul H. Hayne. (W. G. S.)

Charleston: By Paul H. Hayne. (Amaranth.)

Charleston: By Henry Timrod: Jan., 1863. (E. V. M.)

Charlestonians and Yankees: Dialogue between Yankees and the Charlestonians: by Kentucky. (S. O. S.) April, 1863.

Charmed Life: (2 Kings vi, 16): by Kentucky. (S. O. S.)

Cheer, Boys, Cheer! [This was the favorite song of the Kentuckians, and was sung by Southern troops under General Basil Duke at the Battle of Shiloh. Several versions of adapted words were sung to the melody of this song. One of the versions was dedicated to Horace Greely and circulated throughout the North. The original “Cheer, Boys, Cheer,” has, however, always remained closely identified with Southern sentiment.] (Phot. Hist.)

Chickamauga, “The Stream of Death:” (W. G. S. from the Richmond Sentinel.)

Chief Justice Taney: Air, “The Days of Absence.” (R. B. B., 110.)

The Chimes of St. Paul’s: by Tenella. [Mrs. M. B. Clarke of N. C.] (E. V. M.)

[Pg 79]

Chivalrous C. S. A.: Air, “Vive la Compagnie!” by B. Baltimore, Sept. 21, 1861. (R. R.)

Christian Love in Battle: An incident which occurred at Manassas. Waterproof, La., July 21, 1861: by Wm. H. Holcombe. (S. L. M., Sept., 1861.)

Christmas Carol, for 1862: From “Beechenbrook:” by Mrs. M. J. Preston, of Va. (E. V. M.)

Christmas Day, A. D., 1861: By M. J. H. (Bohemian.)

Christmas Eve: By Kentucky. (S. O. S.)

Christmas, 1863: By Henry Timrod, of S. C. (E. V. M.)

Christmas Night of ’62: By W. G. McCabe. S. L. M., Jan., ’63. (B. E.)

Chronicle of Fort Sumter: (Bohemian from the Charleston Courier.)

The Church of the North: Inscribed to Bishop Hopkins, of Vermont. Written during the General Convention, Oct., 1862: by Kentucky. (S. C. S.)

The Church of the South to the Church of the North: Written on reading an article in the Church Journal of New York, which I cannot now find: by Kentucky. (S. O. S.)

Civile Bellum: [In many collections this poem is entitled “The Fancy Shot.” It was first published in London, in the paper called “Once A Week,” signed “From the Once United States,” and was there entitled “Civile Bellum.” It is believed to be the work of Charles Dawson Shavley, who died in 1876.—Editor.] (G. C. E.)

[Pg 80]

Cleburne: (Im.)

Cleburne: “Another Star now Shines on High:” by M. A. Jennings of Alabama. (W. G. S. from the Selma Dispatch, 1864.)

The Clerk’s Lament: By F. B., Dalton, March 26, 1863. (W. F.)

The Cliff Beside the Sea: By Colonel W. W. Fontaine. (Sunny.)

Close the Ranks: By John L. Sullivan. (W. G. S.)

Clouds in the West: By A. J. Requier, of Alabama. (W. G. S.)

The Clouds of War: By Kentucky. (S. O. S.)

Coast-Guard Cogitations: By Carlos. (Bohemian from the Richmond Dispatch.)

Coercion: A Poem for Then and Now: by John R. Thompson, of Va. S. L. M., March, 1861. (S. S.)

Colonel B. F. Terry: By J. R. Barrick, Glasgow, Ky. (Alsb.)

The Colonel Gilbert: By Kentucky. (S. O. S.)

The Color-Bearer: By Mrs. Margaret J. Preston. (E. V. M., ’69.)

Columbia: By J. C. J. (W. L.)

[Pg 81]

Coming at Last: By Geo. H. Miles. Frederick Co., Md. (E.V. M.)

Company A. Seventh Regiment, Texas Cavalry: Air, “Bonnie Blue Flag:” by Mrs. Dr. M’Grew. Refugio, Texas, Feb. 3, 1863. (Alsb.)

Company L, 20th Regiment, T. V. I.: Air, “Root Hog or Die:” by a Private in said company. (Alsb.)

The Confederacy: By Jane T. H. Cross. (W. G. S. from the Southern Christian Advocate, 1864.)

The Confederate Dead: By author of “Albert Hastings.” A.D., 1866. (C. C.)

The Confederate Dead: By Latienne. Enfala, Ala., June, (1866?) (E. V. M. from the Macon Journal.)

The Confederate Dead: (C. C.)

The Confederate Flag: (E. V. M. ’69.)

The Confederate Flag: By J. R. Barrick. Glasgow, Ky. (R. R.)

The Confederate Flag: Written by Mrs. C. D. Elder of New Orleans: music by Sig. G. George of Norfolk, Va. (R. B. B., 16½.)

The Confederate Flag: By H. L. Flash. (Amaranth.)

[Pg 82]

The Confederate Flag: Red, White and Blue. Composed and Sung by J. S. Prevatt, Co. E., 6th Ga. Regiment. (R. B. B., 16½.)

Confederate Land: By H. H. Strawbridge. (R. R.)

The Confederate Note: (E. V. M., also C. S. B. No. 25.)

Confederate Oath: Air, “My Maryland;” circulated sub rosa in New Orleans. (Alsb.)

A Confederate Officer to His Lady Love: By Major McKnight (“Asa Hartz”), A. A. B., General Loring’s staff. Johnston’s Island. (E. V. M.)

Confederate Paradox: “The falling debris now aids in strengthening Fort Sumter,” Telegram, Charleston, Nov. 6, 1863. (W. L.)

The Confederate Soldier’s Wife—Parting from Her Husband. (R. B. B., 17.)

Confederate Song: Air, “Bruce’s Address.” Dedicated to the Kirk’s Ferry Rangers: by their captain, E. Lloyd Wailes. Sung by the Glee Club on July 4, 1861, at the Kirk’s Ferry barbecue, Catahoula, La. (R. R.)

The Confederate States: (R. B. B., 16.)

A Confederate Valentine: To Miss Jewly Ann Pious: by Peter Barlow. Picked up, A. D., 1863. (C. C.)

Confiscation: A Wife to Her Husband: by Kentucky. (S. O. S.)

[Pg 83]

Congressman Ely: Air, “Hi Ho Dobbin.” (Wash’n, 44.)

Conquered: By F. B. (W. F.)

The Conquered Banner: By Moina. [The Reverend J. A. Ryan, of Knoxville, Diocese of Nashville, Tenn.]: music by A. E. Blackmar. (E. V. M. from the Freeman’s Journal, June 24, 1865.)

The Conscription Bill: (S. L. M., April, ’62.)

Conscript’s Departure: (Army.)

Contraband: (Cav.)

Corinth. (April, 1862): By Cornelia J. M. Jordan. (Corinth.)

The Cotton Boll: By Henry Timrod. (W. G. S. from the Charleston Mercury.)

The Cotton-Burners’ Hymn: “On yesterday, all the cotton in Memphis, and throughout the country, was burned. Probably not less than 300,000 bales have been burned in the last three days in West Tennessee and North Mississippi.”—Memphis Appeal. (W. G. S.)

Cotton Doodle: Written by a lady on learning that Yankee Doodle had been hissed in New Orleans. San Antonio, Jan. 2, 1861. (S. L. M., Ed. Table, Feb. 1861.) From the Galveston Evening News.

Cotton is King: By N. G. R., [Dr. N. G. Ridgley] Baltimore, Jan. 1, 1862. (R. B. B., 18.)

[Pg 84]

The Cotton States’ Farewell to Yankee Doodle: Atlanta, Ga., Feb. 1, 1861. (C. S. B. from the Richmond Dispatch, copied from the Georgia papers.)

The Countersign: By Colonel W. W. Fontaine. (E. V. M.)

Country, Home and Liberty: (R. B. B., 18.)

Creation of Dixie: 1861. (C. C.)

Crippled for Life: By Leola. [Mrs. Loula W. Rogers of Ga.] “Mountain Home,” S. W. Virginia, Dec. 1, 1862. (S. L. M., Nov. and Dec., ’62.)

Cruci Dum Spiro, Fido: By J. C. M. New York, March 20, 1866. (E. V. M.)

A Cry to Arms: By Henry Timrod, New Orleans, March 9, 1862. (R. R.)

The Darlings at Home: By Colonel C. G. Forshey. (Alsb.):

Da Vis!: By Quien Sabe? Baltimore, Feb. 10, 1862. (R. B. B. 73.)

The Dead: (Randolph.)

Dead: By C. C. (Amaranth from the Richmond Examiner.)

Dead: By Colonel W. S. Hawkins, C. S. A.; prisoner of war. Camp Chase, Ohio, March, 1865. (Sunny.)

[Pg 85]

Dead Jackson: (E. V. M.)

Dead on Manassas Plain: By J. Augustine Signaigo. (I. M.)

The Dead Soldier: (E. V. M., ’69.)

Dear Liberty: or Maryland Will Be Free: Air, “Carry me back to old Virginny:” by Miss R. L., a Daughter of Dixie. (R. B. B., 73.)

Dear Mother I’ve Come Home to Die: Music by Henry Tucker: words by E. Bowers. Geo. Dunn & Co., Richmond, Va. (R. B. M.)

Death-Bed of Stonewall Jackson: By Colonel B. H. Jones. (Sunny.)

The Death of Ashby: By J. A. Via. Richmond, June 16, 1862. (S. L. M., May, 1862.)

The Death of General A. S. Johnston: (S. O. S.)

Death of Albert Sidney Johnston: By George B. Milnor, Harrisburg, Tex. (Alsb.)

Death of Jackson: By Cornelia M. Jordan. (Corinth.)

Death of William H. Mitchell: Killed at Gettysburg: by Lieutenant J. E. Dooley. (Sunny.)

Death of Polk: (W. L.)

[Pg 86]

Death of Stonewall Jackson: (Fag.)

Death of Stonewall Jackson: By Thomas Q. Barnes. (Barnes.)

Death of the Lincoln Despotism: Air, “Root, Hog, or Die:” (P. & P. B. from the Richmond Times-Despatch.)

Death of the Young Partisan: By Cornelia J. M. Jordan. (Richmond.)

The Debt of Maryland: By H. Baltimore, Oct. 16, 1861. (R. B. B., 72.)

De Cotton Down in Dixie: (“These capital verses were found on board of the English barque ‘Premier’ in January, 1863, bound from Liverpool to Havana, sixty miles west of Madeira, by Lone Star, of Galveston, Texas.”) (Alsb.)

Dedicated to the Baltimore Light Artillery, C. S. A.: by Captain G. W. Alexander. (R. B. B. 81.)

Dedication: To Mrs. Fanny S. Bears: By F. B. Kingston, Feb. 23, 1864. (W. F.)

Dejected: By G. W. Archer, M. D.: In the Field, Sept.’64. (E. V. M., ’69.)

Desolated: By Fanny Downing. (E. V. M. ’69.)

Despondency: By Tenella. [Mrs. M. B. Clarke of N. C.] (E. V. M.)

[Pg 87]

The Despot’s Song: By Old Secesh. Baltimore, March 15, 1862. (R. R.)

Destruction of the Vandal Host at Manassas: A Parody: by J. J. H. (R. R.)

The Devil’s Delight: By John R. Thompson. (Amaranth.)

The Devil’s Visit to Old Abe: Written on the occasion of Lincoln’s proclamation for prayer and fasting after the battle of Manassas: by Reverend E. P. Birch, of La Grange, Ga., Feb. 10, 1862. (Wash’n 52.)

Devotion: Jan. 1863. (Md. Hist. B.)

Died: Arthur Robinson: Richmond, Dec. 23, 1863. (E. V. M. ’69.)

A Dirge: by G. W. Archer, M. D., Harford Co., Md., June, ’61. (E. V. M. ’69.)

Dirge for Ashby: by Mrs. M. J. Preston: (W. G. S.)

Disgrace and Shame: Air, “The Campbells Are Coming.” (R. B. B. 21.)

Dixey’s Land: Baltimore and Frederick Streets, Baltimore, Md. (Wash’n 54.)

Dixie: (E. V. M.)

Dixie: By Richard W. Nicholls. (N. Y. P. L.)

[Pg 88]

Dixie: By Albert Pike: (W. G. S.)

Dixie: 1861: By Ina Marie Porter, of Greenville, Ala. (N. Y. P. L.)

Dixie Doodle: (Randolph.)

Dixie the Land of King Cotton: From the Highly Successful Musical Operetta “The Vivandiere.” Words by Captain Hughes of Vicksburg: music by J. H. Hewitt. (R. B. M.)

Dixie War Song: By H. S. Stanton, Esq. (L. & L.)

Dix’s Manifesto: Air, “Dearest Mae:” by “B.” Baltimore, Sept. 11, 1861. (R. B. B. 23.)

Dodge’s Police: Air, “Wait for the Wagon.” (R. B. B. 24.)

Doffing the Gray: By Lieutenant Falligant of Savannah, Ga. (W. G. S.)

Do They Miss Me in the Trenches! Vicksburg Song. Air, “Do They Miss Me at Home.” (Alsb.)

Do We Weep For the Heroes That Died for Us? By Father A. J. Ryan. (Sunny.)

Down-Trodden Maryland: Air, “Tom Bowling:” by B. [This is especially interesting because the poem, which is here of three stanzas, 1, 2 and 3, is to be found in R. B. B. 67, in its 3rd edition, expanded to 6 stanzas, 1+a+2+b+c+3, signed N. G. R. (Dr. N. G. Ridgely), dated Baltimore, March 4, 1862.] (R. B. B. 64.)

[Pg 89]

Do Ye Quail? By W. Gilmore Simms. (W. G. S.)

Dreaming: By Fanny Downing. (E. V. M. ’69.)

Dreaming in the Trenches: By William Gordon M’Cabe. Petersburg Trenches, 1864. (C. C.)

A Dream Visit to the Battle Field of Sharpsburg: By Leola [Mrs. Loula W. Rogers, of Ga.] (Amaranth.)

Drinking Song: Air, “We Won’t Go Home ’Till Morning.” By F. B. (W. F.)

The Drummer Boy: By James R. Brewer. Annapolis, July 28, 1862. (E. V. M.)

The Drummer Boy of Shiloh: (Alsb.)

During a Snow Storm: By Kentucky. (S. O. S.)

Dutch Volunteer: By Harry McCarthy. (1862.) (Fag.)

Duty and Defiance: By Colonel Hamilton Washington. (Alsb.)

The Dying Confederate’s Last Words: By Maryland. [Note in pencil, by L. Katzenberger, Baltimore.] (R. B. B. 23.)

The Dying Mother: By Colonel B. H. Jones. Johnson’s Island, Ohio, March, 1865. (Sunny.)

The Dying Soldier: (R. B. B. 22.)

[Pg 90]

The Dying Soldier: By R. R. B. 1861-1862. (C. C. from The Southern Field and Fireside.)

The Dying Soldier: By James A. Mecklin. (S. B. P.)

The Dying Soldier: By Philula. (S. L. M., Nov. and Dec. ’63.)

Dying Soldier Boy: Air, “Maid of Monterey:” by A. B. Cunningham, of La. (Alsb.)

The Dying Soldier, or The Moon Rose O’er the Battle Plain: An admired song composed for the pianoforte: published by J. W. Davis & Sons, Richmond, Va., 1864. (R. B. M.)

Dying Words of Stonewall Jackson: (Hubner.)

1861: (E. V. M.)

Eight Years Ago: A Prison Lay: by W. E. Penn, of Tenn. (Sunny.)

Elegy on Leaving Home: Air, “Good-bye:” by Major Webber, 2nd Kentucky Cavalry, Morgan’s Command. December, 1862. (W. L.)

Ella Nocare: By Dick. (S. L. M., Jan., ’64.)

The Empty Sleeve: By Dr. J. R. Bagby, of Virginia. (W. G. S.)

Encore et Toujours Maryland: by Constance Cary: (Bohemian.)

[Pg 91]

The Enemy Shall Never Reach Your City: Andrew Jackson’s Address to the people of New Orleans. (W. G. S. from the Charleston Mercury.)

Enfants du Sud: By R. Thomassy: for the Courier. Nouvelle Orleans, 2 Janvier, 1861. (R. N. S.)

England’s Neutrality: A Parliamentary Debate, with notes by a Confederate Reporter: by John R. Thompson. (S. S.)

Enigma: By Kentucky. (S. O. S.)

Enlisted Today: (W. G. S.)

The Ensign: An Incident of the Battle of Gettysburg: by Robert. Camp 1st La. Regulars, Nicholl’s Brigade, Aug. 14, 1863. (S. L. M., Nov. and Dec. ’63.)

Epistle to the Ladies: By W. E. M., of General Lee’s Army. (W. L.)

Ethnogenesis: Written during the meeting of the 1st Southern Congress, at Montgomery, Feb., 1861: by Henry Timrod of S. C. (W. G. S.)

Eulogy of the Dead: By B. F. Porter, of Alabama. (W. G. S.)

Evacuation of Manassas: By Iris. Warrenton, April 5, 1862. S. L. M., Sept. and Oct., 1862, under title of Rear Guard of Army. (E. V. M.)

Exchanged! By Major George McKnight (“Asa Hartz”). (Sunny.)

[Pg 92]

The Exiled Soldiers’ Adieu to Maryland: By I. Camp near Manassas, July 5, 1861: printed in the C. S. Army. (R. B. B. 79.)

The Exodus: II Kings, vii, 6, 7, 15 and Joel ii, 20: by Old Soldier. (R. B. B. 25.)

The Expected Texas Invasion: The Bloody Twentieth, Galveston, Tex., March 22, 1865. (Alsb.)

Fable or History: (Victor Hugo) by Tenella. [Mrs. M. B. Clarke of N. C.] (S. L. M.)

The Fair and the Brave: Flag Presentation to the “Jackson Hornets” by Eleven Young Ladies at Bellefonte, Ala. Written by a Tennessee poetess. (P. &. P. B. from the Charleston Mercury.)

The Faith of The South: By Kentucky. (S. O. S.)

The Fall of Sumter, April, 1861: By A. L. D. of Raleigh, N. C. (E. V. M.)

Farewell: By F. B., Clinton, June 3, 1863. (W. F.)

Farewell, Forever, the Star Spangled Banner: By Mrs. E. D. Hundley, May 14, 1862. (C. S. B.)

Farewell to Brother Johnathan: By Caroline. (R. R.)

Farewell to Johnson’s Island: By Major George McKnight (Asa Hartz). (Sunny.)

[Pg 93]

A Farewell to Pope: By John R. Thompson, of Virginia. (W. G. S.)

Fast and Pray: “I appoint Friday, Nov. 15th, a day of general fasting and prayer,” Jefferson Davis. (Bohemian.)

Fast Day, Nov. 1861: By Miss R. Powell of Virginia. (E. V. M.)

The Fate of the Republic: (W. G. S. from the Charleston Mercury.)

The Federal Vandals: Micah iv, 13: by Senex. (Note by author: The writer has taken the liberty to vary and to apply to our Northern foes part of an original poem in MSS. written by himself.) (R. R. and under the title of It is I! R. B. B.)

The Federal Vendue: Abraham Auctionarius Loquitur. (R. B. B. 27).

Few Days: (Alsb.)

Fiat Justitia: Dedicated to the Maryland Prisoners at Fort Warren: by a Lady of Baltimore, H. Rebel. (E. V. M., under title of God Will Repay R. B. B.)

Field of Glory: By J. H. Hewitt.

The Field of Williamsburg: To Eugene: by C. C. (S. L. M., Aug. ’63.)

The Fiend Unbound: (W. G. S. from the Charleston Mercury.)

[Pg 94]

Fight On! Fight Ever! By Dr. D. M. Norfolk City Jail, Sept. 7, 1863. (C. C.)

The Fire of Freedom: (W. G. S.)

First Love: By Colonel Wm. S. Hawkins. Johnson’s Island, Ohio, Jan., 1865. (Sunny.)

Fishing in Troubled Waters: (R. B. B. 87.)

The Flag: (R. B. B. 77.)

The Flag of Secession: Air, “The Star Spangled Banner:” [by Frederick Pinkney?] (R. B. B. 27.)

Flag of Our Country: By a Lady of Winchester. (Broadside in possession of Editor.)

Flag of the Free Eleven: (Randolph.)

The Flag of the Lone Star: By Tenella. [Mrs. M. B. Clarke of N. C.] (E. V. M.)

The Flag of the South: For the Evening Star: suggested by the raising of the flag in Kansas City: by Charles P. Lenox. (R. B. B. 26½.)

Flag of the South: For the Evening Star: by J. H., Baltimore, Md. (R. B. B. 26½.)

Flag of the Southland: Air, “I’m Afloat:” by Major E. W. Cave, of Houston: (Alsb.)

[Pg 95]

Flag of Truce: By Jay W. Bee, P. A. C. S., 2nd Kentucky Cavalry, Morgan’s Command. Johnson’s Island, Ohio, July, 1864. (W. L.)

Flight of Doodles: (R. R.)

The Foe at the Gates: Charleston: by John Dickson Bruns, M. D. (W. G. S.)

Fold It Up Carefully: A reply to the lines entitled “The Conquered Banner:” by Sir Henry Houghton, Bart. of England, Oct., 1865. (The following, written in England, comes to us from a friend in Virginia, who says it was sent by the author to a gentleman in that state, and that it has not yet appeared in print.) (E. V. M.)

Follow! Boys, Follow! By Millie Mayfield. (R. R.)

For Bales: Air, “Johnny Fill up the Bowl.” (Fag.)

For Punch: (Bohemian from the Southern Literary Messenger.)

Forget? Never! By Mrs. C. A. Ball. (E. V. M.)

Fort Donelson Falls: Written in great agony, 3 p. m., Feb. 17, [1862?]: by Kentucky. (S. O. S.)

Fort Donelson: The Siege: Feb., 1862: by Mrs. C. A. Warfield. (E. V. M.)

Fort Moultrie: For the Courier: by Carolina. Jan., 1861. (R. N. S.)

[Pg 96]

Forts Morris and Moultrie: (Bohemian.)

Fort Sumter: (R. R. from the Charleston Mercury.)

Fort Sumter: By H. (Bohemian from the New Orleans Delta.)

Fort Sumter: [By C. B. Northrup.] (Outcast.)

Fort Sumter: A Southern Song. Air, “Dearest May:” by Dr. Barnstable, B. C. H. G. (R. B. B. 26.)

Fort Wagner: By W. Gilmore Simms. (W. G. S. from the Charleston Mercury.)

The 47th Va. Regiment: At the Battle of Frazier’s Farm, June 30, 1862: by S. D. D. (S. L. M., March, 1863.)

The Four Brothers: By Lieutenant E. C. McCarthy. (Sunny.)

A Fragment: By Kentucky. (S. O. S.)

A Fragment, Cabinet Council: From the Charleston Mercury. (P. & P. B.)

Freedom’s Call: Air, “God Save the South.” Baltimore, June 1, 1862. (R. B. B. 28.)

Freedom’s Muster Drum: By John H. Hewitt. (Lee.)

Freedom’s New Banner: By Dan E. Townsend. June 30, 1862. (Fag. from the Richmond Dispatch.)

[Pg 97]

From the Rapidan, 1864: (W. G. S.)

From the South to the North: By C. L. S. (R. R.)

The Frontier Ranger: By M. B. Smith, 2nd Texas. (Alsb.)

The Funeral Dirge of Stonewall Jackson: By Rosa Vertner Jeffrey, May 20, 1863. (E. V. M.)

Funeral of Albert Sidney Johnston: (Fag.)

The Gallant Colonel: (R. B. B. 32.)

Gallant Second Texans: Air, “Maid of Monterey:” by M. B. Smith, Company C., 2nd Texas: (Alsb.)

Gather! Gather! By Robert Joselyn. (Bohemian.)

The Gathering of the Southern Volunteers: Air, “La Marseillaise.” (S. L. M., June, 1861.)

Gay and Happy: Camp Song of the Maryland Line as Sung by the Baltimore Boys in Richmond. Air, “Gay and Happy.” (C. S. B.)

Gendron Palmer, of the Holcombe Legion: By Ina M. Porter of Alabama. (W. G. S.)

General Albert Sidney Johnston: By Mary Jervey, of Charleston. (W. G. S.)

General Beauregard: (R. B. B. 9.)

[Pg 98]

General Butler: Air, “Yankee Doodle.” (R. B. B. 12.)

General Hood’s Last Charge: By Mary Hunt McCaleb. (Im.)

A General Invitation: By I. R. (S. S.)

General Jackson in the Valley of the Shenandoah: Air, “Dandy Jim:” by Kentucky. (S. O. S.)

General J. E. B. Stuart: By John R. Thompson. (E. V. M.)

General Jeff Davis: Air, “Kelvin Grove:” (West. Res.)

General John B. Floyd: By Eulalie. Woodlawn, Va., April, 1866. (E. V. M.)

General Johnston: Air, “American Star.” (R. B. B. 50.)

General Lee: Air, “Oh, Carry Me Back to Old Virginny.” (R. B. B. 60.)

General Lee: By Kentucky. (S. O. S.)

General Lee At the Battle of the Wilderness: By Tenella. [Mrs. M. B. Clarke of N. C.] (E. V. M.)

General Price’s Appeal: (Alsb.)

General Robert E. Lee: By Tenella: [Mrs. R. B. Clark of N. C.] (E. V. M.)

[Pg 99]

General Tom Green: By Mrs. Wm. Barnes, of Galveston. (Alsb.)

Georgia, My Georgia!: By Carrie B. Sinclair. (W. G. S.)

A Georgia Volunteer: Written by Mrs. Townshend at the neglected grave of one who was a member of the 12th Georgia, a regiment whose gallantry was conspicuous on every field where its colors waved, and which won praise for peculiar daring, even among the ‘foot-cavalry’ of Jackson: by Xariffa. (C. C.)

Gettysburg: By Edward L. Walker, M. D., of North Carolina. (Amaranth.)

The Girl I Left Behind Me: (Alsb.)

The Girls of the Monumental City: Written by a Confederate Prisoner. Baltimore, Md., March, 1862. (S. B. P.)

Give Them Bread! By G. L. R. (E. V. M.)

Give Up! By Colonel B. H. Jones. Johnson’s Island, 1865. (Sunny.)

Glen Roy: Sonnet: By F. B. Gloucester Co., Va., Sept. 1861. (W. F.)

Glorious January 1, 1863: Air, “Oaks of James Davis:” by M. B. Smith, Company C, 2nd Regiment Texas Volunteers. (Alsb.)

God and Our Rights: (Randolph.)

[Pg 100]

God Be Our Trust: Air, “Heaven Is Our Home: let not our courage fail.” (R. B. B. 37.)

God Bless Our Land: Anthem of the Confederate States: by E. Young, Lexington, Ga. (Bohemian from the Southern Field and Fireside.)

God Bless Our President: By Kentucky. (S. O. S.)

God Bless Our Southern Land: Air, “God Save the Queen.” Respectfully inscribed to Major General J. B. Magruder, and sung on the occasion of his public reception in the city of Houston, Texas, Jan. 20, 1863. (C. S. B.)

God Bless the South: Air, “God Speed the Right.” (R. B. B. 32.)

God Help Kentucky: An Anthem: (R. B. B. 52.)

God Save the South: (R. R.)

God Save the South: By R. S. Agnew of Newfern. December, 1861. (E. V. M.)

God Save the South: National Hymn: By George H. Miles of Frederick, Md.: music by C. W. A. Ellerbock, permission of A. E. Blackmar. [Note: This was the first song published in the South during the War.] S. L. M., Oct., 1863, from the Charleston Mercury. (C. S. B.)

God Save the Southern Land: A Hymn. By S. Francis Cameron, of Md.: (Amaranth.)

Going Home: By M. L. M. (W. L.)

[Pg 101]

Gone to the Battlefield: By John Antrobus, Headquarters Ninth Va. Regiment Volunteers. (C. C.)

Goober Peas: By A. Pender. [One of the most widely known Confederate songs.] (Im.)

Good News From Dixie: (R. B. B. 34.)

The Good Old Cause: By John D. Phelan, of Montgomery, Ala. (W. G. S.)

Governor Hicks: Air, “Money Musk.” (R. B. B. 65.)

Grant’s Litany Changed to Suit My Feelings: Air, “Spanish Hymn” by Kentucky. (S. O. S.)

Grave of A. Sidney Johnston: By J. B. Synnott. (W. G. S.)

The Grave of Ashby: By Old Fogy. (Amaranth.)

Grave of Washington: (Cav.)

Graves for the Invaders: A Fragment. Savannah, Ga., 1863. (R. B. B. 35.)

Graves of Our Home-Heroes: By Cornelia J. M. Jordan. March 31, 1865. (Corinth).

Great Big Bethel Fight: Awful Calamity! Air, “Dixie.” (R. B. B. 35.)

[Pg 102]

Great Cry and Little Wool or the leading Republicans described in verse: By Barnstable. Baltimore, July 2, 1861. (R. B. B. 34½.)

The Great Fast Day in the South: June 13th: by B. Orange county. (S. L. M. August, ’61.)

Greek Fire: or, The Siege of Charleston: By Eustanzia. New Orleans, Oct., 1863. (Wash’n 78.)

Greeting for Victory: For the Courier: by C. G. P. Charleston, April 17, 1861. (R. N. S.)

The Griffin: (Alsb.)

Guerrilla: Verses circulated among the scouting parties of rebel partisan horse in the Shenandoah Valley, in the summer of 1864. (E. V. M. ’69 from the New York Round Table.)

The Guerrilla Martyrs: (W. G. S. from the Charleston Mercury.)

The Guerrillas: [It may add something to the interest with which these stirring lines are read, to know that they were composed within the walls of a Yankee Bastile. They reached us in Mss. through the courtesy of a returned prisoner.—Richmond Examiner.] By S. Teackle Wallis. Fort Lafayette, 1862. S. L. M., July and Aug., 1862, dated Fort Warren Dungeon, 1862. (S. S.)

Ha! Ha! The Fighting, Ha! Air, “Ha! Ha! the wooing, ha!” by Kentucky: sung after the battle of Richmond, Ky. (S. O. S.)

Happy Land of Canaan: (J. M. S.)

[Pg 103]

Happy Land of Canaan: A Texas Song. (Randolph.)

Hardee’s Defense of Savannah: A Southern Ballad of the War. (R. B. B. 40.)

Hard Times: By M. B. Smith, Company C, 2nd Regiment, Texas Volunteers. August 13, 1862. (Alsb.)

Hark! The Summons: By B. Baltimore, Oct. 9, 1861. (R. B. B. 41.)

Hark! Hark! The War Bugle: Air, “Hark! Hark! the Soft Bugle:” (Randolph.)

Harp of the South: A Sonnet: by Cora. (R. R.)

Harp of the South, Awake! A Southern war song dedicated to Captain Bradley T. Johnson, now in service in Virginia: by J. M. Kilgour, Frederick, Md., April 10, 1861. Music by C. L. Peticolas: published by George Dunn, Richmond, Va., 1863. S. L. M. Editor’s Table, June, 1861. (R. B. M.)

Headquarters in the Saddle: (Mr. Samuel’s Scrapbook, Ridgway.)

Hearing Cannon: By Kentucky. (S. O. S.)

The Heart of Louisiana: By Harriet Stanton. (R. R. from the New Orleans Delta.)

Heart Victories: By a Soldier’s Wife. Front Royal, Virginia, Oct. 30, 1861. S. L. M., Editor’s Table, Jan., 1862. (E. V. M.)

[Pg 104]

He’ll See It When He Wakes: By Frank Lee. (Im.)

Here and There, A Contrast: (E. V. M. from The Sunny South.)

Here’s Your Mule: (Alsb.)

A Hero’s Daughter: (M. C. L.) by Mrs. M. J. Preston. (Beechenbrook.)

The Hero’s Dream: Brigadier General J. H. Morgan at Larmenesburg: by Kentucky. (S. O. S.)

The Hero Without A Name: By Colonel W. S. Hawkins, C. S. A., Prisoner of War, Camp Chase, Oct., 1864. (E. V. M., also S. S. No. 7.)

Hicksie: (Parody on “Dixie”.) (R. B. B. 66.)

His Last Words: (W. G. S.)

Holly and Cypress: By Mrs. Fanny Downing. (Amaranth.)

Home: Dedicated to a Young Woman of Petersburg, Va. Composed by a Confederate Soldier, July 26, 1864. (C. C.)

Home—After the War: By M. E. H. Baltimore. (E. V. M.)

Home Again! By Lieutenant Howard. (Sunny.)

Home Again: Written in Prison by Jeff. Thompson: (E. V. M.)

[Pg 105]

Homespun: (Bohemian.)

The Homespun Dress: Air, “Bonnie Blue Flag:” by Carrie Bell Sinclair. (C. S. B.)

Hood’s Old Brigade “On the March:” By Miss Mollie E. Moore. (Alsb.)

Hood’s Texas Brigade: (Alsb.)

Horse-Marines at Galveston: Air, “The Barring of the Door.” (Alsb.)

The Hour Before Execution: By Miss Maria E. Jones. (Alsb.)

How McClellan Took Manassas: By Ole Napoleon. (West. Res.)

How the Soldiers Talk: By Joseph Scrutchen, of Atlanta, Ga. (Im.)

Hurrah! The first camp song: by S. B. K. of Mississippi. Invincibles, Mobile, March 31, 1861. (R. N. S. from the Mobile Register.)

Hurrah for Jeff Davis: Air, “Gum Tree Canoe.” (R. B. B. 22.)

Hurrah for Jeff Davis: Air, “Hurrah for the Bonnets of Blue:” by a Lady Rebel. (R. B. B.)

Hurrah for the Red and White: a Prophecy for 1865: Air, “Oh, whistle and I’ll come to you, my lad:” by Kentucky. (S. O. S.)

[Pg 106]

Hurrah for the South! Hurrah!: Paraphrased by G. W. Hopkins. (Wash’n 86.)

Hurrah, My Brave Boys: (Randolph.)

Hurrying On: Written in New Orleans, Oct. 23, 1861. (C. C. from the Charleston Mercury, also R. B. B. No. 3.)

Hymn for the South: To the Lone Star of Carolina: by Preston Davis Sill. Music composed by Mr. A. Koepper, to be published as soon as circumstances permit: Columbia, S. C. (R. N. S.)

Hymn to the Dawn: By A. J. Requier. (Amaranth.)

Hymn to the National Flag: By Mrs. M. J. Preston. (E. V. M.)

I Am Coming, Ella: By Adjutant John N. Shuerter. (Sunny.)

I Am Sick, Don’t Draft Me, I Have Got a Doctor’s Certificate: Air, “The Girl I Left Behind Me.” (West. Res.)

I Am Not Sick, I Am Over Forty-Five, I Will Make My Wife Stay At Home And Give the Baby Catnip Tea: Air, “I Wish My Wife Had No Crying Baby.” (West. Res.)

The Icy Road to Niblet’s Bluff: Air, “Shiloh Hill:” by J. C. H., Company H, 4th Texas Cavalry. (Alsb.)

If a Soldier Meet a Soldier: Air, “Coming Through the Rye:” by General M. Jeff. Thompson. (Sunny.)

[Pg 107]

If You Belong to Dixie’s Land: Air, “Gideon’s Band.” (R. B. B. 42.)

If You Love Me: By J. Augustine Signaigo. (W. G. S.)

Ignivomus Cotton’s Letters to His Relatives in Kentucky: III, He Glorifieth Cotton. For the Louisville Journal. Charleston, S. C., Jan. 1862. (R. N. S.)

I’m Conscripted, Smith, Conscripted: By Albert Roberts of Nashville, Tenn. (Hubner.)

I’m Going Home to Dixie: (Alsb.)

Imogen: By Major General J. B. Magruder. (C. S. B.)

Impromptu: By Dr. Barnstable, B. C. H. G. (R. B. B. 42.)

I’m Thinking of the Soldier: By Mary E. Smith, of Austin. (Alsb.)

Independence Day: (E. V. M.)

Independence Hymn: By A. J. Requier. (Bohemian.)

In Divina Catena: (E. V. M. ’69.)

In Death United: By G. A. M. Richmond, Va., 1861. (S. L. M., Jan. ’62.)

[Pg 108]

Information Wanted: Of my son ——. He was known to be engaged in last ——s fight and cannot now be found. Was a private in Company —, —— Regiment, —— Volunteers. Any tidings of him will be gratefully received by his anxious father at —— House. (E. V. M.)

In His Blanket on the Ground: By Caroline Howard Gervais, of Charleston. (Bohemian.)

In Hollywood—A Slumber Song: By Gillie Cary. (C. S. B.)

In Memoriam Aeternam—My Brother: By Colonel B. H. Jones. Johnson’s Island, July 8th, 1865. (Sunny.)

In Memoriam of Colonel Benjamin F. Terry: Inscribed to General William J. Kyle: by W. M. Gilleland. Austin, Jan. 4, 1862. (Alsb.)

In Memoriam, Our Right Reverend Father in God, Leonidas Polk: by Fanny Downing. (Amaranth.)

In Memory of Ashby: By Iris. (S. L. M., Nov. and Dec., ’63.)

In Memory of Captain James Earwood: By Robin Reid. Clarksville, Ark. (Im.)

Inscribed to the Memory of Captain Courtland Prentice (Morgan’s Cavalry): By Kentucky. Sept. 27, 1862. (S. O. S.)

In the Dark: By Isa Craig, of England. (E. V. M. ’69.)

In the Fortress by the Sea: A fragment by W. E. Cameron. (C. C.)

[Pg 109]

In the Land Where We Were Dreaming: By Daniel B. Lucas, of Jefferson County, Va. (C. C.)

In the Soldiers’ Grave-Yard: By F. B. Atlanta, Ga., Aug. 21, 1864. (W. F.)

In the Trenches: By F. B. Buzzard’s Boost, May 10, 1864. (W. F.)

Invocation: By Colonel W. S. Hawkins. (Sunny.)

The Invocation: By B. W. W. (R. R.)

I Remember the Hour When Sadly We Parted: (Companion Song to When This Cruel War Is Over). (Fag.)

The Irish Battalion: (R. R.)

The Irrepressible Conflict: Sonnet: by Tyrtaeus. (W. G. S. from the Charleston Mercury.)

I Shall Not Die: By a Prisoner in Solitary Confinement at Fort Delaware. (W. L.)

Is There Nobody Hurt: Air, “Cocachelunk.” (R. B. B. 47.)

Is There, Then, No Hope for the Nations? (W. G. S. From the Charleston Courier.)

Is This a Time to Dance? (W. G. S.)

It Matters Little Whether Grief or Glee: By Kentucky. (S. O. S.)

[Pg 110]

The Jacket of Gray—To Those Who Wore It: By Mrs. C. A. Ball. (E. V. M.)

Jackson: By H. L. Flash, of Galveston, formerly of Mobile. (W. G. S. from the Mobile Advertiser and Register.)

Jackson: Sonnet: by Mrs. M. J. Preston. (Beechenbrook.)

Jackson, The Alexandria Martyr: By Wm. H. Holcombe, M. D., of Virginia. S. L. M., Aug., 1861. (W. G. S.)

Jackson’s Fool-Cavalry: By Hard-Cracker. Camp of the “Used-Ups,” Sept. 26, 1862. (C. S. B.)

Jackson’s Requiem: Air, “Dearest Mae.” (Md. Hist. B.)

Jackson’s Resignation: By Tenella. [Mrs. M. B. Clarke of N. C.] (Fag. from the Southern Illustrated News, April, 1863.)

Jeff Davis in the White House: Air, “Ye Parliaments of England:” by a Lady, Daughter of One of the Old Defenders. (West. Res.)

Jefferson Davis: By Walker Meriweather Bell. (Amaranth.)

Jefferson Davis: By Mollie E. Moore. (E. V. M. from the Houston Telegraph.)

Jefferson Davis: By Wm. Munford. Dernier Resort, Montgomery Co., Va., Jan. 22, 1866. (E. V. M.)

Jefferson Davis: By A Southern Woman. (E. V. M.)

[Pg 111]

John Bell of Tennessee: Air, “Auld Lang Syne.” (R. B. B. 13.)

John Brown’s Entrance Into Hell: C. T. A., printer. Baltimore, March, 1863. (R. B. B. 10.)

John Bull Turned Quaker: By M. W. Burwell. (S. L. M. April, ’63.)

John Merryman: Air, “Old Dan Tucker.” (R. B. B. 64.)

John Morgan’s Credentials: (E. V. M.)

John Morgan’s Grave: April 6, 1865. (W. L.)

John Pegram: Fell at the head of his Division, Feb. 6, 1865, aged 33: by W. Gordon M’Cabe. (E. V. M.)

John Pelham: By James R. Randall. Kelley’s Ford, March 17, 1863. (E. V. M.)

Johnny B. Magruder: By a Texian. (Alsb.)

Johnson’s Island: By Lieutenant E. A. Holmes of Va. (Sunny.)

Joseph Bowers: (Alsb.)

Joy, My Kentucky!: By Kentucky. (S. O. S.)

Just Before the Battle, Mother: To “Phoby Stubbs,” A. D., 1864. (C. C.)

[Pg 112]

Justice Is Our Panoply: By De G. (R. R.)

Keep Me Awake, Mother: Ballad: words by Mrs. Stratton: music by Joseph Hart Denck. (R. B. M., 1863.)

Kentuckians, To Arms!: Louisville, Ky., 1861. (R. B. B. 52.)

Kentucky: By Estelle. (R. R.)

Kentucky, April, 1861: By Aletheia. (W. L.)

Kentucky, My Mother: By Kentucky. (S. O. S.)

The Kentucky Partisan: By Paul H. Hayne. Charleston, March 29, 1862. S. L. M., April, 1862. (E. V. M.)

Kentucky Required to Yield Her Arms: By —— Boone. (W. G. S. from the Richmond Dispatch.)

Kentucky, She Is Sold: By J. H. Barrick, of Kentucky. (W. G. S.)

Kentucky to the Rescue: Air, “I’ve Something Sweet to Tell You:” by Kentucky. June 7, 1862. (S. O. S.)

Kentucky Woman’s Song of the Shirt: Air, “The Dumb Wife:” by Kentucky. (S. O. S.)

Kentucky’s Motto: On Her Seal: by Kentucky. (S. O. S.)

Killed—Wounded—Missing: (E. V. M. ’69.)

[Pg 113]

King Cotton: (S. L. M. Editor’s Table. April ’63.)

King Cotton: (R. B. B. 52.)

King Scare: New Orleans, Oct. 16, 1861: (R. R.)

Kiss Me Before I Die, Mother: (J. M. S.)

The Knell Shall Sound Once More: (W. G. S., from the Charleston Mercury.)

Knitting For the Soldiers: By Mary J. Upshur. Norfolk, Va., Oct. 8, 1861. (Fag.)

Lady Caroline’s Tea Party: By Hermine. (Bohemian from New Orleans Catholic Standard.)

The Lament: By a Missourian. (W. L.)

Land of King Cotton: Air, “Red, White and Blue:” by J. Augustine Signaigo. This was the favorite song of the Tennessee troops, but especially of the 13th and 154th Regiments. (W. G. S. from the Memphis Appeal, Dec. 18, 1861.)

The Land of Texas: Air, “Dixie:” by M. B. Smith, Company C., 2nd Regiment Texas Volunteers. (Alsb.)

Land of the South! Air, “Happy Land.” (R. B. B. 53.)

Land of the South: Air, “Friend of My Soul:” by R. F. Leonard. (R. R. from the Mobile Evening News.)

[Pg 114]

Land of Washington: Air, “Annie Laurie.” (Cav.)

The Last Martial Button: By a Marylander, a staff officer of Stonewall Jackson’s Command. (C. C.)

Last Night at Fort Donelson: Inscribed to Colonel Charles Johnson, of General Buckner’s Staff: by Kentucky. March 8, 1862. (S. O. S.)

The Last of Earth: A Prison Scene: by Colonel W. S. Hawkins. (S. S.)

Last Race of the Rail-Splitter: (R. B. B. 54.)

The Last Request: Lines found on the body of a S. C. Volunteer, killed at the Battle of Drainsville, 20 Dec., ’61, and sold by the Federal soldier who rifled the dead body to a Southern sympathiser. (S. B. P.)

Last Request of Henry C. Magruder: Louisville, Oct. 20, 1865. (E. V. M.)

Lays of the Corn Exchange: Number 1. (West. Res.)

The Lay of the Disgusted Yankee: On Hearing the News from Vicksburg. Dedicated to General B. F. Butler: by S. P. E. (Mr. Samuel’s Scrapbook, Ridgway.)

Leave It. Ah, No! The Land Is Ours: By Mrs. Mary J. Young. (Alsb.)

Lee: Sonnet: by A. J. Requier. (S. L. M., Nov. and Dec., ’63. Editor’s Table, from the Magnolia Weekly.)

[Pg 115]

Lee at the Wilderness: By Miss Mollie E. Moore. (Alsb.)

Lee to the Rear: By John R. Thompson. (E. V. M. from the Crescent Monthly.)

The Legion of Honor: By H. L. Flash. (W. G. S.)

Leonidas Polk, Priest and Warrior: By E. C. McCarthy. (Sunny.)

Let Him Be Free: A. D., 1865. (C. C.)

Let Me Kiss Him For His Mother: By J. P. Ordway. (L. & L.)

Let the Bugle Blow! By W. Gilmore Simms. (Bohemian.)

Let the Drum’s Deep Tones: By G. B. S., Cottage Home. (W. L.)

Let Us Cross Over the River and Rest Under the Shade of the Trees: By James. (E. V. M.)

Letter: (Amaranth from the Maryland Mail Bag, 1863.)

Liberty or Death: Same as Southern Song of Liberty. (R. B. B., 54):

Liberty or Death: By Lutha Fontelle. (S. L. M., June, ’62.)

The Liberty Tree: (West. Res.)

[Pg 116]

Life in Prison: Air, “Louisiana Lowlands:” by Captain T. F. Roche, C. S. A. Fort Delaware, 1865. (Roche.)

A Life on the Vicksburg Hills: Air, “A Life on the Ocean Wave.” Vicksburg Song. (Alsb.)

Lilies of the Valley: Inscribed to the friends who sent them: by Rosa Vertner Jeffrey. Rochester, May, 1864. (E. V. M.)

Lincoln Going to Canaan: (Hopkins.)

Lincoln On a Raid: Air, “Sitting on a Rail.” (R. R. B., 60.)

Lincoln’s Inaugural Address: By A Southern Rights Man. (R. R. from the Baltimore Republican, Baltimore, April 23, 1861.)

Lincoln’s Royal Reception: By Kentucky. (S. O. S.)

Lines: (E. V. M.)

Lines: By Florence Anderson. (E. V. M.)

Lines: By Cyrille Merle, Columbia, 1863. (E. V. M., ’69.)

Lines After Defeat: By Paul H. Hayne. (S. S. from the Charleston Mercury.)

The Lines Around Petersburg: By Samuel Davis, of N. C. (W. G. S.)

Lines by a Volunteer: (Im.)

[Pg 117]

Lines, General Otho F. Strahl: By F. (Amaranth.)

Lines on Captain Beall: By Colonel Hawkins, C. S. A. (E. V. M.)

Lines on the Death of Annie Carter Lee, daughter of General Robert E. Lee, C. S. A.: died at Jones’ Springs, Warren County, N. C., October 20, 1862: by Tenella. [Mrs. M. B. Clarke, of N. C.] (S. L. M., Editor’s Table, November and December, 1862.) (E. V. M.)

Lines on the Death of Colonel B. F. Terry: By J. R. Barrick. Glasgow, Ky. Dec. 18, 1861. (E. V. M.)

Lines on the Death of Lieutenant General T. J. Jackson, C. S. A.: (R. B. B. 51.)

Lines On the Death of Lieutenant John B. Bowles: By Florence Anderson. (W. L.)

Lines On the Death of Major General E. Van Dorn, C. S. A.: (R. B. B. 113.)

Lines On the Death of Major H. S. McConnell: (Im.)

Lines On the Death of Major Hall S. McConnell: By Mattie Lewis. (Im.)

Lines On the Death of Stonewall Jackson: Philadelphia, May, 1863. (E. V. M.)

Lines On the Death of the Confederate General Albert Sidney Johnston, of Kentucky, who fell at the battle of Shiloh, Miss., Sunday, April 6, 1862. (R. B. B. 51.)

[Pg 118]

Lines On the Death of W. H. H. Parry, who died at Gloucester Point, Sept. 19, 1861: by Mary. (S. L. M., Editor’s Table, Dec., ’61.)

Lines On the Presentation of a Confederate Flag: (W. L.)

Lines On the Proclamation—Issued by the Tyrant Lincoln, April First, 1863: by a Rebel. (R. B. B. 54.)

Lines Sacred to the Memory of Captain Henry C. Gorrell, of Greensborough, N. C., of the 2nd N. C. Regiment, who fell in an attack which he led against the Federal Batteries in the battle of Fair Oaks, June 14, 1862. May He Rest in Peace: by a Friend of the Cause. (R. B. B. 34.)

Lines Suggested By the Death of Dr. Kane: For the Baltimore American. (B. C. L., Ledger 1411.)

Lines To A Confederate Flag: By F. H. Hotel du Louvre, Nov. 21, 1863. (E. V. M. ’69.)

Lines To General N. B. Forrest: By Rosalie Miller, Montgomery, Ala., July, 1864. (Amaranth.)

Lines To Lee: Written at the time of Hooker’s invasion: by Mrs. C. A. Warfield, of Kentucky. (E. V. M.)

Lines To the Southern Banner: (R. R.)

Lines To the Tyrant: By Henry C. Alexander. S. L. M., Dec., 1861: (Bohemian.)

Lines Written During These Gloomy Times, To Him Who Despairs: By Professor J. H. Hewitt. Spoken at the Richmond “Varieties”: by Mr. Ogden, Wednesday night, May 7, 1862. (E. V. M.)

[Pg 119]

Lines Written in Fort Warren: By a Captive. S. L. M. Editor’s Table, Jan., 1862. (R. R.)

Lines Written in Fort Warren: By G. W. B. Fort Warren, Sept. 3, 1862. (E. V. M.)

Lines Written July 15, 1865, the day the Confederate soldiers in N. C. were ordered to take off their uniforms: by A. L. D. Raleigh, N. C. (E. V. M.)

Lines Written on Receiving Some Pressed Leaves and Flowers From Home: By Jay W. Bee, P. A. C. S. Johnson’s Island, Ohio, Oct., ’64. (W. L.)

Listening: By Lieutenant E. C. McCarthy: (Sunny.)

A Litany for 1861: By Kentucky. (S. O. S.)

Little Footsteps: By Mary J. Upshur of Norfolk, Va. (E. V. M.)

Little Giffen: By Francis O. Ticknor. (C. S. B.)

Little Sogers: (R. B. B. 56.)

The Little White Glove: By Paul H. Hayne of S. C. (Amaranth from the Southern Illustrated News.)

Living and Dying: By Major George McKnight (“Asa Hartz”). (Sunny.)

The London Times Courier: A Ballad, not by Campbell: by P. H. D. (P. & P. B. from the New Orleans Picayune.)

[Pg 120]

The Lonely Grave: By Mrs. C. A. Ball. Charleston, June 7. (E. V. M.)

The Lone Sentry: By James R. Randall. (S. S.)

Lone Star Banner of the Free: Air, “Rule Britannia:” by Major E. W. Cave. (Alsb.)

The Lone Star Camp Song: As sung by Joe Cook, the American Comedian. Published in Baltimore, 19 April, 1861. (R. B. B. 59.)

The Lone Star Flag: On the Secession of Texas: by H. L. Flash. (Bohemian.)

Lone Texas Star: Air, “American Star:” by M. B. Smith. (Alsb.)

Louisiana: (E. V. M.)

Louisiana: A Patriotic Ode. (R. B. B. 59.)

Loved and Lost: By Colonel B. H. Jones. (Sunny.)

Love Letter: By Major L. G. Levy. (Sunny.)

Major General S. B. Buckner’s Chivalry: An Imagination: Air, “Allen Percy.” By Kentucky. (S. O. S.)

Manassas: By A Rebel, Hanover Co., Va., July 30, 1861. (R. R.)

[Pg 121]

Manassas: By Mrs. C. A. Warfield, July 1861. (E. V. M.)

Manassas Races: Popular Newspaper Version. (W. L.)

Manassas, 21 July, 1861: By Mrs. Mary S. Whitaker. (S. L. M. August, 1861, from the Richmond Despatch, August 12, 1861.)

Mansfield Run: (Alsb.)

The March: By John W. Overall. (R. R.)

The March of the Maryland Men: (R. B. B.)

March of the Southern Men: Air, To an old Scotch Air: printed by Geo. Dunn & Co., Richmond, Va. (R. B. M. 1863.)

The March of the Spoiler: (Amaranth.)

March on! Carolinians, March on! By Mrs. Farley, Louisville, Nov. 20, 1861. (E. V. M.)

Marching to Death: By J. Herbert Sass, South Carolina, 1862. (W. G. S.)

The Marseilles Hymn—Translated and Adapted as an Ode: By E. F. Porter of Alabama. (R. R. from the Nashville Gazette.)

The Martyr of Alexandria: By James W. Simms, Indianola, Texas. (Bohemian, from the New Orleans Crescent.)

[Pg 122]

Martyrs of Texas: Air, “He’s Gone from the Mountain.” By Col. H. Washington. (Alsb.)

The Martyrs of the South: By A. B. Meek, Alabama. (Sunny.)

Maryland! (B. C. L. Ledger 1411.)

Maryland: By Rev. John C. McCabe, D.D. (Late of Md., Chaplain C. S. A.) November, 1861. (S. L. M.)

Maryland: A Fragment: (R. B. B. 73.)

Maryland In Chains: By Mrs. O. K. Whitaker, South Carolina. (R. B. B. 73 from the Richmond Examiner, May 14, 1861.)

Maryland in Fetters! (R. B. B. 82.)

The Maryland Line: By J. D. McCabe, Jr. (W. G. S.)

Maryland, Lost Maryland: (S. L. M., January, ’63, Ed.’s Table from the Raleigh Standard.)

The Maryland Martyrs: (R. B. B. 79.)

Maryland, Our Mother: Written at the Request of Many Exiled Marylanders: By Rev. John Collins McCabe, D.D. Richmond, Va., November 24, 1861. (S. L. M., Dec. 1861.)

Maryland, My Home: By Louis Bonsal. (R. B. B.)

Maryland, My Home: (R. B. B.)

[Pg 123]

Maryland: Zouaves’ Own: Respectfully dedicated to the 1st regiment Maryland Zouaves by their friend G. W. Alexander, Adjutant of the regiment. (R. B. B.)

The Marylander at Manassas: A Fact: By N. G. R. [Dr. N. G. Ridgely.] Baltimore, December 16, 1861. (R. B. B. 64.)

The Marylander’s Good-Bye: Air, “The White Rose:” by B. (R. B. B.)

Maryland’s Appeal: Air, “The Harp That Once Through Tara’s Halls.” (R. B. B. 84.)

Maryland’s Lament for Jackson: By Baltimore, June, 1863. (R. B. B.)

The Massachusetts Regiments: A Prose, not a prize poem, dedicated (without permission) to the “Mutual Admiration Society” of the Modern Athens, of which the Atlantic Monthly is at once the trumpet and organ. By Oats, of Virginia. (S. L. M., June 1861.)

Maxcy Gregg: By C. G. P. (E. V. M., ’69.)

Major Brown: Air, “Rosseau’s Dream.” (R. B. B. 68.)

McClellan’s Soliloquy: By a Daughter of Georgia. (P. & P. B. from the Charleston Mercury.)

Melt the Bells: By F. V. Rocket, in the Memphis Appeal. (W. G. S.)

The Men: By Maurice Bell. (W. G. S.)

[Pg 124]

Men in Lace and Braid: By An Old Maid. (C. C.)

Men of the South! By G. B. J. (S. L. M., May, 1861.)

The Merrimac: By Paul H. Hayne. (Bohemian from the Charleston Courier.)

The Merry Little Soldier: John Hopkins, Printer. New Levee St., 4th D. (Wash’n. 123.)

The Midnight Ride: By William Shepardson. (Bohemian.)

Minding the Gap: By Mollie E. Moore. (E. V. M., from the Houston Telegraph.)

The Minstrel and the Queen: By Col. W. S. Hawkins. (Sunny.)

Missing: (W. G. S.)

Missing: By Mrs. F. A. Moore. (E. V. M., ’69.)

Missouri Massacre: (S. L. M., Jan. ’63.)

Missouri, Or A Voice from the South: By Harry Macarthy. (Alsb.)

A Modern Knight-Errant: By Kentucky, September, 1861. (S. O. S.)

Monody on Jackson: By The Exile. (S. S.)

[Pg 125]

Monody on Major W. L. Thornton: By Col. C. G. Forsbey. (Alsb.)

Moral of Party: Sonnet: By W. G. Simms. S. L. M., February and March, 1862. (W. G. S. from the Charleston Mercury.)

Morgan’s Cavalry and The Girls: Air, “Coming through the Rye.” By Kentucky. (S. O. S.)

Morgan’s War Song: (Alsb.)

Morgans War Song: By General B. W. Duke, C. S. A. Knoxville, Tenn., July 4, 1862. (W. L.)

Morris Island: By W. Gilmore Simms. (W. G. S.)

Mosby and His Men: By Phoenix. Selma, Alabama. October 31, 1866. (C. C.)

Mother Is the Battle Over: Ballad: Arranged by Jos. Hart Denck. (R. B. M.)

Mother Lincoln’s Melodies: S. L. M., Ed. Table, July and August, 1862. (S. S. B.)

The Mother of the Soldier Boy: (Lee.)

A Mother to Her Son in Prison: Written in the rail car to beguile the time on her way to visit him. By H. W. B., January, 1865. (E. V. M., ’69.)

The Mother to her Son in the Trenches at Petersburg: By W. D. Porter. (E. V. M.)

[Pg 126]

Mother Would Comfort Me: (C. C.)

The Mother’s Farewell: Air, “Jeannette and Jeanot.” (J. M. S.)

A Mother’s Prayer: (E. V. M.)

A Mother’s Prayer: By Mrs. Margaret Piggott. Baltimore, Friday Night, April 19th, 1861. (E. V. M., ’69.)

The Mother’s Trust: By Mrs. G. A. H. McLeod. (S. S.)

Mumford, the Martyr of New Orleans: By Ina M. Porter, of Alabama. (W. G. S.)

Munson’s Hill: Air, “Call me Pet Names.” (R. B. B., 88.)

Music in Camp: By John R. Thompson. (C. S. B., from the Louisville Journal.)

My Dream: By L. F. East Baton Rouge, November 7, 1861. (R. R.)

My Father: By Brig. General Henry R. Jackson. (E. V. M.)

My Friend: To Infedelia: By Colonel W. S. Hawkins, C. S. A. prisoner of war at Camp Chase, December 1861. (C. C.)

My God, What is All This For? Air, “Rosseau’s Dream.” (R. B. B.)

My Little Volunteer: By Joe Brentwood. (Im.)

[Pg 127]

My Love: By F. B. Dalton, May 6, 1864. (W. F.)

My Maryland: By James R. Randall. Written at Point Coupee, La. April 26, 1861. First published in the New Orleans Delta. (W. G. S.)

My Mother Church: By Kentucky. (S. O. S.)

My Mother-Land: By Paul H. Hayne. (W. G. S.)

My Native Land: December, 1864. (W. L.)

My Native Land: (Randolph.)

My Noble Warrior, Come! Air, “The Rock Beside the Sea.” By Mrs. Col. C. G. Forshey. (Alsb.)

My Only Boy: By Ellen A. Moriarty. (Bohemian.)

My Order: By W. Gordon McCabe: Richmond, Va. First published in S. L. M., May, 1863, “Chats Over My Pipe.” (E. V. M.)

My Prison Drear: By Lieut. D. T. Walker, of Mississippi. (Sunny.)

My Soldier: Monday night, April 14th, 1862. (S. L. M., Ed. Table, April, ’62)

My Soldier Boy: By T. E. Grayson, near Benton, Mississippi, October 1861. (Im.)

[Pg 128]

My Soldier Boy: By W. D. Porter, Charleston, South Carolina. (Amaranth.)

My Southern Home (Psalm CXXVII): By Col. B. H. Jones. Johnson’s Island, September, 1864. (Sunny.)

My Southern Land: Dedicated to the Widow of Stonewall Jackson. Air, “My Maryland.” By Mrs. Mary L. Wilson, of San Antonio. (Alsb.)

My Texas Land: Air, “My Maryland.” By D. W. M. (Alsb.)

My Warrior Boy: (Im.)

National Hymn: By Capt. E. Griswold. (Fag.)

National Song—The Magnolia: By Albert Pike. (Im.)

Navasota Volunteers: Air, “Susannah, don’t you cry.” By William Neely, of Durant’s Cavalry. (Alsb.)

Nay, Keep the Sword: By Carrie Clifford. (W. G. S.)

The New Ballad of Lord Lovell: (R. N. S., from the New Orleans Delta.)

A New Excelsior: By Mary I. Upshur. (S. L. M., November, 1861.)

The New Fashion: Air, “Rory O’Moore.” By Kentucky. (S. O. S.)

[Pg 129]

A New Red, White and Blue: Written for a Lady: by Jeff. Thompson. (A. R.)

The New Star: (Same as Hail to the South): By B. M. Anderson. S. L. M., April, 1861. (W. G. S.)

The Next Time That Bragg Comes This Way: By Kentucky, November 27, 1864. (S. O. S.)

Niggers in Convention: Sumner’s Speech: (R. B. B. 88.)

Nil Desperandum—To the Southern Soldier: By Ikey Ingle. Richmond, Virginia, January 18th, 1864. (E. V. M.)

Nil Desperandum: Inscribed to our Soldier Boys: by Ada Rose. Pine Bluff, Arkansas. March 10th, 1862. (R. N. S. from the Memphis Avalanche.)

Nil Desperandum: By Mrs. C. A. Warfield. (E. V. M., ’69.)

The 9th of April, 1865: From the London Spectator. (C. S. B.)

No Land Like Ours: By J. R. Barrick, of Kentucky. (W. G. S.)

No Surrender: Published by Geo. Dunn and Co., Richmond, Virginia. (R. B. M., 1864.)

No Union Men: By Millie Mayfield. (R. R.)

North Carolina Call to Arms: Air, “The Old North State:” by Luola. [Mrs. Loula W. Rogers of Ga.] Raleigh, 1861. (R. R.)

[Pg 130]

North Carolina’s War Song: Air, “Annie Laurie.” (R. R.)

A Northern Mother After a Battle: By Kentucky. (S. O. S.)

Not Doubtful of Your Fatherland! (W. S. G. from the Charleston Mercury.)

Notice to the North! (R. N. S., from Charivari. December 7, 1861.)

Now’s the Day, and Now’s the Hour! Inscribed to Lt. Col. J. W. Bowles, 2nd Reg. Kentucky Cavalry by request of a friend of his boyhood. Air, “Bruce’s Address,” some lines of it retained by Kentucky. (S. O. S.)

Nuts to Crack for Uncle Sam: By Janet Hamilton. Langloan. (W. L.)

The Oath for Liberty: By W. G. Simms. (S. L. M., February and March, ’62.)

The Obsequies of Stuart: By John R. Thompson. (S. S.)

Ode to a Body Louse: By F. B. In the field near Marietta, Georgia, June 15, 1864. (W. F.)

The Officer’s Funeral: (J. M. S.)

Officers of Dixie: By a Growler: (Alsb.)

Oh! Abraham, Resign! By a New Contributor. (R. B. B. 57.)

[Pg 131]

Oh! Hasten Back, My Soldier Boy! By J. P. H. Charlottesville, Virginia. (Cav.)

Oh, He’s Nothing But a Soldier: Air, “Annie Laurie.” By A. Young Rebelle, Esq. (Im.)

Oh, Jeff, Why Don’t You Come? Air, “Willie We Have Missed You.” (R. B. B. 80).

Oh! No, he’ll Not Need Them Again: To Rev. A. J. Ryan, of Knoxville, Tennessee. (E. V. M.)

Old Abe Lincoln: (R. B. B. 58.)

Old Abe’s Lament: Air, “The Campbells are Coming.” (R. B. B. 57.)

Old Betsy: By John Killum. (W. G. S.)

The Old Brigade—Virginia’s 1st-7th-11th and 17th: by Maurice D’Bell. (E. V. M.)

Old Dixie’s Soldiers: By J. P. H. Charlottesville, Virginia. (Cav.)

Old Jim Ford: Air, “Carry Me Back to Old Virginny.” (Alsb.)

Old John Brown: A Song for Every Southern Man: (Wash’n, unclassified Mss.)

The Old Mammy’s Lament for Her Young Master: By Hermine. (S. L. M., Nov. and Dec., ’63.)

[Pg 132]

Old Moultrie: By Catherine Gendron Poyas, of Charleston. (W. G. S. from the Charleston Mercury.)

The Old Negro at Calhoun’s Grave: By Kentucky. (S. O. S.)

The Old Rifleman: By Frank O. Ticknor, M. D., of Georgia. (R. R.)

The Old Sergeant: (B. E., First appeared as the Carrier’s New Year Address of the Louisville Courier-Journal, 1863.)

Old Stonewall: By C. D. Dasher. (Fag.)

An Old Texian’s Appeal: By Reuben E. Brown. (Alsb.)

On! Advance! By W. G. Simms. (S. L. M., Feb. and March, ’62.)

On a Raid: By Ikey Ingle. Richmond, Virginia, 1862. (E. V. M.)

On Ash Wednesday, 1862: By Kentucky. (S. O. S.)

On Guard: Words respectfully inscribed to Miss S. E. B. by Wallace Rowe. Music from an old German Melody. (R. B. M., 1864.)

On Reading a Proclamation for Public Prayer: Sonnet: by South Carolinian: (W. G. S.)

On! Southron, On! By W. B. L. (R. R.)

[Pg 133]

On the Death of Brig.-General Charles H. Winder, of Maryland: Killed by a cannon shot in battle of Slaughter’s Mountain, Virginia, June 9, 1862. By J. R. Trimble, Major General C. S. A., Johnston’s Island. September, 1864. (W. L.)

On the Death of General Stonewall Jackson: By Lillian Rosell Messenger, Tuscumbia, Alabama. May 13th, 1863. (Im.)

On the Death of Lieut.-General Jackson: A Dirge: By Mrs. C. A. Warfield of Kentucky. (E. V. M.)

On the Flank: By R. B. Witter, Jr. (S. L. M., May ’63.)

On the Heights of Mission Ridge: By J. Augustine Signaigo. (W. G. S.)

On to Glory: (J. M. S.)

On to Richmond: After Southey’s March to Moscow: by John R. Thompson of Virginia. (E. V. M. from the Richmond Whig.)

On to the Battle: By Miss Marie E. Jones. (Alsb.)

One Cause of the War: By Kentucky. (S. O. S.)

Only a Common Soldier: Confederate States Almanac, 1862, (N. Y. P. L.)

Only a Soldier: By Major Lamar Fontaine. (Fag.)

Only a Soldier’s Grave: By S. A. Jones. Aberdeen, Mississippi. (W. G. S.)

[Pg 134]

Only One Fell: By Kentucky. (S. O. S.)

Only One Killed: By Julia L. Keyes, Montgomery, Alabama. (W. G. S. from the Southern Field and Fireside.)

O Here’s to the Soldier So Gay: By Captain M. G. Davidson, of Gen. M. L. Smith’s Signal Corps. (Alsb.)

O! I’m a Good Old Rebel: Respectfully dedicated to Thad. Stevens, 1862. Sung by Harry Allen, Washington Artillery, New Orleans, La. (C. C.)

O Johnny Bull, My Jo John: Air, “John Anderson, my Jo.” (R. R.)

O Lovely Dixie’s Land: By M. J., Baltimore, April, 1861. (R. B. B. 90.)

O, Sweet South: By W. Gilmore Simms. (S. L. M., January, 1861.) (R. R.)

O, Tempora! O, Mores! By John Dickson Bruns, M. D. (W. G. S. from the Charleston Mercury, 1864.)

The Ordered Away: Dedicated to the Oglethorpe and Walker Light Infantry, Atlanta, Ga. By Mrs. J. J. Jacobus. April 2, 1861. (R. R.)

Our Braves in Virginia: Air, “Dixie Land.” (R. R.)

Our Boys Are Gone: Air, “The Minstrel Boy:” by Col. Hamilton Washington. (Alsb.)

[Pg 135]

Our Cause: (C. C.)

Our Cherished Dead: (E. V. M.)

Our Chief: By the author of “Southrons” [Mrs. C. A. Warfield.] Beechmore, January 10, 1866. (E. V. M.)

Our Christmas Hymn: By John Dickson Bruns, M. D., Charleston, South Carolina. (W. G. S.)

Our City by the Sea: By W. Gilmore Simms. (W. G. S.):

Our Confederate Dead: What the heart of a young girl said to the dead soldier: by a Lady of Augusta, Georgia. (W. G. S.)

Our “Cottage By the Sea:” Lines written in Fort Lafayette by a Prisoner. (E. V. M.)

Our Country’s Call: By H. Walter. (Randolph.)

Our Dead: By Col. A. M. Hobby. Galveston News, Texas. Jan., 1866. (E. V. M.)

Our Departed Comrades: By J. Marion Shirer, a Soldier in the Field. (W. G. S.)

Our Dixie: By a Lady of Augusta, Georgia, 1865. (Im.)

Our Failure: By the Author of “Southrons,” [Mrs. C. A. Warfield]. Beechmore, Kentucky, June 1, 1866. (E. V. M.)

[Pg 136]

Our Fallen Brave: By Cornelia J. M. Jordan. January 22, 1862. (Corinth.)

Our Faith in ’61: By A. J. Requier. (W. G. S.)

Our Flag: By Mr. K. of Hampshire Co., Virginia. (E. V. M., ’69.)

Our Glorious Flag: Air, “Her Bright Smile Haunts Me Still.” Vicksburg Song. (Alsb.)

Our Hope: Third Edition: by Le Diable Baiteux. (R. B. B. 91.)