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"Words for the Hour"

"Words for the Hour": A New Anthology of American Civil War Poetry

Faith Barrett
Cristanne Miller
Copyright Date: 2005
Pages: 440
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  • Book Info
    "Words for the Hour"
    Book Description:

    “Words for the Hour” presents a readable and illuminating account of the Civil War, told through the words of poets North and South. From bathos to profound philosophical meditation and sorrow, the range of these poems illuminates the complexity of their era while also revealing the continuing power of this turning point in American history to speak to readers in the present day. The volume is divided into three parts, each offering a different perspective on the poetry generated by the war. Part I samples the extraordinary range of poems written immediately preceding and during the war and published in popular periodicals, providing a kind of poetic newspaper account as one might have read it then—from the early days of optimistically heralded victory on both sides, through the mounting casualties and brutal deaths of the long middle years, to the war’s conclusion and President Lincoln’s assassination. Viewing the struggle from many different vantage points gives the reader access to the ways that people from various backgrounds experienced the trajectory of the war. Civilians and soldiers, free blacks and proponents of slavery, women and men from Massachusetts and Virginia and from recently admitted states and barely developed territories, writers with their eyes on the national political stage and those focused on personal domestic issues: these are the multiple voices of America responding to the war. Part II includes substantial selections of poems by writers who published extensively in response to the conflict, providing more complex and comprehensive perceptions of the war. These poets include not just wellknown figures such as Walt Whitman, Herman Melville, and John Greenleaf Whittier, but also African American poets George Moses Horton and Frances Ellen Watkins Harper and Southern poets Henry Timrod and Sarah Piatt. Part III offers poems by two poets who did not publish during their lifetimes, but had strong imaginative responses to the conflict, thus giving a sense of the long reach of the war as a defining national experience. One of these two poets (Emily Dickinson) is now renowned while the other (Obadiah Ethelbert Baker) is first published in this volume. “Words for the Hour” is indeed “new” among anthologies of Civil War poetry not only in its wide range of poems by popular, anonymous, and now canonical poets but also in its informational apparatus. A historical timeline listing major battles and events of the war begins the volume, and historical photographs or lithographs introduce each section of poems. The book also includes a substantial introduction, a glossary of important names and terminology relevant to understanding the poems, and biographical sketches for all the poets whose work is included.

    eISBN: 978-1-61376-066-6
    Subjects: History, Language & Literature

Table of Contents

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  1. Front Matter
    (pp. i-iv)
  2. Table of Contents
    (pp. v-xii)
  3. List of Illustrations
    (pp. xiii-xiii)
  4. [Illustration]
    (pp. xiv-xiv)
    (pp. xv-xxii)
    Cristanne Miller
    (pp. xxiii-xxviii)
  7. ABBREVIATIONS: Source Collections of Civil War Poetry for Part I, listed chronologically
    (pp. xxix-xxxii)
  8. INTRODUCTION: “Words for the Hour”: Reading the American Civil War through Poetry
    (pp. 1-22)
    Faith Barrett

    In September of 1861, twenty-three-year-old Obadiah Ethelbert Baker left his wife and home and enlisted in the Second Iowa Cavalry Volunteers. Baker fought in the Union army for the next three and half years, taking part in battles in Mississippi, Missouri, Louisiana, and Tennessee, before being honorably discharged in April of 1865. During the war years, Baker kept detailed accounts of daily events in the form of journal entries, which he addressed and regularly sent to his wife; by the war’s end, he had filled thirteen volumes of pocket diaries with his responses to the war, responses that include journal...


    • Antebellum Poetry

      • My Country
        (pp. 27-27)
        Sarah Louisa Forten
      • The Mother and Her Captive Boy
        (pp. 28-29)
        Ella (Sarah Mapps Douglass?)
      • The Present Crisis
        (pp. 29-31)
        James Russell Lowell
      • I Sigh for the Land of the Cypress and Pine
        (pp. 32-32)
        Samuel Henry Dickson
      • Southern Ode
        (pp. 33-35)
        William Gilmore Simms
      • Song of the South
        (pp. 35-36)
        William Gilmore Simms
      • Song of the “Aliened American”
        (pp. 37-37)
        Joshua McCarter Simpson
      • The Vessel of Love, the Vessel of State
        (pp. 38-38)
        Henry David Thoreau
      • Lines
        (pp. 38-39)
        Alfred Gibbs Campbell
      • I Wish I Was in Dixie’s Land
        (pp. 40-41)
        Dan Emmett
      • The Two Voices
        (pp. 41-44)
        Charlotte Forten Grimké
    • 1861

      • To the Men of the North and West
        (pp. 47-47)
        Richard Henry Stoddard
      • The Nineteenth of April
        (pp. 48-49)
        Lucy Larcom
      • My Maryland
        (pp. 49-51)
        James R. Randall
      • Over the River
        (pp. 51-52)
        Jane T. H. Cross
      • The Old Rifleman
        (pp. 52-53)
        Francis Orray Ticknor
      • Brother Jonathan’s Lament for Sister Caroline
        (pp. 54-55)
        Oliver Wendell Holmes
      • The Harvest-Field of 1861
        (pp. 55-56)
        Mrs. James Neall
      • The Southern Cross
        (pp. 56-57)
        Ellen Key Blunt
      • Our Faith in ’61
        (pp. 58-60)
        Augustus Julian Requier
      • Manassas
        (pp. 60-61)
        Catherine A. W. Warfield
      • Not Yet
        (pp. 61-62)
        William Cullen Bryant
      • Cotton-Doodle
        (pp. 62-64)
      • Price’s Appeal to Missouri
        (pp. 64-65)
        M. Jeff Thompson
      • The Picket-Guard
        (pp. 65-66)
        Ethelinda Beers
      • A Thought
        (pp. 66-67)
        Elizabeth Stoddard
      • Soldiers’ Aid Societies
        (pp. 67-68)
      • Let My People Go: A Song of the “Contrabands”
        (pp. 69-72)
    • 1862

      • Battle Hymn of the Republic
        (pp. 75-75)
        Julia Ward Howe
      • Anomalies
        (pp. 76-77)
        Caroline Mason
      • A Battle Hymn
        (pp. 77-78)
        George Henry Boker
      • The Sword-Bearer
        (pp. 78-80)
        George Henry Boker
      • The Cumberland
        (pp. 80-81)
        Henry Wadsworth Longfellow
      • The Song of the South
        (pp. 82-82)
        R. M. Anderson
      • The Stars and Bars
        (pp. 83-84)
        R. R.
      • Stonewall Jackson’s Way
        (pp. 85-86)
        John Williamson Palmer
      • Weaving
        (pp. 86-88)
        Lucy Larcom
      • To Abraham Lincoln
        (pp. 89-89)
        John James Piatt
      • Wanted—A Man
        (pp. 89-90)
        Edmund Clarence Stedman
      • Clouds in the West
        (pp. 91-92)
        Augustus Julian Requier
      • Three Hundred Thousand More
        (pp. 92-93)
        James Sloan Gibbons
      • Emancipation
        (pp. 93-94)
        William E. Pabor
      • Half Way
        (pp. 94-95)
        Ellen Murray
      • “While God He Leaves Me Reason, God He Will Leave Me Jim”
        (pp. 96-96)
        Mary H. C. Booth
      • A Southern Scene
        (pp. 97-99)
      • Melt the Bells
        (pp. 99-100)
        F. T. Rockett
      • Roll Call
        (pp. 100-102)
        Nathaniel Graham Shepherd
    • 1863

      • Boston Hymn
        (pp. 105-107)
        Ralph Waldo Emerson
      • The Reveille
        (pp. 108-109)
        Bret Harte
      • Conservative Chorus
        (pp. 109-109)
      • Only a Soldier’s Grave
        (pp. 109-110)
        S. A. Jonas
      • Spring at the Capital
        (pp. 110-111)
        Elizabeth Akers Allen
      • The Black Regiment
        (pp. 112-114)
        George Henry Boker
      • Wouldst Thou Have Me Love Thee
        (pp. 114-115)
        Alexander Beaufort Meek
      • The Wood of Gettysburg
        (pp. 115-117)
        Della Jerman Weeks
      • Chickamauga, “The Stream of Death!”
        (pp. 117-119)
      • On the Heights of Mission Ridge
        (pp. 120-120)
        J. Augustine Signaigo
      • Negro Song of Mission Ridge
        (pp. 121-122)
      • My Army Cross Over
        (pp. 122-122)
      • Ride In, Kind Saviour
        (pp. 123-123)
      • Ready
        (pp. 123-124)
        Phoebe Cary
      • The Jacket of Gray
        (pp. 124-125)
        Caroline A. Ball
      • Death the Peacemaker
        (pp. 125-127)
        Ellen Flagg
      • The Copperhead
        (pp. 127-128)
        Bret Harte
      • A Prayer for Peace
        (pp. 128-130)
        Severn Teackle Wallis
      • In Libby Prison—New-Year’s Eve 1863–4
        (pp. 130-132)
        Frederick A. Bartleson
    • 1864

      • From The Day and the War
        (pp. 135-137)
        James Madison Bell
      • Sambo’s Right To Be Kilt
        (pp. 138-139)
        Charles Graham Halpine
      • Confederate Song of Freedom
        (pp. 139-140)
        Emily M. Washington
      • At Fort Pillow
        (pp. 140-142)
        James R. Randall
      • In the Wilderness
        (pp. 142-144)
        George Henry Boker
      • Sonnet
        (pp. 144-144)
        George Henry Boker
      • The Patriot Ishmael Day
        (pp. 144-146)
        William H. Hayward
      • The Pride of Battery B
        (pp. 146-148)
        Frank H. Gassaway
      • Sheridan’s Ride
        (pp. 149-150)
        Thomas Buchanan Read
      • Brother, Tell Me of the Battle
        (pp. 151-151)
        Thomas Manahan
      • The Empty Sleeve
        (pp. 152-153)
        J. R. Bagby
      • Reading the List
        (pp. 154-154)
      • Only One Killed
        (pp. 155-156)
        Julia L. Keyes
      • Fredericksburg
        (pp. 156-156)
        Thomas Bailey Aldrich
      • The Confederacy
        (pp. 157-158)
        Jane T. H. Cross
    • 1865

      • My Autumn Walk
        (pp. 161-163)
        William Cullen Bryant
      • I’m Dying, Comrade
        (pp. 163-164)
        Mary H. C. Booth
      • The Voices of the Guns
        (pp. 164-167)
      • Driving Home the Cows
        (pp. 167-168)
        Kate Putnam Osgood
      • “Stack Arms”
        (pp. 168-169)
        Joseph Blythe Allston
      • Doffing the Gray
        (pp. 169-170)
        Robert Falligant
      • Ashes of Glory
        (pp. 170-171)
        Augustus Julian Requier
      • The Death of Lincoln
        (pp. 171-172)
        William Cullen Bryant
      • The Death-Blow
        (pp. 172-172)
        Christopher Pearse Cranch
      • The Martyr
        (pp. 173-173)
        Christopher Pearse Cranch
      • A Second Review of the Grand Army
        (pp. 173-175)
        Bret Harte
      • The Dying Words of Jackson
        (pp. 175-176)
        Sidney Lanier
      • Ethiopia’s Dead
        (pp. 176-178)
        Sarah E. Shuften
    • The Aftermath of the War

      • “Is There, Then, No Hope for the Nations?”
        (pp. 181-182)
      • Killed at the Ford
        (pp. 182-183)
        Henry Wadsworth Longfellow
      • The Sword of Robert Lee
        (pp. 183-184)
        Abram Joseph Ryan
      • Let the Banner Proudly Wave Written after the surrender of Lee
        (pp. 185-186)
        Joshua McCarter Simpson
      • Christmas, South, 1866
        (pp. 187-187)
        Mary Eliza Tucker
      • “Ay De Mi, Alhama!”
        (pp. 188-189)
        William Gilmore Simms
      • To Our Hills
        (pp. 189-190)
        Sidney Lanier
      • The Blue and the Gray
        (pp. 191-192)
        Francis Miles Finch
      • Little Giffen
        (pp. 193-194)
        Francis Orray Ticknor
      • Gettysburg Ode
        (pp. 194-195)
        Bayard Taylor
      • Lincoln
        (pp. 195-198)
        Henrietta Cordelia Ray

    • George Moses Horton

      • [Introduction]
        (pp. 201-202)

        The remarkable career of George Moses Horton is a testament to one man’s perseverance and resourcefulness. Born into slavery in North Carolina, Horton spent his childhood working on his masters’ farms. As a young man, he began traveling to Chapel Hill where he worked as a jack-of-all-trades and also sold his poems to university students. By the time he turned twenty, Horton had become so successful at these enterprises that he made this trip almost weekly; he no doubt benefited from the fact that in the 1820s, North Carolina had some of the most liberal slavery laws of any Southern...

      • Slavery By a Carolinian Slave named George Horton
        (pp. 202-203)
      • Lines On hearing of the intention of a gentleman to purchase the poet’s freedom
        (pp. 203-205)
      • The Poet’s Feeble Petition
        (pp. 205-205)
      • General Grant—The Hero of the War
        (pp. 205-206)
      • The Southern Refugee
        (pp. 207-207)
      • Lincoln Is Dead
        (pp. 208-208)
      • Like Brothers We Meet Dedicated to the Federal and Late Confederate Soldiers
        (pp. 208-209)
      • The Dying Soldier’s Message
        (pp. 209-210)
      • The Spectator of the Battle of Belmont November 6, 1863
        (pp. 210-211)
      • The Terrors of War
        (pp. 211-212)
      • Jefferson in a Tight Place The Fox Is Caught
        (pp. 212-213)
      • The Soldier on His Way Home
        (pp. 213-214)
      • Weep
        (pp. 214-215)
    • John Greenleaf Whittier

      • [Introduction]
        (pp. 216-217)

        John Greenleaf Whittier thought of himself first as an abolitionist and second as a poet, although he was revered as a poet by the time of his death and published several volumes of poems. Born on December 17, 1807, in rural Massachusetts to a Quaker family struggling to hold on to their failing farm, Whittier spent a childhood and youth in hard labor, with little time or energy for formal schooling but an interest in books. The regional dialect poetry of Robert Burns inspired Whittier to think he, too, could write about the homely experiences he knew firsthand. In 1826,...

      • The Hunters of Men
        (pp. 217-218)
      • A Word for the Hour
        (pp. 218-219)
      • Ein feste Burg ist unser Gott
        (pp. 219-221)
      • At Port Royal
        (pp. 222-225)
      • The Battle Autumn of 1862
        (pp. 225-226)
      • What the Birds Said
        (pp. 226-227)
      • Barbara Frietchie
        (pp. 228-229)
    • Walt Whitman

      • [Introduction]
        (pp. 230-231)

        Walt Whitman, one of the greatest American poets, is also a significant writer on the Civil War. Born on Long Island, Whitman moved to Brooklyn as an adolescent to begin a life involving most aspects of journalism and literature, working his way up from errand boy and typesetter to editor, poet, and novelist. Through the 1840s, he was modestly successful in his journalism and in publishing relatively conventional stories, poems, and a temperance novel. In 1855, he published the first of what are now regarded as his great works, a slim volume of radically unconventional poems titledLeaves of Grass....

      • Eighteen Sixty-One
        (pp. 231-232)
      • Beat! Beat! Drums!
        (pp. 232-232)
      • Virginia—The West
        (pp. 233-233)
      • Cavalry Crossing a Ford
        (pp. 233-233)
      • Bivouac on a Mountain Side
        (pp. 233-234)
      • An Army Corps on the March
        (pp. 234-234)
      • By the Bivouac’s Fitful Flame
        (pp. 234-234)
      • Come Up from the Fields Father
        (pp. 234-235)
      • Vigil Strange I Kept on the Field One Night
        (pp. 236-236)
      • A March in the Ranks Hard-Prest, and the Road Unknown
        (pp. 237-237)
      • A Sight in Camp in the Daybreak Gray and Dim
        (pp. 238-238)
      • Not the Pilot
        (pp. 238-238)
      • Year That Trembled and Reel’d Beneath Me
        (pp. 239-239)
      • The Wound-Dresser
        (pp. 239-241)
      • Dirge for Two Veterans
        (pp. 241-242)
      • Over the Carnage Rose Prophetic a Voice
        (pp. 242-243)
      • The Artilleryman’s Vision
        (pp. 243-244)
      • Ethiopia Saluting the Colors
        (pp. 244-244)
      • Not Youth Pertains to Me
        (pp. 244-245)
      • Look Down Fair Moon
        (pp. 245-245)
      • Reconciliation
        (pp. 245-245)
      • How Solemn as One by One (Washington City, 1865)
        (pp. 245-246)
      • As I Lay with My Head in Your Lap Camerado
        (pp. 246-246)
      • To a Certain Civilian
        (pp. 246-246)
      • Adieu to a Soldier
        (pp. 247-247)
      • Turn O Libertad
        (pp. 247-247)
      • To the Leaven’d Soil They Trod
        (pp. 248-248)
      • Pensive on Her Dead Gazing
        (pp. 248-249)
      • When Lilacs Last in the Dooryard Bloom’d
        (pp. 249-256)
    • Herman Melville

      • [Introduction]
        (pp. 257-258)

        Though Melville is now best known for his novels, including his masterpieceMoby-Dick, he also wrote a substantial body of poetry over the course of his career. Born into a prosperous family in New York City, Melville experienced an abrupt change of fortunes at the age of twelve. The death of his father left the family in poverty, and Melville’s formal education ended just a few years later. Lacking any job skills, he worked as a clerk, farmhand, and teacher; despairing at this narrow range of options, in 1839 Melville signed on as a sailor with a merchant ship bound...

      • The Portent (1859)
        (pp. 258-258)
      • Apathy and Enthusiasm (1860–61)
        (pp. 259-260)
      • The March into Virginia, Ending in the First Manassas (July, 1861)
        (pp. 260-261)
      • Ball’s Bluff A Reverie (October, 1861)
        (pp. 261-262)
      • Dupont’s Round Fight (November, 1861)
        (pp. 262-262)
      • Donelson (February, 1862)
        (pp. 263-275)
      • A Utilitarian View of the Monitor’s Fight
        (pp. 275-276)
      • Shiloh A Requiem (April, 1862)
        (pp. 276-277)
      • Malvern Hill (July, 1862)
        (pp. 277-278)
      • The House-top A Night Piece (July, 1863)
        (pp. 278-279)
      • Sheridan at Cedar Creek (October, 1864)
        (pp. 279-280)
      • In the Prison Pen (1864)
        (pp. 280-281)
      • The College Colonel
        (pp. 281-282)
      • The Martyr Indicative of the passion of the people on the 15th of April, 1865
        (pp. 282-283)
      • Rebel Color-bearers at Shiloh: A plea against the vindictive cry raised by civilians shortly after the surrender at Appomattox
        (pp. 283-284)
      • “Formerly a Slave” An idealized Portrait, by E. Vedder, in the Spring Exhibition of the National Academy, 1865
        (pp. 284-285)
      • Magnanimity Baffled
        (pp. 285-285)
      • On the Slain Collegians
        (pp. 285-287)
      • On the Slain at Chickamauga
        (pp. 287-287)
      • An uninscribed Monument on one of the Battle-fields of the Wilderness
        (pp. 288-288)
    • Frances Ellen Watkins Harper

      • [Introduction]
        (pp. 289-290)

        Frances Ellen Watkins Harper was the most popular and highly respected African American poet before Paul Laurence Dunbar; in fact, Harper’s dialect poems characterizing the speech and attitudes of former slaves helped to pave the way for his later success. Probably born on September 24, 1825, in Baltimore to free parents, Frances Watkins was raised by an aunt. There is no record of the names of either parent or of the aunt who took her in when she was three. At the age of thirteen, she left school to take on paid domestic and child care work. At the age...

      • The Slave Mother
        (pp. 290-291)
      • Bible Defence of Slavery
        (pp. 291-292)
      • Eliza Harris
        (pp. 292-294)
      • The Slave Auction
        (pp. 294-295)
      • Bury Me in a Free Land
        (pp. 295-296)
      • To the Cleveland Union-Savers: An Appeal from One of the Fugitive’s Own Race
        (pp. 296-297)
      • Lines to Miles O’Reiley
        (pp. 298-299)
      • Words for the Hour
        (pp. 299-300)
      • An Appeal to My Countrywomen
        (pp. 300-302)
      • The Deliverance
        (pp. 302-308)
      • Learning to Read
        (pp. 309-310)
    • Henry Timrod

      • [Introduction]
        (pp. 311-312)

        Often called the “Poet Laureate of the Confederacy,” Henry Timrod is considered by many scholars to be the most gifted of the Southern poets writing in this era. Born in Charleston, South Carolina, Timrod was descended on both sides of his family from military men. His father, who was also a poet, fought in Florida in the war against the Seminoles; he died while Timrod was still young as a result of an illness contracted during this campaign. After attending private school in Charleston, Timrod enrolled at the University of Georgia, but ill health and lack of funds forced him...

      • Ethnogenesis
        (pp. 312-315)
      • The Cotton Boll
        (pp. 315-319)
      • I Know Not Why
        (pp. 320-320)
      • A Cry to Arms
        (pp. 320-321)
      • Charleston
        (pp. 322-323)
      • The Two Armies
        (pp. 323-324)
      • Carmen Triumphale
        (pp. 324-326)
      • The Unknown Dead
        (pp. 326-327)
      • We May Not Falter
        (pp. 327-328)
      • Ode Sung on the Occasion of Decorating the Graves of the Confederate Dead, at Magnolia Cemetery, Charleston, S.C., 1866.
        (pp. 328-328)
      • 1866 Addressed to the Old Year
        (pp. 329-330)
    • Sarah Morgan Bryan Piatt

      • [Introduction]
        (pp. 331-332)

        In her extraordinarily long and productive career as a writer, Sarah Piatt published eighteen volumes of poetry, two of which she coauthored with her husband. She was also widely published in the leading magazines in the United States, England, and Ireland, placing an impressive thirty poems in theAtlantic Monthlyand many others inHarper’sandScribner’s. Born into a notable Kentucky family, Piatt lost her mother when she was still a child and thereafter lived with various Kentucky relatives; moving from plantation to plantation with the young Piatt was an elderly black slave who had been her mother’s nurse....

      • Hearing the Battle.—July 21, 1861
        (pp. 332-333)
      • Army of Occupation At Arlington, 1866
        (pp. 333-334)
      • Giving Back the Flower
        (pp. 334-335)
      • Shoulder-Rank
        (pp. 335-336)
      • Another War
        (pp. 336-337)
      • Mock Diamonds (At the Seaside.)
        (pp. 337-339)
      • Over in Kentucky
        (pp. 339-340)
      • The Black Princess (A True Fable of My Old Kentucky Nurse.)
        (pp. 340-342)
      • The Old Slave-Music
        (pp. 342-343)
      • Counsel—In the South
        (pp. 343-344)
      • A Child’s Party
        (pp. 344-348)

    • Emily Dickinson

      • [Introduction]
        (pp. 351-352)

        Emily Dickinson is now widely acknowledged to be one of America’s greatest poets, but during her lifetime, her work was unknown. Born in Amherst, Massachusetts, as the second of three children, Dickinson lived a life without obvious drama. Her father was a noted lawyer and one-term representative to Congress for the state of Massachusetts, and the family promoted good education for women as well as men. Dickinson graduated from Amherst Academy and attended Mount Holyoke Female Seminary (later Mount Holyoke College) for a year. Neither she nor her sister, Lavinia, married, and their brother, Austin, built a house directly next...

      • To fight aloud, is very brave -
        (pp. 352-352)
      • Unto like Story - Trouble has enticed me -
        (pp. 353-353)
      • I like a look of Agony
        (pp. 353-353)
      • After great pain, a formal feeling comes -
        (pp. 354-354)
      • The name - of it - is “Autumn” -
        (pp. 354-354)
      • He fought like those Who’ve nought to lose -
        (pp. 354-355)
      • When I was small, a Woman died -
        (pp. 355-355)
      • It feels a shame to be Alive -
        (pp. 356-356)
      • One Anguish - in a Crowd -
        (pp. 356-357)
      • They dropped like Flakes -
        (pp. 357-357)
      • If any sink, assure that this, now standing -
        (pp. 357-357)
      • The Battle fought between the Soul
        (pp. 357-358)
      • No Rack can torture me -
        (pp. 358-358)
      • My Portion is Defeat - today -
        (pp. 358-359)
      • My Life had stood - a Loaded Gun -
        (pp. 359-359)
      • Color - Caste - Denomination -
        (pp. 360-360)
      • Dying! To be afraid of thee
        (pp. 360-360)
      • My Triumph lasted till the Drums
        (pp. 360-361)
      • I never hear that one is dead
        (pp. 361-361)
    • Obadiah Ethelbert Baker

    (pp. 371-374)
    (pp. 375-396)
    (pp. 397-401)
  15. Back Matter
    (pp. 402-403)