The Civil Wars of Julia Ward Howe


Book Description

"Authorship of the Battle Hymn of the Republic made [19th-century aspiring poet and playwright Julia Ward Lowe] celebrated and revered. But Julia was also continuing to fight a civil war at home; she became a pacifist, suffragist, and world traveler. She came into her own as a tireless campaigner for women's rights and social reform ... Elaine Showalter tells the story of Howe's determined self-creation and brings to life the society she inhabited and the obstacles she overcame"--Amazon.com.




Julia Ward Howe, 1819-1910


Book Description

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant.




The Hermaphrodite


Book Description

Written in the 1840s and published here for the first time, Julia Ward Howe's novel about a hermaphrodite is unlike anything of its time--or, in truth, of our own. Narrated by Laurence, who is raised and lives as a man, is loved by men and women alike, and can respond to neither, this unconventional story explores the understanding "that fervent hearts must borrow the disguise of art, if they would win the right to express, in any outward form, the internal fire that consumes them." Laurence describes his repudiation by his family, his involvement with an attractive widow, his subsequent wanderings and eventual attachment to a sixteen-year-old boy, his own tutelage by a Roman nobleman and his sisters, and his ultimate reunion with his early love. His is a story unique in nineteenth-century American letters, at once a remarkable reflection of a largely hidden inner life and a richly imagined tale of coming of age at odds with one's culture. Howe wrote "The Hermaphrodite" when her own marriage was challenged by her husband's affection for another man--and when prevailing notions regarding a woman's appropriate role in patriarchal structures threatened Howe's intellectual and emotional survival. The novel allowed Howe, and will now allow her readers, to occupy a speculative realm otherwise inaccessible in her historical moment.




Hungry Heart


Book Description

Reexamines the early literary career of Julia Ward Howe (1819-1910), best remembered as the author of "The Battle Hymn of the Republic."




Sex and Education


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Reminiscences, 1819-1899


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Passion-flowers


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A Trip to Cuba


Book Description

WHY one leaves home at all is a question that travellers are sure, sooner or later, to ask themselves,—I mean, pleasure-travellers. Home, where one has the "Transcript" every night, and the "Autocrat" every month, opera, theatre, circus, and good society, in constant rotation,—home, where everybody knows us, and the little good there is to know about us,—finally, home, as seen regretfully for the last time, with the gushing of long frozen friendships, the priceless kisses of children, and the last sad look at dear baby's pale face through the window-pane,—well, all this is left behind, and we review it as a dream, while the railroad-train hurries us along to the spot where we are to leave, not only this, but Winter, rude tyrant, with all our precious hostages in his grasp. Soon the swift motion lulls our brains into the accustomed muddle. We seem to be dragged along like a miserable thread pulled through the eye of an everlasting needle,—through and through, and never through,—while here and there, like painful knots, the dépôtsstop us, the poor thread is arrested for a minute, and then the pulling begins again. Or, in another dream, we are like fugitives threading the gauntlet of the grim forests, while the ice-bound trees essay a charge of bayonets on either side; but, under the guidance of our fiery Mercury, we pass them as safely as ancient Priam passed the outposts of the Greeks,—and New York, hospitable as Achilles, receives us in its mighty tent. Here we await the "Karnak," the British Mail Company's new screw-steamer, bound for Havana, viâ Nassau. At length comes the welcome order to "be on board." We betake ourselves thither,—the anchor is weighed, the gun fired, and we take leave of our native land with a patriotic pang, which soon gives place to severer spasms.> I do not know why all celebrated people who write books of travels begin by describing their days of sea-sickness. Dickens, George Combe, Fanny Kemble, Mrs. Stowe, Miss Bremer, and many others, have opened in like manner their valuable remarks on foreign countries. While intending to avail myself of their privilege and example, I would nevertheless suggest, for those who may come after me, that the subject of sea-sickness should be embalmed in science, and enshrined in the crypt of some modern encyclopædia, so that future writers should refer to it only as the Pang Unspeakable, for which vide Ripley and Dana, vol., page. But, as I have already said, I shall speak of sea-sickness in a hurried and picturesque manner, as follows:— Who are these that sit by the long dinner-table in the forward cabin, with a most unusual lack of interest in the bill of fare? Their eyes are closed, mostly, their cheeks are pale, their lips are quite bloodless, and to every offer of good cheer, their "No, thank you," is as faintly uttered as are marriage-vows by maiden lips. Can they be the same that, an hour ago, were so composed, so jovial, so full of dangerous defiance to the old man of the sea? The officer who carves the roast-beef offers at the same time a slice of fat;—this is too much; a panic runs through the ranks, and the rout is instantaneous and complete. The ghost of what each man was disappears through the trap-door of his state-room, and the hell which the theatre faintly pictures behind the scenes begins in good earnest.







A Fiery Gospel


Book Description

Since its composition in Washington's Willard Hotel in 1861, Julia Ward Howe's "Battle Hymn of the Republic" has been used to make America and its wars sacred. Few Americans reflect on its violent and redemptive imagery, drawn freely from prophetic passages of the Old and New Testaments, and fewer still think about the implications of that apocalyptic language for how Americans interpret who they are and what they owe the world. In A Fiery Gospel, Richard M. Gamble describes how this camp-meeting tune, paired with Howe's evocative lyrics, became one of the most effective instruments of religious nationalism. He takes the reader back to the song's origins during the Civil War, and reveals how those political and military circumstances launched the song's incredible career in American public life. Gamble deftly considers the idea behind the song—humming the tune, reading the music for us—all while reveling in the multiplicity of meanings of and uses to which Howe's lyrics have been put. "The Battle Hymn of the Republic" has been versatile enough to match the needs of Civil Rights activists and conservative nationalists, war hawks and peaceniks, as well as Europeans and Americans. This varied career shows readers much about the shifting shape of American righteousness. Yet it is, argues Gamble, the creator of the song herself—her Abolitionist household, Unitarian theology, and Romantic and nationalist sensibilities—that is the true conductor of this most American of war songs. A Fiery Gospel depicts most vividly the surprising genealogy of "The Battle Hymn of the Republic," and its sure and certain position as a cultural piece in the uncertain amalgam that was and is American civil religion.