stinguished by political
song-singing. Clubs for that purpose were organized in all the cities
and towns and hamlets,--clubs for the platform, clubs for the street,
clubs for the parlor, Whig clubs, Democratic clubs. Ballads innumerable
to airs indefinite, new and old, filled the land,--Irish ballads, German
ballads, Yankee ballads, and, preferred over all, negro ballads. So
enthusiastic grew the popular feeling in this direction, that, when the
November crisis was come and gone, the peculiar institution would not
succumb to the limitation, but lived on. Partisan temper faded out; the
fires of strife died down, but clubs sat perseveringly in their places,
and in sounds, if not in sentiment, attuned to the old melodies, kept up
the practice of the mad and merry time.

Among other organizations that thus lingered on was one, composed of
half a dozen young men, since grown into graver habits, with
Foster--home again, and a link once more in the circle of his
intimates--at its head. The negro airs were still the favorites; but the
collection, from frequent repetition, at length began to grow stale. One
night, as a revival measure for the club, and as an opportunity for
himself, Foster hinted that, with their permission, he would offer for
trial an effort of his own. Accordingly he set to work; and at their
next meeting laid before them a song entitled "Louisiana Belle." The
piece elicited unanimous applause. Its success in the club-room opened
to it a wider field, each member acting as an agent of dissemination
outside, so that in the course of a few nights the song was sung in
almost every parlor in Pittsburgh. Foster then brought to light his
portfolio specimens, since universally known as "Uncle Ned," and "O
Susanna!" The favor with which these latter were received surpassed even
that rewarding the "Louisiana Belle." Although limited to the one slow
process of communication,--from mouth to ear,--their fame spread far and
wide, until from the drawing-rooms of Cincinnati they were introduced
into its concert-halls, and there became known to Mr. W. C. Peters, who
at once addressed letters requesting copies for publication. These were
cheerfully furnished by the author. He did not look for remuneration.
For "Uncle Ned," which first appeared (in 1847), he received none; "O
Susanna!" soon followed, and "imagine my delight," he writes, "in
receiving one hundred dollars in cash! Though this song was not
successful," he continues