e delights of abundance of food; the eternal happiness
that awaited them in the heavenly future, where the slave-driver ceased
from troubling and the weary were at rest; where Time rolled around in
endless cycles of days spent in basking, harp in hand, and silken clad,
in golden streets, under the soft effulgence of cloudless skies, glowing
with warmth and kindness emanating from the Creator himself. Had their
masters condescended to borrow the music of the slaves, they would have
found none whose sentiments were suitable for the ode of a people
undergoing the pangs of what was hoped to be the birth of a new nation.

The three songs most popular at the South, and generally regarded as
distinctively Southern, were "The Bonnie Blue Flag," "Maryland, My
Maryland," and "Stonewall Jackson Crossing into Maryland." The first of
these was the greatest favorite by long odds. Women sang, men whistled,
and the so-called musicians played it wherever we went. While in the
field before capture, it was the commonest of experiences to have Rebel
women sing it at us tauntingly from the house that we passed or near
which we stopped. If ever near enough a Rebel camp, we were sure to hear
its wailing crescendo rising upon the air from the lips or instruments of
some one more quartered there. At Richmond it rang upon us constantly
from some source or another, and the same was true wherever else we went
in the so-called Confederacy.

All familiar with Scotch songs will readily recognize the name and air as
an old friend, and one of the fierce Jacobite melodies that for a long
time disturbed the tranquility of the Brunswick family on the English
throne. The new words supplied by the Rebels are the merest doggerel,
and fit the music as poorly as the unchanged name of the song fitted to
its new use. The flag of the Rebellion was not a bonnie blue one; but
had quite as much red and white as azure. It did not have a single star,
but thirteen.

Near in popularity was "Maryland, My Maryland." The versification of
this was of a much higher Order, being fairly respectable. The air is
old, and a familiar one to all college students, and belongs to one of
the most common of German household songs:

O, Tannenbaum! O, Tannenbaum, wie tru sind deine Blatter!
Da gruenst nicht nur zur Sommerseit,
Nein, auch in Winter, when es Schneit, etc.

which Longfellow has finely translated,

O, hemlock tree! O, hemlock