Among the singers of the "Battle Hymn" was Chaplain McCabe, the fighting chaplain of the 122d Ohio Volunteer Infantry. He read the poem in the "Atlantic," and was so struck with it that he committed it to memory before rising from his chair. He took it with him to the front, and in due time to Libby Prison, whither he was sent after being captured at Winchester. Here, in the great bare room where hundreds of Northern soldiers were herded together, came one night a rumor of disaster to the Union arms. A great battle, their jailers told them; a great Confederate victory. Sadly the Northern men gathered together in groups, sitting or lying on the floor, talking in low tones, wondering how, where, why. Suddenly, one of the negroes who brought food for the prisoners stooped in passing and whispered to one of the sorrowful groups. The news was false: there had, indeed, been a great battle, but the Union army had won, the Confederates were defeated and scattered. Like a flame the word flashed through the prison. Men leaped to their feet, shouted, embraced one another in a frenzy of joy and triumph; and Chaplain McCabe, standing in the middle of the room, lifted up his great voice and sang aloud,—

"Mine eyes have seen the glory of the coming of the Lord!"

Every voice took up the chorus, and Libby Prison rang with the shout of "Glory, glory, hallelujah!"

The victory was that of Gettysburg. When, some time after, McCabe was released from prison, he told in Washington, before a great audience of loyal people, the story of his war-time experiences; and when he came to that night in Libby Prison, he sang the "Battle Hymn" once more. The effect was magical: people shouted, wept, and sang, all together; and when the song was ended, above the tumult of applause was heard the voice of Abraham Lincoln, exclaiming, while the tears rolled down his cheeks,—

"Sing it again!"

(Our mother met Lincoln in 1861, and was presented to him by Governor Andrew. After greeting the party, the President "seated himself so near the famous portrait of Washington by Gilbert Stuart as naturally to suggest some comparison between the two figures. On the canvas we saw the calm presence, the serene assurance of the man who had successfully accomplished a great undertaking, a vision of health and of peace. In the chair beside it sat a tall, bony figure, devoid of grace, a countenance almost redeemed from plainness by two kindly blue eyes, but overshadowed by the dark problems of the moment....

"When we had left the presence, one of our number exclaimed, 'Helpless Honesty!' As if Honesty could ever be helpless.")

The "Battle Hymn of the Republic" has been translated into Italian, Spanish, and Armenian. Written in the dark on a scrap of Sanitary Commission paper, it has been printed in every imaginable form, from the beautiful parchment edition presented to the author on her seventieth birthday by the New England Woman's Club, down to the cover of a tiny brochure advertising a cure for consumption. It has also been set to music many times, but never successfully. It is inseparably wedded to the air for which it was written, an air simple, martial, and dignified: no attempt to divorce the two could ever succeed.

From the time of writing it to that of her death, she was constantly besieged by requests for autograph copies of part or the whole of the hymn. Sometimes the petitioners realized what they asked, as when Edmund Clarence Stedman wrote:—

"I can well understand what a Frankenstein's monster such a creation grows to be—such a poem as the 'Battle Hymn,' when it has become the sacred scroll of millions, each one of whom would fain obtain a copy of it."

Reasonable or unreasonable, she tried to meet every such request; no one can ever know how many times she copied the hymn, but if a record had been kept, some one with a turn for multiplication might tell us whether the lines put together made up a mile, or more, or less.

She wrote many other poems of the war, among them "The Flag," which is to be found in many anthologies. As the "Battle Hymn" was the voice of the nation's, so this was the expression of her own ardent patriotism:—

There's a flag hangs over my threshold

Whose folds are more dear to me

Than the blood that thrills in my bosom

Its earnest of liberty.

And dear are the stars it harbors

In its sunny field of blue,

As the hope of a further Heaven

That lights all our dim lives through.

This was no figure of speech, but the truth. The war and its mighty issues filled her heart and mind; she poured out song after song, all breathing the spirit of the time, the spirit of hope, resolve, aspiration. Everything she saw connected itself in some way with the great struggle. Seeing her daughters among their young friends, gay as youth must be gay, even in war-time, she cries out,—

Weave no more silks, ye Lyons looms,

To deck our girls for gay delights!

The crimson flower of battle blooms,

And solemn marches fill the night.

Weave but the flag whose bars to-day

Drooped heavy o'er our early dead,

And homely garments, coarse and gray,

For orphans that must earn their bread![48]

"The Jeweller's Shop in War-Time," "The Battle Eucharist," "The Harvard Student's Song," all reveal the deep feeling of her heart; we remember her singing of "Left Behind" (set to her own music, a wild, mournful chant) as something so thrilling that it catches the breath as we think of it.

Being again in Washington in the spring of 1863, she visited the Army of the Potomac, in company with the wife of General Francis Barlow, and wrote on her return a sketch of the expedition. She carried "a fine Horace, which repeatedly annoyed me by tumbling in the dirt, a volume of Sully's Memoirs, and a little fag end of Spinoza, being his Tractat upon the Old Testament."

She saw the working of the Sanitary Commission; saw "Fighting Joe" Hooker, who looked like "the man who can tell nineteen secrets and keep the twentieth, which will be the only one worth knowing"; and William H. Seward, "looking singularly like a man who has balanced a chip on the fence, and who congratulates himself upon its remaining there"; saw, too, from the heights above Fredericksburg (within the danger line!), an artillery skirmish.

Departing, she writes:—

"Farewell, bristling heights! farewell, sad Fredericksburg! farewell, river of sorrows; farewell, soldiers death-determined, upon whose mournful sacrifice we must shut unwilling eyes. Would it were all at end! the dead wept and buried, the living justified before God. For the deep and terrible secret of the divine idea still lies buried in the burning bosom of the contest. Suspected by the few, shunned by the many, it has not as yet leapt to light in the sight of all. This direful tragedy, in whose third dreary act we are, hangs all upon a great thought. To interpret this, through waste and woe, is the first moral obligation of the situation.... This terrible development of moral causes and effects will enchain the wonder of the world until the crisis of poetical justice which must end it shall have won the acquiescence of mankind, carrying its irresistible lesson into the mind of the critics, into the heart of the multitude."