Nevada County picayune., 1889-10-16
JOHN BROWNS BODY.
ytory of the Origin of the Most Popular
 of Ali War Songs.

 Of Ali War Songs.
 In the song John Browns Body" Ee have an example of a melody and a set of words which seem never to have been written or composed by any body. 1t is genuine "folk-song," growing put of widespread sentiment, as many old folk songs have done, which lar more closely respond to the music al wants of the common people than any carefully and cleverly- composed song could be. In the case of this song, however, its recent origin and almost instant growth into com mon use give as an opportunity to trace it's beginnings and development in a way which is impossible with older songs.
 The tune of John Browns Body" had it's origin before the words that are now known or remembered in con- nection with it. It was sung before the war of the rebellion, as long ago, at least as 1856, to words which do not now remain in use, at certain New En- gland camp-meetings and revival serv- [ C
 ices.
 Two members of the Boston militia company, called the Tigers" hap pening to be at a camp-meeting in small town in New Hampshire, heard the song sung to religious words. and remembered the air. The name of one Of these men was Burlington and of the other John Brown.
 Notolong after this the war broke out, and the Tigers" were made a part of the Twelfth Massachusetts Regiment of Volunteers, which rendez- voused at Fort Warren, in Boston har- bor. Here the two men already named, Burlington and Brown, formed with two others, named Eagerly and Green leaf, quartette, and the quartette sang, among its other songs, all sorts of words of their own getting up" to this tune.
 | John Brown was a goodnatured l Scotchman, and the members of the quartette say they sang John Brown this and John Brown that" to the tune, until, by an almost unconscious change, the hero of them was changed from John Brown, of the Tigers, " to John Brown, of Harper's Ferry, and the grand and simple verse came into ex- istence:
 John Browns body lies a-mouldering in the 1 ground,
 | But his soul Is marching on. Before this time the masses of the North had not been in exact sympathy with the purposes of John Brown. but the excitement of the early days of the war called out sentiment which these words exactly fitted. Whenever the soldier quartette were in Boston they were called upon to sing this song. The Twelfth regiment took it up. Samuel C. Perkins. of Brockton, a member of Maitland's Band, which was stationed with the regiment at Fort Warren, wrote down the air while a soldier whistled it. Then the band played it every day.
 When Edward Everett formally pre- sented the set of colors of the Twelfth regiment on Boston Common, the speech of acceptance being made by Colonel Fletcher Webster of the regi- ment, the tune was played, and the multitude fairly went wild over it. The band played the tune going up State street in June. 1861, and the sol diers sang it as they marched along. The crowd along the sidewalk took up the air and joined in the chorus:
 "Glory. glory, hallclujah, | His soul is marching on!'
 Soon after the regiment sang it in marching through New York on the way to Baltimore, with the same effect. It spread at once through the army and throughout the country, and be- came the anthem of the Union.
 In December. 1861, Mrs. Julia Ward Howe wrote for the air the words be- ginning:
 Mine eyes have seen the glory of the coming of | the Lord,
 which was called The Battle Hymn of the Republic" which soon became immensely popular, but never sup planted in common use the old simple words.
 This is the story of the origin of John Browns Body aS told by the members of the band and the regiment with whom it had its use as a popular song Youths Companion.