The Telegraph-courier. [volume] (Kenosha, Wis.) 1888-1946, 1919-03-06

attached to it in the Civil War, it has
become truly the 'Battle Hymn of
the Republic ., in which everybody
can join heartily.
During the Civil War, Julia Ward
Howe, then not widely known as a
poet, had visited the army of the
Potomac and there she saw the COM
lmotion of war, the bodies of shattered,
lives sacrificed and in the distance
the watch fires of a hundred circling
camps" cleaned in the darkness. An
attack of the enemy interrupted the
program and the return drive was
made through files of soldiers. To
beguile their tedious journey, Mrs.
Howe and her friends sang army songs,
among others fJohn Brown Bodv',.
This seemed to please the soldiers and
they themselves took up the strain.
Our poet had often wished to write
words to be sung to this tune and now
indeed had she ''read fiery gospel
writ in FURNISHED rows of steel". She
slept quietly that night-but waking
before dawn, found herself weaving to-
gether the lines of poem capable of
being sung to the ffJohn Browns tune.
Line after line, verse after verse fell
into place and Mrs. Howe fearing thew
would fade from her mind, sprang out
of bed and in the gray half light hastily
wrote ner own verses, went back to
bed and fell asleep. It was then cal
led The Battle Hymn of the Republic.
Florence Howe Hall says, ''The Soul of
the vast Army of the American peo-
Iple, struggling for utterance In the
greatest crisis of its existence, at
last found voice to express its
meaning and its aspiration-the voice
of woman - voice that will ever
make the music of patriots ''While
God is Marching on''.
It is simple but dignifed, full of
vigor and is worthy of being the i'm
perishable war song of Christian
Nation.
America -
" America" is not national enough
to suit our present temperament.
There used to be something inspiring
in the thought that the three great
branches of the Teutonic race, Ameri-
can, British and German, were singing
their patriotic sentiment to the same
tune though in different words, but
such an international concert is now
out of the question. It would be de-
cidedly annoying to be caught nova
days, as sometimes we used to be, ris-
ing and taking off our hats at stHeiI
dir i'm Siegerkranz' on the SUPPOSE
ton that the band was playing f'Amer-
ica'.
Goodbye Broadway, Hello Franco
Goodbye Broadway, Hello France"
was written on the impulse of the mo-
ment. Francis Raisner said to his
partner, William Basket: Billy have
a great. title for a patriotic song.
"What is it'', Basket askedf The
answer was "Goodbye Broadway, Hello
France. The construction of the song
began that very moment, declares Mr..
Basket for the title sounded wonder
full to me. Perhaps I worked under
that inspiration.
where Do We Go From Here's
America IS barrage of melody would
lack much Of its power to stimulate
hopeful enthusiasm, if Howard John
son had not written his "Where do we
go From Here9" The cheerful devil
may care spirit of the Anglo Saxon
soldier expressed in the swinging words
and lifting air of the song, has led
to its being called "America 8 Upper
ary". Mr.. Johnson wanted to get a
happy go lucky song that would take
the boys minds off the war. A man
who is going to the front often wants
to leave the thought of war behind
him for while. So the first two
stanzas are written around Broadway
cabman and he made the refrain one
that everybody on Broadway knew
and used with smile, s'Where do we
go From Here7" Most of the men
who sung Johnson song didn It in the
least know where they were going,
whether they were headed for train
ing camp in the east, south or west or
whether they were going direct to
France and of course when they go to
France, they knew, if possible still less
about their goal. This song had ira
gic use. When our heroic soldiers, leap
ing from the doomed Tuscania TO their
death, into the angry Irish sea, shouted
''Where do we go From Here, Boys,
Where do we go From Here"?