Immortal Songs of Camp and Field

    – Francis Scott Key.
No song could have had a more inspiring source of creation than did this. Its author, Mr. Francis Scott Key, was a young lawyer who left Baltimore in September, 1814, while the war of 1812 was yet going on, and under a flag of truce visited the British fleet for the purpose of obtaining the release of a friend of his, a certain Doctor Beanes, who had been captured at Marlborough. After his arrival at the fleet he was compelled to remain with it during the bombardment of Fort McHenry, as the officers were afraid to permit him to land lest he should disclose the purposes of the British. Mr. Key remained on deck all night, watching every shell from the moment it was fired until it fell, and listening with breathless interest to hear if an explosion followed. The firing suddenly ceased before day, but from the position of the ship he could not discover whether the fort had surrendered or the attack had been abandoned. He paced the deck for the remainder of the night in painful suspense, watching with intense anxiety for the return of day, and looking every few minutes at his watch to see how long he must wait for it; and as soon as it dawned, and before it was light enough to see objects at a distance, his glass was turned to the fort, uncertain whether he should see there the Stars and Stripes or the flag of the enemy. At length the light came, and he saw that “our flag was still there;” and as the day advanced he discovered from the movement of the boats between the shore and the fleet that the English troops had been defeated, and that many wounded men were being carried to the ships. At length Mr. Key was informed that the attack on Baltimore had failed, and he with his friend was permitted to return home, while the hostile fleet sailed away, leaving the Star-Spangled Banner still waving from Fort McHenry.

During the intense anxiety of waiting for dawn, Mr. Key had conceived the idea of the song and had written some lines, or brief notes that would aid him in calling them to mind, upon the back of a letter which he happened to have in his pocket. He finished the poem in the boat on his way to the shore, and finally corrected it, leaving it as it now stands, at the hotel, on the night he reached Baltimore, and immediately after he arrived. The next morning he took it to Judge Nicholson, the chief justice of Maryland, to ask him what he thought of it; and he was so pleased with it that he immediately sent it to the printer, Benjamin Edes, and directed copies to be struck off in handbill form. In less than an hour after it was placed in the hands of the printer it was all over the town, and hailed with enthusiasm, and at once took its place in the national songs. The first newspaper that printed it was the American, of Baltimore.

The tune, which has helped so much to make it famous, also had an interesting selection. Two brothers, Charles and Ferdinand Durang, were actors at the Holliday Street Theater in Baltimore, but were also soldiers. A copy of Francis Key’s poem came to them in camp; it was read aloud to a company of the soldiers, among whom were the Durang brothers. All were inspired by the pathetic eloquence of the song and Ferdinand Durang at once put his wits to work to find a tune for it. Hunting up a volume of flute music which was in one of the tents, he impatiently whistled snatches of tune after tune, just as they caught his quick eye. One, called Anacreon in Heaven, struck his fancy and riveted his attention. Note after note fell from his puckered lips until, with a leap and shout, he exclaimed, “Boys, I’ve hit it!” And fitting the tune to the words, there rang out for the first time the song of The Star-Spangled Banner. How the men shouted and clapped; for there never was a wedding of poetry to music made under more inspiring influences! Getting a brief furlough, the Durang brothers sang it in public soon after. It was caught up in the camps, and sung around the bivouac fires, and whistled in the streets, and when peace was declared, and the soldiers went back to their homes, they carried this song in their hearts as the most precious souvenir of the war of 1812.

The song bears evidence of the special incident to which it owes its creation, and is not suited to all times and occasions on that account. To supply this want, additional stanzas have, from time to time, been written. Perhaps the most notable of all these is the following stanza, which was written by Oliver Wendell Holmes, at the request of a lady, during our civil war, there being no verse alluding to treasonable attempts against the flag. It was originally printed in the Boston Evening Transcript.

“When our land is illumined with liberty’s smile,
If a foe from within strike a blow at her glory,
Down, down with the traitor who dares to defile
The flag of her stars and the page of her story!
By the millions unchained
Who their birthright have gained
We will keep her bright blazon forever unstained;
And the star-spangled banner in triumph shall wave
While the land of the free is the home of the brave.”

The air selected under such interesting circumstances as we have described —Anacreon in Heaven, – is that of an old English song. In the second half of the eighteenth century a jovial society, called the “Anacreontic,” held its festive and musical meetings at the “Crown and Anchor” in the Strand. It is now the “Whittington Club;” but in the last century it was frequented by Doctor Johnson, Boswell, Sir Joshua Reynolds and others. One Ralph Tomlinson, Esq., was at that time president of the Anacreontic Society, and wrote the words of the song adopted by the club, and John Stafford Smith set them to music, it is claimed to an old French air. The song was published by the composer, and was sold at his house, 7 Warwick Street, Spring Garden, London, between the years 1770-75. Thus the source of the music so long identified with this inspiring song is swallowed up in the mystery of the name of Smith.

The flag of Fort McHenry, which inspired the song, still exists in a fair state of preservation. It is at this time thirty-two feet long and of twenty-nine feet hoist. In its original dimensions it was probably forty feet long; the shells of the enemy, and the work of curiosity hunters, have combined to decrease its length. Its great width is due to its having fifteen instead of thirteen stripes, each nearly two feet wide. It has, or rather had, fifteen five-pointed stars, each two feet from point to point, and arranged in five indented parallel lines, three stars in each horizontal line. The Union rests in the ninth, which is a red stripe, instead of the eighth, a white stripe, as in our present flag. There can be no doubt as to the authenticity of this flag. It was preserved by Colonel Armstead, and bears upon its stripes, in his autograph, his name and the date of the bombardment. It has always remained in his family and in 1861 his widow bequeathed it to their youngest daughter, Mrs. William Stuart Appleton, who, some time after the bombardment, was born in Fort McHenry under its folds. She was named Georgians Armstead for her father, and the precious flag was hoisted on its staff in honor of her birth. Mrs. Appleton died in New York, July 25, 1878, and bequeathed the flag to her son, Mr. Eben Appleton, of Yonkers, New York, who now holds it.

The Star-Spangled Banner has come out of the Spanish War baptized with imperishable glory. Throughout the war it has been above all others, in camp or on the battlefield, the song that has aroused the highest enthusiasm. During the bombardment of Manila the band on a British cruiser, lying near the American fleet, played The Star-Spangled Banner, thus showing in an unmistakable way their sympathy with the American cause. In the trenches before Santiago it was sung again and again by our soldiers and helped, more than anything else, to inspire them to deeds of heroic valor. Once when the army moved forward in the charge, the man who played the E-flat horn in the band left his place and rushed forward with the soldiers in the attacking column. Of course the band’s place is in the rear. But this man, unmindful of everything, broke away and went far up the hill with the charge, carrying his horn over his shoulder, slung with a strap. For a time he went along unobserved, until one of the officers happened to see him. And he said to him, “What are you doing here? You can’t do anything; you can’t fight; you haven’t any gun or sword. This is no place for you. Get down behind that rock.” The soldier fell back for a minute, half dazed, and feeling the pull of the strap on his shoulder cried out in agony: “I can’t do anything, I can’t fight.” And so he got down behind the rock. But almost instantly he raised his horn and began to play The Star-Spangled Banner. They heard him down in the valley, and immediately the band took it up, and in the midst of those inspiring strains the army charged to victory.

HAIL COLUMBIA

Hail, Columbia! happy land!
Hail, ye heroes! heaven-born band!
Who fought and bled in Freedom’s cause,
Who fought and bled in Freedom’s cause,
And when the storm of war was gone,
Enjoy’d the peace your valor won.
Let independence be our boast,
Ever mindful what it cost;
Ever grateful for the prize,
Let its altars reach the skies.
Firm, united, let us be,
Rallying round our Liberty;
As a band of brothers join’d,
Peace and safety we shall find.

Immortal patriots! rise once more:
Defend your rights, defend your shore:
Let no rude foe, with impious hand,
Let no rude foe, with impious hand,
Invade the shrine where sacred lies
Of toil and blood the well-earn’d prize.
While offering peace sincere and just,
In Heaven we place a manly trust,
That truth and justice will prevail,
And every scheme of bondage fail.

Sound, sound, the trump of Fame!
Let WASHINGTON’S great name
Ring through the world with loud applause,
Ring through the world with loud applause;
Let every clime to Freedom dear,
Listen with a joyful ear.
With equal skill, and Godlike power,
He govern’d in the fearful hour
Of horrid war; or guides with ease,
The happier times of honest peace.

Behold the chief who now commands,
Once more to serve his country stands,
The rock on which the storm will beat;
The rock on which the storm will beat.
But, arm’d in virtue firm and true,
His hopes are fix’d on Heaven and you.
When hope was sinking in dismay,
And glooms obscured Columbia’s day,
His steady mind, from changes free,
Resolved on death or liberty.

    – Joseph Hopkinson.
Joseph Hopkinson, like Francis Scott Key, the author of The Star-Spangled Banner, was also a lawyer. He commenced the practice of law in Easton, Pennsylvania, but soon removed to Philadelphia, where he acquired high distinction at the bar. He was four years a member of Congress, and was afterward appointed judge of the United States District Court, an office held by his grandfather under the British Crown before the Revolutionary War, and to which his father had been chosen on the organization of the United States Judiciary in 1789. He retained this office until his death in 1842.

Mr. Hopkinson was still a young man, only twenty-eight years of age, when he wrote the song which will make his name honored as long as American liberty is remembered. It was in the summer of 1798, when a war with France was thought to be inevitable. Congress was in session in Philadelphia, discussing the advisability of a declaration of war, and many acts of hostility had actually occurred. England and France were at war already, and the people of the United States were divided into factions for the one side or the other. One party argued that policy and duty required Americans to take part with republican France; the other section urged the wisdom of connecting ourselves with England, under the belief that she was the great conservator of modern civilization, and that her triumph meant the rule of good principles and safe government. Both belligerents had been careless of our rights, and seemed to be forcing us from the just and wise policy of Washington, which was to maintain a strict and impartial neutrality between them. The prospect of a rupture with France was exceedingly offensive to that portion of the people who hoped for her success, and the violence of party spirit ran to the highest extreme.

Just at this time a young singer who was very popular in Philadelphia was to be given a benefit at one of the theaters. This young man was a school friend of Joseph Hopkinson. They had kept up their acquaintance after their school-days had passed, and one Saturday afternoon he called on Hopkinson to talk over with him his benefit which was announced for the following Monday. He said he had every prospect of suffering a loss instead of receiving a benefit from the performance; but that if he could get a patriotic song adapted to the tune of the President’s March, then the popular air, he would no doubt have a full house. The poor fellow was almost in despair about it, as the poets of the theatrical corps had been trying to accomplish it, and had come to the conclusion that no words could be composed to suit the music of that march. The young lawyer told his friend that he would try what he could do for him. He came the next afternoon, and the song, Hail Columbia, was ready for him. It was announced on Monday morning, and the theater was crowded to overflowing, and so continued, night after night, for the rest of the season. The excitement about it grew so great that the song was not only encored but had to be repeated many times each night, the audience joining in the chorus. It was also sung at night in the streets by large crowds of citizens, which often included members of Congress and other distinguished public officials. The enthusiasm spread to other cities and the song was caught up and reëchoed at all kinds of public gatherings throughout the United States.

The object of Mr. Hopkinson in writing the song, in addition to doing a kind deed for his friend and schoolmate, was to arouse an American spirit which should be independent of and above the interests, passions, and policy of both belligerents, and look and feel exclusively for our own honor and rights. For this reason no allusion was made to France or England, or to the war which was raging between them, or to our indignation as to their treatment of us. It was this prudence which gave the song its universal popularity. It found equal favor with both parties, for neither could disown the loyal sentiments it inculcated. It was so purely American, and nothing else, that the patriotic feelings of every American heart responded to it.

The President’s March, for which the poem was specially written and to which it was easily adapted, was composed in honor of President Washington, who then resided at 190 High Street, Philadelphia. The composer of the popular air was Philip Roth, a teacher of music. Not a great deal is left on record about him, but it is declared that he was a very eccentric character, familiarly known as “Old Roat.” It is also said that he took snuff immoderately. A claim has been set up for Professor Phyla, of Philadelphia, but the evidence favors Roth.

During the centennial year an autograph copy of Hail Columbia was displayed in the museum at Independence Hall, Philadelphia. This copy was written from memory, February 22, 1828, and presented to George M. Kein, Esq., of Reading, in compliance with a request made by him. This interesting manuscript has marginal notes, one of which informs us that the lines: —

“Behold the chief who now commands,
Once more to serve his country stands,
The rock on which the storm will beat;
The rock on which the storm will beat.
But, arm’d in virtue firm and true,
His hopes are fix’d on Heaven and you.
When hope was sinking in dismay,
And glooms obscured Columbia’s day,
His steady mind, from changes free,
Resolved on death or liberty,”

refer to John Adams, who was President of the United States at the time Hail Columbia was written. Mr. Hopkinson also presented General Washington with an autograph copy of his poem, and received from him a complimentary letter of thanks, which is now in possession of his descendants.