Sacred to one and all—in the Dixie of yesterday, in the southern half of the cemented Union of to-day—is the memory of that past. Sweet and bitter commingled, as it is, we clasp it to our heart of hearts and know—that were it bitterer a thousand fold—it is ours still! So I may not leave the field of southern song, unnoting its noblest strain—its funeral hymn! Father Ryan's "Conquered Banner" is so complete in fulfillment of its mission, that we can not spare one word, while yet no word is wanting! Every syllable there finds it echo far down in every southern heart. Every syllable has added significance, as coming from a man of peace;—a priest of that church which ever held forth free and gentle hand to aid the cause of struggling freedom!
In hottest flashings of the fight; in toilsome marches of winter; in fearful famine of the trenches—the Catholic soldiers of the Confederacy ever acted the motto of the Douglas; their deeds ever said—"Ready! aye, ready!"
And, in fetid wards of fever hospital; in field-tents, where the busy knife shears through quivering flesh; on battle-ground, where shattered manhood lies mangled almost past semblance of itself; at hurried burial, where gory blanket, or rough board, makes final rest for some "Hero without a name;"—there ever, and ever tender and tireless, the priest of Rome works on his labor of love and consolation! And the gentlest daughter of the eldest church was there as well. All southern soldiers were brothers, in her eyes; children of the One Father. And that noble band of Sisters of Mercy—to which our every woman belonged; giving light and hope to the hospital, life itself to the cause—that band knew no confines of ministry—no barriers of faith, which made charity aught but one common heritage!
Over the border, too; in struggling Maryland, in leaguered Missouri, and far into the North, the Catholic clergy were friends of the southern cause. They ceased never openly to defend its justice; quietly to aid its sympathizers. They helped the self-exiled soldier to bear unaccustomed hardships, on the one side; carried to his lonely mother, on the other, tidings of his safety, or his glory, that "caused the heart of the widow to sing for joy!"
Fitting, then, it was that a father of that church should chant the requiem for the dead cause, he had loved and labored for while living; that Father Ryan should bless and bury its conquered banner, when the bitter day came that saw it "furled forever."
But is that proud flag—with the glory and the pride wrought into its folds, by suffering, honor and endurance unexcelled—really "furled forever?" The dust of centuries may sift upon it, but the moth and the mold may harm it not. Ages it may lie, furled and unnoted; but in her own good time, historic Justice shall yet unfold and throw it to the breeze of immortality; pointing to each glorious rent and to each holy drop that stains it!
The war-poetry of the South has been dwelt upon, perhaps, at too great length. But it was, in real truth, the literature of the South. To sum it up may be repeated, after a lapse of twenty-five years—that sentence from the preface to my "South Songs," which raised such ire among irreconcilables of the southern press:—"In prose of all kinds, the South stood still, during the war; perhaps retrograded. But her best aspiration, 'lisped in numbers, for the numbers came!'"
Even then her poetry proved that there was life—high, brave life—in the old land yet; even then it gave earnest that, when the bitter struggle for bread gave time for thought, reason and retrospect, southern literature would rise, in the might of a young giant, and shake herself wholly free from northern domination and convention.
In art and her twin sister, music, the South displayed taste and progress truly remarkable in view of the absorbing nature of her duties. Like all inhabitants of semi-tropic climes, there had ever been shown by her people natural love and aptitude for melody. While this natural taste was wholly uncultivated—venting largely in plantation songs of the negroes—in districts where the music-master was necessarily abroad, it had reached high development in several of the large cities. Few of these were large enough, or wealthy enough, to support good operas, which the wealth of the North frequently lured to itself; but it may be recalled that New Orleans was genuinely enjoying opera, as a necessary of life, long before New York deemed it essential to study bad translations of librettos, in warmly-packed congregations of thousands.
Mobile, Charleston, Savannah and other cities also had considerable latent music among their amateurs; happily not then brought to the surface by the fierce friction of poverty. And what was the musical talent of the Capital, has elsewhere been hinted. When the tireless daughters of Richmond had worked in every other way, for the soldiers themselves, they organized a system of concerts and dramatic evenings for benefit of their families. At these were shown evidences of individual excellence, truly remarkable; while their average displayed taste and finish, which skilled critics declared would compare favorably with any city in the country.