Marching Through Georgia

For the S. M. Stirling novel, see Marching Through Georgia (novel).

Original 1865 sheet music cover of "Marching Through Georgia" by S. Brainard Sons.

"Marching Through Georgia" is an American Civil War-era marching song written and composed by Henry Clay Work in 1865. It is sung from the perspective of a Union soldier who had participated in Sherman's March to the Sea; he looks back on the momentous triumph after which Georgia became a "thoroughfare for freedom" and the Confederacy was left on its last legs.

Work made a name for himself in the Civil War for penning heartfelt, rousing tunes that reflected the Union's struggle and progress. The popular publishing house Root & Cady employed him in 1861—a post he maintained throughout the war. Following the March to the Sea, the Union's pivotal triumph that left Confederate resources in tatters and civilians in anguish, Work was inspired to write a commemorative song which would become the campaign's unofficial theme tune, "Marching Through Georgia".

The song was released in January 1865 to widespread success. One of few Civil War compositions that withstood the war's end, it cemented a place in veteran reunions and marching parades. Today, "Marching Through Georgia" is ingrained into Georgia's identity, even though some residents look upon it with contempt for glorifying Maj. Gen. William T. Sherman's annihilative campaign. Sherman himself, to whom the song is dedicated, famously grew to despise it after being subjected to its strains in every public gathering he attended.

"Marching Through Georgia" lent the tune to numerous partisan hymns such as "Billy Boys" and "The Land". Beyond the United States, troops from all over the world have adopted it as a marching standard, from the Japanese in the Russo–Japanese War to the British in World War Two. Many musicologists consider the song the most fruitful of Work's career and among the most iconic of the Civil War.

Background

Work as a songwriter

Unionist composer Henry Clay Work who wrote "Marching Through Georgia" and many other prolific patriotic songs.

Henry Clay Work (1832–1884) was a printer by trade, operating in Chicago since 1855. However, his true passion rested in songwriting, which he had cultivated a deep penchant for as a child. After years of submitting poems to local newspapers, he published a complete song for the first time in 1853. Eight years later, the American Civil War broke out, launching his songwriting ventures into a "fecund" career. That year, Work signed up for a post at Root & Cady, the then-most popular publishing firm. George F. Root, its director, was soundly impressed by his song submission "Kingdom Coming" and promptly assigned him the post.

Music was of utmost importance in the Civil War; Journalist Irwin Silber comments: "soldiers and civilians of the Union states were inspired and propagandized by a host of patriotic songs." Work, a Northerner, delivered, penning 25 pro-Union songs from 1861 to 1865. Their "intense partisanship" is owed to Work's devout allegiance to the Union cause, itself rooted in his abolitionist background. As a child, he passed much time among freed slaves in the Underground Railroad, on which the family home was situated. The young Work soon came to despise slavery; his wartime compositions impart this sentiment.

Work is commended for communicating the feelings of Union civilians through music. The New Grove Dictionary of Music and Musicians notes: "More than perhaps any other songwriter Work captured the deeply felt emotions of the Civil War [...]" For instance, the minstrel tune "Kingdom Coming" accompanied African American troops marching down South, and "The Song of a Thousand Years" consoled civilians at the height of Confederate progress in the Battle of Gettysburg. This sense of empathy along with his mastery of melody fueled one of the most successful songwriting careers in the war.

"Marching Through Georgia", penned at the war's eve, marked the apex of Work's career up to that point. Released on January 9, 1865, it commemorates the March to the Sea, a defining Union triumph that had taken place a few weeks prior. The song is dedicated to the campaign's mastermind, Maj. Gen. William T. Sherman. While other contemporary songs honored the march, such as H. M. Higgins's "General Sherman and His Boys in Blue" and S. T. Gordon's "Sherman's March to the Sea", Work's composition remains the best known. The term "March to Sea" itself originated in another musical composition, "Sherman's March to the Sea," by S. H. M. Byers.

The March to the Sea

Map of the March to the Sea, lasting from November 15 to December 21, 1864.

1868 engraving depicting the march's impact on Georgian civilians and territory by Alexander Hay Ritchie.

By September 1864 the Union looked set to win the war. Following three years of a bloody stalemate, Sherman's capture of Atlanta, a pivotal Southern city, proved a deliverance for the Northern cause. Sherman then eyed the coastal city of Savannah which, if captured, would split the Confederacy in half. In late September the plan was finalized and Maj. Gen. Ulysses S. Grant eventually gave his assent.

On November 15 62,000 Union troops left Atlanta and commenced the March to the Sea. The South was caught off guard and never managed to muster effective resistance. As such, progress was smooth and nigh undisturbed. Sherman recalls in his memoirs: "[Maj. Gen. Hardee, his main rival, had] not forced us to use anything but a skirmish-line, though at several points he had erected fortifications and tried to alarm us by bombastic threats." After a series of minor skirmishes and just two notable engagements, at Griswoldville and Fort McAllister, the Union army moved into Atlanta on December 21. This ended the March to the Sea. Five months later, the war's Western theater closed.

The march bore two immediate impacts on the South. Firstly, troops left destruction and paucity in their tracks as they scavenged the land for food and resources and laid waste to public buildings and infrastructure. This fit Sherman's strategy—to persuade Southerners that the war was not worth supporting anymore. Secondly, it inspirited Southern slaves to flee to freedom. Over 14,000 joined Sherman's troops in Georgia with brisk enthusiasm once they passed near their native plantation, cementing the campaign as a milestone of emancipation.

Author David J. Eicher writes of the March to the Sea: "Sherman had accomplished an amazing task. He had defied military principles by operating deep within enemy territory and without lines of supply or communication. He had destroyed the South's potential and psychology to wage war." A pioneering use of psychological warfare and total war, the destruction wrought by Sherman's troops terrorized the South. Civilians whose territory and resources was being ravaged before their eyes grew so appalled at the conflict that their will to fight on dissipated, as Sherman had intended. The march further crippled the Southern economy, incurring losses of approximately $100 million. In historian Herman Hattaway's words, it "[knocked] the Confederate war effort to pieces."

Composition

Original lyrics

Bring the good old bugle boys! we'll sing another song,
Sing it with a spirit that will start the world along;
Sing it as we used to sing it fifty thousand strong,
While we were marching through Georgia.

CHORUS
"Hurrah! Hurrah! we bring the Jubilee!
Hurrah! Hurrah! the flag that makes you free!"
So we sang the chorus from Atlanta to the sea,
While we were marching through Georgia.

How the darkeys shouted when they heard the joyful sound!
How the turkeys gobbled which our commissary found!
How the sweet potatoes even started from the ground,
While we were marching through Georgia.

(CHORUS)

Yes, and there were Union men who wept with joyful tears,
When they saw the honor'd flag they had not seen for years;
Hardly could they be restrained from breaking forth in cheers,
While we were marching through Georgia.

(CHORUS)

"Sherman's dashing Yankee boys will never reach the coast!"
So the saucy rebels said, and 'twas a handsome boast,
Had they not forgotten, alas! to reckon with the host,
While we were marching through Georgia.

(CHORUS)

So we made a thoroughfare for Freedom and her train,
Sixty miles in latitude—three hundred to the main;
Treason fled before us for resistance was in vain,
While we were marching through Georgia.

(CHORUS)

Henry Clay Work

Lyrical analysis

"Marching Through Georgia" is chanted from a Union soldier's point of view. He had taken part in the March to the Sea and now recounts the campaign's triumphs and their ruinous repercussions on the Confederacy. The song comprises five stanzas and a refrain—the verse–chorus structure Work helped pioneer. A soloist is intended to sing the individual stanzas, and a joint choir of soprano, alto, tenor and bass accompanies the solo voice for the chorus. The original sheet music arranges a piano accompaniment to be performed during the song.

"Marching Through Georgia" sung by Harlan & Stanley in 1904.

The first stanza commences with a rallying cry for Sherman's troops. Curiously, it underrepresents their number as 50,000; in fact, over 60,000 took part in the march. The chorus alludes to the Jubilee in biblical antiquity, a semicentennial rite freeing certain servants from bondage after 49 years of toil. In the Civil War context, the allusion symbolizes the end of African-American servitude and the advent of a new life of freedom; this metaphor recurs in Work's 1862 piece "Kingdom Coming". The second stanza extends the theme of emancipation: "How the darkeys shouted when they heard the joyful sound!" Many modern renditions of the song omit the second stanza entirely.

A retelling of Southern Unionists' celebration of the Northern troops defines the subsequent stanza; they "[weep] with joyful tears / When they [see] the honor'd flag they had not seen for years." Work's mastery of the comic genre, also reflected in "Kingdom Coming", is imbued in the fourth stanza, where the Confederates who had scoffed at Sherman's campaign now see their worst wishes come to light. The final stanza celebrates the success of the march, after which "treason fled before [the Union troops] for resistance was in vain".

Historian Christian McWhirter evaluates the song's lyrical and thematic framework:

On the surface, it celebrated Sherman's campaign from Atlanta to Savannah; but it also told listeners how to interpret Union victory. Speaking as a white soldier, Work turned the targeting of Confederate civilian property into a celebration of unionism and emancipation. Instead of destroyers, Union soldiers became deliverers for slaves and southern unionists. Georgia was not left in ruins but was converted into 'a thoroughfare for freedom.'

General analysis

Like much of Work's wartime catalog, "Marching Through Georgia" captures contemporary attitudes among Northern civilians—in this case, jubilation over Sherman's fruitful campaign. It fulfilled their demand for a celebratory patriotic hymn. Accordingly, the song imparts passionate patriotism and American pride, such that it "rubbed Yankee salt into one of the sorest wounds of the Civil War", in musicologist Sigmund Spaeth's words. Numerous writers correlate this patriotism with Work's background in an abolitionist family.

"Marching Through Georgia" was one of few wartime compositions to outlast the conflict. Civilians had grown tired of war, mirrored by the short-lasting fame of "Tramp! Tramp! Tramp!", an anthem known to the entire Union that nonetheless left the spotlight after 1865. In his autobiography published 26 years after Work drafted the song, George F. Root explains its unique postbellum popularity:

It is more played and sung at the present time than any other song of the war. This is not only on account of the intrinsic merit of its words and music, but because it is retrospective. Other war songs, "The Battle Cry of Freedom" for example, were for exciting the patriotic feeling on going in to the war or the battle; "Marching Through Georgia" is a glorious remembrance on coming triumphantly out, and so has been more appropriate to soldiers' and other gatherings ever since.

Legacy

Postbellum

Maj. Gen. William T. Sherman, to whom "Marching Through Georgia" is dedicated.

"Marching Through Georgia" quickly cemented itself as a Civil War icon. Selling 500,000 copies of sheet music within 12 years, it became one of the most successful wartime tunes and Work's most profitable hit up to that point. Music biographer David Ewen regards it as "the greatest of his war songs," and Carl S. Lowden deems it his very best work, in part owing to its "soul-stirring" production and longevity. Today, it is nigh synonymous with the state of Georgia.

Writer Edwin Tribble opines that Work's postbellum fame, the little he had, rested solely on the success of "Marching Through Georgia", citing a letter he wrote to his long-time correspondent Susie Mitchell: "It is really surprising that I have excited so much curiosity and interest here [at an annual encampment of the Grand Army of the Republic], not only among romantic young women but among all classes. My connection with 'Marching Through Georgia' seems to be the cause." In fact, starting from the 1880s, the song predominated Northern veteran gatherings.

Sherman himself came to loathe "Marching Through Georgia" because of its ubiquity in the North, being performed at every public function he attended. When he reviewed the national encampment of the GAR in 1890, the hundreds of bands present played the tune every time they passed him for an unbroken seven hours. Eyewitnesses claim that "his patience collapsed and he declared that he would never again attend another encampment until every band in the United States had signed an agreement not to play 'Marching Though Georgia' in his presence." He lived up to his promise. The song pursued Sherman even after his death, as it was played at his funeral.

"Marching Through Georgia" does not share the same popularity in the nation's other half. Irwin Silber deems it the most despised Unionist song in the South owing to it evoking a devastated Georgia at the hands of Sherman's frantic army. Accordingly, Tom Dolan writes in a 1908 edition of The Jeffersonian: "Georgia will not forget [the march], nor will her Southern sisters be unmindful of the anguish of that relentless pillage." Two incidents—both at a Democratic National Convention—exemplify Georgia's contempt for the song. In the 1908 convention, Georgia was one of the few states not to send its delegates to the eventual victor William Jennings Bryan; the band insultingly played "Marching Through Georgia" to express the convention's disapproval. A similar incident sparked in 1924. When tasked to play a fitting song for the Georgia delegation, the convention's band broke into Work's piece; music historian John Tasker Howard remarks: "[...] when the misguided leader, stronger on geography than history, swung into Marching Through Georgia, he was greeted by a silence that turned into hisses and boos noisier than the applause he had heard before."

Military/Nationalist uses

"Marching Through Georgia" is a staple of marching bands. While quintessentially American, it has been performed by armed forces across the world. Japanese troops sang it as they entered Port Arthur at the Russo–Japanese War's onset; it had previously been used by the local Salvation Army in the late 1880s. In World War Two British troops stationed in India periodically chanted it.

The song's melody has been adapted into numerous regional military and nationalist anthems. Shortly after the Advance on Pretoria of the Second Boer War, British soldiers commemorated their victory with "Marching on Pretoria". Finnish civilians distraught at the conduct of the frigate Toivo's captain adopted it into a protest song, "Laiva Toivo, Oulu". Charlie Oaks set the tune to "Marching Through Flanders", detailing the American intervention in Belgium during World War One. The Princeton football fight song "Nassau! Nassau!" also borrowed the melody of Work's composition. Its most notable adaptation is the controversial pro-Ulster hymn "Billy Boys", with the chorus:

Hello, hello, we are the Billy boys,
Hello, hello, you'll know us by our noise,
We're up to our knees in Fenian blood,
Surrender or you'll die,
For we are the Brigton Derry boys.

Political uses

Both major candidates in the 1896 U.S. presidential election, William McKinley and William Jennings Bryan, featured songs sung to the tune of "Marching Through Georgia" in their campaign. The melody of "Paint 'Er Red", a commonplace pro-labor tune of the Industrial Workers of the World, is based on the song. Above all, the piece is of Liberal significance in the United Kingdom, lending the tune of future prime minister David Lloyd George's campaign song "George and Gladstone", as well as the Liberal Democrats' de facto anthem, "The Land". The latter is a Georgist protest song calling for the equal distribution of land among the British public, with the refrain:

The land! the land! 'twas God who gave the land!
The land! the land! the ground on which we stand,
Why should we be beggars, with the ballot in our hand?
"God gave the land to the people!"

Other uses

Several films have employed Work's piece. A carpetbagger in the epic Gone with the Wind (1939) chants its chorus while trying to steal Tara from Scarlett O'Hara. The western Shane (1953) features Wilson briefly performing the song on a harmonica, and in the western El Dorado (1966), Bull proclaims in response to being shot and asked to provide cover: "Well, just give me another gun and I'll play 'Marching Through Georgia'." The alternate history novels Marching Through Georgia (1988) and Bring the Jubilee reference the lyrics in their titles.

Bibliography

Books

• Carder, P. H. (2008). George F. Root, Civil War Songwriter: A Biography. Jefferson, North Carolina: McFarland & Company, Inc. ISBN 978-0-7864-3374-2.
• Creiger, Wayne (1976). Bounder from Wales. Columbia, Missouri; London, England: University of Missouri Press. ISBN 0-8262-0203-9.
• Eicher, David J. (2001). The Longest Night: A Military History of the Civil War. New York City, New York: Simon & Schuster. ISBN 0-684-84944-5.
• Erbsen, Wayne (2000). Rousing Songs and True Tales of the Civil War. Pacific, Missouri: Mel Bay Publications. ISBN 978-1-883206-33-8.
• Ewen, David (1962). Popular American Composers from Revolutionary Times to the Present: A Biographical and Critical Guide. New York City, New York: H. W. Wilson Company, Inc. ISBN 978-0824200404.
• Finson, Jon W. (1994). The Voices That Are Gone: Themes in Nineteenth-Century American Popular Song. New York City, New York: Oxford University Press. ISBN 0-19-505750-3.
• Foner, Philip S. (1975). American Labor Songs of the Nineteenth Century. Chicago, Illinois: University of Illinois Press. ISBN 0-252-00187-7.
• Green, Archie; Roediger, David; Rosemont, Franklin; Salerno, Salvatore, eds. (2016). Big Red Songbook. Chicago, Illinois: Charles H. Kerr Publishing Company. ISBN 978-1-62963-129-5.
• Hattaway, Herman; Jones, Arthur (1991). How the North Won: A Military History of the Civil War (2 ed.). Chicago, Illinois: University of Illinois Press. ISBN 0-252-06210-8.
• Howard, John T. (1946). Our American Music: Three Hundred Years of It (3rd ed.). New York: Thomas Y. Crowell Company.
• Kaukiainen, Yrjö (1998). Laiva Toivo, Oulu (in Finnish). Helsinki, Finland: Suomalaisen Kirjallisuuden Seura. ISBN 951-746-026-0.
• Kelley, Bruce C.; Snell, Mark A. (2004). Bugle Resounding: Music and Musicians of the Civil War Era. Columbia, Missouri: University of Missouri Press. ISBN 0-8262-1538-6.
• Kimura, Seiya (1987). Soeda Azenbō, Tomomichi: Enka nidai fūkyōden (Shirīzu minkan Nihon gakusha) (in Japanese). Tokyo, Japan: Riburo Pōto. ISBN 978-4845702718.
• McWhirter, Christian (2012). Battle Hymns: The Power and Popularity of Music in the Civil War. Chapel Hill, North Carolina: University of North Carolina Press. ISBN 978-0-8078-3550-0.
• Moore, Ward (2009). Bring the Jubilee. Wildside Press. ISBN 978-1434478535.
• Root, George F. (1891). The Story of a Musical Life: An Autobiography by Geo F. Root. Cincinnati, Ohio: The John Church Co. ISBN 978-1-4047-8329-4.
• Sadie, Stanley; Tyrrell, John, eds. (2001). The New Grove Dictionary of Music and Musicians. Vol. 27 (2 ed.). New York City, New York: Macmillan Publishers. ISBN 1-56159-239-0.
• Sherman, William T. (1875). Memoirs of General William T. Sherman. Vol. 2. New York City, New York: D. Appleton and Company. ISBN 978-0-306-80213-3.
• Silber, Irwin (1995). Songs of the Civil War. Mineola, New York: Dover Publications. ISBN 0-486-28438-7.
• Spaeth, Sigmund (1948). A History of Popular Music in America. New York: Random House.
• Stirling, Stephen M. (1988). Marching Through Georgia. Baen Books. ISBN 978-0671654078.
• Work, Henry C. (1884). Work, Bertram G. (ed.). Songs of Henry Clay Work. New York City, New York: Little & Ives.

Studies and journals

• Birdseye, George (1879). "America's Song Composers: IV. Henry Clay Work". Potter's American Monthly. 12 (88): 284–288 – via Internet Archive.
• Drago, Edmund L. (1973). "How Sherman's March Through Georgia Affected the Slaves". The Georgia Historical Quarterly. 57 (3): 361–375. JSTOR 40579903.
• Epstein, Dena J. (1944). "Music Publishing in Chicago before 1871: The Firm of Root & Cady, 1858-1871". Notes. 1 (4): 43–59. doi:10.2307/891291. JSTOR 891291.
• Harpine, William D. (2004). "'We Want Yer, McKinley': Epideictic Rhetoric in Songs from the 1896 Presidential Campaign". Rhetoric Society Quarterly. 34 (1): 73–88. doi:10.1080/02773940409391274. JSTOR 40232421.
• Hill, Richard S. (1953). "The Mysterious Chord of Henry Clay Work". Notes. 10 (2): 211–225. doi:10.2307/892874. JSTOR 892874.
• Osborn, George C. (1950). "The Atlanta Campaign, 1864". The Georgia Historical Quarterly. 34 (4): 361–375. JSTOR 40577246.
• Rhodes, James Ford (1901). "Sherman's March to the Sea". The American Historical Review. 6 (3): 466–474. doi:10.2307/1833511. JSTOR 1833511.
• Sellers, James L. (1927). "The Economic Incidence of the Civil War in the South". The Mississippi Valley Historical Review. 14 (2): 179–191. doi:10.2307/1895946. JSTOR 1895946.
• Steinle, John (2008). "'Shall the People Rule?': Denver Hosts the Democrats, 1908". Colorado Heritage Magazine. 28 (3) – via Colorado Encyclopedia.
• Tribble, Edwin (1967). "'Marching Through Georgia'". The Georgia Review. 21 (4): 423–429. JSTOR 41396391.

News articles

• Dolan, Tom (July 16, 1908). "News and Views of Things: 'Marching Through Georgia!'". The Jeffersonian. p. 13. Retrieved September 6, 2024.
• Ivey, David. "War is Marching Our Way: The General Hated His Theme Song". The Fayetteville Observer. Retrieved September 6, 2024.
• Lowden, Carl S. (August 7, 1920). "Stories of Old Home Songs: Marching Through Georgia". Dearborn Independent. p. 9. Retrieved September 6, 2024.
• McCray, Florine Thayer (January 19, 1898). "About Henry Clay Work". New Haven Morning Journal and Courier. p. 10. Retrieved June 29, 2024.
• Watson, J. D. (October 29, 1908). "Editorial Notes". The Jeffersonian. p. 12. Retrieved September 6, 2024.
• "Famous Songs and their History: No. 5—Marching Through Georgia—By Henry C. Work". Salt Lake Herald Republican. August 15, 1909. p. 21. Retrieved June 30, 2024.
• "Irish FA bans 'Billy Boys' song for Linfield fans". BBC Sport. April 16, 2014. Retrieved September 6, 2024.
• "The bitter divide". BBC News. June 2, 1999. Retrieved September 6, 2024.

Websites

• Bailey, Anne J. (2020). "Sherman's March to the Sea". New Georgia Encyclopedia. Retrieved September 6, 2024.
• Davis, Stephen (2018). "Atlanta Campaign". New Georgia Encyclopedia. Retrieved September 7, 2024.
• IMDB (1953). "Shane". IMDB. Retrieved September 7, 2024. Quotes by Stonewall Torrey.
• IMDB (1966). "El Dorado". IMDB. Retrieved September 7, 2024. Quotes by Bull Harris.
• Marzalek, John F. (2021). "Sherman's March to the Sea". American Battlefield Trust. Retrieved September 8, 2024.
• Myers, Barton (2020). "Sherman's Field Order No. 15". New Georgia Encyclopedia. Retrieved September 6, 2024.
• Tome, Vanessa P. (2021). "'Marching through Georgia'". New Georgia Encyclopedia. Retrieved September 6, 2024.
• Whitehead, Andrew (May 1, 2011). "God Gave the Land to the People: the Liberal 'Land Song'". History Workshop. Retrieved September 6, 2024.

Songs

• Colquhoun, Ian (1903). Marching on Pretoria (Record). Zonophone – via flatinternational.
• Oaks, Charlie (1925). The Kaiser And Uncle Sam / Marching Through Flanders (Record). Vocalion – via Discogs.

External links

General

• Commentary on "Marching Through Georgia" by Kelley L. Ross.
• Sheet music of "Marching Through Georgia" by Sheet Music Singer.
• Additional information on Sherman's March to the Sea on the American Battlefield Trust.

Recordings

• Recording by Tennessee Ernie Ford on his 1961 album Songs of the Civil War.
• Recording by the 97th Regimental String Band on their 1990 album Battlefields and Campfires: Civil War Era Songs, Vol. I.
• Recording by Jon English on his 2002 album Over There: Songs From America's Wars.
• Instrumental by the U.S. Marine Band on their 2011 album The Heritage of John Philip Sousa: Volume 7.
• Piano instrumental by Forte Republic as part of their series of piano renditions of Civil War songs.
• Medley with "Sherman Will March to the Sea" by the Lansdowne Orchestra on their 1960 album The Blue and the Grey.