John Brown's Body - Knowledge

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multitude was unspeakable. I could hear the soughing of the winds in the pines beyond, but they had neither breath nor shade. The stench even where I stood was sickening. Because I had been a prisoner myself I no doubt pitied them the more. I guessed what they must endure, though I only dimly imagined the horrors of their fate. As I turned away the notes of song arose from the squalid mass. I paused and listened—listened to the very end of that most remarkable paean of self-sacrifice that ever inspired an army or a people to suffer and achieve for another's sake. When I went away in the gloaming that follows quick upon our sunset, the words went with me, and have never left my memory.

31: 301:; appearance of the hymn in this call-and-response setting with singing, clapping, stomping, dancing, and extended ecstatic choruses may have given impetus to the development of the well known "Glory hallelujah" chorus. Given that the tune was developed in an oral tradition, it is impossible to say for certain which of these influences may have played a specific role in the creation of this tune, but it is certain that numerous folk influences from different cultures such as these were prominent in the musical culture of the camp meeting, and that such influences were freely combined in the music-making that took place in the revival movement. 322: 183: 286: 599:

is an important feature of the oral folk music tradition that "Say, Brothers" and the "John Brown Song" were embedded in and no one would have begrudged their use or re-use of these folk materials. Some of those who claimed to have composed the tune may have had a hand in creating and publishing some of the perfectly legitimate variants or alternate texts that used the tune—but all certainly wanted a share of the fame that came with being known as the author of this very well known tune.

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company line, he was sure to be greeted with such expressions as "Come, old fellow, you ought to be at it if you are going to help us free the slaves"; or, "This can't be John Brown—why, John Brown is dead." And then some wag would add, in a solemn, drawling tone, as if it were his purpose to give particular emphasis to the fact that John Brown was really, actually dead: "Yes, yes, poor old John Brown is dead; his body lies mouldering in the grave."

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syllables are fit in by adding more dotted rhythms to the melody and by including four separate lines in each verse rather than repeating the first line three times. The result is that in these later versions the verse and the chorus became even more distinct rhythmically and poetically though still remaining identical in their underlying melodic profile.

407:, recently freed African-Americans and some white missionaries held a parade of 10,000 people, led by 3,000 Black children singing "John Brown's Body". The march honored 257 dead Union soldiers whose remains the organizers had reburied from a mass grave in a Confederate prison camp. This is considered the first observation of Decoration Day, now known as 271:

mid-1800s, the "Say, brothers" tune was incorporated into hymn and tune books and it was via this route that the tune became well known in the mid-1800s throughout the northern U.S. By 1861, "groups as disparate as Baptists, Mormons, Millerites, the American Sunday School Union, and the Sons of Temperance all claimed 'Say Brothers' as their own."

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Though Steffe may have played a role in creating the "Say, Bummers" version of the song, which seems to be a variant of and owe a debt to both "Say, Brothers" and "John Brown", Steffe couldn't have written the "Glory Hallelujah" tune or the "Say, Brothers" text, both of which had been circulating for

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We had a jovial Scotchman in the battalion, named John Brown ... and as he happened to bear the identical name of the old hero of Harper's Ferry, he became at once the butt of his comrades. If he made his appearance a few minutes late among the working squad, or was a little tardy in falling into the

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Specialists in nineteenth-century American religious history describe camp meeting music as the creative product of participants who, when seized by the spirit of a particular sermon or prayer, would take lines from a preacher's text as a point of departure for a short, simple melody. The melody was

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In the late 1800s, during the song's height of popularity, a number of other authors claimed to have played a part in the origin of the song. Some sources list Steffe, Bishop, Frank E. Jerome, and others as the tune's composer. Given the tune's use in the camp meeting circuits in the late 1700s and

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Some leaders of the battalion, feeling the words were coarse and irreverent, tried to urge the adoption of more fitting lyrics, but to no avail. The lyrics were soon prepared for publication by members of the battalion, together with publisher C. S. Hall. They selected and polished verses they felt

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Newspapers reported troops singing the song as they marched in the streets of Boston on July 18, 1861, and there was a "rash" of broadside printings of the song with substantially the same words as the undated "John Brown Song!" broadside, stated by Kimball to be the first published edition, and the

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It has been suggested that "Say Brothers, Will You Meet Us", popular among Southern blacks, already had an anti-slavery sub-text, with its reference to "Canaan's happy shore" alluding to the idea of crossing the river to a happier place. If so, that subtext was considerably enhanced and expanded as

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The tune and variants of the "Say, brothers" hymn text were popular in southern camp meetings, with both African-American and white worshipers, throughout the early 1800s, spread predominantly through Methodist and Baptist camp meeting circuits. As the southern camp meeting circuit died down in the

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circuit of the late 18th century and the 19th century. These meetings were usually held in frontier areas, when people who lacked regular access to church services would gather together to worship before traveling preachers. These meetings were important social events, but developed a reputation for

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As Annie J. Randall wrote, "Multiple authors, most of them anonymous, borrowed the tune from 'Say, Brothers', gave it new texts, and used it to hail Brown's war to abolish the centuries-old practice of slavery in America." This continual re-use and spontaneous adaptation of existing words and tunes

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The increasing syllable count led to an ever-increasing number of dotted rhythms in the melody to accommodate the increased number of syllables. The result is that the verse and chorus, which were musically identical in "Say, Brothers", became quite distinct rhythmically—though still identical in

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movement of the late 18th and early 19th century. According to an 1889 account, the original John Brown lyrics were a collective effort by a group of Union soldiers who were referring both to the famous John Brown and also, humorously, to a Sergeant John Brown of their own battalion. Various other

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Finally ditties composed of the most nonsensical, doggerel rhymes, setting for the fact that John Brown was dead and that his body was undergoing the process of dissolution, began to be sung to the music of the hymn above given. These ditties underwent various ramifications, until eventually the

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There is an anthem that swallows up in moral grandeur all the songs of patriotic purport from Miriam's time till now. It marks the climax of human devotion. 'Perhaps for a good man some would even dare to die,' is the extreme limit of the apostle's idea of merely human self-sacrifice. But out of

625:. "The President's Proclamation" was written by Edna Dean Proctor in 1863 on the occasion of the Emancipation Proclamation. Other versions include the "Marching song of the 4th Battalion of Rifles, 13th Reg., Massachusetts Volunteers" and the "Kriegslied der Division Blenker", written for the 815:

The trend towards ever more elaborate rhythmic variations of the original melody became even more pronounced in the later versions of the "John Brown Song" and in the "Battle Hymn of the Republic", which have far more words and syllables per verse than the early versions. The extra words and

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I declined an invitation not very heartily given, as I thought, to go within the stockade, but climbed up to the sentry-walk and looked over. I cannot tell the horror of that scene. It was almost sundown of a hot autumn day. The wretchedness depicted in the faces of that squalid, unprotected

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Folk hymns like "Say, Brothers" circulated and evolved chiefly through oral tradition rather than through print. In print, the camp meeting song can be traced back as early as 1806–1808, when it was published in camp meeting song collections in South Carolina, Virginia, and Massachusetts.

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Steffe finally told the whole story of the writing of the song. He was asked to write it in 1855 or 56 for the Good Will Engine Company of Philadelphia. They used it as a song of welcome for the visiting Liberty Fire Company of Baltimore. The original verse for the song was "Say,

1725: 1709: 282:" chorus; and the opening line "Say my brother will you meet me". In December 1858 a Brooklyn Sunday school published a hymn called "Brothers, Will You Meet Us" with the words and music of the "Glory Hallelujah" chorus, and the opening line "Say, brothers will you meet us". 75: 158:

The "flavor of coarseness, possibly of irreverence" led many of the era to feel uncomfortable with the earliest "John Brown" lyrics. This in turn led to the creation of many variant versions of the text that aspired to a higher literary quality. The most famous of these is

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These lines seemed to give general satisfaction, the idea that Brown's soul was "marching on" receiving recognition at once as having a germ of inspiration in it. They were sung over and over again with a great deal of gusto, the "Glory hallelujah" chorus being always

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The familiar "Glory, glory, hallelujah" chorus—a notable feature of the "John Brown Song", the "Battle Hymn of the Republic", and many other texts that used this tune—developed out of the oral camp meeting tradition sometime between 1808 and the 1850s.

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The official histories of the old First Artillery and of the 55th Artillery (1918) also record the Tiger Battalion's role in creating the John Brown Song, confirming the general thrust of Kimball's version with a few additional details.

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According to Kimball, these sayings became bywords among the soldiers and, in a communal effort—similar in many ways to the spontaneous composition of camp meeting songs described above—were gradually put to the tune of "Say, Brothers":

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The lyrics used with the "John Brown" tune generally increase in complexity and syllable count as they move from a simple, orally transmitted camp meeting song to an orally composed marching song to more consciously literary versions.

578:(1835–1905) has also been credited as the originator of the John Brown Song, notably by promoter James MacIntyre in a 1916 book and 1935 interview. (Bishop also claimed to have written "Kitty Wells", "Shoo, Fly Don't Bother Me", and " 167:", which was written when a friend suggested, "Why do you not write some good words for that stirring tune?" Kimball suggests that President Lincoln made this suggestion to Howe, though other sources do not agree on this point. 595:

early 1800s and the first known publication dates of 1806–1808, long before most of these claimants were born, it is apparent that none of these authors composed the tune that was the basis of "Say, Brothers" and "John Brown".

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either borrowed from a preexisting tune or made up on the spot. The line would be sung repeatedly, changing slightly each time, and shaped gradually into a stanza that could be learned easily by others and memorized quickly.

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broadside with music by C. S. Marsh copyrighted on July 16, 1861, also published by C.S. Hall (see images displayed on this page). Other publishers also came out with versions of the "John Brown Song" and claimed copyright.

621:" was written, or written down, by Capt. Lindley Miller in 1864, although (typical of the confusion of authorship among the variants and versions) a similar text with the title "The Valiant Soldiers" is also attributed to 186:

According to George Kimball, the second publication of the John Brown Song and the first including both music and text, with music arranged by C.S. Marsh, dated 1861. See George Kimball, "Origin of the John Brown Song",

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that sweltering, fetid prison-pen into the silent night came the excellent chorus of hundreds who stood in the very presence of a lingering and terrible death. 'As He died to make men holy, let us die to make men free!'

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In 1890, George Kimball wrote his account of how the 2nd Infantry Battalion of the Massachusetts militia, known as the "Tiger" Battalion, collectively worked out the lyrics to "John Brown's Body". Kimball wrote:

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He was with the troops during that war, he was seen in every camp fire, and our boys pressed onward to victory and freedom, timing their feet to the stately stepping of Old John Brown as his soul went marching

74: 536:, published in New York, H. De Marsan, no date. This version of the text shares many elements with "Say, Brothers" and "Brave McClellan is Our Leader" but few, or even none, with the "John Brown Song". 558:, Will You Meet Us?" Someone else converted the "Say, Bummers" verse into the hymn "Say, Brothers, Will You Meet Us". He thought he might be able to identify that person, but was never able to do so. 278:, selected and arranged by Charles Dunbar, and published in Cincinnati. The book contains the words and music of a song "My Brother Will You Meet Me", with the music but not the words of the " 1092:, an American folk musician, recorded a version of John Brown's Body in 1959 that is widely circulated today. The lyrics differ significantly from earlier versions, and include a stanza from 2347: 3091: 669:" is set to the tune, and includes the chorus "Glory, glory (or Gory, gory), what a hell of a way to die/And he ain't gonna jump no more!" It has since also been adapted to 308:

Sheet music for "Brave McClellan is Our Leader Now", with words by Mrs. M.A. Kidder, set to the Glory Hallelujah tune and also including "the famous John Brown's song", 1862

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Numerous informal versions and adaptations of the lyrics and music have been created from the mid-1800s to the present, making "John Brown's Body" an example of a living

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Once "John Brown's Body" became popular as a marching song, more literary versions of the "John Brown" lyrics were created for the "John Brown" tune. For example,

2044: 1827: 2756: 2340: 638: 655:", "Bummers, Come and Meet Us" (see facsimile), and many other related texts and parodies during and immediately after the American Civil War period. 293:

Some researchers have maintained that the tune's roots go back to a "Negro folk song", an African-American wedding song from Georgia, or to a British

3071: 2118:"We'll Sing to Abe Our Song": Sheet Music about Lincoln, Emancipation, and the Civil War, from the Alfred Whital Stern Collection of Lincolniana 2333: 2265: 96: 629:, a group of German soldiers who had participated in the European revolutions of 1848/49 and fought for the Union in the American Civil War. 438:"Say, Brothers" from Hymn and Tune Book of the Methodist Episcopal Church, South, Round Note Edition, Nashville, TN (1889, reprinted 1903). 770:-puhulang tree". Another adaptation sung at the annual match between the Colombo Law and Medical colleges went "Liquor arsenalis and the 3061: 297:

that originated as a Swedish drinking song. Anecdotes indicate that versions of "Say, Brothers" were sung as part of African American

3076: 2792: 2650: 626: 1923: 1848:"Say, brother, who wrote this melody? Music mistorians still argue over the origins of one of the Union Army's most popular songs" 1774:"Say, brother, who wrote this melody? Music historians still argue over the origins of one of the Union Army's most popular songs" 1205: 2819: 2049: 1847: 1773: 229:

Early versions of "Say, Brothers" included variants, developed as part of this call-and-response hymn singing tradition such as:

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wrote that hundreds of soldiers from the unit would visit the site of John Brown's hanging daily, and sing a refrain that went:

2761: 2728: 1969:"Texts Sung to the Tune of "Battle Hymn of the Republic" and "John Brown's Body", arranged in approximate chronological order" 2723: 2356: 968:, an influential abolitionist and pastor, composed his "The New John Brown Song" in the fall of 1861 and published it in the 20: 2751: 2519: 2394: 529: 2910: 2746: 2609: 2286: 1976: 648: 618: 442:

The name Mary S. B. Dana refers to the author of Hymn No. 898, not shown, which was the previous hymn in this collection.

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The "John Brown" tune has proven popular for folk-created texts, with many irreverent versions created over the years. "

998: 2960: 2850: 2214: 2183: 2082: 2006: 1881: 1807: 1689: 1544: 1483: 1450: 279: 136: 2310: 738: 647:" (written in November 1861, published in February 1862; this song was directly inspired by "John Brown's Body"), " 455:, near Boston, on Sunday May 12, 1861, the "John Brown" song was publicly played "perhaps for the first time". The 2319: 1819: 3035: 3015: 2927: 2680: 856: 681: 644: 579: 334: 3005: 195:"Say, Brothers, Will You Meet Us", the tune that eventually became associated with "John Brown's Body" and the " 3086: 2805: 652: 313:

the various "John Brown" lyrics took on themes related to the famous abolitionist and the American Civil War.

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Hall, Roger Lee (2012). "Glory Hallelujah" Songs and Hymns of the Civil War Era. Stoughton: PineTree Press.

2019:

Shanties from the seven seas: shipboard work-songs and songs used as work-songs from the great days of sail

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authors have published additional verses or claimed credit for originating the John Brown lyrics and tune.

706:" is a well-known parody sung by schoolchildren, and another version that begins "John Brown's baby has a 2904: 2798: 2787: 2771: 2718: 2660: 2645: 2399: 2389: 1627: 1093: 452: 196: 164: 2955: 2467: 718: 517:

appropriate, and may even have enlisted the services of a local poet to help polish and create verses.

404: 326: 143: 2249: 285: 2733: 2599: 2482: 2404: 2377: 1549: 703: 343: 321: 139: 2296: 341:(since 1863, West Virginia), where John Brown was executed. The contemporary abolitionist newspaper 1759: 1742: 204:

wildness in addition to wild religious fervor experienced by attendees. In that atmosphere, where

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In hymnals and folks song collections, the hymn tune for "Say, Brothers" is often attributed to

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This initial line was repeated three times and finished with the tag "On Canaan's happy shore".

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David Walls, "Marching Song of the First Arkansas Colored Regiment: A Contested Attribution",

182: 2985: 2980: 2492: 2305: 965: 744:"oui nous irons tous nous faire casser la gueule en coeur / mais nous reviendrons vainqueurs" 608: 575: 213: 2251:

Glory, Glory, Hallelujah! The Story of "John Brown's Body" and "Battle Hymn of the Republic"

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The music is used for a German-language children's song by Frank und seine Freunde called

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The tune was used for perhaps the most well-known labor-union song in the United States, "

8: 2472: 1577: 941: 666: 415: 54: 1298:"Johnson, Charles A. "The Frontier Camp Meeting: Contemporary and Historical Appraisals" 2932: 2921: 2916: 2899: 2872: 2513: 2259: 2203: 2172:"A Censorship of Forgetting: Origins and Origin Myths of 'Battle Hymn of the Republic'" 1317: 1271: 696: 677: 456: 419: 374:, which held Union prisoners of war, a visiting Confederate soldier describes it thus: 358: 147: 1851: 1777: 747:

meaning "yes, we'll get our skulls broken in choir / but we'll come back victorious".

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Black soldiers, led by white officers, singing "John Brown's Body" as they march into

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Triumphal March on the Occasion of the World's Columbian Exposition in Chicago, 1893

857:"John Brown's Body" (a number of versions closely similar to this published in 1861) 422:, reported in 1906 that Russian soldiers were singing the song. The context was the 2619: 2604: 2579: 1651: 1309: 1263: 1028: 873: 755: 466: 2994: 2975: 2877: 2614: 2477: 2429: 2409: 2315: 2131: 1831: 1628:"One of the Earliest Memorial Day Ceremonies Was Held by Freed African Americans" 1173: 1097: 994: 970: 919: 771: 714: 622: 613: 160: 3010: 3000: 2826: 2594: 2569: 2534: 2529: 2424: 2037:"The Aftermath of Sorrow: White Women's Search for their Lost Cause, 1861–1917" 1612: 1606: 1583: 1554: 546: 2146: 1756:

The 55th artillery (C.A.C.) in the American expeditionary forces, France, 1918

1667: 3050: 3020: 2883: 2629: 2589: 2584: 2564: 2544: 2419: 2414: 1968: 795: 763: 209: 129: 2193: 734:("All the children are learning how to read") is also based on this melody. 3030: 3025: 2692: 2624: 2487: 786: 434: 408: 2074: 611:

wrote his influential version in October 1861, which was published in the

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The Making of a Paratrooper: Airborne Training and Combat in World War II

1096:, itself an 1862 adaptation of John Brown's Body written by abolitionist 1089: 790: 721:

set to the same melody begins, "Hang Jeff Davis from a sour apple tree".

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The Battle Hymn of the Republic: A Biography of the Song That Marches On

2856: 2459: 2103: 1321: 1297: 1275: 1251: 1046: 877: 692: 549:. Robert W. Allen summarizes Steffe's own story of composing the tune: 429: 298: 294: 217: 171: 101: 2274:

The Rose and the Briar: Death, Love and Liberty in the American Ballad

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But though he sleeps his life was lost while struggling for the slave,

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He is trampling out the vintage where the grapes of wrath is stored

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And frightened "Old Virginny" till she trembled through and through

304: 2276:. Ed. by Sean Wilentz and Greil Marcus. New York: W. W. Norton. 1051:

And heaven shall ring with anthems o'er the deed they mean to do,

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And soon throughout the Sunny South the slaves shall all be free,

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Original publication of the text of the "John Brown Song" in 1861

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He frightened old Virginia till she trembled through and through

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and all unions that sought more than workplace concessions, but

150:. The song arose out of the folk hymn tradition of the American 2355: 1553:. Boston, Massachusetts. August 2, 1861. p. 3 – via 1129:

They hanged him for a traitor, they themselves the traitor crew

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He'th loosed the fateful lightning of his terrible swift sword

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Sailors are known to have adapted "John Brown's Body" into a

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was prized, both tunes and words changed and adapted in true

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The Book of World-Famous Music: Classical, Popular, and Folk

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The old First Massachusetts coast artillery in war and peace

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The Book of World-Famous Music: Classical, Popular, and Folk

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The Book of World-Famous Music: Classical, Popular, and Folk

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While weep the sons of bondage whom he ventured all to save;

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The conflict that he heralded he looks from heaven to view,

774:". This was adapted into a trilingual song by Sooty Banda. 710:

upon his chest" is often sung by children at summer camps.

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As He died to make men holy, let us die to make men free.

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In the beauty of the lilies Christ was born across the sea

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Cover of an 1861 sheet music score for "John Brown's Song"

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For example, in 1858 words and the tune were published in

2021:, Stan Hugill, Routledge & Kegan Paul, London, 1961 ( 1059:

Ye soldiers of Freedom, then strike, while strike ye may,

1758:, Commonwealth Press, Worcester, Mass, 1920, pp. 261ff ( 1125:

He captured Harper's Ferry with his nineteen men so true

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The stars above in heaven are a-looking kindly down (x3)

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from a sour apple tree". Similarly, a fight song at the

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An African-American version was recorded as "We'll hang

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2004, by Steven Cornelius, Greenwood Publishing Group,

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Mine eyes hath seen the glory of the coming of the Lord

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Well he's gone to be a soldier in the army of the Lord,

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For the dawn of old John Brown has brightened into day,

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They hung him for a traitor, themselves a traitor crew,

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He's gone to be a soldier in the army of the Lord! (3×)

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With a glory in His bosom that transfigures you and me;

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He's gone to be a soldier in the army of the Lord (x2)

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The death blow of oppression in a better time and way,

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And now, though the grass grows green above his grave,

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John Brown's body lies a-mouldering in the grave; (3×)

766:, with the lyrics "We'll hang all the Thomians on the 467:"Tiger" Battalion writes the lyrics; Kimball's account 2045:

Florida State University College of Arts and Sciences

898:

John Brown's knapsack is strapped upon his back! (3×)

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songwriter, musician, band leader, and Union soldier

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Monuments and memorials to John Brown (abolitionist)

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Stauffer & Soskis, pp. 17, 21, 26. Accessed via

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John Brown's body lies a-moldering in the grave (x3)

979:

Old John Brown's body lies a moldering in the grave,

582:", and to have played a role in the composition of " 949: 2202: 1920:"John Brown's body lies a-mouldering in the grave" 1340: 1338: 884:Glory, glory, hallelujah! his soul is marching on! 724:As a common soccer chant, it is generally called " 504:He's gone to be a soldier in the army of the Lord, 2244:. Ninth edition. London: Oxford University Press. 1914: 1912: 1720:George Kimball, "Origin of the John Brown Song", 1704:George Kimball, "Origin of the John Brown Song", 1437: 1435: 1033:Christ who of the bondmen shall the Liberator be, 991:John Brown was a hero, undaunted, true and brave, 789:sang a song called "Move on over" to the tune on 492:John Brown's body lies a-mouldering in the grave, 3082:Cultural depictions of John Brown (abolitionist) 3048: 2272:Vowell, Sarah. (2005). "John Brown's Body", in 1409:Stauffer & Soskis, pp. 24, 27. Accessed via 2240:Scholes, Percy A. (1955). "John Brown's Body", 1893:Stauffer & Soskis, pp. 21–16. Accessed via 1421: 1419: 1335: 639:Oh we'll hang Jeff Davis from a sour apple tree 2200: 1909: 1432: 2341: 932:Now, three rousing cheers for the Union; (3×) 754:it was adapted into a bilingual (English and 602: 524: 1611:. September 10, 1885. p. 4 – via 1416: 908:His pet lambs will meet him on the way; (3×) 819: 783:translated to "All Children Learn to Read". 778: 742: 729: 72: 2108:, Colombo: Associated Newspapers of Ceylon. 1741:, Pilgrim Press, Boston, 1917, p. 105-106 ( 1530:Stauffer & Soskis, p. 25. Accessed via 1508:Stauffer & Soskis, p. 24. Accessed via 1466:(New York: Thomas Y. Crowell, 1960), p. 174 1425:Stauffer & Soskis, p. 27. Accessed via 1383:Stauffer & Soskis, p. 19. Accessed via 1370:Stauffer & Soskis, p. 23. Accessed via 1357:Stauffer & Soskis, p. 22. Accessed via 1236:Stauffer & Soskis, p. 21. Accessed via 446: 2348: 2334: 2264:: CS1 maint: location missing publisher ( 1582:. January 27, 1874. p. 4 – via 430:History of the text of "John Brown's Body" 250:The first choruses included lines such as 29: 2651:B & O Railroad Potomac River Crossing 2201:Stauffer, John; Soskis, Benjamin (2013). 1656:Allies for freedom: Blacks and John Brown 1199: 1197: 1195: 1193: 1073: 2075:"How we came to hang Jeff Davis in song" 1841: 1839: 1302:The Mississippi Valley Historical Review 812:melodic profile—in "John Brown's Body". 566: 528: 433: 320: 303: 284: 181: 2820:Remarks After the Hanging of John Brown 2247: 2169: 2105:The golden treasury of trilingual verse 1650: 1295: 1249: 1203: 842:By the grace of God we'll meet you (3×) 737:A version of the song was also sung by 3049: 2762:John Brown Museum (Osawatomie, Kansas) 2729:Harpers Ferry National Historical Park 2287:Example version of "John Brown's Body" 2178:. New York: Routledge. pp. 5–24. 1190: 632: 177: 2793:John Brown's Provisional Constitution 2752:John Brown Farm, Tannery & Museum 2724:Burning of Winchester Medical College 2329: 2085:from the original on November 1, 2022 2034: 1979:from the original on January 28, 2022 1836: 1826:, July 1, 1935, accessed 3 May 2009. 728:". The famous German children's song 699:Shanty", used during anchor-raising. 680:". The song became an anthem of the 2001:, University Press of Kansas, 1990, 1960: 828:Say, brothers, will you meet us (3×) 351:May heaven's smiles look kindly down 317:Use of the song during the Civil War 276:The Union Harp and Revival Chorister 2747:John Brown Farm State Historic Site 1495:Boyd Stutler, "John Brown's Body", 849:Jesus lives and reigns forever (3×) 649:Marching Song of the First Arkansas 255:We'll shout and give him glory (3×) 13: 3072:John Brown's raid on Harpers Ferry 2357:John Brown's raid on Harpers Ferry 2231: 1926:from the original on 12 March 2017 1545:"The Memory of John Brown Honored" 1049:with its flag red, white and blue. 643:The tune was later also used for " 589: 361:wrote in an 1874 newspaper piece: 21:John Brown's Body (disambiguation) 14: 3103: 3062:Abolitionism in the United States 2961:Origins of the American Civil War 2851:Abolitionism in the United States 2280: 2135:. September 10, 1887. p. 17. 1946:The Arkansas Historical Quarterly 1845: 1771: 1464:The Story of Our National Ballads 1204:Kimball, George (December 1889). 617:, 16 December of that year. The " 540: 353:Upon the grave of old John Brown. 2306:The Story of the John Brown Song 1966: 1724:, new series 1 (1890):373–374. ( 1625: 950:Version of William Weston Patton 398: 242:Oh! Christians will you meet me 44:James E. Greenleaf, C. S. Hall, 3077:Songs of the American Civil War 3036:Winchester and Potomac Railroad 2139: 2122: 2111: 2096: 2067: 2028: 2012: 1991: 1951: 1938: 1900: 1887: 1866: 1813: 1792: 1765: 1748: 1731: 1714: 1674: 1644: 1619: 1590: 1561: 1537: 1524: 1515: 1502: 1489: 1469: 1456: 1403: 1206:"Origin of the John Brown Song" 1117:On the grave of old John Brown. 1015:, with his nineteen men so few, 682:Industrial Workers of the World 645:The Battle Hymn of the Republic 580:When Johnny Comes Marching Home 335:29th New York Infantry Regiment 2806:The Last Moments of John Brown 2757:John Brown House (Akron, Ohio) 2299:for "John Brown's Song", from 1802:, Greenwood Publishing Group, 1390: 1377: 1364: 1351: 1289: 1243: 1230: 1143:But his soul goes marching on! 1112:But his soul goes marching on. 1107:But his soul goes marching on. 686:a world run by those who labor 653:The Battle Hymn of Cooperation 459:had begun the previous month. 451:At a flag-raising ceremony at 199:", was formed in the American 142:. The song was popular in the 1: 2813:A Plea for Captain John Brown 2242:The Oxford Companion of Music 2163: 1726:online via Cornell University 1710:online via Cornell University 1160:Glory, glory hallelujah! (x3) 1146:Glory, glory hallelujah! (x3) 1134:Glory, glory hallelujah! (x3) 1120:Glory, glory hallelujah! (x3) 1110:Glory, glory hallelujah! (x3) 835:Glory, glory, hallelujah (3×) 619:Song of the First of Arkansas 238:Oh! Mourners will you meet me 234:Oh! Brothers will you meet me 191:, new series 1 (1890):371–376 46:C. B. Marsh, and others, 1861 2676:Harpers Ferry, West Virginia 1065:And his soul is marching on. 1053:For his soul is marching on. 1037:For his soul is marching on. 1031:of the Christ we are to see— 1021:But his soul is marching on. 999:he fought her rights to save 240:Oh! Sinners will you meet me 236:Oh! Sisters will you meet me 7: 2799:The Last Days of John Brown 2719:Battle Hymn of the Republic 2661:Charles Town, West Virginia 2646:Allstadt House and Ordinary 2318:used it for a theme in his 2209:. Oxford University Press. 2129:"HIS SOUL IS MARCHING ON". 2035:Rubin, Karen Aviva (2007). 1760:online via Internet Archive 1743:online via Internet Archive 1167: 1162:His soul goes marching on. 1094:Battle Hymn Of The Republic 880:! Glory, glory, hallelujah! 357:Brown's friend and admirer 197:Battle Hymn of the Republic 165:Battle Hymn of the Republic 124:771), originally known as " 16:United States marching song 10: 3108: 2468:Thomas Wentworth Higginson 2320:Gen. Halleck's Grand March 2176:Music, Power, and Politics 2170:Randall, Annie J. (2005). 1800:Music of the Civil War Era 1798:Cornelius, Steven (2004), 1708:, new series 1 (1890):372 1476:Music of the Civil War Era 1148:His soul goes marching on. 1136:His soul goes marching on. 1131:His soul goes marching on! 1122:His soul goes marching on. 922:to a sour apple tree! (3×) 780:"Alle Kinder lernen lesen" 731:"Alle Kinder lernen lesen" 719:University of Pennsylvania 636: 603:Creation of other versions 563:decades before his birth. 525:Other claims of authorship 405:Charleston, South Carolina 327:Charleston, South Carolina 18: 2843: 2734:Heyward Shepherd monument 2711: 2638: 2501: 2483:Franklin Benjamin Sanborn 2458: 2405:John Anthony Copeland Jr. 2363: 2248:Stutler, Boyd B. (1960). 1296:Johnson, Charles (1950). 1250:Johnson, Charles (1952). 1157:His truth is marching on! 851:On Canaan's happy shore. 844:Where parting is no more. 802: 779: 743: 730: 704:The Burning of the School 534:Bummers, Come and Meet Us 110: 70: 65: 61: 50: 40: 28: 2788:John Brown's last speech 1820:"Music: Hymn from Maine" 1754:Frederick Morse Cutler, 1737:Frederick Morse Cutler, 1184: 1005:His soul is marching on. 985:His soul is marching on. 900:His soul is marching on! 890:His soul is marching on! 865:His soul is marching on! 830:On Canaan's happy shore. 506:His soul's marching on. 494:His soul's marching on. 447:First public performance 84:1902 sound recording by 2023:online via Google Books 1948:, Winter 2007, 401–421. 1660:Oxford University Press 1603:The Weekly Commonwealth 1013:captured Harper's Ferry 934:As we are marching on! 762:matches—notably at the 695:—specifically, into a " 424:1905 Russian Revolution 414:The American consul in 214:improvisational element 2834:Virginia v. John Brown 2540:John E.P. Daingerfield 2440:Francis Jackson Meriam 2373:Osborne Perry Anderson 1574:Democrat and Chronicle 1252:"Camp Meeting Hymnody" 1165: 1074:Version of Pete Seeger 1071: 947: 854: 560: 537: 514: 509: 497: 479: 443: 396: 391: 368: 355: 339:Charles Town, Virginia 330: 309: 290: 260: 245: 227: 212:and a spontaneous and 192: 128:", is a United States 80: 3087:Songs about activists 2981:Pottawatomie massacre 2493:George Luther Stearns 1598:"The John Brown Song" 1102: 976: 974:, December 16, 1861: 966:William Weston Patton 860: 823: 637:Further information: 609:William Weston Patton 576:Thomas Brigham Bishop 567:Thomas Brigham Bishop 551: 532: 501: 489: 487:lines were reached,— 484: 474: 437: 381: 376: 363: 349: 324: 307: 288: 257:For glory is his own 252: 231: 222: 185: 79: 2966:Battle of Osawatomie 2911:Fire on the Mountain 2863:Battle of Black Jack 2703:Winchester, Virginia 2698:Sandy Hook, Maryland 2671:Harpers Ferry Armory 2450:Aaron Dwight Stevens 2435:Lewis Sheridan Leary 2365:John Brown's raiders 2102:Sooty Banda (1988), 2081:. 11 December 2003. 1722:New England Magazine 1706:New England Magazine 1211:New England Magazine 997:knew his valor when 924:As they march along! 910:They go marching on! 372:Andersonville Prison 189:New England Magazine 19:For other uses, see 3067:American folk songs 3006:Henry David Thoreau 2905:Ralph Waldo Emerson 2868:Battle of the Spurs 2520:Owen Brown (father) 2473:Samuel Gridley Howe 2254:. Cincinnati, Ohio. 1578:Rochester, New York 942:Library of Congress 837:For ever, evermore! 739:French paratroopers 667:Blood on the Risers 633:Other related texts 416:Vladivostok, Russia 403:On May 1, 1865, in 178:History of the tune 2933:Haitian Revolution 2923:The Good Lord Bird 2917:Wm. Lloyd Garrison 2900:Frederick Douglass 2873:James Madison Bell 2514:Mary Ann Day Brown 1830:2012-10-23 at the 1780:on August 25, 2018 1256:American Quarterly 678:Solidarity Forever 671:civilian skydiving 538: 457:American Civil War 444: 420:Richard T. Greener 359:Frederick Douglass 331: 329:, in February 1865 310: 291: 193: 148:American Civil War 81: 55:American folk song 3044: 3043: 2971:Quindaro Townsite 2943:Elijah P. Lovejoy 2895:George DeBaptiste 2890:John Stuart Curry 2781:John Brown's Body 2773:John Brown's Body 2767:John Brown's body 2688:John Brown's Fort 2681:Historic District 2666:Gibson-Todd House 2610:George H. Steuart 2560:Stonewall Jackson 2550:George Henry Hoyt 2509:John Wilkes Booth 2502:Other individuals 2445:Dangerfield Newby 2301:Project Gutenberg 2148:John Brown's Body 2055:on March 12, 2012 1872:James Fuld, 2000 1854:on 25 August 2018 1846:Allen, Robert W. 1772:Allen, Robert W. 1680:James Fuld, 2000 1652:Quarles, Benjamin 1497:Civil War History 1441:James Fuld, 2000 1344:Randall, p. 16. ( 1047:army of the Union 988:Glory Hallelujah! 658:The World War II 337:was stationed in 333:In 1861, the new 126:John Brown's Song 118:John Brown's Body 114: 113: 90:John Brown's Body 77: 3099: 2956:James Montgomery 2620:Lewis Washington 2605:Lysander Spooner 2600:Heyward Shepherd 2580:Wendell Phillips 2395:Owen Brown (son) 2350: 2343: 2336: 2327: 2326: 2269: 2263: 2255: 2227: 2225: 2223: 2208: 2197: 2158: 2157: 2156: 2155: 2143: 2137: 2136: 2126: 2120: 2115: 2109: 2100: 2094: 2093: 2091: 2090: 2071: 2065: 2064: 2062: 2060: 2054: 2048:. 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Stuart 2525:John Brown, Jr. 2497: 2478:Theodore Parker 2454: 2430:John Henry Kagi 2410:Barclay Coppock 2359: 2354: 2316:Septimus Winner 2311:free-scores.com 2283: 2257: 2256: 2234: 2232:Further reading 2221: 2219: 2217: 2186: 2166: 2161: 2153: 2151: 2145: 2144: 2140: 2132:Chicago Tribune 2128: 2127: 2123: 2116: 2112: 2101: 2097: 2088: 2086: 2073: 2072: 2068: 2058: 2056: 2052: 2039: 2033: 2029: 2017: 2013: 1996: 1992: 1982: 1980: 1965: 1961: 1956: 1952: 1943: 1939: 1929: 1927: 1918: 1917: 1910: 1905: 1901: 1892: 1888: 1876:Courier Dover, 1871: 1867: 1857: 1855: 1844: 1837: 1832:Wayback Machine 1818: 1814: 1797: 1793: 1783: 1781: 1770: 1766: 1753: 1749: 1736: 1732: 1719: 1715: 1703: 1696: 1684:Courier Dover, 1679: 1675: 1649: 1645: 1636: 1634: 1624: 1620: 1596: 1595: 1591: 1567: 1566: 1562: 1543: 1542: 1538: 1529: 1525: 1520: 1516: 1507: 1503: 1494: 1490: 1474: 1470: 1461: 1457: 1445:Courier Dover, 1440: 1433: 1424: 1417: 1408: 1404: 1395: 1391: 1382: 1378: 1369: 1365: 1356: 1352: 1343: 1336: 1326: 1324: 1314:10.2307/1888756 1294: 1290: 1280: 1278: 1268:10.2307/3031384 1248: 1244: 1235: 1231: 1221: 1219: 1202: 1191: 1187: 1174:Triumphal March 1170: 1164: 1161: 1159: 1158: 1156: 1154: 1152: 1150: 1149: 1147: 1145: 1144: 1142: 1140: 1138: 1137: 1135: 1133: 1132: 1130: 1128: 1126: 1124: 1123: 1121: 1119: 1118: 1116: 1114: 1113: 1111: 1109: 1108: 1106: 1098:Julia Ward Howe 1087: 1083: 1079: 1077: 1076: 1070: 1067: 1066: 1064: 1062: 1060: 1058: 1057: 1055: 1054: 1052: 1050: 1044: 1042: 1041: 1039: 1038: 1036: 1034: 1032: 1027:John Brown was 1026: 1025: 1023: 1022: 1020: 1018: 1016: 1010: 1009: 1007: 1006: 1004: 1002: 992: 990: 989: 987: 986: 984: 982: 980: 971:Chicago Tribune 963: 959: 955: 953: 952: 946: 939: 936: 933: 931: 930: 927: 926: 925: 923: 918:They will hang 917: 916: 913: 912: 911: 909: 907: 906: 903: 902: 901: 899: 897: 896: 893: 892: 891: 889: 887: 886: 883: 882: 872: 871: 868: 867: 866: 864: 859: 853: 850: 848: 846: 845: 843: 841: 839: 838: 836: 834: 832: 831: 829: 827: 822: 820:"Say, Brothers" 805: 772:cannabis indica 758:) song sung at 641: 635: 623:Sojourner Truth 614:Chicago Tribune 605: 592: 590:Other claimants 569: 543: 527: 508: 505: 496: 493: 469: 449: 432: 401: 390: 387: 385: 352: 319: 259: 256: 244: 241: 239: 237: 235: 210:learned by rote 180: 161:Julia Ward Howe 106: 92: 82: 73: 45: 36: 24: 17: 12: 11: 5: 3105: 3095: 3094: 3089: 3084: 3079: 3074: 3069: 3064: 3059: 3042: 3041: 3039: 3038: 3033: 3028: 3023: 3018: 3013: 3011:Harriet Tubman 3008: 3003: 3001:Storer College 2998: 2991: 2987:Santa Fe Trail 2983: 2978: 2973: 2968: 2963: 2958: 2953: 2945: 2940: 2935: 2930: 2919: 2914: 2907: 2902: 2897: 2892: 2887: 2880: 2875: 2870: 2865: 2860: 2853: 2847: 2845: 2841: 2840: 2838: 2837: 2830: 2827:Tragic Prelude 2823: 2816: 2809: 2802: 2795: 2790: 2785: 2777: 2769: 2764: 2759: 2754: 2749: 2744: 2736: 2731: 2726: 2721: 2715: 2713: 2709: 2708: 2706: 2705: 2700: 2695: 2690: 2685: 2684: 2683: 2673: 2668: 2663: 2658: 2653: 2648: 2642: 2640: 2636: 2635: 2633: 2632: 2627: 2622: 2617: 2612: 2607: 2602: 2597: 2595:George Sennott 2592: 2587: 2582: 2577: 2575:Richard Parker 2572: 2570:James M. 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