{"id":409,"date":"2026-06-08T10:11:19","date_gmt":"2026-06-08T10:11:19","guid":{"rendered":"https:\/\/commercialrelocationpros.com\/?p=409"},"modified":"2026-06-08T10:11:19","modified_gmt":"2026-06-08T10:11:19","slug":"never-call-retreat","status":"publish","type":"post","link":"https:\/\/commercialrelocationpros.com\/?p=409","title":{"rendered":"Never Call Retreat"},"content":{"rendered":"
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We tend to<\/span> think we have one national anthem, but to me, we have always seemed to have two. The first is the official one, \u201cThe Star-Spangled Banner.\u201d The second is \u201cBattle Hymn of the Republic.\u201d The two are different on every level. Only one of them provokes us to ponder our identity as a nation.<\/p>\n

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When we sing the first, we sometimes forget that we\u2019re actually asking a question, and not a very important one. \u201cO say can you see,\u201d \u201cThe Star-Spangled Banner\u201d begins, in search of an affirmation about the flag: It was there in the evening, when we saluted it; it was there through the night, when we saw it in the flashes of battle; is it still there now, as the day breaks?<\/p>\n

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The second brooks no doubt. When we sing it, we don\u2019t ask a question. We testify. \u201cMine eyes have seen the glory of the coming of the Lord,\u201d we proclaim, before working through four more stanzas of earnest witness\u2014seeing, hearing, and feeling God\u2019s wrath on the way to service in a great national cause.<\/p>\n

The difference between the two songs is more than a matter of syntax. Though notoriously difficult for vocalists, \u201cThe Star-Spangled Banner\u201d\u2014recalling a single battle from a little-remembered war\u2014is not a challenging text. The \u201cBattle Hymn\u201d is easier to sing, but harder to reckon with. Truly a hymn rather than an anthem, it is a song for serious movements and solemn occasions. It is stirring in its driving tune, but unsettling in its sanctified vision of violence. When Julia Ward Howe wrote it in a single blaze of inspiration, in November 1861, she captured the upright, abolitionist cast of mind common among many northerners: the idea that the Civil War was a holy crusade to end slavery and save the nation\u2014a narrative of sin and redemption. When The Atlantic<\/em> published her poem in February 1862, it quickly became a staple of American patriotic observance that would, in time, transcend its origins in the horrific destruction of the Civil War.<\/p>\n

\u201cIt is a misfortune of popular songs that they spoil their own effect by constant repetition,\u201d Oliver Wendell Holmes Sr. remarked in an 1865 lecture on war poetry. The opposite is true for \u201cBattle Hymn of the Republic.\u201d It has existed in a state of constant repetition since the Civil War, but its effect has remained undiminished and in fact has grown, though the song\u2019s purpose has shifted over time. We will surely be hearing it throughout this year, as the nation marks its 250th birthday. The rousing urgency of the lyrics and music can\u2019t be ignored\u2014they seem to possess a power, according to the lyrics themselves, \u201cthat transfigures you and me.\u201d<\/p>\n

The \u201cBattle Hymn\u201d <\/span>was part of an almost desperate lyrical effusion in the early phases of the Civil War. In the face of a cataclysm they were only beginning to understand, poets and songwriters poured out verse. Most of the work is now forgotten, its sentimental and romantic nature wildly unmatched to the grim reality of the conflict taking shape. In 1861, a group of prominent New Yorkers launched a competition for a new national anthem, arguing that \u201cThe Star-Spangled Banner,\u201d with its impossible vocal range and vague patriotic message, was \u201calmost useless.\u201d The promised $500 prize elicited many submissions\u2014all of them, according to the organizers, characterized by \u201cdecent dulness\u201d or \u201cfantastic folly.\u201d The prize was not awarded.<\/p>\n

Walt Whitman grasped that something entirely different was called for. In \u201cEighteen Sixty-One,\u201d he produced not merely a poem about the war but a poem about what war poetry should sound like. He addressed his words directly to a personified 1861: \u201cNo dainty rhymes or sentimental love verses for you terrible year,\u201d Whitman wrote. \u201cNot you as some pale poetling seated at a desk lisping cadenzas piano, \/ But as a strong man erect, clothed in blue clothes, advancing, carrying rifle on your shoulder.\u201d Whitman offered the poem to The Atlantic <\/em>for $20. The magazine declined.<\/p>\n

Julia Ward Howe didn\u2019t fit Whitman\u2019s description of a manly war poet, but by her own admission she had held from youth the keen sense that she was destined to produce a great, age-defining work. Howe could scarcely have imagined that it would be a war poem. She had published two collections of verse in the 1850s, both of which tilted toward more personal themes, including the struggles of her difficult marriage to the dour physician and reformer Samuel Gridley Howe and the torments of her affection for a male friend in Rome. Like Whitman, though, Howe recognized the transformative effects of wartime. In \u201cOur Orders,\u201d published in The Atlantic<\/em> in July 1861, she acknowledged that it was now the writer\u2019s job to \u201cwage the war of words,\u201d though the poem itself is treacly stuff that hardly portends what was about to come.<\/p>\n

Howe would tell the story of her own enduring contribution to the war of words for the rest of her life, and the legend of the otherworldly inspiration behind the \u201cBattle Hymn\u201d grew with the song\u2019s stature in American culture. In 1861, Howe accompanied her husband and a group of Massachusetts dignitaries on a trip from Boston to Washington, D.C. While Samuel busied himself with the affairs of the U.S. Sanitary Commission, a soldiers\u2019-aid organization, Julia immersed herself in the wartime life of the capital. Her encounters with soldiers in camps acquainted her with a Union Army marching song, \u201cJohn Brown\u2019s Body,\u201d that had originated among Massachusetts soldiers but spread quickly through the ranks. Set to the tune of an old southern hymn, it was what Holmes called \u201ca strange song\u201d\u2014perhaps as strange as the wild-eyed abolitionist who inspired it; he was hanged in 1859 after a failed raid on the federal arsenal at Harpers Ferry. Three times it repeats the line \u201cJohn Brown\u2019s body lies a-mouldering in the grave\u201d before proclaiming that \u201chis soul\u2019s marching on.\u201d Then comes the thunderous \u201cGlory, glory hallelujah\u201d of the chorus.<\/p>\n

Howe had an operatic singing voice and was known in her circle as \u201cDiva Julia.\u201d One day, hearing her sing \u201cJohn Brown\u2019s Body\u201d with soldiers on the road back to Washington after a troop review, a member of her group suggested that she write her own words to the song. That night, in a room at the Willard Hotel\u2014looking out on an advertisement for a company in the booming, war-driven business of embalming\u2014Howe did just that. The words came to her all at once, she maintained, as if through a visitation. Rising in the half-light of dawn, she rapidly scrawled out the poem in a fervid moral burst.<\/p>\n

Howe removed John Brown from the song while enlarging his mission to the broader Union cause. She stirred in great heaps of the venerated biblical language\u2014from Isaiah and Revelation\u2014in which 19th-century Americans were fluent. The ease with which she composed the \u201cBattle Hymn\u201d may be explained in part by her connection to Brown himself: Her husband had been one of the \u201cSecret Six\u201d who had helped fund and plan Brown\u2019s scheme to incite an insurrection aimed at destroying slavery. She herself had once met Brown, remembering him as \u201ca Puritan of the Puritans, forceful, concentrated, and self-contained.\u201d<\/p>\n

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Although Brown was absent from Howe\u2019s lyrics, his specter glared from between the lines, apocalyptic and militant. Whose soul was marching on with the Union Army? Who was wielding that terrible swift sword? Who had died to make men free? Brown had notorious associations with the sword; in Bleeding Kansas, he and his followers attacked and killed five pro-slavery settlers, including some by the blade. And Brown had animated at least some northern soldiers to understand their service as an extension of his crusade. Upon his death, he came to be seen as a Christlike figure by many, making \u201cthe gallows as glorious as the cross,\u201d as Ralph Waldo Emerson is reported to have said.<\/p>\n

At the same time, the obscurity of the connections\u2014there for those who knew enough (and wished) to see them, absent for those who did not\u2014was vital to the success of the \u201cBattle Hymn.\u201d It didn\u2019t have to be seen as being about Brown, a discomfiting figure in many eyes. Immediately upon its publication in The Atlantic<\/em>, the \u201cBattle Hymn\u201d was reprinted in newspapers throughout the northern states as a rallying cry. A New York Times<\/em> article remarked on the power of the words, \u201cwarming and nerving the soldier\u2019s soul like the notes of a trumpet.\u201d The writer\u2019s only criticism was that the \u201cmarching on\u201d refrain called to mind a certain other song that the writer refused to name. Although the \u201cBattle Hymn\u201d would never supplant \u201cJohn Brown\u2019s Body\u201d in popularity among Union soldiers, its diffusion into the culture was rapid. Only a few months after publication, it was sung at Fourth of July celebrations from Pittsfield, Massachusetts, to Marysville, California.<\/p>\n

Charles McCabe, known as the \u201csinging chaplain,\u201d was a Methodist attached to the 122nd Ohio Volunteer Infantry. He and others in his unit had been captured at Winchester, Virginia, by the Confederates and were being held as prisoners in Richmond. In 1863, upon learning of the Union victory at Gettysburg, McCabe led his fellow prisoners in a rendition of the \u201cBattle Hymn\u201d so spirited that, as he recalled, the prison\u2019s walls \u201cquivered in the melody.\u201d In February 1864, after his release in an exchange, McCabe brought the \u201cBattle Hymn\u201d to a meeting of the U.S. Christian Commission in the House chamber in the Capitol, with Abraham Lincoln in attendance. Leading the chorus, McCabe brought the president close to tears. \u201cSing it again,\u201d Lincoln is said to have called out.<\/p>\n

The song took <\/span>on a life of its own\u2014or rather, many lives, and not always ones that could have been foreseen. As the historians John Stauffer and Benjamin Soskis observe in their book about the song, Howe\u2019s words were deeply sectional, aligning God with the northern side. But after the Civil War, the \u201cBattle Hymn\u201d came to occupy a curious and awkward position, with consequences that gave it national meaning. The original \u201cJohn Brown\u2019s Body\u201d continued to be popular among Black Americans and many northern veterans, and continued to be widely sung. By comparison, the stately and transcendent language of the \u201cBattle Hymn\u201d made it seem more anodyne, less threatening. It was certainly more palatable in the former Confederacy. Among the gestures of goodwill and fellow feeling that featured at veterans\u2019 reunions and other war memorializations\u2014common throughout the country in the decades after the war\u2014was the performance of both the \u201cBattle Hymn\u201d and \u201cDixie,\u201d the unofficial Confederate anthem, one after another. It is an abiding irony that post\u2013Civil War reconciliation culture and its repressive racial politics helped lay the foundations for the nationalization of the \u201cBattle Hymn.\u201d<\/p>\n

The song had grown out of a bloody domestic conflict, but later in the century its rhetorical force appealed to those with foreign ambitions. In an emotional appeal for military intervention in Cuba a little more than a month after the sinking of the USS Maine, in 1898, Senator John M. Thurston found a justification for war and an imperialist mission in Howe\u2019s words. He invoked the final verse of the \u201cBattle Hymn\u201d\u2014\u201cIn the beauty of the lilies Christ was born across the sea\u201d\u2014as he urged his colleagues to advance the cause of humanity \u201cunder the American flag\u201d beyond the nation\u2019s shores. Theodore Roosevelt, who came to national prominence during the Spanish-American War, deployed the song in his return to presidential politics ahead of the 1912 election; he invoked it again while beating the drum for American intervention in the Great War, claiming that only those with \u201ccold and timid hearts are not stirred by the surge of the tremendous \u2018Battle Hymn of the Republic.\u2019\u200a\u201d<\/p>\n

Others found very different applications for the song. The International Workers of the World repurposed it into \u201cSolidarity Forever,\u201d which would become the enduring anthem of the modern labor movement. Black Americans kept alive the ancestral connections between \u201cJohn Brown\u2019s Body\u201d and the \u201cBattle Hymn,\u201d and the words of the hymn were woven throughout the story of the civil-rights movement. In one notable moment in 1932, the NAACP convened at Harpers Ferry for its annual meeting and dedicated a memorial marker to honor Brown. The historians Stauffer and Soskis describe how the group declined to perform \u201cAmerica\u201d at the meeting\u2019s close and broke into the \u201cBattle Hymn\u201d instead.<\/p>\n

By the time of the Great Depression, the \u201cBattle Hymn\u201d had achieved a truly national character. The song\u2019s stature is such that it can be used to make a statement in a way that the official anthem never can. The acclaimed opera singer and civil-rights pioneer Marian Anderson performed the hymn, not the anthem, for a television audience of 60 million people in 1953. The hymn is a staple at presidential inaugurations and at the funerals of presidents and other national figures\u2014Robert F. Kennedy, Ronald Reagan, John McCain, George H. W. Bush. It was sung in 1968 by mourners outside the Georgia capitol building as the body of Martin Luther King Jr. passed by. King had invoked its words after the march to Selma, and the last sentence of the last speech he gave before his assassination was this: \u201cMine eyes have seen the glory of the coming of the Lord.\u201d<\/p>\n

As he was <\/span>finishing his Dust Bowl epic in 1938, John Steinbeck didn\u2019t have a title. Upon reading the manuscript, his wife, Carol, suggested one: The Grapes of Wrath<\/em>. Steinbeck argued for it in correspondence with his agent. Its roots were biblical, but what Steinbeck had in mind was \u201cBattle Hymn of the Republic\u201d and its vivid elaboration of \u201ctrampling out the vintage where the grapes of wrath are stored.\u201d The \u201cBattle Hymn,\u201d Steinbeck knew, was a march, and as he explained to his agent, \u201cthis book is a kind of march\u2014because it is in our own revolutionary tradition and because in reference to this book it has a large meaning.\u201d It was also true, Steinbeck said, that \u201cpeople know the Battle Hymn who don\u2019t know the Star-Spangled Banner.\u201d<\/p>\n

On official occasions, the \u201cBattle Hymn\u201d is today mostly performed adagio\u2014the song\u2019s grandeur can live at a slow tempo. But Steinbeck was right to think of it as a march. Its origins are there, in \u201cJohn Brown\u2019s Body\u201d and the rhythmic advance of men going to war in 1861. Those men were only vaguely aware of the horrors that awaited them, but the commitment they expressed, in song, on foot, is the wellspring of the hymn\u2019s enduring effect\u2014its faith in American promise, its exhortation to persevere. Julia Ward Howe cast their commitment in the eternal language of a sacred text in order to create a sacred text of her own, and our own.<\/p>\n

This article appears in the <\/small><\/em>July 2026<\/small><\/em> print edition with the headline \u201cNever Call Retreat.\u201d<\/small><\/em><\/p>\n

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How \u201cBattle Hymn of the Republic\u201d was born\u2014and why it endures as a sacred national song<\/p>\n","protected":false},"author":1,"featured_media":408,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5],"tags":[],"class_list":["post-409","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture"],"yoast_head":"\nNever Call Retreat - Commercial Relocation Pros<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/commercialrelocationpros.com\/?p=409\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Never Call Retreat - Commercial Relocation Pros\" \/>\n<meta property=\"og:description\" content=\"How \u201cBattle Hymn of the Republic\u201d was born\u2014and why it endures as a sacred national song\" \/>\n<meta property=\"og:url\" content=\"https:\/\/commercialrelocationpros.com\/?p=409\" \/>\n<meta property=\"og:site_name\" content=\"Commercial Relocation Pros\" \/>\n<meta property=\"article:published_time\" content=\"2026-06-08T10:11:19+00:00\" \/>\n<meta name=\"author\" content=\"admin\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"admin\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"13 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=409#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=409\"},\"author\":{\"name\":\"admin\",\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/#\\\/schema\\\/person\\\/3a3374a445f1b5d4852b1d7c15b9fe3a\"},\"headline\":\"Never Call Retreat\",\"datePublished\":\"2026-06-08T10:11:19+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=409\"},\"wordCount\":2556,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=409#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/commercialrelocationpros.com\\\/wp-content\\\/uploads\\\/2026\\\/06\\\/1959d15e3ab8d2f8f2041047f25341f0.avif\",\"articleSection\":[\"Culture\"],\"inLanguage\":\"en-US\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=409#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=409\",\"url\":\"https:\\\/\\\/commercialrelocationpros.com\\\/?p=409\",\"name\":\"Never Call Retreat - 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