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African Americans, Civil War Military Service and Citizenship

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African Americans, Civil War Military Service and Citizenship µ720$.(7+(81,21:+$7,728*+772%(¶ AFRICAN AMERICANS, CIVIL WAR MILITARY SERVICE AND CITIZENSHIP A Dissertation submitted to the Faculty of the Graduate School of Arts and Sciences of Georgetown University in partial fulfillment of the requirements for the degree of Doctor of Philosophy in History By Brian M. Taylor, M.A. Washington, D.C. March 25, 2015 Copyright 2015 by Brian M. Taylor All Rights Reserved ii µ720$.(7+(81,21:+$7,728*+772%(¶ AFRICAN AMERICANS, MILITARY SERVICE, AND THE DRIVE TO MAKE BLACK CIVIL WAR SERVICE COUNT Brian M. Taylor, M.A. Dissertation Advisor: Chandra M. Manning, Ph. D. ABSTRACT 7KLVVWXG\LQYHVWLJDWHVEODFN1RUWKHUQHUV¶GHEates about whether and how to enlist in the Union Army during the American Civil War. It considers the history of African-American military service and citizenship in pre-Civil War America and highlights black 1RUWKHUQHUV¶GHWHUPLQDWLRQWRXVHDQ\VHUYLFH they performed in the Civil War to win collective gains denied black veterans of earlier wars. It charts how the debate black Northerners conducted UHJDUGLQJVHUYLFHLQIOXHQFHGEODFN1RUWKHUQHUV¶WKLQNLQJDERXW HQOLVWPHQWEODFNVROGLHUV¶H[SHULHQFHRIVervice, and African $PHULFDQV¶SRVW-war struggle for rights and citizenship. It pays SDUWLFXODUDWWHQWLRQWRLVVXHVRIFLWL]HQVKLSDQG$PHULFDQV¶ conceptual thinking about citizenship. It explains why African $PHULFDQV¶FDPSDLJQWRXVHPLOLWDU\VHUYice to win citizenship resulted in the type of citizenship it did and evaluates military service as a means of winning citizenship. iii This dissertation is dedicated to all those who made it possible, especially: My father, Stephen, for letting me take his history books off the shelf to look at the pictures; my mother, Lois, for forcing me to learn how to write despite my best efforts to the contrary; my sister, Jenny, for putting up with the cannon-fire down the hall; my wife, Diane, for her unwavering love and support and for sharing life amongst the books and articles with me; and my mentor and friend, Chandra Manning, whom I have been lucky enough to learn from for the past five years and without whose guidance this dissertation would not exist. Thank you, Brian ³6RPHWKLQJV\RXZLOOUHPHPEHU± 6RPHWKLQJVVWD\VZHHWIRUHYHU´ John Darnielle iv Table of Contents ,QWURGXFWLRQ«««««««««««««««««««««««««««..«1 Chapter One ± %ODFN0LOLWDU\6HUYLFHDQG&LWL]HQVKLS««««««««««....27 Chapter Two ± 5HEXII«««««««««««««««««««.«....79 Chapter Three ± 'HOD\«««««««««««««««««««.«128 Chapter Four ± 5HFUXLWPHQW««««««««««««««««««170 Chapter Five ± (QOLVWPHQW«««««««««««««««««««220 Chapter Six ± 1864-1865: 3D\3URWHFWLRQDQG3URWHVW««««««««««275 Chapter Seven -- 7KH5LVHDQG)DOORI%ODFN&LWL]HQVKLS«««««««««320 &RQFOXVLRQ«««««««««««««««««««««««««««...358 %LEOLRJUDSK\««««««««««««««««««««««««.««383 v Introduction ³2+HDYHQO\)DWKHUZHZDQW\RXWROHWRXUIRONVNQRZWKDWZHGLHGIDFLQJWKH enemy! We want 'em to know that we went down standing up! Amongst those that are fighting against our oppression. We want 'em to know, Heavenly Father, that we died for IUHHGRP´ John Rawlins, a fictional black soldier played by Morgan Freeman, speaks these striking words in one of the more memorable scenes from the 1989 Hollywood film Glory, as he and other members of his regiment gather around a campfire on the eve of battle. Glory LVWKHSULPDU\EDVLVIRUPDQ\$PHULFDQV¶NQRZOHGJHRIEODFNVROGLHUV¶ participation in the Civil War and, overall, it serves as a good introduction to the topic. The film takes important, misleading and seemingly inexplicable liberties with the history of its subject, the famous 54th Massachusetts regiment, and focuses most intently on the 54th¶VZKLWHFRPPDQGHU&RORQHO5REHUW*RXOG6KDZVWLOODV-DPHV00F3KHUVRQKDV written, Glory serves an important function in replacing in popular historical consciousness the moonlight-and-magnolias romanticizing of films like Gone With the Wind ZLWKWKH³FRXUDJHRXVLPDJHRIEODFNVROGLHUVDQGWKHLUZKLWHRIILFHUVWKDWSUHYDLOHG LQWKH1RUWKGXULQJWKHODWWHUZDU\HDUVDQGWKHHDUO\SRVWZDUGHFDGHV´1 Glory concludes with the 54th¶VIDLOHG-XO\DVVDXOWRQ)RUW:DJQHULQ Charleston Harbor, and its final shot features Confederate soldiers dumping the lifeless bodies of Shaw, played by Matthew Broderick, and Silas Trip, a fugitive-slave-turned- soldier played by Denzel Washington, into a mass grave. The two bodies sink together, and the scene symbolL]HVWKHILOP¶VLQWHJUDWLRQLVWRSWLPLVWLFbent: Trip has taken his 1 Martin H. Blatt, ³Glory: Hollywood History, Popular Culture, and the Fifty-Fourth Massachusetts 5HJLPHQW´LQHope and Glory: Essays on the Legacy of the 54th Massachusetts Regiment, eds. Martin H. Blatt, Thomas J. Brown and Donald Yacovone (Amherst: University of Massachusetts Press, 2001), 224; -DPHV00F3KHUVRQ³7KHGlory 6WRU\´New Republic 202, no. 2/3 (January 1990): 22. 1 freedom and proved his worth by fighting, and his death brings a tragic sort of progress, as in death KHZLQVWKHHTXDOLW\GHQLHGKLPLQOLIH7KHVFHQHHQFDSVXODWHVWKHILOP¶V interpretation of the war as a struggle that saw black men fight to help the nation achieve abolition. There is much validity in this interpretation, but it oversimplifies the motivations, KRSHVIHDUVDQGIUXVWUDWLRQVWKDWDQLPDWHGEODFNVROGLHUV¶&LYLO:DUVHUYLFHDVZHOODV WKHZDU¶VLPSDFWRQ$IULFDQ$PHULFDQV¶VWUXJJOHIRUMXVWLFH,QWUXWKDQHDUOLHUVFene EHWWHUHQFDSVXODWHVEODFNVROGLHUV¶WKLQNLQJDERXWWKHir participation in the Union war HIIRUW,QWKLVVFHQH6KDZDVNV7ULSWRVHUYHDVWKHUHJLPHQW¶VFRORU-bearer. Trip UHIXVHV³,DLQ¶WILJKWLQ¶WKLVZDUIRU\RXVLU´KHWHOOV6KDZ'HVSLWH6KDZ¶V SHUVLVWHQFH7ULSUHPDLQVVWHDGIDVW³,VWLOOGRQ¶WZDQQDFDUU\\RXUIODJ´7ULS¶V reluctance to carry this symbol of state authority ± of white authority ± is true to black PHQ¶VSXUSRVHLQILJKWLQJIRUWKHPWKHZDUZDVQHYHUDERXWPDLQWHQDQFHRIWKH8QLRQDV it was, about maintaining a government that had previously existed. Black Americans saw in the war an opportunity to create an entirely new nation, a United States that would live up to the principles of equality and liberty proclaimed in the Declaration of Independence. African Americans focused on the questions Trip asks Shaw as the two FRQVLGHUWKHZDU¶VPHDQLQJDQGRXWFRPH³:KDWDERXWXV":KDWGRZHJHW"´They KRSHGWKHDQVZHUWR7ULS¶VVHFRQGTXHVWLRQZDVDQHZ8QLRQSXULILHGRIVlavery and discrimination. DXULQJWKHZDU¶VHDUO\\HDUVblack Northerners, some of them runaway slaves like Trip, debated and strategized about whether and how to use military service to 2 achieve that Union, ever mindful that slavery and discrimination had survived black VROGLHUV¶VHUYLFHLQHDUOLHU$PHULFDQZDUV2 Later in the film, during the climactic assault on Fort Wagner, Trip sees Shaw killed at the head of the regiment, and races to pick up a fallen United States flag. Trip is killed moving the flag forward. He sees in the Union cause a chance to move the nation forward and he accomplishes that task symbolically by moving its foremost symbol up )RUW:DJQHU¶VSDUDSHW7KDWKHLVNLOOHGLQWKHDWWHPSWWKRXJKVXJJHVWVWKDWZKLOHWKH war serves as an opportunity for black men to prove their equality with white men, military service may prove an imperfect, uncertain vehicle for black men to win lasting gains. The film clearly intends to present a positive interpretation of the war and its impact on black Americans and their struggle for justice, but when we focus on Trip and KLVEULHIPHGLWDWLRQVRQEODFNPHQ¶VUHDVRQVIRUILJKWLQJLWWHOOVDPRUHWURXEOLQJVWRU\ WUXHUWRWKHZDU¶VKLVWRU\DQGLPSDFW3 In the past several decades, historians have chronicled EODFNVROGLHUV¶PLOLWDU\ experience, but have paid little attention to how they got into the Union Army in the first place. Most historians of black service have ignored the question of why black men enlisted in the Union Army, assuming that they would eagerly grab the first chance to battle the Confederacy. Some black men did; but for many, the decision to join the Union Army was neither quick nor uncomplicated. One can understand why an enslaved black Southerner, choosing between remaining in bondage or running away and joining the invading Union Army, would think it in his best interest to enlist ± a chance to fight, 2 For this insight, I am indebted to Hannah Rosen, as a conversation with her in the fall of 2010 helped me think about this scene and its relevance to my project. 3 Glory, directed by Edward Zwick, produced by Pieter Jan Brugge et al., TriStar Pictures and Freddie Fields Productions, 1989, DVD. 3 and perhaps die, for freedom might convince him to make the difficult, courageous decision to leave his enslaved kin behind and enlist. But black Northerners were already free, and they knew that black service in previous American wars had availed African Americans little in a collective sense. In the aftermath of the American Revolution and the War of 1812, Southern slavery and legally-enacted racial discrimination across the nation had e[SDQGHG&RQVLGHULQJWKH8QLWHG6WDWHV¶KLVWRry of betraying black soldiers, black Northerners faced powerful arguments against donning Union blue and helping to bring the slaveholding South back into the Union. How could they ensure that, if they fought, their service would fundamentally change the United States and its treatment of African Americans? What strategy should they follow in relation to enlistment to make the opportunity the war presented them bear fruit? 7KLVVWXG\SD\VDWWHQWLRQWREODFN1RUWKHUQHUV¶VWUDWHJLFDSSURDFKWRWKHZDUDQG enlistment, and the debate over the proper method and timing of enlistment that consumed the black North from 1861 through mid-1863. It demonstrates that black 1RUWKHUQHUV¶discussions of the war and enlistment influenced the process of black enlistment, the course of black service and the
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