"While historians have examined the struggles and challenges that confronted the Southern plantation mistress during the American Civil War, until now no one has considered the ways in which the conflict shaped the lives of elite young women, otherwise known as belles. In The Confederate Belle, Giselle Roberts uses diaries, letters, and memoirs to uncover the unique wartime experiences of young ladies in Mississippi and Louisiana. In the plantation culture of the antebellum South, belles enhanced their family's status through their appearance and accomplishments and, later, by marrying well." "During the American Civil War, a new patriotic womanhood superseded the antebellum feminine ideal. It demanded that Confederate women sacrifice everything for their beloved cause, including their men, homes, fine dresses, and social occasions, to ensure the establishment of a new nation and the preservation of elite ideas about race, class, and gender. As menfolk answered the call to arms, southern matrons had to redefine their roles as mistresses and wives. Southern belles faced a different, yet equally daunting task. After being prepared for a delightful "bellehood," young ladies were forced to reassess their traditional rite of passage into womanhood, to compromise their understanding of femininity at a pivotal time in their lives. They found themselves caught between antebellum traditions of honor and of gentility, a binary patriotic feminine ideal and wartime reality."--BOOK JACKET. Book jacket.

Candace Bailey’s exploration of the intertwining worlds of music and gender shows how young southern women pushed the boundaries of respectability to leave their unique mark on a patriarchal society. Before 1861, a strictly defined code of behavior allowed a southern woman to identify herself as a “lady” through her accomplishments in music, drawing, and writing, among other factors. Music permeated the lives of southern women, and they learned appropriate participation through instruction at home and at female training institutions. A belle’s primary venue was the parlor, where she could demonstrate her usefulness in the domestic circle by providing comfort and serving to enhance social gatherings through her musical performances, often by playing the piano or singing. The southern lady performed in public only on the rarest of occasions, though she might attend public performances by women. An especially talented lady who composed music for a broader audience would do so anonymously so that her reputation would remain unsullied. The tumultuous Civil War years provided an opportunity for southern women to envision and attempt new ways to make themselves useful to the broader, public society. While continuing their domestic responsibilities and taking on new ones, young women also tested the boundaries of propriety in a variety of ways. In a broad break with the past, musical ladies began giving public performances to raise money for the war effort, some women published patriotic Confederate music under their own names, supporting their cause and claiming public ownership for their creations. Bailey explores these women’s lives and analyzes their music. Through their move from private to public performance and publication, southern ladies not only expanded concepts of social acceptability but also gained a valued sense of purpose. Music and the Southern Belle places these remarkable women in their social context, providing compelling insight into southern culture and the intricate ties between a lady’s identity and the world of music. Augmented by incisive analysis of musical compositions and vibrant profiles of composers, this volume is the first of its kind, making it an essential read for devotees of Civil War and southern history, gender studies, and music.

This is the historical account of the Virginian rebel agent who carried messages to Confederates about movements of the Union Army. Maria Isabella "Belle" Boyd was born in May 1844 in West Virginia to a wealthy family. During the Civil War, her father was a soldier in the Stonewall Brigade, and at least three other members of her family were convicted of being Confederate spies. In 1861, when Federal troops occupied Martinsburg, Belle shot and killed a drunken Union soldier who was harrassing her and her mother. Soon after, at age 17, she became a "Rebel Spy."

Belle Boyd began her career as a spy and ended it as an actress. At least one historian concluded that she never lived at all, but the Confederate spy did exist. This essay, by former American Heritage editor Richard F. Snow, explores the life of one of the Civil War's most active secret agents.

At age 17 Belle Boyd shot and killed a Union soldier; at age 19 she was in a Union prison, a Confederate spy who got caught. A spunky West Virginia girl full of charm and with a zest for adventure, Belle worked among the highest-ranking officers and lowliest foot soldiers of the Civil War with an indomitable spirit that defied Union authority.As a spy Belle Boyd was amateurish, yet she managed to confuse Union officers and convey useful information to Southern military leaders. Southern newspapers dubbed her Joan of Arc of the South, Siren of the Shenandoah, and Cleopatra of the Secession, while Northern reporters referred to her as camp follower, the most overrated spy, and insincere courtesan. French newspapers, meanwhile, reported the exploits of La Belle Rebelle.Like many historical figures, Belle Boyd may appear in retrospect larger than life, but in this delightful biography her life is portrayed within the limits of its actual dimensions.

Maria Isabella "Belle" Boyd was one of those women for the South or as we know it - the Confederate States of America. Miss Belle served the Confederacy as a Confederate spy and went to great extremes to deliver information to General Stonewall Jackson. Interestingly, she began spying as a teenager at seventeen.