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1862 American song by Julia Ward Howe

The "Battle Hymn of the Republic", also known as "Mine Eyes Have Seen the Glory" or "Glory, Glory Hallelujah" outside of the United States, is an American patriotic song that was written by abolitionist writer Julia Ward Howe during the American Civil War. Howe adapted her song from the soldiers' song "John Brown's Body" in November 1861, and first published it in The Atlantic Monthly in February 1862. In contrast to the lyrics of the soldiers’ song, her version links the Union cause with God's vengeance at the Day of Judgment (through allusions to biblical passages such as , Revelation 19 and ). Julia Ward Howe was married to Samuel Gridley Howe, a scholar in education of the blind. Both Samuel and Julia were also active leaders in anti slavery politics and strong supporters of the Union. Samuel was a member of the Secret Six, the group who funded John Brown's work.

The tune and some of the lyrics of "John Brown’s Body" came from a much older folk hymn called "Say, Brothers will you Meet Us", also known as "Glory Hallelujah", which has been developed in the oral hymn tradition of revivalist camp meetings of the late 1700s, though it was first published in the early 1800s. In the first known version, "Canaan's Happy Shore", the text includes the verse "Oh! Brothers will you meet me (3×)/On Canaan's happy shore?" and chorus "There we'll shout and give Him glory (3×)/For glory is His own." This developed into the familiar "Glory, glory, hallelujah" chorus by the 1850s. The tune and variants of these words spread across both the southern and northern United States.

Kimball's battalion was dispatched to Murray, Kentucky, early in the Civil War, and Julia Ward Howe heard this song during a public review of the troops outside Washington, D. C., on Upton Hill, Virginia. Rufus R. Dawes, then in command of Company "K" of the 6th Wisconsin Volunteer Infantry, stated in his memoirs that the man who started the singing was Sergeant John Ticknor of his company. Howe's companion at the review, the Reverend James Freeman Clarke, suggested to Howe that she write new words for the fighting men's song. Staying at the Willard Hotel in Washington on the night of November 18, 1861, Howe wrote the verses to the "Battle Hymn of the Republic". Of the writing of the lyrics, Howe remembered:
I went to bed that night as usual, and slept, according to my wont, quite soundly. I awoke in the gray of the morning twilight; and as I lay waiting for the dawn, the long lines of the desired poem began to twine themselves in my mind. Having thought out all the stanzas, I said to myself, "I must get up and write these verses down, lest I fall asleep again and forget them." So, with a sudden effort, I sprang out of bed, and found in the dimness an old stump of a pencil which I remembered to have used the day before. I scrawled the verses almost without looking at the paper. Howe's "Battle Hymn of the Republic" was first published on the front page of The Atlantic Monthly of February 1862. The sixth verse written by Howe, which is less commonly sung, was not published at that time. The song was also published as a broadside in 1863 by the Supervisory Committee for Recruiting Colored Regiments in Philadelphia. Both "John Brown" and "Battle Hymn of the Republic" were published in Father Kemp's Old Folks Concert Tunes in 1874 and reprinted in 1889. Both songs had the same Chorus with an additional "Glory" in the second line: "Glory! Glory! Glory! Hallelujah!"

"Canaan's Happy Shore" has a verse and chorus of equal metrical length and both verse and chorus share an identical melody and rhythm. "John Brown's Body" has more syllables in its verse and uses a more rhythmically active variation of the "Canaan" melody to accommodate the additional words in the verse. In Howe's lyrics, the words of the verse are packed into a yet longer line, with even more syllables than "John Brown's Body." The verse still uses the same underlying melody as the refrain, but the addition of many dotted rhythms to the underlying melody allows for the more complex verse to fit the same melody as the comparatively short refrain. One version of the melody, in C major, begins as below. This is an example of the mediant octave modal frame.

Howe submitted the lyrics she wrote to The Atlantic Monthly, and it was first published in the February 1862 issue of the magazine.

In 1953, Marian Anderson sang the song before a television audience of 60 million persons, broadcast live over the NBC and CBS networks, as part of The Ford 50th Anniversary Show. In 1960 the Mormon Tabernacle Choir won the Grammy Award for Best Performance by a Vocal Group or Chorus. The 45 rpm single record, which was arranged and edited by Columbia Records and Cleveland disk jockey Bill Randle, was a commercial success and reached #13 on Billboard's Hot 100 the previous autumn. It is the choir's only Top 40 hit in the Hot 100. Judy Garland performed this song on her weekly television show in December 1963. She originally wanted to do a dedication show for President John F. Kennedy upon his assassination, but CBS would not let her, so she performed the song without being able to mention his name. Andy Williams experienced commercial success in 1968 with an a cappella version recorded at Senator Robert Kennedy's funeral. Backed by the St. Charles Borromeo choir, his version reached #11 on the adult contemporary chart and #33 on the Billboard Hot 100. Anita Bryant performed it January 17, 1971, at the halftime show of Super Bowl V. She would also do it again on January 25, 1973, during the burial services for LBJ at his Texas ranch. The song is one of the three American songs included in "An American Trilogy", a 1971 song medley written and performed by country composer Mickey Newbury. Newbury's song was popularized by Elvis Presley, who included it as a showstopper in his concerts. Presley recorded and issued "An American Trilogy" several times. It was performed at the funeral of general and President Dwight Eisenhower. It was a favourite hymn of Winston Churchill, and it was played at his funeral on 30 January 1965, in St. Paul's Cathedral. It was performed once again in St. Paul's Cathedral on September 14, 2001, as part of a memorial service for those lost in the September 11, 2001 attacks.

In the years since the Civil War, "The Battle Hymn of the Republic" has been used frequently as an American patriotic song.

The lyrics of "Battle Hymn of the Republic" appear in Dr. Martin Luther King Jr.'s sermons and speeches, most notably in his speech "How Long, Not Long" from the steps of the Alabama State Capitol building on March 25, 1965, after the successful Selma to Montgomery march, and in his final sermon "I've Been to the Mountaintop", delivered in Memphis, Tennessee on the evening of April 3, 1968, the night before his assassination. In fact, the latter sermon, King's last public words, ends with the first lyrics of the "Battle Hymn": "Mine eyes have seen the glory of the coming of the Lord." Bishop Michael B. Curry of North Carolina, after his election as the first African American Presiding Bishop of The Episcopal Church, delivered a sermon to the Church's General Convention on July 3, 2015, in which the lyrics of the "Battle Hymn" framed the message of God's love. After proclaiming "Glory, glory, hallelujah, His truth is marching on", a letter from President Barack Obama was read, congratulating Bishop Curry on his historic election. Curry is known for quoting the "Battle Hymn" during his sermons. The inscription "Mine eyes have seen the glory of the coming of the Lord" is written at the feet of the sculpture of the fallen soldier at the American Cemetery in Normandy, France. The tune has played a role in many movies where patriotic music has been required, including the 1970 World War II war comedy Kelly's Heroes, and the 1999 sci fi western Wild Wild West. Words from the first verse gave John Steinbeck's wife Carol Steinbeck the title of his 1939 masterpiece The Grapes of Wrath. The title of John Updike's In the Beauty of the Lilies also came from this song, as did Terrible Swift Sword and Never Call Retreat, two volumes in Bruce Catton's Centennial History of the Civil War. Terrible Swift Sword is also the name of a board wargame simulating the Battle of Gettysburg. Words from the second last line of the last verse are paraphrased in Leonard Cohen's song "Steer Your Way". It was originally published as a poem in The New Yorker magazine. "As He died to make men holy, let us die to make men free" becomes "As He died to make men holy, let us die to make things cheap". The theme song to the 2021 apocalyptic movie Don't Look Up, sung by Bon Iver, also makes reference to "what mine eyes have seen".

The refrain "Glory, glory, hallelujah!" has been adopted by fans of a number of sporting teams, most notably in the English and Scottish Premier Leagues. The popular use of the tune by Tottenham Hotspur can be traced to September 1961 during the 1961–62 European Cup. Their first opponents in the competition were the Polish side Górnik Zabrze, and the Polish press described the Spurs team as "no angels" due to their rough tackling. In the return leg at White Hart Lane, some fans then wore angel costumes at the match holding placards with slogans such as "Glory be to shining White Hart Lane", and the crowded started singing the refrain "Glory, glory, hallelujah" as Spurs beat the Poles 8–1, starting the tradition at Tottenham. It was released as the B side to "Ossie's Dream" for the 1981 Cup Final. The theme was then picked up by Hibernian, with Hector Nicol's release of the track "Glory, glory to the Hibees" in 1963. "Glory, Glory Leeds United" was a popular chant during Leeds' 1970 FA Cup run. Manchester United fans picked it up as "Glory, Glory Man United" during the 1983 FA Cup Final. As a result of its popularity with these and other British teams, it has spread internationally and to other sporting codes. An example of its reach is its popularity with fans of the Australian Rugby League team, the South Sydney Rabbitohs (Glory, Glory to South Sydney) and to A League team Perth Glory. Brighton fans celebrate their 1970s legend by singing "Mine eyes have seen the glory of the coming of the Lord, he played for Brighton and Hove Albion and his name is Peter Ward".

Irish composer Ina Boyle set the text for solo soprano, mixed choir and orchestra; she completed her version in 1918. The British Methodist Hymn Book used in the mid 20th century had Walford Davies's Vision as the first tune, and the Battle Hymn as the second tune. The progressive metal band Dream Theater utilise the lyrics of the Battle Hymn of the Republic at the end of their song "In the Name of God", the final song on their 2003 album Train of Thought.