Walt Whitman

Walt Whitman

1819–1892 · lived 72 years US US

Walt Whitman was an American poet, essayist, journalist, and a deliberate humanist who became one of the most influential figures in American poetry. He is often called the "father of free verse." His seminal work, "Leaves of Grass," was a radical departure from the conventional poetry of its time, celebrating the individual, democracy, the body, and the spirit in expansive, cataloging lines. Whitman's poetry embraced a wide range of subjects, from the natural world and urban life to the experiences of laborers and soldiers. His work is characterized by its inclusive spirit, its celebration of the sensual and the spiritual, and its democratic vision. He sought to capture the diverse American experience in all its complexity and vitality, making him a truly unique voice in literature.

n. 1819-05-31, West Hills · m. 1892-03-26, Camden

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Year Of Meteors, 1859 '60

Year Of Meteors, 1859 '60

YEAR of meteors! brooding year!
I would bind in words retrospective, some of your deeds and signs;
I would sing your contest for the 19th Presidentiad;
I would sing how an old man, tall, with white hair, mounted the


scaffold in Virginia;
(I was at hand--silent I stood, with teeth shut close--I watch'd;
I stood very near you, old man, when cool and indifferent, but


trembling with age and your unheal'd wounds, you mounted the

scaffold;)
--I would sing in my copious song your census returns of The States,
The tables of population and products--I would sing of your ships and


their cargoes,
The proud black ships of Manhattan, arriving, some fill'd with
immigrants, some from the isthmus with cargoes of gold;
Songs thereof would I sing--to all that hitherward comes would I
welcome give; 10
And you would I sing, fair stripling! welcome to you from me, sweet
boy of England!
Remember you surging Manhattan's crowds, as you pass'd with your


cortege of nobles?
There in the crowds stood I, and singled you out with attachment;
I know not why, but I loved you... (and so go forth little song,
Far over sea speed like an arrow, carrying my love all folded,
And find in his palace the youth I love, and drop these lines at his


feet;)
--Nor forget I to sing of the wonder, the ship as she swam up my bay,
Well-shaped and stately the Great Eastern swam up my bay, she was 600

feet long,
Her, moving swiftly, surrounded by myriads of small craft, I forget
not to sing;
--Nor the comet that came unannounced out of the north, flaring in
heaven; 20
Nor the strange huge meteor procession, dazzling and clear, shooting
over our heads,
(A moment, a moment long, it sail'd its balls of unearthly light over


our heads,
Then departed, dropt in the night, and was gone;)
--Of such, and fitful as they, I sing--with gleams from them would I


gleam and patch these chants;
Your chants, O year all mottled with evil and good! year of
forebodings! year of the youth I love!
Year of comets and meteors transient and strange!--lo! even here, one
equally transient and strange!
As I flit through you hastily, soon to fall and be gone, what is this
book,
What am I myself but one of your meteors?
Read full poem
Bio

Identification and basic context

Walt Whitman was an American poet, essayist, journalist, and humanist. Born on Long Island, New York, he is considered one of the most influential figures in American literature. He wrote in English.

Childhood and education

Whitman's formal schooling was limited; he left school at the age of eleven to work. He became a printer and later worked as a journalist, editor, and teacher. This practical experience exposed him to a wide range of society and ideas, which deeply informed his writing. He was largely self-educated, voraciously reading literature, philosophy, and the Bible, and absorbing the democratic ideals of his time.

Literary trajectory

Whitman began his literary career as a journalist and editor, writing essays, short stories, and editorials. His major turning point was the publication of the first edition of 'Leaves of Grass' in 1855, a collection of poems that he would revise and expand throughout his life. This work was controversial but also groundbreaking, establishing his unique voice and style. He continued to write and publish new poems and editions of 'Leaves of Grass' for the rest of his life, self-publishing some editions and revising extensively.

Works, style, and literary characteristics

Whitman's magnum opus is 'Leaves of Grass,' first published in 1855 and issued in numerous expanded editions until his death. Other notable works include 'Democratic Vistas' (prose essays) and 'Specimen Days' (autobiographical sketches). Whitman's poetry is characterized by its radical use of free verse, lengthy, incantatory lines, and an expansive, catalogues approach to imagery. He celebrated the "self" as a microcosm of humanity and the cosmos, championing democracy, equality, the physical body, sensuality, nature, and the spiritual interconnectedness of all things. His tone is often prophetic, embracing, and deeply democratic. His language is robust, colloquial, and American, incorporating a vast vocabulary and a direct, unadorned style that sought to capture the essence of American experience.

Cultural and historical context

Whitman lived and wrote during a period of immense national transformation in the United States, including westward expansion, industrialization, and the tumultuous lead-up to and aftermath of the Civil War. He was a staunch advocate for democracy and envisioned a uniquely American poetry that reflected the diverse peoples and landscapes of the nation. His work was informed by Transcendentalist ideas, particularly the writings of Emerson, and he engaged with the social and political issues of his day, notably abolitionism.

Personal life

Whitman's personal life was complex and somewhat elusive. He never married and had no children. He served as a volunteer nurse in army hospitals during the Civil War, an experience that deeply affected him and led to poems like "The Wound-Dresser." His intense friendships, often with men, were significant, and he celebrated physical and spiritual connection. He lived a relatively simple life, often in poverty, but remained committed to his poetic vision.

Recognition and reception

Whitman's work was met with both fierce criticism and enthusiastic praise during his lifetime. While initially seen as scandalous and incomprehensible by many, he gradually gained recognition from literary figures like Emerson and was eventually hailed as a major American poet. His reputation grew posthumously, and he is now considered a cornerstone of American literature.

Influences and legacy

Whitman was influenced by Emerson, the Bible, and classical literature, but he forged a completely new poetic voice. He profoundly influenced the development of American poetry, paving the way for free verse and modern poetic sensibilities. His celebration of the individual, democracy, and the body continues to inspire poets and thinkers worldwide.

Interpretation and critical analysis

Critical interpretations of Whitman's poetry often center on his innovative use of free verse, his democratic ideals, his embrace of the body and sexuality, and his complex exploration of American identity. Debates have occurred regarding the sincerity of his democratic vision and the autobiographical elements within his work.

Curiosities and lesser-known aspects

Whitman was known for his distinctive appearance, often sporting a beard and informal clothing. He was also a skilled carpenter and builder in his youth. His extensive revisions of 'Leaves of Grass' show his meticulous attention to craft, despite his unconventional style.

Death and memory

Whitman died in Camden, New Jersey. He is remembered as one of America's most important and original poets, a visionary voice who captured the spirit of a nation in transformation and celebrated the inherent dignity of all human beings.

Poems

168

Brother Of All, With Genesrous Hand

Brother Of All, With Genesrous Hand

BROTHER of all, with generous hand,
Of thee, pondering on thee, as o'er thy tomb, I and my Soul,
A thought to launch in memory of thee,
A burial verse for thee.


What may we chant, O thou within this tomb?
What tablets, pictures, hang for thee, O millionaire?
--The life thou lived'st we know not,
But that thou walk'dst thy years in barter, 'mid the haunts of


brokers;
Nor heroism thine, nor war, nor glory.


Yet lingering, yearning, joining soul with thine, 10
If not thy past we chant, we chant the future,
Select, adorn the future.


Lo, Soul, the graves of heroes!
The pride of lands--the gratitudes of men,
The statues of the manifold famous dead, Old World and New,
The kings, inventors, generals, poets, (stretch wide thy vision,


Soul,)
The excellent rulers of the races, great discoverers, sailors,
Marble and brass select from them, with pictures, scenes,
(The histories of the lands, the races, bodied there,
In what they've built for, graced and graved, 20
Monuments to their heroes.)

Silent, my Soul,
With drooping lids, as waiting, ponder'd,
Turning from all the samples, all the monuments of heroes.


While through the interior vistas,
Noiseless uprose, phantasmic (as, by night, Auroras of the North,)
Lambent tableaux, prophetic, bodiless scenes,
Spiritual projections.


In one, among the city streets, a laborer's home appear'd,
After his day's work done, cleanly, sweet-air'd, the gaslight
burning, 30
The carpet swept, and a fire in the cheerful stove.


In one, the sacred parturition scene,
A happy, painless mother birth'd a perfect child.


In one, at a bounteous morning meal,
Sat peaceful parents, with contented sons.


In one, by twos and threes, young people,
Hundreds concentering, walk'd the paths and streets and roads,



Toward a tall-domed school.


In one a trio, beautiful,
Grandmother, loving daughter, loving daughter's daughter, sat, 40
Chatting and sewing.


In one, along a suite of noble rooms,
'Mid plenteous books and journals, paintings on the walls, fine


statuettes,
Were groups of friendly journeymen, mechanics, young and old,
Reading, conversing.

All, all the shows of laboring life,
City and country, women's, men's and children's,
Their wants provided for, hued in the sun, and tinged for once with


joy,
Marriage, the street, the factory, farm, the house-room, lodgingroom,
Labor and toil, the bath, gymnasium, play-ground, library,

college, 50
The student, boy or girl, led forward to be taught;
The sick cared for, the shoeless shod--the orphan father'd and

mother'd,
The hungry fed, the houseless housed;
(The intentions perfect and divine,
The workings, details, haply human.)

O thou within this tomb,
From thee, such scenes--thou stintless, lavish Giver,
Tallying the gifts of Earth--large as the Earth,
Thy name an Earth, with mountains, fields and rivers.


Nor by your streams alone, you rivers, 60
By you, your banks, Connecticut,
By you, and all your teeming life, Old Thames,
By you, Potomac, laving the ground Washington trod--by you Patapsco,
You, Hudson--you, endless Mississippi--not by you alone,
But to the high seas launch, my thought, his memory.


Lo, Soul, by this tomb's lambency,
The darkness of the arrogant standards of the world,
With all its flaunting aims, ambitions, pleasures.


(Old, commonplace, and rusty saws,
The rich, the gay, the supercilious, smiled at long, 70
Now, piercing to the marrow in my bones,
Fused with each drop my heart's blood jets,
Swim in ineffable meaning.)


Lo, Soul, the sphere requireth, portioneth,



To each his share, his measure,
The moderate to the moderate, the ample to the ample.


Lo, Soul, see'st thou not, plain as the sun,
The only real wealth of wealth in generosity,
The only life of life in goodness?
409

Behold This Swarthy Face

Behold This Swarthy Face

BEHOLD this swarthy face--these gray eyes,

This beard--the white wool, unclipt upon my neck,

My brown hands, and the silent manner of me, without charm;

Yet comes one, a Manhattanese, and ever at parting, kisses me lightly

on the lips with robust love,

And I, on the crossing of the street, or on the ship's deck, give a

kiss in return;

We observe that salute of American comrades, land and sea,

We are those two natural and nonchalant persons.
466

Beautiful Women

Beautiful Women

WOMEN sit, or move to and fro--some old, some young;
The young are beautiful--but the old are more beautiful than the
young.
375

Beginning My Studies

Beginning My Studies

BEGINNING my studies, the first step pleas'd me so much,
The mere fact, consciousness--these forms--the power of motion,
The least insect or animal--the senses--eyesight--love;
The first step, I say, aw'd me and pleas'd me so much,
I have hardly gone, and hardly wish'd to go, any farther,
But stop and loiter all the time, to sing it in extatic songs.
479

Bathed In War's Perfume

Bathed In War's Perfume

BATHED in war's perfume--delicate flag!
(Should the days needing armies, needing fleets, come again,)
O to hear you call the sailors and the soldiers! flag like a

beautiful woman!
O to hear the tramp, tramp, of a million answering men! O the ships

they arm with joy!
O to see you leap and beckon from the tall masts of ships!
O to see you peering down on the sailors on the decks!
Flag like the eyes of women.
361

Ashes Of Soldiers

Ashes Of Soldiers

Again a verse for sake of you,
You soldiers in the ranks--you Volunteers,
Who bravely fighting, silent fell,
To fill unmention'd graves.


ASHES of soldiers!
As I muse, retrospective, murmuring a chant in thought,
Lo! the war resumes--again to my sense your shapes,
And again the advance of armies.


Noiseless as mists and vapors,
From their graves in the trenches ascending,
From the cemeteries all through Virginia and Tennessee,
From every point of the compass, out of the countless unnamed graves,
In wafted clouds, in myraids large, or squads of twos or threes, or


single ones, they come,
And silently gather round me. 10


Now sound no note, O trumpeters!
Not at the head of my cavalry, parading on spirited horses,
With sabres drawn and glist'ning, and carbines by their thighs--(ah,


my brave horsemen!
My handsome, tan-faced horsemen! what life, what joy and pride,
With all the perils, were yours!)


Nor you drummers--neither at reveille, at dawn,
Nor the long roll alarming the camp--nor even the muffled beat for a
burial;
Nothing from you, this time, O drummers, bearing my warlike drums.

But aside from these, and the marts of wealth, and the crowded
promenade,
Admitting around me comrades close, unseen by the rest, and


voiceless, 20
The slain elate and alive again--the dust and debris alive,
I chant this chant of my silent soul, in the name of all dead


soldiers.

Faces so pale, with wondrous eyes, very dear, gather closer yet;
Draw close, but speak not.


Phantoms of countless lost!
Invisible to the rest, henceforth become my companions!
Follow me ever! desert me not, while I live.


Sweet are the blooming cheeks of the living! sweet are the musical
voices sounding!
But sweet, ah sweet, are the dead, with their silent eyes.


Dearest comrades! all is over and long gone; 30
But love is not over--and what love, O comrades!



Perfume from battle-fields rising--up from foetor arising.


Perfume therefore my chant, O love! immortal Love!
Give me to bathe the memories of all dead soldiers,
Shroud them, embalm them, cover them all over with tender pride!


Perfume all! make all wholesome!
Make these ashes to nourish and blossom,
O love! O chant! solve all, fructify all with the last chemistry.


Give me exhaustless--make me a fountain,
That I exhale love from me wherever I go, like a moist perennial dew,
For the ashes of all dead soldiers.
444

As If A Phantom Caress'd Me

As If A Phantom Caress'd Me

AS if a phantom caress'd me,
I thought I was not alone, walking here by the shore;
But the one I thought was with me, as now I walk by the shore--the


one I loved, that caress'd me,
As I lean and look through the glimmering light--that one has utterly
disappear'd,
And those appear that are hateful to me, and mock me.
495

As Toilsome I Wander'd

As Toilsome I Wander'd

AS TOILSOME I wander'd Virginia's woods,
To the music of rustling leaves, kick'd by my feet, (for 'twas


autumn,)
I mark'd at the foot of a tree the grave of a soldier,
Mortally wounded he, and buried on the retreat, (easily all could I

understand;)
The halt of a mid-day hour, when up! no time to lose--yet this sign

left,
On a tablet scrawl'd and nail'd on the tree by the grave,
Bold, cautious, true, and my loving comrade.


Long, long I muse, then on my way go wandering;
Many a changeful season to follow, and many a scene of life;
Yet at times through changeful season and scene, abrupt, alone, or in


the crowded street, 10
Comes before me the unknown soldier's grave--comes the inscription
rude in Virginia's woods,
Bold, cautious, true, and my loving comrade.
441

As I Ponder'd In Silence

As I Ponder'd In Silence

AS I ponder'd in silence,
Returning upon my poems, considering, lingering long,
A Phantom arose before me, with distrustful aspect,
Terrible in beauty, age, and power,
The genius of poets of old lands,
As to me directing like flame its eyes,
With finger pointing to many immortal songs,
And menacing voice, What singest thou? it said;
Know'st thou not, there is but one theme for ever-enduring bards?
And that is the theme of War, the fortune of battles, 10
The making of perfect soldiers?


Be it so, then I answer'd,
I too, haughty Shade, also sing war--and a longer and greater one
than any,
Waged in my book with varying fortune--with flight, advance, and
retreat--Victory deferr'd and wavering,
(Yet, methinks, certain, or as good as certain, at the last,)--The

field the world;
For life and death--for the Body, and for the eternal Soul,
Lo! too am come, chanting the chant of battles,
I, above all, promote brave soldiers.
567

As I Walk These Broad, Majestic Days

As I Walk These Broad, Majestic Days

AS I walk these broad, majestic days of peace,
(For the war, the struggle of blood finish'd, wherein, O terrific


Ideal!
Against vast odds, having gloriously won,
Now thou stridest on--yet perhaps in time toward denser wars,
Perhaps to engage in time in still more dreadful contests, dangers,
Longer campaigns and crises, labors beyond all others;
--As I walk solitary, unattended,
Around me I hear that eclat of the world--politics, produce,
The announcements of recognized things--science,
The approved growth of cities, and the spread of inventions. 10

I see the ships, (they will last a few years,)
The vast factories, with their foremen and workmen,
And here the indorsement of all, and do not object to it.


But I too announce solid things;
Science, ships, politics, cities, factories, are not nothing--I watch
them,
Like a grand procession, to music of distant bugles, pouring,
triumphantly moving--and grander heaving in sight;
They stand for realities--all is as it should be.


Then my realities;
What else is so real as mine?
Libertad, and the divine average--Freedom to every slave on the face


of the earth, 20
The rapt promises and luminé of seers--the spiritual world--these
centuries lasting songs,
And our visions, the visions of poets, the most solid announcements
of any.

For we support all, fuse all,
After the rest is done and gone, we remain;
There is no final reliance but upon us;
Democracy rests finally upon us (I, my brethren, begin it,)
And our visions sweep through eternity.
448

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