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$ -t6~~~zu-hv ~ -Zpound~~ r ~ middot ~ ~ah~~

I

--

l

- - - -- ~------

I DEi8 FROM KE WHI rMAN LECTURES

~

~

~

- - A5 R 0 RVlIl tic 6 h laquo) j hi)I wh 1t fl)t n d r a n) t i z ~ the t) 9 ( 1 n t 0 30methlng larger than life Concentrate on Sec ton I of Song of Myself and have the students first IdentIfy t terms Romantic dramatize and ego Then request a lIst of s lfle V01lt18 or phrases that prove the statement It would al 0 be porslble for them to u(~epoundU5en his egotism by asking them to alter kei words ( 1 e ce Ifbrate assume per feet abeyance lt1 thout chfck) 1h15 15 a form of reverse psychol(HJY In that the tone and the theme of the poem are viewed from a critical posture

--SectIon 52 treats the themes of fraternIty a libelt Cite the lines tlat prove this statement How does this eectil1 the closing of the poem differ from the openIng sect on What might you imagine has transpired during all of the ether secticns for Whltman to ~ave come to such a close

--We may finally define love In th~~ most ccurate wa for OUl8elves Love is that which helps Uft to und 8tand the ruth about ours~lves and OUT r()~~51bllltles Jaco Neecl~man from ~sychotherapy and the Sa~redn What can do ~ th this def1n tlon and the works of ~lt whitman that have r~ad~

--Whl tman an] middotlImerson both bel ieved i ntui tlon t be a 5OurCi~ for under~tandlng nature~ Shov~ how this belle fit8 the Transcendental Hovement~

--The rational 5plrlt of whjtman was taken froir the Inf~uen(~e of Thomas Paine In Number 1 of the crisis 3 alt he denounces tho3e who are nott Ie f feal ful 0 lukewan~ to the Amer lean caUge he never Geaees to reaeJOfl wI th them ~ Gdtewal to the Great Books po 458) FInd Palne5 reasons nd 1f possible show how Whl tman shares to3 quaIl ty 1n 3pl te pound is rOrfittnt Ie tone

--1IAmet icchr 1ves on conttad let ions Our IneiflY en~e of pract cal~ty and earthinESS 5 jugttaposed agal st a stlain of ideal sm O~lr desIre to be tached flom Old ~(middotrld rc~achlnatlon3 15 exceeded only by the ptts of our emotional lnvclverepnt ~lth the hUn1en comn~cnwea 1 th ( The ene rqy we tint) 11(~ p 1 oc 1 rna t ion$ 0 f vir t u( i 5 equa 1ed 1 f not S J Pa 53 ed b ~r 1) ur prlvate expressions of self-doubt~ At one and he same tim~ we advertise onr excellenc ard a log zeuro for 0 achlt~~ement3 ~ ( Nor 1fiO n Cous n 3 f r ( m H l man 0 t ~ c n 3 (p 9 2 )

~ld lspof~ ~ ~~ ~poundThi3 Is an excellent currEHlt 8unmvllY of America slnce It Ie 1 V accurate as deacr 1 i on of Wh1tmanq~ Jieaves of Ga5~h the quotation c I Id be UA to demonstrate the modern appea of WhltDmn~ It also serves as a poss1ble fPC nghoatd ~or his In-lightful and pr t 1c gf 1us ~ I t could also be used to rk discussion of CUl nt eVt~t that verlf Cous ns claim Sruall groupe could be as~ gn~d toro 0 f10o~ toe i the r Wh 1 t ma n O~ hIs t () I Y for 0 f ~1~ ideii from the quot3t Ion f ehe lnforlr~tlon could then tIe aha wlth th~ entre class

1

bull --In th~ 10 ces ij middotqls1ons tape en lihltman th~ poe ~11e Ginsberg refers to rilt a p-)et wIth ijerHiImOilS iHlman ty armiddotd thar mmiddot J1~~ k t Ud (~ n t ~ sho these Qtid 11 t leegt they (~re found 1 ii 5ectlons 51 51 ~ whose ftelecttons ate found 1n most of the neW ttDCt5 I

--Any of the fiu~lca1 lectloh5 shared llC cla35 cOlId be p1ayei bepound Ore 1 rmiddotid 1ng ~ifd A5 ~~ (IllY f en a n f~ xpe r 1e n t t a 1 res po n ~3 e ~ONg thi~n O(GOmffi thrust rather than therne wt i tman t ~ dernocratl r ~osmc i~w 1s reflected In both the tempo and tone of Yanker DoEgtdl~ ef

~-PhOtOg~2ph5 of the ~vil WaD Lincoln g and clt~ life 40 111( obv 1ous 1)1 ~ntJlnG( a or all instruction of Hr ~hltman Tha litb(~forett aXld ~aftfr otograpiis of Llneoln ould be partlcu~arly effective fr m an hi Jrlcal ~elspectlve If reading any of the 5electlonn on Lincoln (pp 318-339 of Norton) (Is this obvlous j or what

~ - As t h t teache I 1 a 1 ()u d a Wh 1tman poem cu~ the 5 t ud e n t r follow with thall OH0py ~llow them to observe as you tal( through analyze comgtare t and pound Inally embrace the poem as yon would 1~ the prIvacy f your own mind~ Permit them to witness your cord~u~ilo~ and ~dritYl your questions and answers your affection and dledalr~ This intellectual voyeuristic experience (referred to as rno~ 11ng) does more for th~ teaching and und~rstandln9 ))pound (Icetty ~han any other technique After you allow yourself to ~e that vulneEable tentative amblguoU3 and honest all ~helr sonal obstacles to this difficult genre 5hrlnk a bit If P02 ble~ allow them to witness a spontaneous d lgtscusslor beyeen self and another teacher about the InterpretBtlon of a a~ J~cted poem Th1s-goes one step closer to the bectutiful lnslght hat great poetry nas the abillty-to dazzle and con f use even he hi 9hIY s k 111e d 0 tv Do r con tr ad 1 c t myselfivery well thtn I contradict myselfyen (I am latge I conta 1n rLU 1t 1tudes 0 )

--crltlclem form that soJks for EVERYTHING Goethes crItique 1 Wllf t 15 the authcn trying to 3ay (theme) 2 Did he say it (style tone etc ) 30 Was It worth it (Personal opinion)

These questions must b~ answered in order before the student ha3 the rIght to answer nmber 3 It 15 good for the students tmiddot)

realize that 13 only has validity when they undersatnd th~ essence of the work This Is the best most effective m05t endurirAg form ypound crltl-jsm I have found Our students come to use this form In othe~ disciplInes when they are called upon to analyze anything fro~ an hlstor leal passage to a biol0gy experiment It also se es as a built in lesson plan

-middotmiddot-In small grltHJPS ask tudents to ldentify how these stylistic techniques of Whitman reinforce his theme of democracy Be certain that the stude s cite Hpeclfic examples from the poems

1 rude word rather han elegant choice 2 pal31lel structuf5 3 ope~ i rambling 1 ~e5

- - - -- ~------

I DEi8 FROM KE WHI rMAN LECTURES

~

~

~

- - A5 R 0 RVlIl tic 6 h laquo) j hi)I wh 1t fl)t n d r a n) t i z ~ the t) 9 ( 1 n t 0 30methlng larger than life Concentrate on Sec ton I of Song of Myself and have the students first IdentIfy t terms Romantic dramatize and ego Then request a lIst of s lfle V01lt18 or phrases that prove the statement It would al 0 be porslble for them to u(~epoundU5en his egotism by asking them to alter kei words ( 1 e ce Ifbrate assume per feet abeyance lt1 thout chfck) 1h15 15 a form of reverse psychol(HJY In that the tone and the theme of the poem are viewed from a critical posture

--SectIon 52 treats the themes of fraternIty a libelt Cite the lines tlat prove this statement How does this eectil1 the closing of the poem differ from the openIng sect on What might you imagine has transpired during all of the ether secticns for Whltman to ~ave come to such a close

--We may finally define love In th~~ most ccurate wa for OUl8elves Love is that which helps Uft to und 8tand the ruth about ours~lves and OUT r()~~51bllltles Jaco Neecl~man from ~sychotherapy and the Sa~redn What can do ~ th this def1n tlon and the works of ~lt whitman that have r~ad~

--Whl tman an] middotlImerson both bel ieved i ntui tlon t be a 5OurCi~ for under~tandlng nature~ Shov~ how this belle fit8 the Transcendental Hovement~

--The rational 5plrlt of whjtman was taken froir the Inf~uen(~e of Thomas Paine In Number 1 of the crisis 3 alt he denounces tho3e who are nott Ie f feal ful 0 lukewan~ to the Amer lean caUge he never Geaees to reaeJOfl wI th them ~ Gdtewal to the Great Books po 458) FInd Palne5 reasons nd 1f possible show how Whl tman shares to3 quaIl ty 1n 3pl te pound is rOrfittnt Ie tone

--1IAmet icchr 1ves on conttad let ions Our IneiflY en~e of pract cal~ty and earthinESS 5 jugttaposed agal st a stlain of ideal sm O~lr desIre to be tached flom Old ~(middotrld rc~achlnatlon3 15 exceeded only by the ptts of our emotional lnvclverepnt ~lth the hUn1en comn~cnwea 1 th ( The ene rqy we tint) 11(~ p 1 oc 1 rna t ion$ 0 f vir t u( i 5 equa 1ed 1 f not S J Pa 53 ed b ~r 1) ur prlvate expressions of self-doubt~ At one and he same tim~ we advertise onr excellenc ard a log zeuro for 0 achlt~~ement3 ~ ( Nor 1fiO n Cous n 3 f r ( m H l man 0 t ~ c n 3 (p 9 2 )

~ld lspof~ ~ ~~ ~poundThi3 Is an excellent currEHlt 8unmvllY of America slnce It Ie 1 V accurate as deacr 1 i on of Wh1tmanq~ Jieaves of Ga5~h the quotation c I Id be UA to demonstrate the modern appea of WhltDmn~ It also serves as a poss1ble fPC nghoatd ~or his In-lightful and pr t 1c gf 1us ~ I t could also be used to rk discussion of CUl nt eVt~t that verlf Cous ns claim Sruall groupe could be as~ gn~d toro 0 f10o~ toe i the r Wh 1 t ma n O~ hIs t () I Y for 0 f ~1~ ideii from the quot3t Ion f ehe lnforlr~tlon could then tIe aha wlth th~ entre class

1

bull --In th~ 10 ces ij middotqls1ons tape en lihltman th~ poe ~11e Ginsberg refers to rilt a p-)et wIth ijerHiImOilS iHlman ty armiddotd thar mmiddot J1~~ k t Ud (~ n t ~ sho these Qtid 11 t leegt they (~re found 1 ii 5ectlons 51 51 ~ whose ftelecttons ate found 1n most of the neW ttDCt5 I

--Any of the fiu~lca1 lectloh5 shared llC cla35 cOlId be p1ayei bepound Ore 1 rmiddotid 1ng ~ifd A5 ~~ (IllY f en a n f~ xpe r 1e n t t a 1 res po n ~3 e ~ONg thi~n O(GOmffi thrust rather than therne wt i tman t ~ dernocratl r ~osmc i~w 1s reflected In both the tempo and tone of Yanker DoEgtdl~ ef

~-PhOtOg~2ph5 of the ~vil WaD Lincoln g and clt~ life 40 111( obv 1ous 1)1 ~ntJlnG( a or all instruction of Hr ~hltman Tha litb(~forett aXld ~aftfr otograpiis of Llneoln ould be partlcu~arly effective fr m an hi Jrlcal ~elspectlve If reading any of the 5electlonn on Lincoln (pp 318-339 of Norton) (Is this obvlous j or what

~ - As t h t teache I 1 a 1 ()u d a Wh 1tman poem cu~ the 5 t ud e n t r follow with thall OH0py ~llow them to observe as you tal( through analyze comgtare t and pound Inally embrace the poem as yon would 1~ the prIvacy f your own mind~ Permit them to witness your cord~u~ilo~ and ~dritYl your questions and answers your affection and dledalr~ This intellectual voyeuristic experience (referred to as rno~ 11ng) does more for th~ teaching and und~rstandln9 ))pound (Icetty ~han any other technique After you allow yourself to ~e that vulneEable tentative amblguoU3 and honest all ~helr sonal obstacles to this difficult genre 5hrlnk a bit If P02 ble~ allow them to witness a spontaneous d lgtscusslor beyeen self and another teacher about the InterpretBtlon of a a~ J~cted poem Th1s-goes one step closer to the bectutiful lnslght hat great poetry nas the abillty-to dazzle and con f use even he hi 9hIY s k 111e d 0 tv Do r con tr ad 1 c t myselfivery well thtn I contradict myselfyen (I am latge I conta 1n rLU 1t 1tudes 0 )

--crltlclem form that soJks for EVERYTHING Goethes crItique 1 Wllf t 15 the authcn trying to 3ay (theme) 2 Did he say it (style tone etc ) 30 Was It worth it (Personal opinion)

These questions must b~ answered in order before the student ha3 the rIght to answer nmber 3 It 15 good for the students tmiddot)

realize that 13 only has validity when they undersatnd th~ essence of the work This Is the best most effective m05t endurirAg form ypound crltl-jsm I have found Our students come to use this form In othe~ disciplInes when they are called upon to analyze anything fro~ an hlstor leal passage to a biol0gy experiment It also se es as a built in lesson plan

-middotmiddot-In small grltHJPS ask tudents to ldentify how these stylistic techniques of Whitman reinforce his theme of democracy Be certain that the stude s cite Hpeclfic examples from the poems

1 rude word rather han elegant choice 2 pal31lel structuf5 3 ope~ i rambling 1 ~e5

I DEi8 FROM KE WHI rMAN LECTURES

~

~

~

- - A5 R 0 RVlIl tic 6 h laquo) j hi)I wh 1t fl)t n d r a n) t i z ~ the t) 9 ( 1 n t 0 30methlng larger than life Concentrate on Sec ton I of Song of Myself and have the students first IdentIfy t terms Romantic dramatize and ego Then request a lIst of s lfle V01lt18 or phrases that prove the statement It would al 0 be porslble for them to u(~epoundU5en his egotism by asking them to alter kei words ( 1 e ce Ifbrate assume per feet abeyance lt1 thout chfck) 1h15 15 a form of reverse psychol(HJY In that the tone and the theme of the poem are viewed from a critical posture

--SectIon 52 treats the themes of fraternIty a libelt Cite the lines tlat prove this statement How does this eectil1 the closing of the poem differ from the openIng sect on What might you imagine has transpired during all of the ether secticns for Whltman to ~ave come to such a close

--We may finally define love In th~~ most ccurate wa for OUl8elves Love is that which helps Uft to und 8tand the ruth about ours~lves and OUT r()~~51bllltles Jaco Neecl~man from ~sychotherapy and the Sa~redn What can do ~ th this def1n tlon and the works of ~lt whitman that have r~ad~

--Whl tman an] middotlImerson both bel ieved i ntui tlon t be a 5OurCi~ for under~tandlng nature~ Shov~ how this belle fit8 the Transcendental Hovement~

--The rational 5plrlt of whjtman was taken froir the Inf~uen(~e of Thomas Paine In Number 1 of the crisis 3 alt he denounces tho3e who are nott Ie f feal ful 0 lukewan~ to the Amer lean caUge he never Geaees to reaeJOfl wI th them ~ Gdtewal to the Great Books po 458) FInd Palne5 reasons nd 1f possible show how Whl tman shares to3 quaIl ty 1n 3pl te pound is rOrfittnt Ie tone

--1IAmet icchr 1ves on conttad let ions Our IneiflY en~e of pract cal~ty and earthinESS 5 jugttaposed agal st a stlain of ideal sm O~lr desIre to be tached flom Old ~(middotrld rc~achlnatlon3 15 exceeded only by the ptts of our emotional lnvclverepnt ~lth the hUn1en comn~cnwea 1 th ( The ene rqy we tint) 11(~ p 1 oc 1 rna t ion$ 0 f vir t u( i 5 equa 1ed 1 f not S J Pa 53 ed b ~r 1) ur prlvate expressions of self-doubt~ At one and he same tim~ we advertise onr excellenc ard a log zeuro for 0 achlt~~ement3 ~ ( Nor 1fiO n Cous n 3 f r ( m H l man 0 t ~ c n 3 (p 9 2 )

~ld lspof~ ~ ~~ ~poundThi3 Is an excellent currEHlt 8unmvllY of America slnce It Ie 1 V accurate as deacr 1 i on of Wh1tmanq~ Jieaves of Ga5~h the quotation c I Id be UA to demonstrate the modern appea of WhltDmn~ It also serves as a poss1ble fPC nghoatd ~or his In-lightful and pr t 1c gf 1us ~ I t could also be used to rk discussion of CUl nt eVt~t that verlf Cous ns claim Sruall groupe could be as~ gn~d toro 0 f10o~ toe i the r Wh 1 t ma n O~ hIs t () I Y for 0 f ~1~ ideii from the quot3t Ion f ehe lnforlr~tlon could then tIe aha wlth th~ entre class

1

bull --In th~ 10 ces ij middotqls1ons tape en lihltman th~ poe ~11e Ginsberg refers to rilt a p-)et wIth ijerHiImOilS iHlman ty armiddotd thar mmiddot J1~~ k t Ud (~ n t ~ sho these Qtid 11 t leegt they (~re found 1 ii 5ectlons 51 51 ~ whose ftelecttons ate found 1n most of the neW ttDCt5 I

--Any of the fiu~lca1 lectloh5 shared llC cla35 cOlId be p1ayei bepound Ore 1 rmiddotid 1ng ~ifd A5 ~~ (IllY f en a n f~ xpe r 1e n t t a 1 res po n ~3 e ~ONg thi~n O(GOmffi thrust rather than therne wt i tman t ~ dernocratl r ~osmc i~w 1s reflected In both the tempo and tone of Yanker DoEgtdl~ ef

~-PhOtOg~2ph5 of the ~vil WaD Lincoln g and clt~ life 40 111( obv 1ous 1)1 ~ntJlnG( a or all instruction of Hr ~hltman Tha litb(~forett aXld ~aftfr otograpiis of Llneoln ould be partlcu~arly effective fr m an hi Jrlcal ~elspectlve If reading any of the 5electlonn on Lincoln (pp 318-339 of Norton) (Is this obvlous j or what

~ - As t h t teache I 1 a 1 ()u d a Wh 1tman poem cu~ the 5 t ud e n t r follow with thall OH0py ~llow them to observe as you tal( through analyze comgtare t and pound Inally embrace the poem as yon would 1~ the prIvacy f your own mind~ Permit them to witness your cord~u~ilo~ and ~dritYl your questions and answers your affection and dledalr~ This intellectual voyeuristic experience (referred to as rno~ 11ng) does more for th~ teaching and und~rstandln9 ))pound (Icetty ~han any other technique After you allow yourself to ~e that vulneEable tentative amblguoU3 and honest all ~helr sonal obstacles to this difficult genre 5hrlnk a bit If P02 ble~ allow them to witness a spontaneous d lgtscusslor beyeen self and another teacher about the InterpretBtlon of a a~ J~cted poem Th1s-goes one step closer to the bectutiful lnslght hat great poetry nas the abillty-to dazzle and con f use even he hi 9hIY s k 111e d 0 tv Do r con tr ad 1 c t myselfivery well thtn I contradict myselfyen (I am latge I conta 1n rLU 1t 1tudes 0 )

--crltlclem form that soJks for EVERYTHING Goethes crItique 1 Wllf t 15 the authcn trying to 3ay (theme) 2 Did he say it (style tone etc ) 30 Was It worth it (Personal opinion)

These questions must b~ answered in order before the student ha3 the rIght to answer nmber 3 It 15 good for the students tmiddot)

realize that 13 only has validity when they undersatnd th~ essence of the work This Is the best most effective m05t endurirAg form ypound crltl-jsm I have found Our students come to use this form In othe~ disciplInes when they are called upon to analyze anything fro~ an hlstor leal passage to a biol0gy experiment It also se es as a built in lesson plan

-middotmiddot-In small grltHJPS ask tudents to ldentify how these stylistic techniques of Whitman reinforce his theme of democracy Be certain that the stude s cite Hpeclfic examples from the poems

1 rude word rather han elegant choice 2 pal31lel structuf5 3 ope~ i rambling 1 ~e5

bull --In th~ 10 ces ij middotqls1ons tape en lihltman th~ poe ~11e Ginsberg refers to rilt a p-)et wIth ijerHiImOilS iHlman ty armiddotd thar mmiddot J1~~ k t Ud (~ n t ~ sho these Qtid 11 t leegt they (~re found 1 ii 5ectlons 51 51 ~ whose ftelecttons ate found 1n most of the neW ttDCt5 I

--Any of the fiu~lca1 lectloh5 shared llC cla35 cOlId be p1ayei bepound Ore 1 rmiddotid 1ng ~ifd A5 ~~ (IllY f en a n f~ xpe r 1e n t t a 1 res po n ~3 e ~ONg thi~n O(GOmffi thrust rather than therne wt i tman t ~ dernocratl r ~osmc i~w 1s reflected In both the tempo and tone of Yanker DoEgtdl~ ef

~-PhOtOg~2ph5 of the ~vil WaD Lincoln g and clt~ life 40 111( obv 1ous 1)1 ~ntJlnG( a or all instruction of Hr ~hltman Tha litb(~forett aXld ~aftfr otograpiis of Llneoln ould be partlcu~arly effective fr m an hi Jrlcal ~elspectlve If reading any of the 5electlonn on Lincoln (pp 318-339 of Norton) (Is this obvlous j or what

~ - As t h t teache I 1 a 1 ()u d a Wh 1tman poem cu~ the 5 t ud e n t r follow with thall OH0py ~llow them to observe as you tal( through analyze comgtare t and pound Inally embrace the poem as yon would 1~ the prIvacy f your own mind~ Permit them to witness your cord~u~ilo~ and ~dritYl your questions and answers your affection and dledalr~ This intellectual voyeuristic experience (referred to as rno~ 11ng) does more for th~ teaching and und~rstandln9 ))pound (Icetty ~han any other technique After you allow yourself to ~e that vulneEable tentative amblguoU3 and honest all ~helr sonal obstacles to this difficult genre 5hrlnk a bit If P02 ble~ allow them to witness a spontaneous d lgtscusslor beyeen self and another teacher about the InterpretBtlon of a a~ J~cted poem Th1s-goes one step closer to the bectutiful lnslght hat great poetry nas the abillty-to dazzle and con f use even he hi 9hIY s k 111e d 0 tv Do r con tr ad 1 c t myselfivery well thtn I contradict myselfyen (I am latge I conta 1n rLU 1t 1tudes 0 )

--crltlclem form that soJks for EVERYTHING Goethes crItique 1 Wllf t 15 the authcn trying to 3ay (theme) 2 Did he say it (style tone etc ) 30 Was It worth it (Personal opinion)

These questions must b~ answered in order before the student ha3 the rIght to answer nmber 3 It 15 good for the students tmiddot)

realize that 13 only has validity when they undersatnd th~ essence of the work This Is the best most effective m05t endurirAg form ypound crltl-jsm I have found Our students come to use this form In othe~ disciplInes when they are called upon to analyze anything fro~ an hlstor leal passage to a biol0gy experiment It also se es as a built in lesson plan

-middotmiddot-In small grltHJPS ask tudents to ldentify how these stylistic techniques of Whitman reinforce his theme of democracy Be certain that the stude s cite Hpeclfic examples from the poems

1 rude word rather han elegant choice 2 pal31lel structuf5 3 ope~ i rambling 1 ~e5

TEXAS

d(~al]y) of C0UrSt~ tIv 3uj(nt shpLllc middotad RI ali 6 t ( 1 y ~ i Je v ~ 1 r t h euro)

e e 1 v e 6 f j t 11 lL~ V i ng ad 1 yenlh t iman 13

1

IS~1lg f f1 4A f bull i lurid

Te Think of The S leepe 11- ~(1CeB

~ong of n we Tnere 6 a 1

() i~ l ~- ~ rS 1 pound ~()rp I) f

TI) rossjng

lH60

(1 () L f~

h i ~d (en tJr3 p ems iF 13 3euroltt i n J lamus tn i 6 sect) ]

jneuro

1 Sit 11 ir~clea

Oa the The World 30 1(ng

1 amp7 P()em~

Drum-Taps fa he pOEru3 in th i t onJ

1

Chanting the qu~re fie rihen Li L~cf) t In theuro Doolya Blcomd

1861 PoemG contd

Pioneers ( o1l1oers A Broadway Papenn t -1 Nolse SB Patj(-nt 5p er

tAfh i B ]Ie r 6 He a VT n 1 y Dea th of the Exposi lo~

jong of the Redwood TIe(~

r h ~ i3 rem t h (~ i he E q

~iith All Thy if Pr1ye f Cc ItmlJus

t ~

f t The nrillt~nce 0 Ld E es The t1 3 t T r t 1 t c t~

H r t r

Sdg(J

rtJ~Jd~

Good - 1y f nc~

1 L

LEAVES OF GRASS Assignments Ordered by Page Number

12 I Hear America Singing 28 Song of Myself 90 CHILDREN OF ADAM (all poems)

112 CALAMUS (all poems) 137 Salut au Monde 149 Song of the Open Road 159 Crossing Brooklyn Ferry 166 Song of the Answerer 171 Our Old Feuillage 184 Song of the Braod-Axe 195 Song of the Exposition 206 Song of the Redwood Tree 211 teA Song for Occupations 226 Song of the Universal 229 Pioneers a Pioneers 233 To You (Whoever You Are) 242 A Broadway Pageant 246 Out of the Cradle Endlessly Rocking 253 As I Ebbd With the Ocean of Life 260 On the Beach at Night Alone 260 The World Below the Brine 272 I Sit and Look Out 273 The Dalliance of the Eagles 279 DRUM-TAPS (all poems) 328 When Lilacs Last in the Dooryard Bloomd 364 There Was a Child Went Forth 368 This Compost 373 Song of Prudence 388 ttMiracles 389 Sparkles from the Wheel 401 With All Thy Gifts 411 Passage to India 421 ttprayer of Columbus 424 The Sleepers 434 To Think of Time tt

442 ttWhispers of Heavenly Death 443 Chanting the Square Deific 450 A Noiseless Patient Spider 463 Faces 468 The Mystic Trumpeter 471 To a Locomotive in Winter 480 Mediums 486 Spirit That Formd this Scene 503 So Long 536 After the Supper and Talk 540 Good-Bye My Fancy 557 Good-Bye My Fancy () 711 Preface to 1855 Edition

lne en th~ firs

] I a SerpEri ( 1m 140)

d unt(i nly ~Q i d

Psalm i4

ten etr 4

~ah a ilda 1 retu ef his If)tlth (Job

or t to Uf~ a lth i 9 middot~to sa e(ln )

1) eJ( ry th j nB htn~ 113 a son a tiuze to ~~ve~Y rrmiddotso the haven

Eccles tea ~i

Fr)r t)t~ r sctll dC-fn tc 1St Our 11y c earth ( Inl 44

God rtf igneth over the luidiollS God sjtteth upon the throne of his holiness (Psalm 47)

Who shall ascend iuto the hill of the Lord Or whc shall etand in h~s holy place (Psalm 24)

And i1 Christ not risen then is our preachng vain And ycu faith is also vain (1 Corinthians 1f14)

The vcice of the Lord 1s powerful The v( ice of tr1e lJord i6 full of maJesty (Ptal~ 29)

st thou dra out loviethan with an hook ~ (1 ~d8 tongue 1-ltb a cnd which lettel3t down

e thr)l put an 1100( into his n8~ or LOTe hiLi j j r h th a 01 n ( 10b t1 ~i 1 - j )

Chanting the qu~re fie rihen Li L~cf) t In theuro Doolya Blcomd

1861 PoemG contd

Pioneers ( o1l1oers A Broadway Papenn t -1 Nolse SB Patj(-nt 5p er

tAfh i B ]Ie r 6 He a VT n 1 y Dea th of the Exposi lo~

jong of the Redwood TIe(~

r h ~ i3 rem t h (~ i he E q

~iith All Thy if Pr1ye f Cc ItmlJus

t ~

f t The nrillt~nce 0 Ld E es The t1 3 t T r t 1 t c t~

H r t r

Sdg(J

rtJ~Jd~

Good - 1y f nc~

1 L

LEAVES OF GRASS Assignments Ordered by Page Number

12 I Hear America Singing 28 Song of Myself 90 CHILDREN OF ADAM (all poems)

112 CALAMUS (all poems) 137 Salut au Monde 149 Song of the Open Road 159 Crossing Brooklyn Ferry 166 Song of the Answerer 171 Our Old Feuillage 184 Song of the Braod-Axe 195 Song of the Exposition 206 Song of the Redwood Tree 211 teA Song for Occupations 226 Song of the Universal 229 Pioneers a Pioneers 233 To You (Whoever You Are) 242 A Broadway Pageant 246 Out of the Cradle Endlessly Rocking 253 As I Ebbd With the Ocean of Life 260 On the Beach at Night Alone 260 The World Below the Brine 272 I Sit and Look Out 273 The Dalliance of the Eagles 279 DRUM-TAPS (all poems) 328 When Lilacs Last in the Dooryard Bloomd 364 There Was a Child Went Forth 368 This Compost 373 Song of Prudence 388 ttMiracles 389 Sparkles from the Wheel 401 With All Thy Gifts 411 Passage to India 421 ttprayer of Columbus 424 The Sleepers 434 To Think of Time tt

442 ttWhispers of Heavenly Death 443 Chanting the Square Deific 450 A Noiseless Patient Spider 463 Faces 468 The Mystic Trumpeter 471 To a Locomotive in Winter 480 Mediums 486 Spirit That Formd this Scene 503 So Long 536 After the Supper and Talk 540 Good-Bye My Fancy 557 Good-Bye My Fancy () 711 Preface to 1855 Edition

lne en th~ firs

] I a SerpEri ( 1m 140)

d unt(i nly ~Q i d

Psalm i4

ten etr 4

~ah a ilda 1 retu ef his If)tlth (Job

or t to Uf~ a lth i 9 middot~to sa e(ln )

1) eJ( ry th j nB htn~ 113 a son a tiuze to ~~ve~Y rrmiddotso the haven

Eccles tea ~i

Fr)r t)t~ r sctll dC-fn tc 1St Our 11y c earth ( Inl 44

God rtf igneth over the luidiollS God sjtteth upon the throne of his holiness (Psalm 47)

Who shall ascend iuto the hill of the Lord Or whc shall etand in h~s holy place (Psalm 24)

And i1 Christ not risen then is our preachng vain And ycu faith is also vain (1 Corinthians 1f14)

The vcice of the Lord 1s powerful The v( ice of tr1e lJord i6 full of maJesty (Ptal~ 29)

st thou dra out loviethan with an hook ~ (1 ~d8 tongue 1-ltb a cnd which lettel3t down

e thr)l put an 1100( into his n8~ or LOTe hiLi j j r h th a 01 n ( 10b t1 ~i 1 - j )

LEAVES OF GRASS Assignments Ordered by Page Number

12 I Hear America Singing 28 Song of Myself 90 CHILDREN OF ADAM (all poems)

112 CALAMUS (all poems) 137 Salut au Monde 149 Song of the Open Road 159 Crossing Brooklyn Ferry 166 Song of the Answerer 171 Our Old Feuillage 184 Song of the Braod-Axe 195 Song of the Exposition 206 Song of the Redwood Tree 211 teA Song for Occupations 226 Song of the Universal 229 Pioneers a Pioneers 233 To You (Whoever You Are) 242 A Broadway Pageant 246 Out of the Cradle Endlessly Rocking 253 As I Ebbd With the Ocean of Life 260 On the Beach at Night Alone 260 The World Below the Brine 272 I Sit and Look Out 273 The Dalliance of the Eagles 279 DRUM-TAPS (all poems) 328 When Lilacs Last in the Dooryard Bloomd 364 There Was a Child Went Forth 368 This Compost 373 Song of Prudence 388 ttMiracles 389 Sparkles from the Wheel 401 With All Thy Gifts 411 Passage to India 421 ttprayer of Columbus 424 The Sleepers 434 To Think of Time tt

442 ttWhispers of Heavenly Death 443 Chanting the Square Deific 450 A Noiseless Patient Spider 463 Faces 468 The Mystic Trumpeter 471 To a Locomotive in Winter 480 Mediums 486 Spirit That Formd this Scene 503 So Long 536 After the Supper and Talk 540 Good-Bye My Fancy 557 Good-Bye My Fancy () 711 Preface to 1855 Edition

lne en th~ firs

] I a SerpEri ( 1m 140)

d unt(i nly ~Q i d

Psalm i4

ten etr 4

~ah a ilda 1 retu ef his If)tlth (Job

or t to Uf~ a lth i 9 middot~to sa e(ln )

1) eJ( ry th j nB htn~ 113 a son a tiuze to ~~ve~Y rrmiddotso the haven

Eccles tea ~i

Fr)r t)t~ r sctll dC-fn tc 1St Our 11y c earth ( Inl 44

God rtf igneth over the luidiollS God sjtteth upon the throne of his holiness (Psalm 47)

Who shall ascend iuto the hill of the Lord Or whc shall etand in h~s holy place (Psalm 24)

And i1 Christ not risen then is our preachng vain And ycu faith is also vain (1 Corinthians 1f14)

The vcice of the Lord 1s powerful The v( ice of tr1e lJord i6 full of maJesty (Ptal~ 29)

st thou dra out loviethan with an hook ~ (1 ~d8 tongue 1-ltb a cnd which lettel3t down

e thr)l put an 1100( into his n8~ or LOTe hiLi j j r h th a 01 n ( 10b t1 ~i 1 - j )

lne en th~ firs

] I a SerpEri ( 1m 140)

d unt(i nly ~Q i d

Psalm i4

ten etr 4

~ah a ilda 1 retu ef his If)tlth (Job

or t to Uf~ a lth i 9 middot~to sa e(ln )

1) eJ( ry th j nB htn~ 113 a son a tiuze to ~~ve~Y rrmiddotso the haven

Eccles tea ~i

Fr)r t)t~ r sctll dC-fn tc 1St Our 11y c earth ( Inl 44

God rtf igneth over the luidiollS God sjtteth upon the throne of his holiness (Psalm 47)

Who shall ascend iuto the hill of the Lord Or whc shall etand in h~s holy place (Psalm 24)

And i1 Christ not risen then is our preachng vain And ycu faith is also vain (1 Corinthians 1f14)

The vcice of the Lord 1s powerful The v( ice of tr1e lJord i6 full of maJesty (Ptal~ 29)

st thou dra out loviethan with an hook ~ (1 ~d8 tongue 1-ltb a cnd which lettel3t down

e thr)l put an 1100( into his n8~ or LOTe hiLi j j r h th a 01 n ( 10b t1 ~i 1 - j )

2

2 the 1 denies or

Though a sinner d0 times and his dtye be prolonged

Yet f1urely I t shsl ith the~ uno ar God who befo~middote him iastes 812

All the labor man is for his And yet the appetl is not filled ( lesiastes 67)

He th9tt is gsin troub his OHn house But h~ that hateth jeB ahall 1 (Pr)4erbs 15 27 )

Pight30usnees exalteth a Dation But in is a to any (Proverbs 1434)

l pru jan t man t1e J hldeth himsel But tle sLmpl(~ pass on and are pun (Prove 2-3)

Favor is dece tful y and beauty vairif But a woman feareth the IJord ~ she shall be ll-taia

(Proverbs 3130)

All t~e rivers run into the sea Yet t~e sea 1s not fu 1 Ecclesiastes 11)

~very wise woman ildeth her But tne foolish plucketh it down with her hands

(Proverbs 141)

The h0uee of the wicked shall be overthro~n But tle tabernacle of the upright shall flourish

Proverbs 1411)

A Wi6~ son maketh a glad father But a foolish man deepiseth his mother (Proverbs 1520)

He thlt refuaeth instruction despiseth his own soul J

But h1 that heareth reproof getteth understanding Proverbs 1532)

He that walk with wise men shall wiRe But a compnnion of fools shall be destroyeJ

Prove 13=20)

3 Lyn middotib ~ J_Js~_Q _ ~~~ ~I i~gt(~~ ~1~E~J~JJ ~ n t h euro gt ti C cond 1 in E c ) r ~~eVe iJ COliHec ttil~ lJf Ie f3 l Pr)J ~ 1J ~v rJpound cmiddot (middotL~pJltmiddotjt ~H- middot b 2~ ~ i rpound tmiddot

lJ~ Lld iiB ory r3 ~ ~ lL middot~rd I f31) t nt T dnt

tE rnmiddotJ e t i- DJ(~ h ) jJ ~ d C ~ n 1 n ~i r ~~ e r p ul f~ tl0lte g

he ledeth ne ~a81dB the still waters Imiddot i l~ C f- toreth ill f )t

lie 1 middotf~~ detb rr~l ttlfc p El cf rlfl htecLsnecl ~ for hlE X 12rJ(~

_ eke

ntrmiddote t me n(d~ t o l31te thee or tel tdJrn amp~H~l from fl1ot lnf ~ fter t he~

[ ) t ~~ l thC t L) l iJ C E t I ~yi ) 1 g c And pe~ re tHgt~ 1(~d ~ ~~5t 1 1JL11 l od8~ ~

Thy p ople euro~h ~ 1 j~~ ilJ Y H ~j~_l lt J

hnd tLy God fI GJd I ~L th I f)t

J~ ifJ ~9 (1 f l0 r myf ~~ 1J~ t t i ~Jbull bull ~ ~ ~~ ~ () r Y i

~ b ul t hOUfHB )J3 nt~(_~ middotv ineLrdfl ~ _ m5~i gacclen~ and ~ch~ rds)

An d I planted t tBlo))) in th em cf JJ 1 k ina of f rmiddot 1 i t c ~ is1~(h poola of a -~t() lt)ttgt(~r t11Erei0ith the WO r) d tha (

hringeth -)rtgt -t r~ltpound (Eccieuroc1 a ~~ tea 1 0)

Two 2 E~ blJt ter than ) tH Q ~~ CD (HH~ they have a g )od re u rd JO

belr Labn r For J thti Y fall tr ~ )JH wl l l Ijft ~lp h 1e fel1cH-l but wue to him tha La ~clJonlE whee bE falle middot~ ~h For he hath not another to help him up Again if t1fO 1 ie together then they have hect But h(lfl can OH~ he f~arm alone And 1 one prevai 1 against him two shall ui thstand him And a threefold cord is not quickly broken

lEccleaiastea 49-12)

CurfH~ not the k lng f no not in thy thought And c u rse not~ the rich In thy bedc- Clmber For a bi rd of the l i r shall carry the vo lce lnd that which hath winga shall tell the matter -

Eccaleaiastea 1020)

Therc-ore) remove 3)rro from thy tear t f tLld Fllt away ( middotmiddot11 f rom t hy f leeh For Cil i Idhood 1nd ymiddotJ U th are vaT i ty

~~cclesiD gtt(P 11 10)

3 Lyn middotib ~ J_Js~_Q _ ~~~ ~I i~gt(~~ ~1~E~J~JJ ~ n t h euro gt ti C cond 1 in E c ) r ~~eVe iJ COliHec ttil~ lJf Ie f3 l Pr)J ~ 1J ~v rJpound cmiddot (middotL~pJltmiddotjt ~H- middot b 2~ ~ i rpound tmiddot

lJ~ Lld iiB ory r3 ~ ~ lL middot~rd I f31) t nt T dnt

tE rnmiddotJ e t i- DJ(~ h ) jJ ~ d C ~ n 1 n ~i r ~~ e r p ul f~ tl0lte g

he ledeth ne ~a81dB the still waters Imiddot i l~ C f- toreth ill f )t

lie 1 middotf~~ detb rr~l ttlfc p El cf rlfl htecLsnecl ~ for hlE X 12rJ(~

_ eke

ntrmiddote t me n(d~ t o l31te thee or tel tdJrn amp~H~l from fl1ot lnf ~ fter t he~

[ ) t ~~ l thC t L) l iJ C E t I ~yi ) 1 g c And pe~ re tHgt~ 1(~d ~ ~~5t 1 1JL11 l od8~ ~

Thy p ople euro~h ~ 1 j~~ ilJ Y H ~j~_l lt J

hnd tLy God fI GJd I ~L th I f)t

J~ ifJ ~9 (1 f l0 r myf ~~ 1J~ t t i ~Jbull bull ~ ~ ~~ ~ () r Y i

~ b ul t hOUfHB )J3 nt~(_~ middotv ineLrdfl ~ _ m5~i gacclen~ and ~ch~ rds)

An d I planted t tBlo))) in th em cf JJ 1 k ina of f rmiddot 1 i t c ~ is1~(h poola of a -~t() lt)ttgt(~r t11Erei0ith the WO r) d tha (

hringeth -)rtgt -t r~ltpound (Eccieuroc1 a ~~ tea 1 0)

Two 2 E~ blJt ter than ) tH Q ~~ CD (HH~ they have a g )od re u rd JO

belr Labn r For J thti Y fall tr ~ )JH wl l l Ijft ~lp h 1e fel1cH-l but wue to him tha La ~clJonlE whee bE falle middot~ ~h For he hath not another to help him up Again if t1fO 1 ie together then they have hect But h(lfl can OH~ he f~arm alone And 1 one prevai 1 against him two shall ui thstand him And a threefold cord is not quickly broken

lEccleaiastea 49-12)

CurfH~ not the k lng f no not in thy thought And c u rse not~ the rich In thy bedc- Clmber For a bi rd of the l i r shall carry the vo lce lnd that which hath winga shall tell the matter -

Eccaleaiastea 1020)

Therc-ore) remove 3)rro from thy tear t f tLld Fllt away ( middotmiddot11 f rom t hy f leeh For Cil i Idhood 1nd ymiddotJ U th are vaT i ty

~~cclesiD gtt(P 11 10)

4 ne 1 t and

Beho ld his bed ii 4hich f SOlOIi)OIl a Thre8ecore re about it Of valiant o They all ho pound5 ing c)(pelt in naX Eve-r man hath his 6WO(( upon h Sa thlgh becau

the night (Song of Solomon 3 7-8)

)f ear in

Come W Look Frolt Fr()Tj Frltlm

~ith me from me frcs1fi from ~ theuro tc)p of the 1 iont the mountaIn (Song of

1 48)

Thou Thou Wi th

hast ravi my hast raviahed my one chain Qf thy (Song of lemon

heart my heart wi neck 49)

sister one of

my S~OUBe thine eye~l

I ~twlikened th(~e under the TheTe thy mother brought thee forth There ~he brought thee forth who bore

(Song of So 85)

And And And

Gila mean f5 1 be brough t dc~n the mighty man shall be humbled the eyes of the lofty shall be humbled

(Isaiah 415)

All thy lovers have forgotten thee They seek thee not For I have wounded thee with the wound With the chastisement of a cruel one For the multitudes of thine iniquity Because thy sins were increased

(Jeremilllh 3014)

of an enemr~

Men And And And And And

ahall buy fields for money sign deeds and seal them take witnesses in the land of Benjamin

the places about Jerusalem in the ci t lea of ~Juda

n the cities of the mount~Lns (]eremlc 3244)

5 Internal earal1eiem Parallelism within the ine itself

AttenQ unto me and hear me I mourn in my complaint and make a nci6e

(Psalm 56)

As the bird by fandering J as the swallow by flying So the curse that is causeless shall not come

(Proverbs 262)

A vhip for the horss a bridle for the as~~

And a rod for thes back (Proverbs 28 3)

A 6cone is haa v i and the sand ~e~gh But a 1 5 ~middott is heavier them both

haf herb5

(

and the noun tainf

gtLSS shoWs i ts~ f) a8 ~Ia

raid l~n tht ~as not ~al1

(t3a1al1 651)

T~ey are grown ft they shine YJe Y paf3B c ~3r of the tc

leV not t H~ fHHh ~ t]euro CGnBt~ cmiddotf ~ 3t )toapar nei the r of needy nc jucte

( tfHniah 5 8)

Judge not tha [lJt J lFot ~d th ~ha t Jw ~ Judg~ y 11~ J i

And with what ~e~3ure ye n1638are fit ohall be ~~eaaur~d t)

you agaln thew 7 ~ 1-2

lJ

6 Tht- (nypoundlQ1Isect_ In this comtJiflcdiorl ~ the par-d 1pound i fl may b pj t her of fi(Jure~- t1l- of thotH]ht Irt thf~ fH1VP JP( of

thCiuqht-par-allelisn1 the initial lirh states 1dea 01

proposition succeeding lines state p~rallel thoughts r-qardinq the first lin~t c3nd the fin~l 1 inA stat~~r a concluding theJUfJht ThE jntYmiddottJj~Jction and cClnclusiDn may br~

two or three line~ instead of one In the envelope fjf

figures grammi-ltical figures ar~ repmiddot1(ted to tJmphi~~~ize tl) pcH-~llflism 1j5-11y as hle11 as (Hmiddotmiddotid y Scmetimp~i thE envtllopf~ is flincomplete--i el eithe- the introductior orshyihf~ ronclusion may be cimittfd

To eVETY thjnc-~ thf-re is a ~~ea50ni

And e1 ti(jF~ tt1 fVtr) pL~r-pnE under theurot llf~E~n

timeuro te bp hOfn andmiddot3 tjmgt1 tel dieuro~

A illiE temiddot plant tlnd a timf to pluck up that hi--h 13 panted

A time tmiddot~ k 1 lJnd~ t ime to Mea 1 fme tu brmiddotF~a k lleJn 4 ao a t mp to ~yli 1 d u p ~

~ tilTIF tC w(~ep~ d timt tu I-Bugh~

i t ime t IJ mClu tmiddot n ~nd i~ t i fOf to dan c ~~ 4 imE

togFthpr Aime- b t r1 b ( a r l FH1 a t ITa t c~ r f~ f a i n r n m t~Hi b tmiddot 2 i i1 ~

~~ t t met 9 IH t n j r~l t ill e t (1 l~) f e A ~i mt t kE~e ~1nrl c~ timf~ to CiS t a io-J ay

timi~ bJ r7nd ~nd ~ time to sew~

t me t tJme to 1 ()I~ t 11 dime to te

irne 0 ~ar fld a t me of ~et~Cf-(

( Fe c 1 e s iH~ t f- S 3 ~ 1 - 8 J

tl IIH tu tPE)f)

5 Internal earal1eiem Parallelism within the ine itself

AttenQ unto me and hear me I mourn in my complaint and make a nci6e

(Psalm 56)

As the bird by fandering J as the swallow by flying So the curse that is causeless shall not come

(Proverbs 262)

A vhip for the horss a bridle for the as~~

And a rod for thes back (Proverbs 28 3)

A 6cone is haa v i and the sand ~e~gh But a 1 5 ~middott is heavier them both

haf herb5

(

and the noun tainf

gtLSS shoWs i ts~ f) a8 ~Ia

raid l~n tht ~as not ~al1

(t3a1al1 651)

T~ey are grown ft they shine YJe Y paf3B c ~3r of the tc

leV not t H~ fHHh ~ t]euro CGnBt~ cmiddotf ~ 3t )toapar nei the r of needy nc jucte

( tfHniah 5 8)

Judge not tha [lJt J lFot ~d th ~ha t Jw ~ Judg~ y 11~ J i

And with what ~e~3ure ye n1638are fit ohall be ~~eaaur~d t)

you agaln thew 7 ~ 1-2

lJ

6 Tht- (nypoundlQ1Isect_ In this comtJiflcdiorl ~ the par-d 1pound i fl may b pj t her of fi(Jure~- t1l- of thotH]ht Irt thf~ fH1VP JP( of

thCiuqht-par-allelisn1 the initial lirh states 1dea 01

proposition succeeding lines state p~rallel thoughts r-qardinq the first lin~t c3nd the fin~l 1 inA stat~~r a concluding theJUfJht ThE jntYmiddottJj~Jction and cClnclusiDn may br~

two or three line~ instead of one In the envelope fjf

figures grammi-ltical figures ar~ repmiddot1(ted to tJmphi~~~ize tl) pcH-~llflism 1j5-11y as hle11 as (Hmiddotmiddotid y Scmetimp~i thE envtllopf~ is flincomplete--i el eithe- the introductior orshyihf~ ronclusion may be cimittfd

To eVETY thjnc-~ thf-re is a ~~ea50ni

And e1 ti(jF~ tt1 fVtr) pL~r-pnE under theurot llf~E~n

timeuro te bp hOfn andmiddot3 tjmgt1 tel dieuro~

A illiE temiddot plant tlnd a timf to pluck up that hi--h 13 panted

A time tmiddot~ k 1 lJnd~ t ime to Mea 1 fme tu brmiddotF~a k lleJn 4 ao a t mp to ~yli 1 d u p ~

~ tilTIF tC w(~ep~ d timt tu I-Bugh~

i t ime t IJ mClu tmiddot n ~nd i~ t i fOf to dan c ~~ 4 imE

togFthpr Aime- b t r1 b ( a r l FH1 a t ITa t c~ r f~ f a i n r n m t~Hi b tmiddot 2 i i1 ~

~~ t t met 9 IH t n j r~l t ill e t (1 l~) f e A ~i mt t kE~e ~1nrl c~ timf~ to CiS t a io-J ay

timi~ bJ r7nd ~nd ~ time to sew~

t me t tJme to 1 ()I~ t 11 dime to te

irne 0 ~ar fld a t me of ~et~Cf-(

( Fe c 1 e s iH~ t f- S 3 ~ 1 - 8 J

tl IIH tu tPE)f)

lJ

6 Tht- (nypoundlQ1Isect_ In this comtJiflcdiorl ~ the par-d 1pound i fl may b pj t her of fi(Jure~- t1l- of thotH]ht Irt thf~ fH1VP JP( of

thCiuqht-par-allelisn1 the initial lirh states 1dea 01

proposition succeeding lines state p~rallel thoughts r-qardinq the first lin~t c3nd the fin~l 1 inA stat~~r a concluding theJUfJht ThE jntYmiddottJj~Jction and cClnclusiDn may br~

two or three line~ instead of one In the envelope fjf

figures grammi-ltical figures ar~ repmiddot1(ted to tJmphi~~~ize tl) pcH-~llflism 1j5-11y as hle11 as (Hmiddotmiddotid y Scmetimp~i thE envtllopf~ is flincomplete--i el eithe- the introductior orshyihf~ ronclusion may be cimittfd

To eVETY thjnc-~ thf-re is a ~~ea50ni

And e1 ti(jF~ tt1 fVtr) pL~r-pnE under theurot llf~E~n

timeuro te bp hOfn andmiddot3 tjmgt1 tel dieuro~

A illiE temiddot plant tlnd a timf to pluck up that hi--h 13 panted

A time tmiddot~ k 1 lJnd~ t ime to Mea 1 fme tu brmiddotF~a k lleJn 4 ao a t mp to ~yli 1 d u p ~

~ tilTIF tC w(~ep~ d timt tu I-Bugh~

i t ime t IJ mClu tmiddot n ~nd i~ t i fOf to dan c ~~ 4 imE

togFthpr Aime- b t r1 b ( a r l FH1 a t ITa t c~ r f~ f a i n r n m t~Hi b tmiddot 2 i i1 ~

~~ t t met 9 IH t n j r~l t ill e t (1 l~) f e A ~i mt t kE~e ~1nrl c~ timf~ to CiS t a io-J ay

timi~ bJ r7nd ~nd ~ time to sew~

t me t tJme to 1 ()I~ t 11 dime to te

irne 0 ~ar fld a t me of ~et~Cf-(

( Fe c 1 e s iH~ t f- S 3 ~ 1 - 8 J

tl IIH tu tPE)f)

I(Compy~tf triP =-Ele~ctrd b bliccil e~amplelt ~Iitl tJiJ VJ 1 l

P r deL i f~ )

1 bull ( epf~~n ilJhot M ) e pe t i ti 011 cd c Ie f d trf (lf alinE

T hULlfJ h 1 speak d t~l t hf~ tonques fJ f men and 0 f ~nc~ ~j

f~nd tlavF not 1DVEf

I 2m become as sDunding br-onzf1 Dr- e t ink 1 ine cym l And though I thVf the gi ft of t)Fophrmiddotcy and undet- tiJnd iill

mys t ( r i pound 5 i n d all k n a Itj 1 (r lei t t I hmiddot veuro i thlt thE t I C(iLd d rpl1iov ell( r 1 middot2i n-gt ~ j d t~a v t I (J Hl l () th illY Hnd thCJllqh l be-) tCHgtJ a J 1 my (qiJ i lOUq I g~~ my y to be biJtf1Flcl

() lei hafgt r c ] (lve t PiTf i tEt not fJJ

(I C(T i i1 t L n f~

H~ i c t ti(middot) (ilcH t I let t hH t i~ 11 if r (~nd i - t r If-i 1 y ~ lc] tllA

tlPvr i

H3 )

3 t bf~ t urrl itJho rr~-k t h ~J J J thln9~ ~

thri 2 tf t tH~l t I ( h 1 h he0 vef13 ri~ CYl

jo ~Pttdcrtll hJcd t hp f~ct t- t h h If I[) f tHItmiddot4

C II c1 n ~~ k p t tl eli E ~ m d ~

tJllO hHnE~ Ii licE nfn bi~ckelmiddotd ~

~~ r know 1

r-ubi T j1 t I 2 f do h t

hc hi11 h~ iiD nfpd 1]( pf1i 1 ~ ShE lli 11 (n hi Dod ~ il yen d n t p vi 1 gt

j Jf(middot~

S Ii t ~~~ Q f- ~ f h ~~H f) 1 l

)rlr-d

She 1 I rV~fl tc h p~

f3 i I~ i_ n g dmiddot h lkt f fem e) Lu bull Shf- r 1 tl d so Alfl j t is vet 1J h

FI C F tmiddot b S~ ~51 0 -shy 1 ~~ )

bullbull~ w ( euro r~n (3 1c p i ~ ) f-i (ltl n r d ) t 1t a r Hi a y b f~ epf~d bd WJ thin ~ or at th( c-nd Ofl iH2 1 inc bull

~JhPfl [ ~~F~ a chi ld spoke as t chi 1d I uJ)cler~LC)od as a child I thou(JII as child

(J Cor i nl h i ~HHi l r 11 )

In thF br2ginnin) was thF lilord ~ () lei t h(- vlor-d ~Ja~ tAl i th Godi Arci thrmiddot Jot-d Wi5 God M

T~ s~middotmf~ vJ~S in th~ bf~~jinnltLng ~ltIith G()d (Jonn 1 t-2)

(epcHlc~ltp5i=) (~ ~ 0 t- d CJ r iJ l~

o~~ at the fnri J the 1 lne

Hf ~laquoJas nt that L ght BLlt ItEE spnt to bf1EIT ~d tness 01 th~t Light T 1l1 hll thf~ trmiddotuf~ Light II

VJl1iC1 iiqhteth EVt-ry man h8t rc)m~th i to thL ~J(lirL

H IJJS n thf wor- d

(4ilC1 th( vc)l d ~JS matif by turn (uvj t hp t(]rl d ~rH~N t11 m ncr Hi Clt3mp un to hI f olJJnl Plld IiI CHJn rpcfiled him led

(I John 1

bullbull~ w ( euro r~n (3 1c p i ~ ) f-i (ltl n r d ) t 1t a r Hi a y b f~ epf~d bd WJ thin ~ or at th( c-nd Ofl iH2 1 inc bull

~JhPfl [ ~~F~ a chi ld spoke as t chi 1d I uJ)cler~LC)od as a child I thou(JII as child

(J Cor i nl h i ~HHi l r 11 )

In thF br2ginnin) was thF lilord ~ () lei t h(- vlor-d ~Ja~ tAl i th Godi Arci thrmiddot Jot-d Wi5 God M

T~ s~middotmf~ vJ~S in th~ bf~~jinnltLng ~ltIith G()d (Jonn 1 t-2)

(epcHlc~ltp5i=) (~ ~ 0 t- d CJ r iJ l~

o~~ at the fnri J the 1 lne

Hf ~laquoJas nt that L ght BLlt ItEE spnt to bf1EIT ~d tness 01 th~t Light T 1l1 hll thf~ trmiddotuf~ Light II

VJl1iC1 iiqhteth EVt-ry man h8t rc)m~th i to thL ~J(lirL

H IJJS n thf wor- d

(4ilC1 th( vc)l d ~JS matif by turn (uvj t hp t(]rl d ~rH~N t11 m ncr Hi Clt3mp un to hI f olJJnl Plld IiI CHJn rpcfiled him led

(I John 1

----

WALT WHITMANS POETIC TECHNIQUE

A STUDY GUIDE

James T F Tanner

~ 6-15-89

~~tt rhythmical princia~e~e6 of Grass is that of parallel structure the line is the rhythmical unit each line balancing its predecessor and completing or supplementing its meaning This parallelism may be called a rhythm of thought It also produces a phonetic recurrence similar to the rhythm we ordinarily speak of as meter but the first and most fundamental principle is a thought-rhythm The verses of Leaves of Grass like those of Old Testament poetry are composed of four types of parallelism

1 Synonymous parallelism the second line enforces theurol first by repea tillg the tholJght -( There mayor may not be ~epetition of words)

How solemn they look there stretchd and still How quiet they breathe the little children in their

cradles ( The Sleepers Sec 1)

I too am not a bit tamed I too am untranslatable I sound my barbaric yawp over the roofs of the world

(Song of Myself Sec 52)

2 Antithetical parallelism the second line denieso~ contrasts the rirli~tL (Used ~ry sparingly in Leaves 2pound_ Grass)

A woman waits for me she contains all nothing is lacking Yet all were lacking if sex were lacking

(tiA Woman Waits for Me)

Oners-Self I sing a simple separate person Yet utter the word Democratic the word En-Masse

(Ones- 5elpound I Sing)

3 Synthetic or Cumulative parallelism the second line or several conseclltj ~lines supplements -or completes the first

1

2

I celebrate myself and sing myself And what I assume you shall assume For every atom belonging to me as good belongs to you

(Song of Myself Sec 1)

4 Climactic or ascending parallelism each succeeding line adds to its predecessor usually takibg up words from it and comple-tTilg- it

When lilacs last in the dooryard bloomd And the great star early droopd in the western sky in the

night I mournd and yet shall mourn with ever-returning sprine

Ever-returning spring trinity sure to me you bring Lilacs blooming perennial and drooping star in the west And thought of him love

(When Lilacs Last in the Dooryard Bloomd Sec 1)

5 Internal parallelism Frequently we fir_Q____l]~t_OI1y_J~_jJlsect parallelism but__Jpten1 1_arall~1sm as in

(a) I celebrate myself (a) and sing myself (b) And what I assume (b) you shall assume (c) For every atom belonging to me (c) as good belongs to you

Or perhaps more common

(a) I too am not a bit tamed (a) I too am untranslatable (a) I [too] sound my barbaric yawp over the roofs of the

t~orld

Parallelis~the lines but the number at consecutive para11e1 Jraes is not particularly important However we do fjnd cQuzUets trjplets Quatrains and longer~the second strophe of Song of the Broad-

II -_- ---~-- -~---- ---~-~--bullbull- bullbull----------- shy

Axe )

A Couplet paralellis~

I cannot aid with my wring fingers I can but rush to the surf and let it drench and freeze

upon me ( The S middot4)

3

No shutterd room or school can commune with me But roughs and little children better than they

(Song of Myself Sec 47)

B T~iplet parallelism

I throw myself upon your breast my father I cling to you so that you cannot unloose me I hold you so firm till you answer me something

(liAs I Ebb~d with the Ocean of Life)

C Quatrain parallelism The quatrain may contain synonymous parallelism (indicated aa~a) alternate parallelism resembling common meter ( ) or other parallel combinations (such as abba abbb and )

(a) Each of us inevitable (a) Each of us limitless--each of us with his or her

right upon the earth (a) Each of us allowd the eternal purports of the

earth (a) Each of us here as divinely as any is here

(Salut au Monde Sec 11)

(a) Allons with power liberty the earth the elements

(b) Health defiance gaiety self-esteem curiosity (a) Allons from all formules (b) From your formules 0 bat-eyed and materialisti

priests (Song of the Open Road Sec 10)

(a) 0 liquid and free and tender (a) 0 wild and loose to my soul--O wondrous singer (b) You only I hear--yet the star holds me (but will

soon depart) (b) Yet the lilac with mastering odor holds me

(When Lilacs Last in the Dooryard Bloom - d )

D Thl3 Envelope In this combination the parallelism may15e eit~r~t-)f- fIgures or of thought In the envelope of thought parallelism the initial line states an idea or propound9si tiOll1- succeeding Ill1es state parallel thollhtc regarding the first line and the final lill~ statpg t

concIuding th~ht ~~-~-The introduction and conclu_ion may be tWOor three lines instead of one) but in

it is usually only one line Sometimer3 the whole poem is one envelope as 0 Me 0 IJife or Shipmate Joy

(a) Joy shipmate joy (Pleasd to my soul at death I cry)

(b) Our life is closed our life begins

4

(b) The long long anchorage we leave (b) The ship is clear at last she leaps (b) She swiftly courses from the shore (a) Joy shipmate joy

(a) Smile 0 voluptuous coolbreathed earth (b) Earth of the slumbvering and liquid trees (b) Earth of departed sunset Earth of the mountains

misty-topt (b) Earth of the vitreous pour of the full moon just

tinged with blue (b) Earth of shine and dark mottling the tide of the

river (b) Earth of the limpid gray clouds brighter and

clearer for my sake (b) Far-swooping elbowed earth Rich apple-blossomed

earth (a) Smile r your lover comes

(Song of Myself Sec 21)

The student will note in the previous example the repetition of grammatical figures

The inpoundQrnpJ ete envelope is found in Leaves of GrClss even more frequeftly thanmiddot-the-complete~~Q~J_Q129 In the incomplete envelope eI ther the-ri1-troduction or conclusion may be omitted

(a) Good in all (b) In the satisfaction and aplomb of animals (b) In the annual return of the seasons (b) In the hilarity of youth (b) In the strength and flush of manhood (b) In the grandeur and exquisiteness of old age (b) In the superb vistas of death

(Song at Sunset)

REITERATIVE DEVICES

Since thoughts are expressed by means of spoken sounds (or symbols that represent spoken sounds) it is possible for a poem to lave two rhythms one ~hought and the otb~~L__(2l1J1QS Whether one necessarily implies the other need not bother us here yet it is a fact that in Leaves of Gras~ parallel thoughts llave a tendency to slide into parallel manners of expression including both grammaticaJ constructions and similar phonetic recurrence3

1 lnitial reiteration (epana~ora) repetition of a word

5

or phrase at the beginning of the line

Out of the cradle endlessly rocking Out of the mocking birds throat the musical shutt e Out of the Ninth-month midnight

(Out of the Cradle Endlessly Rocking)

Medial and final reiteration (epanalepsis) the word r phrase may be repeated within or at the end of the line

I will know if I am to be less than they I will see if I Rm not as majestic as they I will see if I am not as subtle and real as they I will see if I am to be less generous than they

Or the reiteration may have several positions

Over the breast of the spring the land amid cities AlLid lanes and through old woods where lately the

violets peepd from the ground spotting the gray debris

Amid tht3 grass in the fiel each side of the lanes passing the endless grass

Passing the yellow speard wheat every grain from its shroud in the dark-brown fields uprisen

(

the apple tree blows of white and pink in the orchards

Carrying a corpse to where it shall rest in the grav8 Night and day journeys a coffin

(vlhen Lilacs Last in the Dooryard Bloom d )

The purpose of the use of these reiterations in both the initial (epanaphora) and the medial and final (epanalepsis) places may be summarized briefly

a to produce cadence b to band lines together into strophes or

stanzaic divisions c to achieve purely oratorical effects

3 Grammatical rhythm the repetition of a certain sort of speech or ical construction

Flow on river flow wi th the flood-tide and el]J2 wi th the ebb-tide

Frolic OU crested and scallop-edgd waves Gorgeous clouds of the sunset dr~l~h wi th your

splendor me or the men and women generAtions after me

G

Cross from shore to shore countless crowdc of passengers

Stand up tall masts of Manahatta (Crossing Brooklyn Ferry Sec 9)

SYNTACTICAL PATTERNS

Whitmans style is built on phrasal parataxis and not on periodic involution (S Musgrove T S Eliot and Wal t-JYhj tmanII

27) is the placing of related clauses phra18E etc in a series without the use of connecting words eg I came I sayenl I conquered If Or I am the man I suffered I was there --opposed to hypotaxis Involution is the name given to an involved construction especially one created by a clause separating a subject from its predicate A perjod in grammar and rhetoric is a complete sentence Thus periodic involutiQJl as used by Musgrove to describe the poetry of Whitman and Eliot means complicated involved sentences complete in sense with interruptions between subjects and verbs by means of clausesshyobviously not at all applicable to Whitman or Eliot Phrasal parataxis though aptly describes Whitmans syntactic patterI18 Phrasal parataxis occurs

1 With recurrent nouns

the howl of the wolf the scream of the pan~hcr and the hoarse bellow of the elk (Our Old Feuillage)

the bellow of the alligator the sad noises of the nightowl and the wild cat and the whirr of the rattlesnake (0 Magnet-South)

2 With participles acting as the recurrent link

Throwing myself on the sand confronting the waves Taking all hints to use them but swiftly leaping

beyond them (Out of the Cradle Endlessly Rocking)

3 With a series of parallel clauses

He was a frequent gunner and fisher he saild his boat himself he had a fine one presented to h1m by a sllip-joiner he had fowling-pieces presented to him by men that loved him (I Sing the Body Electric)

7

4 With a repeated preposition as the linking word

In the cars of railroads in steamboats in the public assembly (Song of the Open Road)

5 With a series of infinitives

To get the final lilt of songs To penetrate the inmost lore of poets--to know the

mighty ones (To Get the Final Lilt)

6 With a series of terminal participles (a variant of 2 above

Here and there with dimes on the eyes walking To feed the greed of the belly the brains liberally

spooning Tickets buying taking selling but in to the feast

never once going Many sweating ploughing thrashing and they the chaff

for payment receiving A few idly owning and they the wheat continually

claiming ( Song of Myself Sec 42)

One might note that the entire poemWe Two Boys ther Clinging is based on this pattern

7 The parentheses to break rhythm set up by phonetic recurrences

Wlitman~s use of the parenthesis has puzzled many students of his poetry for it is often employed where the passage is not parenthetical in thought Careful examination however shows that usually the parenthesis indicates a break in the rhytthm set up by the phonetic recurrences The rhythm is momentarily suspended broken off completely or in some manner varied by the passage inside the parenthesis Sometimes the parenthetical marks bracket a passage at the very beginning of the poem so that it could not be parenthetical in thought but these cases are rare A fairly characteristic specimen is

To the leavenrd soil they trod calling I sing for the last

(Forth from my tent emerging for good laos untyilg the tent ropes)

In the freshness of th forenoon

8

To the fiery fields emanative To the leavend soil To the Alleghanian hills etc

(To the Leavend Soil They Trod)

8 The periodic sentence This occurs quite often in Leaves of Grass For example the first stanza of Out of the Cradle Endlessly Rocking is a twenty-two line periodic sentence with the subject and verb coming only in the last three lines See also the first stanza of Starting from Paumanok to

9 The Caesura

A The catalog-caesura

The blab of the pave tires of carts sluff of bootsoles talk of the promenaders1

The heavy omnibus the driver with his interrogating thumb the clank of the shod horses on the granite floor

(Song of Myself Sec 8)

B A similar caesura but with many subtle variations

I hear bravuras of birds bustle of growine wheat gossip of flames clack of stick~ cooking my meals

I hear the sound I love the Bound of the hum~n voice

I hear all sounds running together combinAd fused or following

Sounds of the city and sounds out of the city-- sounds of the day and night

(Song of Myself Sec 26)

Notice how much the shortening or lengthening of the pause can contribute to both the rhythm and the thought The first line is cumulative in effect the second balanced the third suggestive or illustrative the fourth emphatic

C Sometimes the caesura divides the parallelism and is equivalent to the line-end pause

There is that in me-- I do not know what it isl but I know it is in me

Wrenchd and Bweaty-- calm and cool then my body becomes

I sleep--I I sleep long

9

I do not know it-- it is without name-- it is a word unsaid

It is not in any dictionary utterance symbol (Song of Myself Sec 50)

D Another caesural effect Jannacone callsthesis and arsis because the second halfline echoes the thought echoes the thought of the first and receives a weaker stress and perhaps a lower pitch

Great are the myths-- I too delight in them Great are Adam and Eve-- I too look back and

accept them (Great Are the Myths II Sec 1)

THE CATALOG

There are of course numerous examples of the catalog throughout Leaves of Grass Consider the example below

Pleasd with the native and pleasd with the foreign pleasd with the new and old

Pleasd with the homely woman as well as the handsome Pleasd with the quakeress as she puts off her bonnet and

talks melodiously Pleasd with the tune of the choir of the whitewashd

church Pleasd with the earnest words of the sweating Methodist

preacher impressd seriously at the camp-meeting (Song of Myself Sec 33)

IMAGERY AND FIGURES

The actual simile is not found so often in as in most other poetry yet we do have it occasionally (see eg Thou Mother with Thy Equal Brood and The Return of the Heroes 1)

is of course rich in metaphor and poetic

CONVENTIONAL POETIC TECHNIQUES

association

Although Whitmans organic theory of poet ntyle is commonly assumed to be completely antithetical to conventional teChl 2

there is no logical reason why the poet might not occasionally

10

have an experience or an emotion which would find natural expression in rhyme and meter Lois Ware has said that Whitman exemplified at some point or other virtually all of the conventions that he professed to eschew and that he employed some of these conventions on a large scale (Poetic Conventions in Leaves of Grass Studies in Philology 26 [1929] 47)

For conventional scansion of Whitmans verses see Bradleys scansion of Tears (Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry II American Literature 10 (1939) 437-59)

10

Tanner 6 15-89

NOTES ON THE STRUCTURE OF SONG OF MYSELF

A According to James E Miller Song of Myself- as Inverted Mystical Experience A Critical Guide to Leaves of Grass Chicago U of Chicago P 1951 6 35

1 Sections 1-5 Entry into the mystical state 2 Sections 6-16 Awakening of self 3 Sections 17 3 Purification of self 4 Sections 33-37 Illumination and the dark night of

the soul 5 Sections 38-43 Union (faith and love) 6 Sections 44-49 Union (perception) 7 Sections 50-52 Emergence from the mystical etate

B According to Carl F Strauch The Structure of Walt Whitmans rSong of Myself English Journal (College Edition) XXVII (1938) 597-601

1 Paragraphs 1-18 the Self mystical interpenetration of the Self with all life and experience

Paragraphs 19-25 definition of the Self identification with the degraded and transfiguration of it final merit of Self withheld silence end of the first half of the poem

3 Paragraphs 26-38 life flowing in upon Self then evolutionary interpenetration of life

4 Paragraphs 39-41 the Superman 5 Paragraphs 42-52 larger questions of life-shy

religion faith God death immortality and happiness mystically affirmed

C According to Gay Wilson Allen Walt Whitman Handbook

INTRODUCTION (sec 1) PART 1 WALT AS EXEMPLAR OF PANPSYCHISM (sees 2 17)

A The Principle of Unity of the world stuff (sec 2)

B The Principle of Identify Birth into the Physical Universe (secs 3-5)

C Death Immortality Cosmic Evolution (sec 6) D Recapitulation of thematic material (sec 7) E Catalogues of Personal identification with

all life (secs 8-17) PART 2 WALT AS POET OF PANPSYCHISM (sees IS-50)

A Role of the Poet Captures all experience (sees 18-32)

1

2

B Vision of the Poet Vision of a Journey into Being (Primal Reality) (sees 33-41)

C Gospel of the Poet5 to His own generation Message of Panpsychism (sees 42-50)

CONCLUSION WALT READY TO DEPART INTO THE WORLD SOUL (secs 51-52)

D According to Roy Harvey Pearce Song of Myself In The Continuity of American Poetry 69-83 (Considering the poem as an epic the argument of the poem runs something like this)

Phase 1 (secs 1-5) the initial insight into the creative nature (the procreant urge) the self and the initiating of creative power which follows spontaneously upon that insight

Phase 2 (sec 6-16) Recognition of the relation of the self to its world and a seeking after the metamorphoses which follow spontaneously upon that recognition

Phase 3 (secs 17-25) The roles of the self in and through its world a return to the matter of sec 1-5 but with this difference--that self-knowledge now exists objectively a product not of sheer inwardness as in secs 1-5 but of a spontaneously formalized relation between the self and its world Now the poet is not simply a force but a force defined in terms of its world now he is fully a person and can name himself Walt Whitman a kosmos of Manhattan the son

Phase 4 (sec 26-52) The poet (as person) fully at home in his newly defined world fully sure of himself and his procreant urge He no longer needs to seek his world (as in secs 6-16) he cnn openly and lovingly address it as he at once creates and controls it and as he is created and controlled by it He is thus a religion God 1 in himself I am an acme of things accomplish~dJ and I am encloser of things to be

E According to Malcolm Cowley Walt Whitmans Leaves of Grass the First (1855) Edition [considering the poem as inspired prophecy]

First Sequence (chants 1-4) the poet or hero introduced to his audience

Second Sequence (chant 5) the ecstasy consists in the rapt union of the poet and his soul and it is described--figuratively--in terms of sexual union

3

Third Sequence (chants 6-19) the grass The keynote of this sequence (as Strauch also observes) is the two words r observe

Fourth Sequence (chants 20-25) themiddotpoet in person

Fifth Sequence (chants 26-29) ecstasy through the senses

Sixth Sequence (chants 30-38) the power of identification The keynote of this sequence is the two words til am [compare withn the Third Sequence]

Seventh Sequence (chants 39-41) the superman The poet is the universally beloved Answerer (chant 39) then the Healer raising men from their deathbeds (40) and then the prophet (41) of a new religion that outbids the old cautious hucksters by announcing that men are divine and will eventually be gods

Eighth Sequence (chants 42-50) the sermon

Ninth Sequence (chants 51-52) the poets farewell

Tanner 5

QUESTIONS ON WHITMAN AND LEAVES OF GRASS

1 The opening lines of Leaves of Grass Oneself I Sing yet utter the word democratic the word en masse sets the stage for the essential tension in the book--the individual and the community Does Leaves of Grass intelli shygently deal with this crucial problem of democracy

2 Can Leaves of Grass be considered a Bible for democracy

3 Can Leaves of Grass be considered an etiquette manual for democracy

4 Does Whitmans celebration of the body present problems for the democratic social order

5 Does Whitmans insistence on a poetry of sexuality have relevance for us today

6 Whitman says Resist much obey little Can this doctrine be taken literally in modern democratic societies

7 Can Whitmans doctrine of self-fulfillment be reconciled and accommodated with his love of lithe divine average

8 What of Whitmans religious utterances Are they of use in practical terms (See Chanting the Square Deific)

9 How do Walt Whitman and Leaves of Grass fit into the modernist feminist movement

What is Whitmans stance towards history Does history create great heroes Or do great heroes create history

11 Is there such a thing as a democratic self imagination Compared to what

A democratic

12 Did Whitman believe in God

MARCHING THROUGH GEORGIA

Bring the good old bugle boys weill sing another song-shySing it with a spirit that will start the world along-shySing it as we used to sing it fifty thousand strong

While we were marching through Georgia

Hurrah hurrah we bring the jubilee Hurrah hurrah the flag that makes you free So we sang the chorus from Atlanta to the sea While we were marching through Georgia

How the darkies shouted when they heard the joyful sound How the turkeys gobbled which our commissary found How the sweet potatoes even started from the ground

While we were marching through Georgia

Yes and there were Union men who wept with joyful tears When they saw the honored flag they had not seen for years Hardly could they be restrained from breaking forth in cheers

While we were marching through Georgia

So we made a thoroughfare for Freedom and her train Sixty miles in latitude three hundred to the main Treason fled before us for resistance was in vain

While we were marching through Georgia

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

2

I celebrate myself and sing myself And what I assume you shall assume For every atom belonging to me as good belongs to you

(Song of Myself Sec 1)

4 Climactic or ascending parallelism each succeeding line adds to its predecessor usually takibg up words from it and comple-tTilg- it

When lilacs last in the dooryard bloomd And the great star early droopd in the western sky in the

night I mournd and yet shall mourn with ever-returning sprine

Ever-returning spring trinity sure to me you bring Lilacs blooming perennial and drooping star in the west And thought of him love

(When Lilacs Last in the Dooryard Bloomd Sec 1)

5 Internal parallelism Frequently we fir_Q____l]~t_OI1y_J~_jJlsect parallelism but__Jpten1 1_arall~1sm as in

(a) I celebrate myself (a) and sing myself (b) And what I assume (b) you shall assume (c) For every atom belonging to me (c) as good belongs to you

Or perhaps more common

(a) I too am not a bit tamed (a) I too am untranslatable (a) I [too] sound my barbaric yawp over the roofs of the

t~orld

Parallelis~the lines but the number at consecutive para11e1 Jraes is not particularly important However we do fjnd cQuzUets trjplets Quatrains and longer~the second strophe of Song of the Broad-

II -_- ---~-- -~---- ---~-~--bullbull- bullbull----------- shy

Axe )

A Couplet paralellis~

I cannot aid with my wring fingers I can but rush to the surf and let it drench and freeze

upon me ( The S middot4)

3

No shutterd room or school can commune with me But roughs and little children better than they

(Song of Myself Sec 47)

B T~iplet parallelism

I throw myself upon your breast my father I cling to you so that you cannot unloose me I hold you so firm till you answer me something

(liAs I Ebb~d with the Ocean of Life)

C Quatrain parallelism The quatrain may contain synonymous parallelism (indicated aa~a) alternate parallelism resembling common meter ( ) or other parallel combinations (such as abba abbb and )

(a) Each of us inevitable (a) Each of us limitless--each of us with his or her

right upon the earth (a) Each of us allowd the eternal purports of the

earth (a) Each of us here as divinely as any is here

(Salut au Monde Sec 11)

(a) Allons with power liberty the earth the elements

(b) Health defiance gaiety self-esteem curiosity (a) Allons from all formules (b) From your formules 0 bat-eyed and materialisti

priests (Song of the Open Road Sec 10)

(a) 0 liquid and free and tender (a) 0 wild and loose to my soul--O wondrous singer (b) You only I hear--yet the star holds me (but will

soon depart) (b) Yet the lilac with mastering odor holds me

(When Lilacs Last in the Dooryard Bloom - d )

D Thl3 Envelope In this combination the parallelism may15e eit~r~t-)f- fIgures or of thought In the envelope of thought parallelism the initial line states an idea or propound9si tiOll1- succeeding Ill1es state parallel thollhtc regarding the first line and the final lill~ statpg t

concIuding th~ht ~~-~-The introduction and conclu_ion may be tWOor three lines instead of one) but in

it is usually only one line Sometimer3 the whole poem is one envelope as 0 Me 0 IJife or Shipmate Joy

(a) Joy shipmate joy (Pleasd to my soul at death I cry)

(b) Our life is closed our life begins

4

(b) The long long anchorage we leave (b) The ship is clear at last she leaps (b) She swiftly courses from the shore (a) Joy shipmate joy

(a) Smile 0 voluptuous coolbreathed earth (b) Earth of the slumbvering and liquid trees (b) Earth of departed sunset Earth of the mountains

misty-topt (b) Earth of the vitreous pour of the full moon just

tinged with blue (b) Earth of shine and dark mottling the tide of the

river (b) Earth of the limpid gray clouds brighter and

clearer for my sake (b) Far-swooping elbowed earth Rich apple-blossomed

earth (a) Smile r your lover comes

(Song of Myself Sec 21)

The student will note in the previous example the repetition of grammatical figures

The inpoundQrnpJ ete envelope is found in Leaves of GrClss even more frequeftly thanmiddot-the-complete~~Q~J_Q129 In the incomplete envelope eI ther the-ri1-troduction or conclusion may be omitted

(a) Good in all (b) In the satisfaction and aplomb of animals (b) In the annual return of the seasons (b) In the hilarity of youth (b) In the strength and flush of manhood (b) In the grandeur and exquisiteness of old age (b) In the superb vistas of death

(Song at Sunset)

REITERATIVE DEVICES

Since thoughts are expressed by means of spoken sounds (or symbols that represent spoken sounds) it is possible for a poem to lave two rhythms one ~hought and the otb~~L__(2l1J1QS Whether one necessarily implies the other need not bother us here yet it is a fact that in Leaves of Gras~ parallel thoughts llave a tendency to slide into parallel manners of expression including both grammaticaJ constructions and similar phonetic recurrence3

1 lnitial reiteration (epana~ora) repetition of a word

5

or phrase at the beginning of the line

Out of the cradle endlessly rocking Out of the mocking birds throat the musical shutt e Out of the Ninth-month midnight

(Out of the Cradle Endlessly Rocking)

Medial and final reiteration (epanalepsis) the word r phrase may be repeated within or at the end of the line

I will know if I am to be less than they I will see if I Rm not as majestic as they I will see if I am not as subtle and real as they I will see if I am to be less generous than they

Or the reiteration may have several positions

Over the breast of the spring the land amid cities AlLid lanes and through old woods where lately the

violets peepd from the ground spotting the gray debris

Amid tht3 grass in the fiel each side of the lanes passing the endless grass

Passing the yellow speard wheat every grain from its shroud in the dark-brown fields uprisen

(

the apple tree blows of white and pink in the orchards

Carrying a corpse to where it shall rest in the grav8 Night and day journeys a coffin

(vlhen Lilacs Last in the Dooryard Bloom d )

The purpose of the use of these reiterations in both the initial (epanaphora) and the medial and final (epanalepsis) places may be summarized briefly

a to produce cadence b to band lines together into strophes or

stanzaic divisions c to achieve purely oratorical effects

3 Grammatical rhythm the repetition of a certain sort of speech or ical construction

Flow on river flow wi th the flood-tide and el]J2 wi th the ebb-tide

Frolic OU crested and scallop-edgd waves Gorgeous clouds of the sunset dr~l~h wi th your

splendor me or the men and women generAtions after me

G

Cross from shore to shore countless crowdc of passengers

Stand up tall masts of Manahatta (Crossing Brooklyn Ferry Sec 9)

SYNTACTICAL PATTERNS

Whitmans style is built on phrasal parataxis and not on periodic involution (S Musgrove T S Eliot and Wal t-JYhj tmanII

27) is the placing of related clauses phra18E etc in a series without the use of connecting words eg I came I sayenl I conquered If Or I am the man I suffered I was there --opposed to hypotaxis Involution is the name given to an involved construction especially one created by a clause separating a subject from its predicate A perjod in grammar and rhetoric is a complete sentence Thus periodic involutiQJl as used by Musgrove to describe the poetry of Whitman and Eliot means complicated involved sentences complete in sense with interruptions between subjects and verbs by means of clausesshyobviously not at all applicable to Whitman or Eliot Phrasal parataxis though aptly describes Whitmans syntactic patterI18 Phrasal parataxis occurs

1 With recurrent nouns

the howl of the wolf the scream of the pan~hcr and the hoarse bellow of the elk (Our Old Feuillage)

the bellow of the alligator the sad noises of the nightowl and the wild cat and the whirr of the rattlesnake (0 Magnet-South)

2 With participles acting as the recurrent link

Throwing myself on the sand confronting the waves Taking all hints to use them but swiftly leaping

beyond them (Out of the Cradle Endlessly Rocking)

3 With a series of parallel clauses

He was a frequent gunner and fisher he saild his boat himself he had a fine one presented to h1m by a sllip-joiner he had fowling-pieces presented to him by men that loved him (I Sing the Body Electric)

7

4 With a repeated preposition as the linking word

In the cars of railroads in steamboats in the public assembly (Song of the Open Road)

5 With a series of infinitives

To get the final lilt of songs To penetrate the inmost lore of poets--to know the

mighty ones (To Get the Final Lilt)

6 With a series of terminal participles (a variant of 2 above

Here and there with dimes on the eyes walking To feed the greed of the belly the brains liberally

spooning Tickets buying taking selling but in to the feast

never once going Many sweating ploughing thrashing and they the chaff

for payment receiving A few idly owning and they the wheat continually

claiming ( Song of Myself Sec 42)

One might note that the entire poemWe Two Boys ther Clinging is based on this pattern

7 The parentheses to break rhythm set up by phonetic recurrences

Wlitman~s use of the parenthesis has puzzled many students of his poetry for it is often employed where the passage is not parenthetical in thought Careful examination however shows that usually the parenthesis indicates a break in the rhytthm set up by the phonetic recurrences The rhythm is momentarily suspended broken off completely or in some manner varied by the passage inside the parenthesis Sometimes the parenthetical marks bracket a passage at the very beginning of the poem so that it could not be parenthetical in thought but these cases are rare A fairly characteristic specimen is

To the leavenrd soil they trod calling I sing for the last

(Forth from my tent emerging for good laos untyilg the tent ropes)

In the freshness of th forenoon

8

To the fiery fields emanative To the leavend soil To the Alleghanian hills etc

(To the Leavend Soil They Trod)

8 The periodic sentence This occurs quite often in Leaves of Grass For example the first stanza of Out of the Cradle Endlessly Rocking is a twenty-two line periodic sentence with the subject and verb coming only in the last three lines See also the first stanza of Starting from Paumanok to

9 The Caesura

A The catalog-caesura

The blab of the pave tires of carts sluff of bootsoles talk of the promenaders1

The heavy omnibus the driver with his interrogating thumb the clank of the shod horses on the granite floor

(Song of Myself Sec 8)

B A similar caesura but with many subtle variations

I hear bravuras of birds bustle of growine wheat gossip of flames clack of stick~ cooking my meals

I hear the sound I love the Bound of the hum~n voice

I hear all sounds running together combinAd fused or following

Sounds of the city and sounds out of the city-- sounds of the day and night

(Song of Myself Sec 26)

Notice how much the shortening or lengthening of the pause can contribute to both the rhythm and the thought The first line is cumulative in effect the second balanced the third suggestive or illustrative the fourth emphatic

C Sometimes the caesura divides the parallelism and is equivalent to the line-end pause

There is that in me-- I do not know what it isl but I know it is in me

Wrenchd and Bweaty-- calm and cool then my body becomes

I sleep--I I sleep long

9

I do not know it-- it is without name-- it is a word unsaid

It is not in any dictionary utterance symbol (Song of Myself Sec 50)

D Another caesural effect Jannacone callsthesis and arsis because the second halfline echoes the thought echoes the thought of the first and receives a weaker stress and perhaps a lower pitch

Great are the myths-- I too delight in them Great are Adam and Eve-- I too look back and

accept them (Great Are the Myths II Sec 1)

THE CATALOG

There are of course numerous examples of the catalog throughout Leaves of Grass Consider the example below

Pleasd with the native and pleasd with the foreign pleasd with the new and old

Pleasd with the homely woman as well as the handsome Pleasd with the quakeress as she puts off her bonnet and

talks melodiously Pleasd with the tune of the choir of the whitewashd

church Pleasd with the earnest words of the sweating Methodist

preacher impressd seriously at the camp-meeting (Song of Myself Sec 33)

IMAGERY AND FIGURES

The actual simile is not found so often in as in most other poetry yet we do have it occasionally (see eg Thou Mother with Thy Equal Brood and The Return of the Heroes 1)

is of course rich in metaphor and poetic

CONVENTIONAL POETIC TECHNIQUES

association

Although Whitmans organic theory of poet ntyle is commonly assumed to be completely antithetical to conventional teChl 2

there is no logical reason why the poet might not occasionally

10

have an experience or an emotion which would find natural expression in rhyme and meter Lois Ware has said that Whitman exemplified at some point or other virtually all of the conventions that he professed to eschew and that he employed some of these conventions on a large scale (Poetic Conventions in Leaves of Grass Studies in Philology 26 [1929] 47)

For conventional scansion of Whitmans verses see Bradleys scansion of Tears (Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry II American Literature 10 (1939) 437-59)

10

Tanner 6 15-89

NOTES ON THE STRUCTURE OF SONG OF MYSELF

A According to James E Miller Song of Myself- as Inverted Mystical Experience A Critical Guide to Leaves of Grass Chicago U of Chicago P 1951 6 35

1 Sections 1-5 Entry into the mystical state 2 Sections 6-16 Awakening of self 3 Sections 17 3 Purification of self 4 Sections 33-37 Illumination and the dark night of

the soul 5 Sections 38-43 Union (faith and love) 6 Sections 44-49 Union (perception) 7 Sections 50-52 Emergence from the mystical etate

B According to Carl F Strauch The Structure of Walt Whitmans rSong of Myself English Journal (College Edition) XXVII (1938) 597-601

1 Paragraphs 1-18 the Self mystical interpenetration of the Self with all life and experience

Paragraphs 19-25 definition of the Self identification with the degraded and transfiguration of it final merit of Self withheld silence end of the first half of the poem

3 Paragraphs 26-38 life flowing in upon Self then evolutionary interpenetration of life

4 Paragraphs 39-41 the Superman 5 Paragraphs 42-52 larger questions of life-shy

religion faith God death immortality and happiness mystically affirmed

C According to Gay Wilson Allen Walt Whitman Handbook

INTRODUCTION (sec 1) PART 1 WALT AS EXEMPLAR OF PANPSYCHISM (sees 2 17)

A The Principle of Unity of the world stuff (sec 2)

B The Principle of Identify Birth into the Physical Universe (secs 3-5)

C Death Immortality Cosmic Evolution (sec 6) D Recapitulation of thematic material (sec 7) E Catalogues of Personal identification with

all life (secs 8-17) PART 2 WALT AS POET OF PANPSYCHISM (sees IS-50)

A Role of the Poet Captures all experience (sees 18-32)

1

2

B Vision of the Poet Vision of a Journey into Being (Primal Reality) (sees 33-41)

C Gospel of the Poet5 to His own generation Message of Panpsychism (sees 42-50)

CONCLUSION WALT READY TO DEPART INTO THE WORLD SOUL (secs 51-52)

D According to Roy Harvey Pearce Song of Myself In The Continuity of American Poetry 69-83 (Considering the poem as an epic the argument of the poem runs something like this)

Phase 1 (secs 1-5) the initial insight into the creative nature (the procreant urge) the self and the initiating of creative power which follows spontaneously upon that insight

Phase 2 (sec 6-16) Recognition of the relation of the self to its world and a seeking after the metamorphoses which follow spontaneously upon that recognition

Phase 3 (secs 17-25) The roles of the self in and through its world a return to the matter of sec 1-5 but with this difference--that self-knowledge now exists objectively a product not of sheer inwardness as in secs 1-5 but of a spontaneously formalized relation between the self and its world Now the poet is not simply a force but a force defined in terms of its world now he is fully a person and can name himself Walt Whitman a kosmos of Manhattan the son

Phase 4 (sec 26-52) The poet (as person) fully at home in his newly defined world fully sure of himself and his procreant urge He no longer needs to seek his world (as in secs 6-16) he cnn openly and lovingly address it as he at once creates and controls it and as he is created and controlled by it He is thus a religion God 1 in himself I am an acme of things accomplish~dJ and I am encloser of things to be

E According to Malcolm Cowley Walt Whitmans Leaves of Grass the First (1855) Edition [considering the poem as inspired prophecy]

First Sequence (chants 1-4) the poet or hero introduced to his audience

Second Sequence (chant 5) the ecstasy consists in the rapt union of the poet and his soul and it is described--figuratively--in terms of sexual union

3

Third Sequence (chants 6-19) the grass The keynote of this sequence (as Strauch also observes) is the two words r observe

Fourth Sequence (chants 20-25) themiddotpoet in person

Fifth Sequence (chants 26-29) ecstasy through the senses

Sixth Sequence (chants 30-38) the power of identification The keynote of this sequence is the two words til am [compare withn the Third Sequence]

Seventh Sequence (chants 39-41) the superman The poet is the universally beloved Answerer (chant 39) then the Healer raising men from their deathbeds (40) and then the prophet (41) of a new religion that outbids the old cautious hucksters by announcing that men are divine and will eventually be gods

Eighth Sequence (chants 42-50) the sermon

Ninth Sequence (chants 51-52) the poets farewell

Tanner 5

QUESTIONS ON WHITMAN AND LEAVES OF GRASS

1 The opening lines of Leaves of Grass Oneself I Sing yet utter the word democratic the word en masse sets the stage for the essential tension in the book--the individual and the community Does Leaves of Grass intelli shygently deal with this crucial problem of democracy

2 Can Leaves of Grass be considered a Bible for democracy

3 Can Leaves of Grass be considered an etiquette manual for democracy

4 Does Whitmans celebration of the body present problems for the democratic social order

5 Does Whitmans insistence on a poetry of sexuality have relevance for us today

6 Whitman says Resist much obey little Can this doctrine be taken literally in modern democratic societies

7 Can Whitmans doctrine of self-fulfillment be reconciled and accommodated with his love of lithe divine average

8 What of Whitmans religious utterances Are they of use in practical terms (See Chanting the Square Deific)

9 How do Walt Whitman and Leaves of Grass fit into the modernist feminist movement

What is Whitmans stance towards history Does history create great heroes Or do great heroes create history

11 Is there such a thing as a democratic self imagination Compared to what

A democratic

12 Did Whitman believe in God

MARCHING THROUGH GEORGIA

Bring the good old bugle boys weill sing another song-shySing it with a spirit that will start the world along-shySing it as we used to sing it fifty thousand strong

While we were marching through Georgia

Hurrah hurrah we bring the jubilee Hurrah hurrah the flag that makes you free So we sang the chorus from Atlanta to the sea While we were marching through Georgia

How the darkies shouted when they heard the joyful sound How the turkeys gobbled which our commissary found How the sweet potatoes even started from the ground

While we were marching through Georgia

Yes and there were Union men who wept with joyful tears When they saw the honored flag they had not seen for years Hardly could they be restrained from breaking forth in cheers

While we were marching through Georgia

So we made a thoroughfare for Freedom and her train Sixty miles in latitude three hundred to the main Treason fled before us for resistance was in vain

While we were marching through Georgia

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

3

No shutterd room or school can commune with me But roughs and little children better than they

(Song of Myself Sec 47)

B T~iplet parallelism

I throw myself upon your breast my father I cling to you so that you cannot unloose me I hold you so firm till you answer me something

(liAs I Ebb~d with the Ocean of Life)

C Quatrain parallelism The quatrain may contain synonymous parallelism (indicated aa~a) alternate parallelism resembling common meter ( ) or other parallel combinations (such as abba abbb and )

(a) Each of us inevitable (a) Each of us limitless--each of us with his or her

right upon the earth (a) Each of us allowd the eternal purports of the

earth (a) Each of us here as divinely as any is here

(Salut au Monde Sec 11)

(a) Allons with power liberty the earth the elements

(b) Health defiance gaiety self-esteem curiosity (a) Allons from all formules (b) From your formules 0 bat-eyed and materialisti

priests (Song of the Open Road Sec 10)

(a) 0 liquid and free and tender (a) 0 wild and loose to my soul--O wondrous singer (b) You only I hear--yet the star holds me (but will

soon depart) (b) Yet the lilac with mastering odor holds me

(When Lilacs Last in the Dooryard Bloom - d )

D Thl3 Envelope In this combination the parallelism may15e eit~r~t-)f- fIgures or of thought In the envelope of thought parallelism the initial line states an idea or propound9si tiOll1- succeeding Ill1es state parallel thollhtc regarding the first line and the final lill~ statpg t

concIuding th~ht ~~-~-The introduction and conclu_ion may be tWOor three lines instead of one) but in

it is usually only one line Sometimer3 the whole poem is one envelope as 0 Me 0 IJife or Shipmate Joy

(a) Joy shipmate joy (Pleasd to my soul at death I cry)

(b) Our life is closed our life begins

4

(b) The long long anchorage we leave (b) The ship is clear at last she leaps (b) She swiftly courses from the shore (a) Joy shipmate joy

(a) Smile 0 voluptuous coolbreathed earth (b) Earth of the slumbvering and liquid trees (b) Earth of departed sunset Earth of the mountains

misty-topt (b) Earth of the vitreous pour of the full moon just

tinged with blue (b) Earth of shine and dark mottling the tide of the

river (b) Earth of the limpid gray clouds brighter and

clearer for my sake (b) Far-swooping elbowed earth Rich apple-blossomed

earth (a) Smile r your lover comes

(Song of Myself Sec 21)

The student will note in the previous example the repetition of grammatical figures

The inpoundQrnpJ ete envelope is found in Leaves of GrClss even more frequeftly thanmiddot-the-complete~~Q~J_Q129 In the incomplete envelope eI ther the-ri1-troduction or conclusion may be omitted

(a) Good in all (b) In the satisfaction and aplomb of animals (b) In the annual return of the seasons (b) In the hilarity of youth (b) In the strength and flush of manhood (b) In the grandeur and exquisiteness of old age (b) In the superb vistas of death

(Song at Sunset)

REITERATIVE DEVICES

Since thoughts are expressed by means of spoken sounds (or symbols that represent spoken sounds) it is possible for a poem to lave two rhythms one ~hought and the otb~~L__(2l1J1QS Whether one necessarily implies the other need not bother us here yet it is a fact that in Leaves of Gras~ parallel thoughts llave a tendency to slide into parallel manners of expression including both grammaticaJ constructions and similar phonetic recurrence3

1 lnitial reiteration (epana~ora) repetition of a word

5

or phrase at the beginning of the line

Out of the cradle endlessly rocking Out of the mocking birds throat the musical shutt e Out of the Ninth-month midnight

(Out of the Cradle Endlessly Rocking)

Medial and final reiteration (epanalepsis) the word r phrase may be repeated within or at the end of the line

I will know if I am to be less than they I will see if I Rm not as majestic as they I will see if I am not as subtle and real as they I will see if I am to be less generous than they

Or the reiteration may have several positions

Over the breast of the spring the land amid cities AlLid lanes and through old woods where lately the

violets peepd from the ground spotting the gray debris

Amid tht3 grass in the fiel each side of the lanes passing the endless grass

Passing the yellow speard wheat every grain from its shroud in the dark-brown fields uprisen

(

the apple tree blows of white and pink in the orchards

Carrying a corpse to where it shall rest in the grav8 Night and day journeys a coffin

(vlhen Lilacs Last in the Dooryard Bloom d )

The purpose of the use of these reiterations in both the initial (epanaphora) and the medial and final (epanalepsis) places may be summarized briefly

a to produce cadence b to band lines together into strophes or

stanzaic divisions c to achieve purely oratorical effects

3 Grammatical rhythm the repetition of a certain sort of speech or ical construction

Flow on river flow wi th the flood-tide and el]J2 wi th the ebb-tide

Frolic OU crested and scallop-edgd waves Gorgeous clouds of the sunset dr~l~h wi th your

splendor me or the men and women generAtions after me

G

Cross from shore to shore countless crowdc of passengers

Stand up tall masts of Manahatta (Crossing Brooklyn Ferry Sec 9)

SYNTACTICAL PATTERNS

Whitmans style is built on phrasal parataxis and not on periodic involution (S Musgrove T S Eliot and Wal t-JYhj tmanII

27) is the placing of related clauses phra18E etc in a series without the use of connecting words eg I came I sayenl I conquered If Or I am the man I suffered I was there --opposed to hypotaxis Involution is the name given to an involved construction especially one created by a clause separating a subject from its predicate A perjod in grammar and rhetoric is a complete sentence Thus periodic involutiQJl as used by Musgrove to describe the poetry of Whitman and Eliot means complicated involved sentences complete in sense with interruptions between subjects and verbs by means of clausesshyobviously not at all applicable to Whitman or Eliot Phrasal parataxis though aptly describes Whitmans syntactic patterI18 Phrasal parataxis occurs

1 With recurrent nouns

the howl of the wolf the scream of the pan~hcr and the hoarse bellow of the elk (Our Old Feuillage)

the bellow of the alligator the sad noises of the nightowl and the wild cat and the whirr of the rattlesnake (0 Magnet-South)

2 With participles acting as the recurrent link

Throwing myself on the sand confronting the waves Taking all hints to use them but swiftly leaping

beyond them (Out of the Cradle Endlessly Rocking)

3 With a series of parallel clauses

He was a frequent gunner and fisher he saild his boat himself he had a fine one presented to h1m by a sllip-joiner he had fowling-pieces presented to him by men that loved him (I Sing the Body Electric)

7

4 With a repeated preposition as the linking word

In the cars of railroads in steamboats in the public assembly (Song of the Open Road)

5 With a series of infinitives

To get the final lilt of songs To penetrate the inmost lore of poets--to know the

mighty ones (To Get the Final Lilt)

6 With a series of terminal participles (a variant of 2 above

Here and there with dimes on the eyes walking To feed the greed of the belly the brains liberally

spooning Tickets buying taking selling but in to the feast

never once going Many sweating ploughing thrashing and they the chaff

for payment receiving A few idly owning and they the wheat continually

claiming ( Song of Myself Sec 42)

One might note that the entire poemWe Two Boys ther Clinging is based on this pattern

7 The parentheses to break rhythm set up by phonetic recurrences

Wlitman~s use of the parenthesis has puzzled many students of his poetry for it is often employed where the passage is not parenthetical in thought Careful examination however shows that usually the parenthesis indicates a break in the rhytthm set up by the phonetic recurrences The rhythm is momentarily suspended broken off completely or in some manner varied by the passage inside the parenthesis Sometimes the parenthetical marks bracket a passage at the very beginning of the poem so that it could not be parenthetical in thought but these cases are rare A fairly characteristic specimen is

To the leavenrd soil they trod calling I sing for the last

(Forth from my tent emerging for good laos untyilg the tent ropes)

In the freshness of th forenoon

8

To the fiery fields emanative To the leavend soil To the Alleghanian hills etc

(To the Leavend Soil They Trod)

8 The periodic sentence This occurs quite often in Leaves of Grass For example the first stanza of Out of the Cradle Endlessly Rocking is a twenty-two line periodic sentence with the subject and verb coming only in the last three lines See also the first stanza of Starting from Paumanok to

9 The Caesura

A The catalog-caesura

The blab of the pave tires of carts sluff of bootsoles talk of the promenaders1

The heavy omnibus the driver with his interrogating thumb the clank of the shod horses on the granite floor

(Song of Myself Sec 8)

B A similar caesura but with many subtle variations

I hear bravuras of birds bustle of growine wheat gossip of flames clack of stick~ cooking my meals

I hear the sound I love the Bound of the hum~n voice

I hear all sounds running together combinAd fused or following

Sounds of the city and sounds out of the city-- sounds of the day and night

(Song of Myself Sec 26)

Notice how much the shortening or lengthening of the pause can contribute to both the rhythm and the thought The first line is cumulative in effect the second balanced the third suggestive or illustrative the fourth emphatic

C Sometimes the caesura divides the parallelism and is equivalent to the line-end pause

There is that in me-- I do not know what it isl but I know it is in me

Wrenchd and Bweaty-- calm and cool then my body becomes

I sleep--I I sleep long

9

I do not know it-- it is without name-- it is a word unsaid

It is not in any dictionary utterance symbol (Song of Myself Sec 50)

D Another caesural effect Jannacone callsthesis and arsis because the second halfline echoes the thought echoes the thought of the first and receives a weaker stress and perhaps a lower pitch

Great are the myths-- I too delight in them Great are Adam and Eve-- I too look back and

accept them (Great Are the Myths II Sec 1)

THE CATALOG

There are of course numerous examples of the catalog throughout Leaves of Grass Consider the example below

Pleasd with the native and pleasd with the foreign pleasd with the new and old

Pleasd with the homely woman as well as the handsome Pleasd with the quakeress as she puts off her bonnet and

talks melodiously Pleasd with the tune of the choir of the whitewashd

church Pleasd with the earnest words of the sweating Methodist

preacher impressd seriously at the camp-meeting (Song of Myself Sec 33)

IMAGERY AND FIGURES

The actual simile is not found so often in as in most other poetry yet we do have it occasionally (see eg Thou Mother with Thy Equal Brood and The Return of the Heroes 1)

is of course rich in metaphor and poetic

CONVENTIONAL POETIC TECHNIQUES

association

Although Whitmans organic theory of poet ntyle is commonly assumed to be completely antithetical to conventional teChl 2

there is no logical reason why the poet might not occasionally

10

have an experience or an emotion which would find natural expression in rhyme and meter Lois Ware has said that Whitman exemplified at some point or other virtually all of the conventions that he professed to eschew and that he employed some of these conventions on a large scale (Poetic Conventions in Leaves of Grass Studies in Philology 26 [1929] 47)

For conventional scansion of Whitmans verses see Bradleys scansion of Tears (Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry II American Literature 10 (1939) 437-59)

10

Tanner 6 15-89

NOTES ON THE STRUCTURE OF SONG OF MYSELF

A According to James E Miller Song of Myself- as Inverted Mystical Experience A Critical Guide to Leaves of Grass Chicago U of Chicago P 1951 6 35

1 Sections 1-5 Entry into the mystical state 2 Sections 6-16 Awakening of self 3 Sections 17 3 Purification of self 4 Sections 33-37 Illumination and the dark night of

the soul 5 Sections 38-43 Union (faith and love) 6 Sections 44-49 Union (perception) 7 Sections 50-52 Emergence from the mystical etate

B According to Carl F Strauch The Structure of Walt Whitmans rSong of Myself English Journal (College Edition) XXVII (1938) 597-601

1 Paragraphs 1-18 the Self mystical interpenetration of the Self with all life and experience

Paragraphs 19-25 definition of the Self identification with the degraded and transfiguration of it final merit of Self withheld silence end of the first half of the poem

3 Paragraphs 26-38 life flowing in upon Self then evolutionary interpenetration of life

4 Paragraphs 39-41 the Superman 5 Paragraphs 42-52 larger questions of life-shy

religion faith God death immortality and happiness mystically affirmed

C According to Gay Wilson Allen Walt Whitman Handbook

INTRODUCTION (sec 1) PART 1 WALT AS EXEMPLAR OF PANPSYCHISM (sees 2 17)

A The Principle of Unity of the world stuff (sec 2)

B The Principle of Identify Birth into the Physical Universe (secs 3-5)

C Death Immortality Cosmic Evolution (sec 6) D Recapitulation of thematic material (sec 7) E Catalogues of Personal identification with

all life (secs 8-17) PART 2 WALT AS POET OF PANPSYCHISM (sees IS-50)

A Role of the Poet Captures all experience (sees 18-32)

1

2

B Vision of the Poet Vision of a Journey into Being (Primal Reality) (sees 33-41)

C Gospel of the Poet5 to His own generation Message of Panpsychism (sees 42-50)

CONCLUSION WALT READY TO DEPART INTO THE WORLD SOUL (secs 51-52)

D According to Roy Harvey Pearce Song of Myself In The Continuity of American Poetry 69-83 (Considering the poem as an epic the argument of the poem runs something like this)

Phase 1 (secs 1-5) the initial insight into the creative nature (the procreant urge) the self and the initiating of creative power which follows spontaneously upon that insight

Phase 2 (sec 6-16) Recognition of the relation of the self to its world and a seeking after the metamorphoses which follow spontaneously upon that recognition

Phase 3 (secs 17-25) The roles of the self in and through its world a return to the matter of sec 1-5 but with this difference--that self-knowledge now exists objectively a product not of sheer inwardness as in secs 1-5 but of a spontaneously formalized relation between the self and its world Now the poet is not simply a force but a force defined in terms of its world now he is fully a person and can name himself Walt Whitman a kosmos of Manhattan the son

Phase 4 (sec 26-52) The poet (as person) fully at home in his newly defined world fully sure of himself and his procreant urge He no longer needs to seek his world (as in secs 6-16) he cnn openly and lovingly address it as he at once creates and controls it and as he is created and controlled by it He is thus a religion God 1 in himself I am an acme of things accomplish~dJ and I am encloser of things to be

E According to Malcolm Cowley Walt Whitmans Leaves of Grass the First (1855) Edition [considering the poem as inspired prophecy]

First Sequence (chants 1-4) the poet or hero introduced to his audience

Second Sequence (chant 5) the ecstasy consists in the rapt union of the poet and his soul and it is described--figuratively--in terms of sexual union

3

Third Sequence (chants 6-19) the grass The keynote of this sequence (as Strauch also observes) is the two words r observe

Fourth Sequence (chants 20-25) themiddotpoet in person

Fifth Sequence (chants 26-29) ecstasy through the senses

Sixth Sequence (chants 30-38) the power of identification The keynote of this sequence is the two words til am [compare withn the Third Sequence]

Seventh Sequence (chants 39-41) the superman The poet is the universally beloved Answerer (chant 39) then the Healer raising men from their deathbeds (40) and then the prophet (41) of a new religion that outbids the old cautious hucksters by announcing that men are divine and will eventually be gods

Eighth Sequence (chants 42-50) the sermon

Ninth Sequence (chants 51-52) the poets farewell

Tanner 5

QUESTIONS ON WHITMAN AND LEAVES OF GRASS

1 The opening lines of Leaves of Grass Oneself I Sing yet utter the word democratic the word en masse sets the stage for the essential tension in the book--the individual and the community Does Leaves of Grass intelli shygently deal with this crucial problem of democracy

2 Can Leaves of Grass be considered a Bible for democracy

3 Can Leaves of Grass be considered an etiquette manual for democracy

4 Does Whitmans celebration of the body present problems for the democratic social order

5 Does Whitmans insistence on a poetry of sexuality have relevance for us today

6 Whitman says Resist much obey little Can this doctrine be taken literally in modern democratic societies

7 Can Whitmans doctrine of self-fulfillment be reconciled and accommodated with his love of lithe divine average

8 What of Whitmans religious utterances Are they of use in practical terms (See Chanting the Square Deific)

9 How do Walt Whitman and Leaves of Grass fit into the modernist feminist movement

What is Whitmans stance towards history Does history create great heroes Or do great heroes create history

11 Is there such a thing as a democratic self imagination Compared to what

A democratic

12 Did Whitman believe in God

MARCHING THROUGH GEORGIA

Bring the good old bugle boys weill sing another song-shySing it with a spirit that will start the world along-shySing it as we used to sing it fifty thousand strong

While we were marching through Georgia

Hurrah hurrah we bring the jubilee Hurrah hurrah the flag that makes you free So we sang the chorus from Atlanta to the sea While we were marching through Georgia

How the darkies shouted when they heard the joyful sound How the turkeys gobbled which our commissary found How the sweet potatoes even started from the ground

While we were marching through Georgia

Yes and there were Union men who wept with joyful tears When they saw the honored flag they had not seen for years Hardly could they be restrained from breaking forth in cheers

While we were marching through Georgia

So we made a thoroughfare for Freedom and her train Sixty miles in latitude three hundred to the main Treason fled before us for resistance was in vain

While we were marching through Georgia

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

4

(b) The long long anchorage we leave (b) The ship is clear at last she leaps (b) She swiftly courses from the shore (a) Joy shipmate joy

(a) Smile 0 voluptuous coolbreathed earth (b) Earth of the slumbvering and liquid trees (b) Earth of departed sunset Earth of the mountains

misty-topt (b) Earth of the vitreous pour of the full moon just

tinged with blue (b) Earth of shine and dark mottling the tide of the

river (b) Earth of the limpid gray clouds brighter and

clearer for my sake (b) Far-swooping elbowed earth Rich apple-blossomed

earth (a) Smile r your lover comes

(Song of Myself Sec 21)

The student will note in the previous example the repetition of grammatical figures

The inpoundQrnpJ ete envelope is found in Leaves of GrClss even more frequeftly thanmiddot-the-complete~~Q~J_Q129 In the incomplete envelope eI ther the-ri1-troduction or conclusion may be omitted

(a) Good in all (b) In the satisfaction and aplomb of animals (b) In the annual return of the seasons (b) In the hilarity of youth (b) In the strength and flush of manhood (b) In the grandeur and exquisiteness of old age (b) In the superb vistas of death

(Song at Sunset)

REITERATIVE DEVICES

Since thoughts are expressed by means of spoken sounds (or symbols that represent spoken sounds) it is possible for a poem to lave two rhythms one ~hought and the otb~~L__(2l1J1QS Whether one necessarily implies the other need not bother us here yet it is a fact that in Leaves of Gras~ parallel thoughts llave a tendency to slide into parallel manners of expression including both grammaticaJ constructions and similar phonetic recurrence3

1 lnitial reiteration (epana~ora) repetition of a word

5

or phrase at the beginning of the line

Out of the cradle endlessly rocking Out of the mocking birds throat the musical shutt e Out of the Ninth-month midnight

(Out of the Cradle Endlessly Rocking)

Medial and final reiteration (epanalepsis) the word r phrase may be repeated within or at the end of the line

I will know if I am to be less than they I will see if I Rm not as majestic as they I will see if I am not as subtle and real as they I will see if I am to be less generous than they

Or the reiteration may have several positions

Over the breast of the spring the land amid cities AlLid lanes and through old woods where lately the

violets peepd from the ground spotting the gray debris

Amid tht3 grass in the fiel each side of the lanes passing the endless grass

Passing the yellow speard wheat every grain from its shroud in the dark-brown fields uprisen

(

the apple tree blows of white and pink in the orchards

Carrying a corpse to where it shall rest in the grav8 Night and day journeys a coffin

(vlhen Lilacs Last in the Dooryard Bloom d )

The purpose of the use of these reiterations in both the initial (epanaphora) and the medial and final (epanalepsis) places may be summarized briefly

a to produce cadence b to band lines together into strophes or

stanzaic divisions c to achieve purely oratorical effects

3 Grammatical rhythm the repetition of a certain sort of speech or ical construction

Flow on river flow wi th the flood-tide and el]J2 wi th the ebb-tide

Frolic OU crested and scallop-edgd waves Gorgeous clouds of the sunset dr~l~h wi th your

splendor me or the men and women generAtions after me

G

Cross from shore to shore countless crowdc of passengers

Stand up tall masts of Manahatta (Crossing Brooklyn Ferry Sec 9)

SYNTACTICAL PATTERNS

Whitmans style is built on phrasal parataxis and not on periodic involution (S Musgrove T S Eliot and Wal t-JYhj tmanII

27) is the placing of related clauses phra18E etc in a series without the use of connecting words eg I came I sayenl I conquered If Or I am the man I suffered I was there --opposed to hypotaxis Involution is the name given to an involved construction especially one created by a clause separating a subject from its predicate A perjod in grammar and rhetoric is a complete sentence Thus periodic involutiQJl as used by Musgrove to describe the poetry of Whitman and Eliot means complicated involved sentences complete in sense with interruptions between subjects and verbs by means of clausesshyobviously not at all applicable to Whitman or Eliot Phrasal parataxis though aptly describes Whitmans syntactic patterI18 Phrasal parataxis occurs

1 With recurrent nouns

the howl of the wolf the scream of the pan~hcr and the hoarse bellow of the elk (Our Old Feuillage)

the bellow of the alligator the sad noises of the nightowl and the wild cat and the whirr of the rattlesnake (0 Magnet-South)

2 With participles acting as the recurrent link

Throwing myself on the sand confronting the waves Taking all hints to use them but swiftly leaping

beyond them (Out of the Cradle Endlessly Rocking)

3 With a series of parallel clauses

He was a frequent gunner and fisher he saild his boat himself he had a fine one presented to h1m by a sllip-joiner he had fowling-pieces presented to him by men that loved him (I Sing the Body Electric)

7

4 With a repeated preposition as the linking word

In the cars of railroads in steamboats in the public assembly (Song of the Open Road)

5 With a series of infinitives

To get the final lilt of songs To penetrate the inmost lore of poets--to know the

mighty ones (To Get the Final Lilt)

6 With a series of terminal participles (a variant of 2 above

Here and there with dimes on the eyes walking To feed the greed of the belly the brains liberally

spooning Tickets buying taking selling but in to the feast

never once going Many sweating ploughing thrashing and they the chaff

for payment receiving A few idly owning and they the wheat continually

claiming ( Song of Myself Sec 42)

One might note that the entire poemWe Two Boys ther Clinging is based on this pattern

7 The parentheses to break rhythm set up by phonetic recurrences

Wlitman~s use of the parenthesis has puzzled many students of his poetry for it is often employed where the passage is not parenthetical in thought Careful examination however shows that usually the parenthesis indicates a break in the rhytthm set up by the phonetic recurrences The rhythm is momentarily suspended broken off completely or in some manner varied by the passage inside the parenthesis Sometimes the parenthetical marks bracket a passage at the very beginning of the poem so that it could not be parenthetical in thought but these cases are rare A fairly characteristic specimen is

To the leavenrd soil they trod calling I sing for the last

(Forth from my tent emerging for good laos untyilg the tent ropes)

In the freshness of th forenoon

8

To the fiery fields emanative To the leavend soil To the Alleghanian hills etc

(To the Leavend Soil They Trod)

8 The periodic sentence This occurs quite often in Leaves of Grass For example the first stanza of Out of the Cradle Endlessly Rocking is a twenty-two line periodic sentence with the subject and verb coming only in the last three lines See also the first stanza of Starting from Paumanok to

9 The Caesura

A The catalog-caesura

The blab of the pave tires of carts sluff of bootsoles talk of the promenaders1

The heavy omnibus the driver with his interrogating thumb the clank of the shod horses on the granite floor

(Song of Myself Sec 8)

B A similar caesura but with many subtle variations

I hear bravuras of birds bustle of growine wheat gossip of flames clack of stick~ cooking my meals

I hear the sound I love the Bound of the hum~n voice

I hear all sounds running together combinAd fused or following

Sounds of the city and sounds out of the city-- sounds of the day and night

(Song of Myself Sec 26)

Notice how much the shortening or lengthening of the pause can contribute to both the rhythm and the thought The first line is cumulative in effect the second balanced the third suggestive or illustrative the fourth emphatic

C Sometimes the caesura divides the parallelism and is equivalent to the line-end pause

There is that in me-- I do not know what it isl but I know it is in me

Wrenchd and Bweaty-- calm and cool then my body becomes

I sleep--I I sleep long

9

I do not know it-- it is without name-- it is a word unsaid

It is not in any dictionary utterance symbol (Song of Myself Sec 50)

D Another caesural effect Jannacone callsthesis and arsis because the second halfline echoes the thought echoes the thought of the first and receives a weaker stress and perhaps a lower pitch

Great are the myths-- I too delight in them Great are Adam and Eve-- I too look back and

accept them (Great Are the Myths II Sec 1)

THE CATALOG

There are of course numerous examples of the catalog throughout Leaves of Grass Consider the example below

Pleasd with the native and pleasd with the foreign pleasd with the new and old

Pleasd with the homely woman as well as the handsome Pleasd with the quakeress as she puts off her bonnet and

talks melodiously Pleasd with the tune of the choir of the whitewashd

church Pleasd with the earnest words of the sweating Methodist

preacher impressd seriously at the camp-meeting (Song of Myself Sec 33)

IMAGERY AND FIGURES

The actual simile is not found so often in as in most other poetry yet we do have it occasionally (see eg Thou Mother with Thy Equal Brood and The Return of the Heroes 1)

is of course rich in metaphor and poetic

CONVENTIONAL POETIC TECHNIQUES

association

Although Whitmans organic theory of poet ntyle is commonly assumed to be completely antithetical to conventional teChl 2

there is no logical reason why the poet might not occasionally

10

have an experience or an emotion which would find natural expression in rhyme and meter Lois Ware has said that Whitman exemplified at some point or other virtually all of the conventions that he professed to eschew and that he employed some of these conventions on a large scale (Poetic Conventions in Leaves of Grass Studies in Philology 26 [1929] 47)

For conventional scansion of Whitmans verses see Bradleys scansion of Tears (Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry II American Literature 10 (1939) 437-59)

10

Tanner 6 15-89

NOTES ON THE STRUCTURE OF SONG OF MYSELF

A According to James E Miller Song of Myself- as Inverted Mystical Experience A Critical Guide to Leaves of Grass Chicago U of Chicago P 1951 6 35

1 Sections 1-5 Entry into the mystical state 2 Sections 6-16 Awakening of self 3 Sections 17 3 Purification of self 4 Sections 33-37 Illumination and the dark night of

the soul 5 Sections 38-43 Union (faith and love) 6 Sections 44-49 Union (perception) 7 Sections 50-52 Emergence from the mystical etate

B According to Carl F Strauch The Structure of Walt Whitmans rSong of Myself English Journal (College Edition) XXVII (1938) 597-601

1 Paragraphs 1-18 the Self mystical interpenetration of the Self with all life and experience

Paragraphs 19-25 definition of the Self identification with the degraded and transfiguration of it final merit of Self withheld silence end of the first half of the poem

3 Paragraphs 26-38 life flowing in upon Self then evolutionary interpenetration of life

4 Paragraphs 39-41 the Superman 5 Paragraphs 42-52 larger questions of life-shy

religion faith God death immortality and happiness mystically affirmed

C According to Gay Wilson Allen Walt Whitman Handbook

INTRODUCTION (sec 1) PART 1 WALT AS EXEMPLAR OF PANPSYCHISM (sees 2 17)

A The Principle of Unity of the world stuff (sec 2)

B The Principle of Identify Birth into the Physical Universe (secs 3-5)

C Death Immortality Cosmic Evolution (sec 6) D Recapitulation of thematic material (sec 7) E Catalogues of Personal identification with

all life (secs 8-17) PART 2 WALT AS POET OF PANPSYCHISM (sees IS-50)

A Role of the Poet Captures all experience (sees 18-32)

1

2

B Vision of the Poet Vision of a Journey into Being (Primal Reality) (sees 33-41)

C Gospel of the Poet5 to His own generation Message of Panpsychism (sees 42-50)

CONCLUSION WALT READY TO DEPART INTO THE WORLD SOUL (secs 51-52)

D According to Roy Harvey Pearce Song of Myself In The Continuity of American Poetry 69-83 (Considering the poem as an epic the argument of the poem runs something like this)

Phase 1 (secs 1-5) the initial insight into the creative nature (the procreant urge) the self and the initiating of creative power which follows spontaneously upon that insight

Phase 2 (sec 6-16) Recognition of the relation of the self to its world and a seeking after the metamorphoses which follow spontaneously upon that recognition

Phase 3 (secs 17-25) The roles of the self in and through its world a return to the matter of sec 1-5 but with this difference--that self-knowledge now exists objectively a product not of sheer inwardness as in secs 1-5 but of a spontaneously formalized relation between the self and its world Now the poet is not simply a force but a force defined in terms of its world now he is fully a person and can name himself Walt Whitman a kosmos of Manhattan the son

Phase 4 (sec 26-52) The poet (as person) fully at home in his newly defined world fully sure of himself and his procreant urge He no longer needs to seek his world (as in secs 6-16) he cnn openly and lovingly address it as he at once creates and controls it and as he is created and controlled by it He is thus a religion God 1 in himself I am an acme of things accomplish~dJ and I am encloser of things to be

E According to Malcolm Cowley Walt Whitmans Leaves of Grass the First (1855) Edition [considering the poem as inspired prophecy]

First Sequence (chants 1-4) the poet or hero introduced to his audience

Second Sequence (chant 5) the ecstasy consists in the rapt union of the poet and his soul and it is described--figuratively--in terms of sexual union

3

Third Sequence (chants 6-19) the grass The keynote of this sequence (as Strauch also observes) is the two words r observe

Fourth Sequence (chants 20-25) themiddotpoet in person

Fifth Sequence (chants 26-29) ecstasy through the senses

Sixth Sequence (chants 30-38) the power of identification The keynote of this sequence is the two words til am [compare withn the Third Sequence]

Seventh Sequence (chants 39-41) the superman The poet is the universally beloved Answerer (chant 39) then the Healer raising men from their deathbeds (40) and then the prophet (41) of a new religion that outbids the old cautious hucksters by announcing that men are divine and will eventually be gods

Eighth Sequence (chants 42-50) the sermon

Ninth Sequence (chants 51-52) the poets farewell

Tanner 5

QUESTIONS ON WHITMAN AND LEAVES OF GRASS

1 The opening lines of Leaves of Grass Oneself I Sing yet utter the word democratic the word en masse sets the stage for the essential tension in the book--the individual and the community Does Leaves of Grass intelli shygently deal with this crucial problem of democracy

2 Can Leaves of Grass be considered a Bible for democracy

3 Can Leaves of Grass be considered an etiquette manual for democracy

4 Does Whitmans celebration of the body present problems for the democratic social order

5 Does Whitmans insistence on a poetry of sexuality have relevance for us today

6 Whitman says Resist much obey little Can this doctrine be taken literally in modern democratic societies

7 Can Whitmans doctrine of self-fulfillment be reconciled and accommodated with his love of lithe divine average

8 What of Whitmans religious utterances Are they of use in practical terms (See Chanting the Square Deific)

9 How do Walt Whitman and Leaves of Grass fit into the modernist feminist movement

What is Whitmans stance towards history Does history create great heroes Or do great heroes create history

11 Is there such a thing as a democratic self imagination Compared to what

A democratic

12 Did Whitman believe in God

MARCHING THROUGH GEORGIA

Bring the good old bugle boys weill sing another song-shySing it with a spirit that will start the world along-shySing it as we used to sing it fifty thousand strong

While we were marching through Georgia

Hurrah hurrah we bring the jubilee Hurrah hurrah the flag that makes you free So we sang the chorus from Atlanta to the sea While we were marching through Georgia

How the darkies shouted when they heard the joyful sound How the turkeys gobbled which our commissary found How the sweet potatoes even started from the ground

While we were marching through Georgia

Yes and there were Union men who wept with joyful tears When they saw the honored flag they had not seen for years Hardly could they be restrained from breaking forth in cheers

While we were marching through Georgia

So we made a thoroughfare for Freedom and her train Sixty miles in latitude three hundred to the main Treason fled before us for resistance was in vain

While we were marching through Georgia

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

5

or phrase at the beginning of the line

Out of the cradle endlessly rocking Out of the mocking birds throat the musical shutt e Out of the Ninth-month midnight

(Out of the Cradle Endlessly Rocking)

Medial and final reiteration (epanalepsis) the word r phrase may be repeated within or at the end of the line

I will know if I am to be less than they I will see if I Rm not as majestic as they I will see if I am not as subtle and real as they I will see if I am to be less generous than they

Or the reiteration may have several positions

Over the breast of the spring the land amid cities AlLid lanes and through old woods where lately the

violets peepd from the ground spotting the gray debris

Amid tht3 grass in the fiel each side of the lanes passing the endless grass

Passing the yellow speard wheat every grain from its shroud in the dark-brown fields uprisen

(

the apple tree blows of white and pink in the orchards

Carrying a corpse to where it shall rest in the grav8 Night and day journeys a coffin

(vlhen Lilacs Last in the Dooryard Bloom d )

The purpose of the use of these reiterations in both the initial (epanaphora) and the medial and final (epanalepsis) places may be summarized briefly

a to produce cadence b to band lines together into strophes or

stanzaic divisions c to achieve purely oratorical effects

3 Grammatical rhythm the repetition of a certain sort of speech or ical construction

Flow on river flow wi th the flood-tide and el]J2 wi th the ebb-tide

Frolic OU crested and scallop-edgd waves Gorgeous clouds of the sunset dr~l~h wi th your

splendor me or the men and women generAtions after me

G

Cross from shore to shore countless crowdc of passengers

Stand up tall masts of Manahatta (Crossing Brooklyn Ferry Sec 9)

SYNTACTICAL PATTERNS

Whitmans style is built on phrasal parataxis and not on periodic involution (S Musgrove T S Eliot and Wal t-JYhj tmanII

27) is the placing of related clauses phra18E etc in a series without the use of connecting words eg I came I sayenl I conquered If Or I am the man I suffered I was there --opposed to hypotaxis Involution is the name given to an involved construction especially one created by a clause separating a subject from its predicate A perjod in grammar and rhetoric is a complete sentence Thus periodic involutiQJl as used by Musgrove to describe the poetry of Whitman and Eliot means complicated involved sentences complete in sense with interruptions between subjects and verbs by means of clausesshyobviously not at all applicable to Whitman or Eliot Phrasal parataxis though aptly describes Whitmans syntactic patterI18 Phrasal parataxis occurs

1 With recurrent nouns

the howl of the wolf the scream of the pan~hcr and the hoarse bellow of the elk (Our Old Feuillage)

the bellow of the alligator the sad noises of the nightowl and the wild cat and the whirr of the rattlesnake (0 Magnet-South)

2 With participles acting as the recurrent link

Throwing myself on the sand confronting the waves Taking all hints to use them but swiftly leaping

beyond them (Out of the Cradle Endlessly Rocking)

3 With a series of parallel clauses

He was a frequent gunner and fisher he saild his boat himself he had a fine one presented to h1m by a sllip-joiner he had fowling-pieces presented to him by men that loved him (I Sing the Body Electric)

7

4 With a repeated preposition as the linking word

In the cars of railroads in steamboats in the public assembly (Song of the Open Road)

5 With a series of infinitives

To get the final lilt of songs To penetrate the inmost lore of poets--to know the

mighty ones (To Get the Final Lilt)

6 With a series of terminal participles (a variant of 2 above

Here and there with dimes on the eyes walking To feed the greed of the belly the brains liberally

spooning Tickets buying taking selling but in to the feast

never once going Many sweating ploughing thrashing and they the chaff

for payment receiving A few idly owning and they the wheat continually

claiming ( Song of Myself Sec 42)

One might note that the entire poemWe Two Boys ther Clinging is based on this pattern

7 The parentheses to break rhythm set up by phonetic recurrences

Wlitman~s use of the parenthesis has puzzled many students of his poetry for it is often employed where the passage is not parenthetical in thought Careful examination however shows that usually the parenthesis indicates a break in the rhytthm set up by the phonetic recurrences The rhythm is momentarily suspended broken off completely or in some manner varied by the passage inside the parenthesis Sometimes the parenthetical marks bracket a passage at the very beginning of the poem so that it could not be parenthetical in thought but these cases are rare A fairly characteristic specimen is

To the leavenrd soil they trod calling I sing for the last

(Forth from my tent emerging for good laos untyilg the tent ropes)

In the freshness of th forenoon

8

To the fiery fields emanative To the leavend soil To the Alleghanian hills etc

(To the Leavend Soil They Trod)

8 The periodic sentence This occurs quite often in Leaves of Grass For example the first stanza of Out of the Cradle Endlessly Rocking is a twenty-two line periodic sentence with the subject and verb coming only in the last three lines See also the first stanza of Starting from Paumanok to

9 The Caesura

A The catalog-caesura

The blab of the pave tires of carts sluff of bootsoles talk of the promenaders1

The heavy omnibus the driver with his interrogating thumb the clank of the shod horses on the granite floor

(Song of Myself Sec 8)

B A similar caesura but with many subtle variations

I hear bravuras of birds bustle of growine wheat gossip of flames clack of stick~ cooking my meals

I hear the sound I love the Bound of the hum~n voice

I hear all sounds running together combinAd fused or following

Sounds of the city and sounds out of the city-- sounds of the day and night

(Song of Myself Sec 26)

Notice how much the shortening or lengthening of the pause can contribute to both the rhythm and the thought The first line is cumulative in effect the second balanced the third suggestive or illustrative the fourth emphatic

C Sometimes the caesura divides the parallelism and is equivalent to the line-end pause

There is that in me-- I do not know what it isl but I know it is in me

Wrenchd and Bweaty-- calm and cool then my body becomes

I sleep--I I sleep long

9

I do not know it-- it is without name-- it is a word unsaid

It is not in any dictionary utterance symbol (Song of Myself Sec 50)

D Another caesural effect Jannacone callsthesis and arsis because the second halfline echoes the thought echoes the thought of the first and receives a weaker stress and perhaps a lower pitch

Great are the myths-- I too delight in them Great are Adam and Eve-- I too look back and

accept them (Great Are the Myths II Sec 1)

THE CATALOG

There are of course numerous examples of the catalog throughout Leaves of Grass Consider the example below

Pleasd with the native and pleasd with the foreign pleasd with the new and old

Pleasd with the homely woman as well as the handsome Pleasd with the quakeress as she puts off her bonnet and

talks melodiously Pleasd with the tune of the choir of the whitewashd

church Pleasd with the earnest words of the sweating Methodist

preacher impressd seriously at the camp-meeting (Song of Myself Sec 33)

IMAGERY AND FIGURES

The actual simile is not found so often in as in most other poetry yet we do have it occasionally (see eg Thou Mother with Thy Equal Brood and The Return of the Heroes 1)

is of course rich in metaphor and poetic

CONVENTIONAL POETIC TECHNIQUES

association

Although Whitmans organic theory of poet ntyle is commonly assumed to be completely antithetical to conventional teChl 2

there is no logical reason why the poet might not occasionally

10

have an experience or an emotion which would find natural expression in rhyme and meter Lois Ware has said that Whitman exemplified at some point or other virtually all of the conventions that he professed to eschew and that he employed some of these conventions on a large scale (Poetic Conventions in Leaves of Grass Studies in Philology 26 [1929] 47)

For conventional scansion of Whitmans verses see Bradleys scansion of Tears (Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry II American Literature 10 (1939) 437-59)

10

Tanner 6 15-89

NOTES ON THE STRUCTURE OF SONG OF MYSELF

A According to James E Miller Song of Myself- as Inverted Mystical Experience A Critical Guide to Leaves of Grass Chicago U of Chicago P 1951 6 35

1 Sections 1-5 Entry into the mystical state 2 Sections 6-16 Awakening of self 3 Sections 17 3 Purification of self 4 Sections 33-37 Illumination and the dark night of

the soul 5 Sections 38-43 Union (faith and love) 6 Sections 44-49 Union (perception) 7 Sections 50-52 Emergence from the mystical etate

B According to Carl F Strauch The Structure of Walt Whitmans rSong of Myself English Journal (College Edition) XXVII (1938) 597-601

1 Paragraphs 1-18 the Self mystical interpenetration of the Self with all life and experience

Paragraphs 19-25 definition of the Self identification with the degraded and transfiguration of it final merit of Self withheld silence end of the first half of the poem

3 Paragraphs 26-38 life flowing in upon Self then evolutionary interpenetration of life

4 Paragraphs 39-41 the Superman 5 Paragraphs 42-52 larger questions of life-shy

religion faith God death immortality and happiness mystically affirmed

C According to Gay Wilson Allen Walt Whitman Handbook

INTRODUCTION (sec 1) PART 1 WALT AS EXEMPLAR OF PANPSYCHISM (sees 2 17)

A The Principle of Unity of the world stuff (sec 2)

B The Principle of Identify Birth into the Physical Universe (secs 3-5)

C Death Immortality Cosmic Evolution (sec 6) D Recapitulation of thematic material (sec 7) E Catalogues of Personal identification with

all life (secs 8-17) PART 2 WALT AS POET OF PANPSYCHISM (sees IS-50)

A Role of the Poet Captures all experience (sees 18-32)

1

2

B Vision of the Poet Vision of a Journey into Being (Primal Reality) (sees 33-41)

C Gospel of the Poet5 to His own generation Message of Panpsychism (sees 42-50)

CONCLUSION WALT READY TO DEPART INTO THE WORLD SOUL (secs 51-52)

D According to Roy Harvey Pearce Song of Myself In The Continuity of American Poetry 69-83 (Considering the poem as an epic the argument of the poem runs something like this)

Phase 1 (secs 1-5) the initial insight into the creative nature (the procreant urge) the self and the initiating of creative power which follows spontaneously upon that insight

Phase 2 (sec 6-16) Recognition of the relation of the self to its world and a seeking after the metamorphoses which follow spontaneously upon that recognition

Phase 3 (secs 17-25) The roles of the self in and through its world a return to the matter of sec 1-5 but with this difference--that self-knowledge now exists objectively a product not of sheer inwardness as in secs 1-5 but of a spontaneously formalized relation between the self and its world Now the poet is not simply a force but a force defined in terms of its world now he is fully a person and can name himself Walt Whitman a kosmos of Manhattan the son

Phase 4 (sec 26-52) The poet (as person) fully at home in his newly defined world fully sure of himself and his procreant urge He no longer needs to seek his world (as in secs 6-16) he cnn openly and lovingly address it as he at once creates and controls it and as he is created and controlled by it He is thus a religion God 1 in himself I am an acme of things accomplish~dJ and I am encloser of things to be

E According to Malcolm Cowley Walt Whitmans Leaves of Grass the First (1855) Edition [considering the poem as inspired prophecy]

First Sequence (chants 1-4) the poet or hero introduced to his audience

Second Sequence (chant 5) the ecstasy consists in the rapt union of the poet and his soul and it is described--figuratively--in terms of sexual union

3

Third Sequence (chants 6-19) the grass The keynote of this sequence (as Strauch also observes) is the two words r observe

Fourth Sequence (chants 20-25) themiddotpoet in person

Fifth Sequence (chants 26-29) ecstasy through the senses

Sixth Sequence (chants 30-38) the power of identification The keynote of this sequence is the two words til am [compare withn the Third Sequence]

Seventh Sequence (chants 39-41) the superman The poet is the universally beloved Answerer (chant 39) then the Healer raising men from their deathbeds (40) and then the prophet (41) of a new religion that outbids the old cautious hucksters by announcing that men are divine and will eventually be gods

Eighth Sequence (chants 42-50) the sermon

Ninth Sequence (chants 51-52) the poets farewell

Tanner 5

QUESTIONS ON WHITMAN AND LEAVES OF GRASS

1 The opening lines of Leaves of Grass Oneself I Sing yet utter the word democratic the word en masse sets the stage for the essential tension in the book--the individual and the community Does Leaves of Grass intelli shygently deal with this crucial problem of democracy

2 Can Leaves of Grass be considered a Bible for democracy

3 Can Leaves of Grass be considered an etiquette manual for democracy

4 Does Whitmans celebration of the body present problems for the democratic social order

5 Does Whitmans insistence on a poetry of sexuality have relevance for us today

6 Whitman says Resist much obey little Can this doctrine be taken literally in modern democratic societies

7 Can Whitmans doctrine of self-fulfillment be reconciled and accommodated with his love of lithe divine average

8 What of Whitmans religious utterances Are they of use in practical terms (See Chanting the Square Deific)

9 How do Walt Whitman and Leaves of Grass fit into the modernist feminist movement

What is Whitmans stance towards history Does history create great heroes Or do great heroes create history

11 Is there such a thing as a democratic self imagination Compared to what

A democratic

12 Did Whitman believe in God

MARCHING THROUGH GEORGIA

Bring the good old bugle boys weill sing another song-shySing it with a spirit that will start the world along-shySing it as we used to sing it fifty thousand strong

While we were marching through Georgia

Hurrah hurrah we bring the jubilee Hurrah hurrah the flag that makes you free So we sang the chorus from Atlanta to the sea While we were marching through Georgia

How the darkies shouted when they heard the joyful sound How the turkeys gobbled which our commissary found How the sweet potatoes even started from the ground

While we were marching through Georgia

Yes and there were Union men who wept with joyful tears When they saw the honored flag they had not seen for years Hardly could they be restrained from breaking forth in cheers

While we were marching through Georgia

So we made a thoroughfare for Freedom and her train Sixty miles in latitude three hundred to the main Treason fled before us for resistance was in vain

While we were marching through Georgia

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

G

Cross from shore to shore countless crowdc of passengers

Stand up tall masts of Manahatta (Crossing Brooklyn Ferry Sec 9)

SYNTACTICAL PATTERNS

Whitmans style is built on phrasal parataxis and not on periodic involution (S Musgrove T S Eliot and Wal t-JYhj tmanII

27) is the placing of related clauses phra18E etc in a series without the use of connecting words eg I came I sayenl I conquered If Or I am the man I suffered I was there --opposed to hypotaxis Involution is the name given to an involved construction especially one created by a clause separating a subject from its predicate A perjod in grammar and rhetoric is a complete sentence Thus periodic involutiQJl as used by Musgrove to describe the poetry of Whitman and Eliot means complicated involved sentences complete in sense with interruptions between subjects and verbs by means of clausesshyobviously not at all applicable to Whitman or Eliot Phrasal parataxis though aptly describes Whitmans syntactic patterI18 Phrasal parataxis occurs

1 With recurrent nouns

the howl of the wolf the scream of the pan~hcr and the hoarse bellow of the elk (Our Old Feuillage)

the bellow of the alligator the sad noises of the nightowl and the wild cat and the whirr of the rattlesnake (0 Magnet-South)

2 With participles acting as the recurrent link

Throwing myself on the sand confronting the waves Taking all hints to use them but swiftly leaping

beyond them (Out of the Cradle Endlessly Rocking)

3 With a series of parallel clauses

He was a frequent gunner and fisher he saild his boat himself he had a fine one presented to h1m by a sllip-joiner he had fowling-pieces presented to him by men that loved him (I Sing the Body Electric)

7

4 With a repeated preposition as the linking word

In the cars of railroads in steamboats in the public assembly (Song of the Open Road)

5 With a series of infinitives

To get the final lilt of songs To penetrate the inmost lore of poets--to know the

mighty ones (To Get the Final Lilt)

6 With a series of terminal participles (a variant of 2 above

Here and there with dimes on the eyes walking To feed the greed of the belly the brains liberally

spooning Tickets buying taking selling but in to the feast

never once going Many sweating ploughing thrashing and they the chaff

for payment receiving A few idly owning and they the wheat continually

claiming ( Song of Myself Sec 42)

One might note that the entire poemWe Two Boys ther Clinging is based on this pattern

7 The parentheses to break rhythm set up by phonetic recurrences

Wlitman~s use of the parenthesis has puzzled many students of his poetry for it is often employed where the passage is not parenthetical in thought Careful examination however shows that usually the parenthesis indicates a break in the rhytthm set up by the phonetic recurrences The rhythm is momentarily suspended broken off completely or in some manner varied by the passage inside the parenthesis Sometimes the parenthetical marks bracket a passage at the very beginning of the poem so that it could not be parenthetical in thought but these cases are rare A fairly characteristic specimen is

To the leavenrd soil they trod calling I sing for the last

(Forth from my tent emerging for good laos untyilg the tent ropes)

In the freshness of th forenoon

8

To the fiery fields emanative To the leavend soil To the Alleghanian hills etc

(To the Leavend Soil They Trod)

8 The periodic sentence This occurs quite often in Leaves of Grass For example the first stanza of Out of the Cradle Endlessly Rocking is a twenty-two line periodic sentence with the subject and verb coming only in the last three lines See also the first stanza of Starting from Paumanok to

9 The Caesura

A The catalog-caesura

The blab of the pave tires of carts sluff of bootsoles talk of the promenaders1

The heavy omnibus the driver with his interrogating thumb the clank of the shod horses on the granite floor

(Song of Myself Sec 8)

B A similar caesura but with many subtle variations

I hear bravuras of birds bustle of growine wheat gossip of flames clack of stick~ cooking my meals

I hear the sound I love the Bound of the hum~n voice

I hear all sounds running together combinAd fused or following

Sounds of the city and sounds out of the city-- sounds of the day and night

(Song of Myself Sec 26)

Notice how much the shortening or lengthening of the pause can contribute to both the rhythm and the thought The first line is cumulative in effect the second balanced the third suggestive or illustrative the fourth emphatic

C Sometimes the caesura divides the parallelism and is equivalent to the line-end pause

There is that in me-- I do not know what it isl but I know it is in me

Wrenchd and Bweaty-- calm and cool then my body becomes

I sleep--I I sleep long

9

I do not know it-- it is without name-- it is a word unsaid

It is not in any dictionary utterance symbol (Song of Myself Sec 50)

D Another caesural effect Jannacone callsthesis and arsis because the second halfline echoes the thought echoes the thought of the first and receives a weaker stress and perhaps a lower pitch

Great are the myths-- I too delight in them Great are Adam and Eve-- I too look back and

accept them (Great Are the Myths II Sec 1)

THE CATALOG

There are of course numerous examples of the catalog throughout Leaves of Grass Consider the example below

Pleasd with the native and pleasd with the foreign pleasd with the new and old

Pleasd with the homely woman as well as the handsome Pleasd with the quakeress as she puts off her bonnet and

talks melodiously Pleasd with the tune of the choir of the whitewashd

church Pleasd with the earnest words of the sweating Methodist

preacher impressd seriously at the camp-meeting (Song of Myself Sec 33)

IMAGERY AND FIGURES

The actual simile is not found so often in as in most other poetry yet we do have it occasionally (see eg Thou Mother with Thy Equal Brood and The Return of the Heroes 1)

is of course rich in metaphor and poetic

CONVENTIONAL POETIC TECHNIQUES

association

Although Whitmans organic theory of poet ntyle is commonly assumed to be completely antithetical to conventional teChl 2

there is no logical reason why the poet might not occasionally

10

have an experience or an emotion which would find natural expression in rhyme and meter Lois Ware has said that Whitman exemplified at some point or other virtually all of the conventions that he professed to eschew and that he employed some of these conventions on a large scale (Poetic Conventions in Leaves of Grass Studies in Philology 26 [1929] 47)

For conventional scansion of Whitmans verses see Bradleys scansion of Tears (Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry II American Literature 10 (1939) 437-59)

10

Tanner 6 15-89

NOTES ON THE STRUCTURE OF SONG OF MYSELF

A According to James E Miller Song of Myself- as Inverted Mystical Experience A Critical Guide to Leaves of Grass Chicago U of Chicago P 1951 6 35

1 Sections 1-5 Entry into the mystical state 2 Sections 6-16 Awakening of self 3 Sections 17 3 Purification of self 4 Sections 33-37 Illumination and the dark night of

the soul 5 Sections 38-43 Union (faith and love) 6 Sections 44-49 Union (perception) 7 Sections 50-52 Emergence from the mystical etate

B According to Carl F Strauch The Structure of Walt Whitmans rSong of Myself English Journal (College Edition) XXVII (1938) 597-601

1 Paragraphs 1-18 the Self mystical interpenetration of the Self with all life and experience

Paragraphs 19-25 definition of the Self identification with the degraded and transfiguration of it final merit of Self withheld silence end of the first half of the poem

3 Paragraphs 26-38 life flowing in upon Self then evolutionary interpenetration of life

4 Paragraphs 39-41 the Superman 5 Paragraphs 42-52 larger questions of life-shy

religion faith God death immortality and happiness mystically affirmed

C According to Gay Wilson Allen Walt Whitman Handbook

INTRODUCTION (sec 1) PART 1 WALT AS EXEMPLAR OF PANPSYCHISM (sees 2 17)

A The Principle of Unity of the world stuff (sec 2)

B The Principle of Identify Birth into the Physical Universe (secs 3-5)

C Death Immortality Cosmic Evolution (sec 6) D Recapitulation of thematic material (sec 7) E Catalogues of Personal identification with

all life (secs 8-17) PART 2 WALT AS POET OF PANPSYCHISM (sees IS-50)

A Role of the Poet Captures all experience (sees 18-32)

1

2

B Vision of the Poet Vision of a Journey into Being (Primal Reality) (sees 33-41)

C Gospel of the Poet5 to His own generation Message of Panpsychism (sees 42-50)

CONCLUSION WALT READY TO DEPART INTO THE WORLD SOUL (secs 51-52)

D According to Roy Harvey Pearce Song of Myself In The Continuity of American Poetry 69-83 (Considering the poem as an epic the argument of the poem runs something like this)

Phase 1 (secs 1-5) the initial insight into the creative nature (the procreant urge) the self and the initiating of creative power which follows spontaneously upon that insight

Phase 2 (sec 6-16) Recognition of the relation of the self to its world and a seeking after the metamorphoses which follow spontaneously upon that recognition

Phase 3 (secs 17-25) The roles of the self in and through its world a return to the matter of sec 1-5 but with this difference--that self-knowledge now exists objectively a product not of sheer inwardness as in secs 1-5 but of a spontaneously formalized relation between the self and its world Now the poet is not simply a force but a force defined in terms of its world now he is fully a person and can name himself Walt Whitman a kosmos of Manhattan the son

Phase 4 (sec 26-52) The poet (as person) fully at home in his newly defined world fully sure of himself and his procreant urge He no longer needs to seek his world (as in secs 6-16) he cnn openly and lovingly address it as he at once creates and controls it and as he is created and controlled by it He is thus a religion God 1 in himself I am an acme of things accomplish~dJ and I am encloser of things to be

E According to Malcolm Cowley Walt Whitmans Leaves of Grass the First (1855) Edition [considering the poem as inspired prophecy]

First Sequence (chants 1-4) the poet or hero introduced to his audience

Second Sequence (chant 5) the ecstasy consists in the rapt union of the poet and his soul and it is described--figuratively--in terms of sexual union

3

Third Sequence (chants 6-19) the grass The keynote of this sequence (as Strauch also observes) is the two words r observe

Fourth Sequence (chants 20-25) themiddotpoet in person

Fifth Sequence (chants 26-29) ecstasy through the senses

Sixth Sequence (chants 30-38) the power of identification The keynote of this sequence is the two words til am [compare withn the Third Sequence]

Seventh Sequence (chants 39-41) the superman The poet is the universally beloved Answerer (chant 39) then the Healer raising men from their deathbeds (40) and then the prophet (41) of a new religion that outbids the old cautious hucksters by announcing that men are divine and will eventually be gods

Eighth Sequence (chants 42-50) the sermon

Ninth Sequence (chants 51-52) the poets farewell

Tanner 5

QUESTIONS ON WHITMAN AND LEAVES OF GRASS

1 The opening lines of Leaves of Grass Oneself I Sing yet utter the word democratic the word en masse sets the stage for the essential tension in the book--the individual and the community Does Leaves of Grass intelli shygently deal with this crucial problem of democracy

2 Can Leaves of Grass be considered a Bible for democracy

3 Can Leaves of Grass be considered an etiquette manual for democracy

4 Does Whitmans celebration of the body present problems for the democratic social order

5 Does Whitmans insistence on a poetry of sexuality have relevance for us today

6 Whitman says Resist much obey little Can this doctrine be taken literally in modern democratic societies

7 Can Whitmans doctrine of self-fulfillment be reconciled and accommodated with his love of lithe divine average

8 What of Whitmans religious utterances Are they of use in practical terms (See Chanting the Square Deific)

9 How do Walt Whitman and Leaves of Grass fit into the modernist feminist movement

What is Whitmans stance towards history Does history create great heroes Or do great heroes create history

11 Is there such a thing as a democratic self imagination Compared to what

A democratic

12 Did Whitman believe in God

MARCHING THROUGH GEORGIA

Bring the good old bugle boys weill sing another song-shySing it with a spirit that will start the world along-shySing it as we used to sing it fifty thousand strong

While we were marching through Georgia

Hurrah hurrah we bring the jubilee Hurrah hurrah the flag that makes you free So we sang the chorus from Atlanta to the sea While we were marching through Georgia

How the darkies shouted when they heard the joyful sound How the turkeys gobbled which our commissary found How the sweet potatoes even started from the ground

While we were marching through Georgia

Yes and there were Union men who wept with joyful tears When they saw the honored flag they had not seen for years Hardly could they be restrained from breaking forth in cheers

While we were marching through Georgia

So we made a thoroughfare for Freedom and her train Sixty miles in latitude three hundred to the main Treason fled before us for resistance was in vain

While we were marching through Georgia

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

7

4 With a repeated preposition as the linking word

In the cars of railroads in steamboats in the public assembly (Song of the Open Road)

5 With a series of infinitives

To get the final lilt of songs To penetrate the inmost lore of poets--to know the

mighty ones (To Get the Final Lilt)

6 With a series of terminal participles (a variant of 2 above

Here and there with dimes on the eyes walking To feed the greed of the belly the brains liberally

spooning Tickets buying taking selling but in to the feast

never once going Many sweating ploughing thrashing and they the chaff

for payment receiving A few idly owning and they the wheat continually

claiming ( Song of Myself Sec 42)

One might note that the entire poemWe Two Boys ther Clinging is based on this pattern

7 The parentheses to break rhythm set up by phonetic recurrences

Wlitman~s use of the parenthesis has puzzled many students of his poetry for it is often employed where the passage is not parenthetical in thought Careful examination however shows that usually the parenthesis indicates a break in the rhytthm set up by the phonetic recurrences The rhythm is momentarily suspended broken off completely or in some manner varied by the passage inside the parenthesis Sometimes the parenthetical marks bracket a passage at the very beginning of the poem so that it could not be parenthetical in thought but these cases are rare A fairly characteristic specimen is

To the leavenrd soil they trod calling I sing for the last

(Forth from my tent emerging for good laos untyilg the tent ropes)

In the freshness of th forenoon

8

To the fiery fields emanative To the leavend soil To the Alleghanian hills etc

(To the Leavend Soil They Trod)

8 The periodic sentence This occurs quite often in Leaves of Grass For example the first stanza of Out of the Cradle Endlessly Rocking is a twenty-two line periodic sentence with the subject and verb coming only in the last three lines See also the first stanza of Starting from Paumanok to

9 The Caesura

A The catalog-caesura

The blab of the pave tires of carts sluff of bootsoles talk of the promenaders1

The heavy omnibus the driver with his interrogating thumb the clank of the shod horses on the granite floor

(Song of Myself Sec 8)

B A similar caesura but with many subtle variations

I hear bravuras of birds bustle of growine wheat gossip of flames clack of stick~ cooking my meals

I hear the sound I love the Bound of the hum~n voice

I hear all sounds running together combinAd fused or following

Sounds of the city and sounds out of the city-- sounds of the day and night

(Song of Myself Sec 26)

Notice how much the shortening or lengthening of the pause can contribute to both the rhythm and the thought The first line is cumulative in effect the second balanced the third suggestive or illustrative the fourth emphatic

C Sometimes the caesura divides the parallelism and is equivalent to the line-end pause

There is that in me-- I do not know what it isl but I know it is in me

Wrenchd and Bweaty-- calm and cool then my body becomes

I sleep--I I sleep long

9

I do not know it-- it is without name-- it is a word unsaid

It is not in any dictionary utterance symbol (Song of Myself Sec 50)

D Another caesural effect Jannacone callsthesis and arsis because the second halfline echoes the thought echoes the thought of the first and receives a weaker stress and perhaps a lower pitch

Great are the myths-- I too delight in them Great are Adam and Eve-- I too look back and

accept them (Great Are the Myths II Sec 1)

THE CATALOG

There are of course numerous examples of the catalog throughout Leaves of Grass Consider the example below

Pleasd with the native and pleasd with the foreign pleasd with the new and old

Pleasd with the homely woman as well as the handsome Pleasd with the quakeress as she puts off her bonnet and

talks melodiously Pleasd with the tune of the choir of the whitewashd

church Pleasd with the earnest words of the sweating Methodist

preacher impressd seriously at the camp-meeting (Song of Myself Sec 33)

IMAGERY AND FIGURES

The actual simile is not found so often in as in most other poetry yet we do have it occasionally (see eg Thou Mother with Thy Equal Brood and The Return of the Heroes 1)

is of course rich in metaphor and poetic

CONVENTIONAL POETIC TECHNIQUES

association

Although Whitmans organic theory of poet ntyle is commonly assumed to be completely antithetical to conventional teChl 2

there is no logical reason why the poet might not occasionally

10

have an experience or an emotion which would find natural expression in rhyme and meter Lois Ware has said that Whitman exemplified at some point or other virtually all of the conventions that he professed to eschew and that he employed some of these conventions on a large scale (Poetic Conventions in Leaves of Grass Studies in Philology 26 [1929] 47)

For conventional scansion of Whitmans verses see Bradleys scansion of Tears (Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry II American Literature 10 (1939) 437-59)

10

Tanner 6 15-89

NOTES ON THE STRUCTURE OF SONG OF MYSELF

A According to James E Miller Song of Myself- as Inverted Mystical Experience A Critical Guide to Leaves of Grass Chicago U of Chicago P 1951 6 35

1 Sections 1-5 Entry into the mystical state 2 Sections 6-16 Awakening of self 3 Sections 17 3 Purification of self 4 Sections 33-37 Illumination and the dark night of

the soul 5 Sections 38-43 Union (faith and love) 6 Sections 44-49 Union (perception) 7 Sections 50-52 Emergence from the mystical etate

B According to Carl F Strauch The Structure of Walt Whitmans rSong of Myself English Journal (College Edition) XXVII (1938) 597-601

1 Paragraphs 1-18 the Self mystical interpenetration of the Self with all life and experience

Paragraphs 19-25 definition of the Self identification with the degraded and transfiguration of it final merit of Self withheld silence end of the first half of the poem

3 Paragraphs 26-38 life flowing in upon Self then evolutionary interpenetration of life

4 Paragraphs 39-41 the Superman 5 Paragraphs 42-52 larger questions of life-shy

religion faith God death immortality and happiness mystically affirmed

C According to Gay Wilson Allen Walt Whitman Handbook

INTRODUCTION (sec 1) PART 1 WALT AS EXEMPLAR OF PANPSYCHISM (sees 2 17)

A The Principle of Unity of the world stuff (sec 2)

B The Principle of Identify Birth into the Physical Universe (secs 3-5)

C Death Immortality Cosmic Evolution (sec 6) D Recapitulation of thematic material (sec 7) E Catalogues of Personal identification with

all life (secs 8-17) PART 2 WALT AS POET OF PANPSYCHISM (sees IS-50)

A Role of the Poet Captures all experience (sees 18-32)

1

2

B Vision of the Poet Vision of a Journey into Being (Primal Reality) (sees 33-41)

C Gospel of the Poet5 to His own generation Message of Panpsychism (sees 42-50)

CONCLUSION WALT READY TO DEPART INTO THE WORLD SOUL (secs 51-52)

D According to Roy Harvey Pearce Song of Myself In The Continuity of American Poetry 69-83 (Considering the poem as an epic the argument of the poem runs something like this)

Phase 1 (secs 1-5) the initial insight into the creative nature (the procreant urge) the self and the initiating of creative power which follows spontaneously upon that insight

Phase 2 (sec 6-16) Recognition of the relation of the self to its world and a seeking after the metamorphoses which follow spontaneously upon that recognition

Phase 3 (secs 17-25) The roles of the self in and through its world a return to the matter of sec 1-5 but with this difference--that self-knowledge now exists objectively a product not of sheer inwardness as in secs 1-5 but of a spontaneously formalized relation between the self and its world Now the poet is not simply a force but a force defined in terms of its world now he is fully a person and can name himself Walt Whitman a kosmos of Manhattan the son

Phase 4 (sec 26-52) The poet (as person) fully at home in his newly defined world fully sure of himself and his procreant urge He no longer needs to seek his world (as in secs 6-16) he cnn openly and lovingly address it as he at once creates and controls it and as he is created and controlled by it He is thus a religion God 1 in himself I am an acme of things accomplish~dJ and I am encloser of things to be

E According to Malcolm Cowley Walt Whitmans Leaves of Grass the First (1855) Edition [considering the poem as inspired prophecy]

First Sequence (chants 1-4) the poet or hero introduced to his audience

Second Sequence (chant 5) the ecstasy consists in the rapt union of the poet and his soul and it is described--figuratively--in terms of sexual union

3

Third Sequence (chants 6-19) the grass The keynote of this sequence (as Strauch also observes) is the two words r observe

Fourth Sequence (chants 20-25) themiddotpoet in person

Fifth Sequence (chants 26-29) ecstasy through the senses

Sixth Sequence (chants 30-38) the power of identification The keynote of this sequence is the two words til am [compare withn the Third Sequence]

Seventh Sequence (chants 39-41) the superman The poet is the universally beloved Answerer (chant 39) then the Healer raising men from their deathbeds (40) and then the prophet (41) of a new religion that outbids the old cautious hucksters by announcing that men are divine and will eventually be gods

Eighth Sequence (chants 42-50) the sermon

Ninth Sequence (chants 51-52) the poets farewell

Tanner 5

QUESTIONS ON WHITMAN AND LEAVES OF GRASS

1 The opening lines of Leaves of Grass Oneself I Sing yet utter the word democratic the word en masse sets the stage for the essential tension in the book--the individual and the community Does Leaves of Grass intelli shygently deal with this crucial problem of democracy

2 Can Leaves of Grass be considered a Bible for democracy

3 Can Leaves of Grass be considered an etiquette manual for democracy

4 Does Whitmans celebration of the body present problems for the democratic social order

5 Does Whitmans insistence on a poetry of sexuality have relevance for us today

6 Whitman says Resist much obey little Can this doctrine be taken literally in modern democratic societies

7 Can Whitmans doctrine of self-fulfillment be reconciled and accommodated with his love of lithe divine average

8 What of Whitmans religious utterances Are they of use in practical terms (See Chanting the Square Deific)

9 How do Walt Whitman and Leaves of Grass fit into the modernist feminist movement

What is Whitmans stance towards history Does history create great heroes Or do great heroes create history

11 Is there such a thing as a democratic self imagination Compared to what

A democratic

12 Did Whitman believe in God

MARCHING THROUGH GEORGIA

Bring the good old bugle boys weill sing another song-shySing it with a spirit that will start the world along-shySing it as we used to sing it fifty thousand strong

While we were marching through Georgia

Hurrah hurrah we bring the jubilee Hurrah hurrah the flag that makes you free So we sang the chorus from Atlanta to the sea While we were marching through Georgia

How the darkies shouted when they heard the joyful sound How the turkeys gobbled which our commissary found How the sweet potatoes even started from the ground

While we were marching through Georgia

Yes and there were Union men who wept with joyful tears When they saw the honored flag they had not seen for years Hardly could they be restrained from breaking forth in cheers

While we were marching through Georgia

So we made a thoroughfare for Freedom and her train Sixty miles in latitude three hundred to the main Treason fled before us for resistance was in vain

While we were marching through Georgia

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

8

To the fiery fields emanative To the leavend soil To the Alleghanian hills etc

(To the Leavend Soil They Trod)

8 The periodic sentence This occurs quite often in Leaves of Grass For example the first stanza of Out of the Cradle Endlessly Rocking is a twenty-two line periodic sentence with the subject and verb coming only in the last three lines See also the first stanza of Starting from Paumanok to

9 The Caesura

A The catalog-caesura

The blab of the pave tires of carts sluff of bootsoles talk of the promenaders1

The heavy omnibus the driver with his interrogating thumb the clank of the shod horses on the granite floor

(Song of Myself Sec 8)

B A similar caesura but with many subtle variations

I hear bravuras of birds bustle of growine wheat gossip of flames clack of stick~ cooking my meals

I hear the sound I love the Bound of the hum~n voice

I hear all sounds running together combinAd fused or following

Sounds of the city and sounds out of the city-- sounds of the day and night

(Song of Myself Sec 26)

Notice how much the shortening or lengthening of the pause can contribute to both the rhythm and the thought The first line is cumulative in effect the second balanced the third suggestive or illustrative the fourth emphatic

C Sometimes the caesura divides the parallelism and is equivalent to the line-end pause

There is that in me-- I do not know what it isl but I know it is in me

Wrenchd and Bweaty-- calm and cool then my body becomes

I sleep--I I sleep long

9

I do not know it-- it is without name-- it is a word unsaid

It is not in any dictionary utterance symbol (Song of Myself Sec 50)

D Another caesural effect Jannacone callsthesis and arsis because the second halfline echoes the thought echoes the thought of the first and receives a weaker stress and perhaps a lower pitch

Great are the myths-- I too delight in them Great are Adam and Eve-- I too look back and

accept them (Great Are the Myths II Sec 1)

THE CATALOG

There are of course numerous examples of the catalog throughout Leaves of Grass Consider the example below

Pleasd with the native and pleasd with the foreign pleasd with the new and old

Pleasd with the homely woman as well as the handsome Pleasd with the quakeress as she puts off her bonnet and

talks melodiously Pleasd with the tune of the choir of the whitewashd

church Pleasd with the earnest words of the sweating Methodist

preacher impressd seriously at the camp-meeting (Song of Myself Sec 33)

IMAGERY AND FIGURES

The actual simile is not found so often in as in most other poetry yet we do have it occasionally (see eg Thou Mother with Thy Equal Brood and The Return of the Heroes 1)

is of course rich in metaphor and poetic

CONVENTIONAL POETIC TECHNIQUES

association

Although Whitmans organic theory of poet ntyle is commonly assumed to be completely antithetical to conventional teChl 2

there is no logical reason why the poet might not occasionally

10

have an experience or an emotion which would find natural expression in rhyme and meter Lois Ware has said that Whitman exemplified at some point or other virtually all of the conventions that he professed to eschew and that he employed some of these conventions on a large scale (Poetic Conventions in Leaves of Grass Studies in Philology 26 [1929] 47)

For conventional scansion of Whitmans verses see Bradleys scansion of Tears (Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry II American Literature 10 (1939) 437-59)

10

Tanner 6 15-89

NOTES ON THE STRUCTURE OF SONG OF MYSELF

A According to James E Miller Song of Myself- as Inverted Mystical Experience A Critical Guide to Leaves of Grass Chicago U of Chicago P 1951 6 35

1 Sections 1-5 Entry into the mystical state 2 Sections 6-16 Awakening of self 3 Sections 17 3 Purification of self 4 Sections 33-37 Illumination and the dark night of

the soul 5 Sections 38-43 Union (faith and love) 6 Sections 44-49 Union (perception) 7 Sections 50-52 Emergence from the mystical etate

B According to Carl F Strauch The Structure of Walt Whitmans rSong of Myself English Journal (College Edition) XXVII (1938) 597-601

1 Paragraphs 1-18 the Self mystical interpenetration of the Self with all life and experience

Paragraphs 19-25 definition of the Self identification with the degraded and transfiguration of it final merit of Self withheld silence end of the first half of the poem

3 Paragraphs 26-38 life flowing in upon Self then evolutionary interpenetration of life

4 Paragraphs 39-41 the Superman 5 Paragraphs 42-52 larger questions of life-shy

religion faith God death immortality and happiness mystically affirmed

C According to Gay Wilson Allen Walt Whitman Handbook

INTRODUCTION (sec 1) PART 1 WALT AS EXEMPLAR OF PANPSYCHISM (sees 2 17)

A The Principle of Unity of the world stuff (sec 2)

B The Principle of Identify Birth into the Physical Universe (secs 3-5)

C Death Immortality Cosmic Evolution (sec 6) D Recapitulation of thematic material (sec 7) E Catalogues of Personal identification with

all life (secs 8-17) PART 2 WALT AS POET OF PANPSYCHISM (sees IS-50)

A Role of the Poet Captures all experience (sees 18-32)

1

2

B Vision of the Poet Vision of a Journey into Being (Primal Reality) (sees 33-41)

C Gospel of the Poet5 to His own generation Message of Panpsychism (sees 42-50)

CONCLUSION WALT READY TO DEPART INTO THE WORLD SOUL (secs 51-52)

D According to Roy Harvey Pearce Song of Myself In The Continuity of American Poetry 69-83 (Considering the poem as an epic the argument of the poem runs something like this)

Phase 1 (secs 1-5) the initial insight into the creative nature (the procreant urge) the self and the initiating of creative power which follows spontaneously upon that insight

Phase 2 (sec 6-16) Recognition of the relation of the self to its world and a seeking after the metamorphoses which follow spontaneously upon that recognition

Phase 3 (secs 17-25) The roles of the self in and through its world a return to the matter of sec 1-5 but with this difference--that self-knowledge now exists objectively a product not of sheer inwardness as in secs 1-5 but of a spontaneously formalized relation between the self and its world Now the poet is not simply a force but a force defined in terms of its world now he is fully a person and can name himself Walt Whitman a kosmos of Manhattan the son

Phase 4 (sec 26-52) The poet (as person) fully at home in his newly defined world fully sure of himself and his procreant urge He no longer needs to seek his world (as in secs 6-16) he cnn openly and lovingly address it as he at once creates and controls it and as he is created and controlled by it He is thus a religion God 1 in himself I am an acme of things accomplish~dJ and I am encloser of things to be

E According to Malcolm Cowley Walt Whitmans Leaves of Grass the First (1855) Edition [considering the poem as inspired prophecy]

First Sequence (chants 1-4) the poet or hero introduced to his audience

Second Sequence (chant 5) the ecstasy consists in the rapt union of the poet and his soul and it is described--figuratively--in terms of sexual union

3

Third Sequence (chants 6-19) the grass The keynote of this sequence (as Strauch also observes) is the two words r observe

Fourth Sequence (chants 20-25) themiddotpoet in person

Fifth Sequence (chants 26-29) ecstasy through the senses

Sixth Sequence (chants 30-38) the power of identification The keynote of this sequence is the two words til am [compare withn the Third Sequence]

Seventh Sequence (chants 39-41) the superman The poet is the universally beloved Answerer (chant 39) then the Healer raising men from their deathbeds (40) and then the prophet (41) of a new religion that outbids the old cautious hucksters by announcing that men are divine and will eventually be gods

Eighth Sequence (chants 42-50) the sermon

Ninth Sequence (chants 51-52) the poets farewell

Tanner 5

QUESTIONS ON WHITMAN AND LEAVES OF GRASS

1 The opening lines of Leaves of Grass Oneself I Sing yet utter the word democratic the word en masse sets the stage for the essential tension in the book--the individual and the community Does Leaves of Grass intelli shygently deal with this crucial problem of democracy

2 Can Leaves of Grass be considered a Bible for democracy

3 Can Leaves of Grass be considered an etiquette manual for democracy

4 Does Whitmans celebration of the body present problems for the democratic social order

5 Does Whitmans insistence on a poetry of sexuality have relevance for us today

6 Whitman says Resist much obey little Can this doctrine be taken literally in modern democratic societies

7 Can Whitmans doctrine of self-fulfillment be reconciled and accommodated with his love of lithe divine average

8 What of Whitmans religious utterances Are they of use in practical terms (See Chanting the Square Deific)

9 How do Walt Whitman and Leaves of Grass fit into the modernist feminist movement

What is Whitmans stance towards history Does history create great heroes Or do great heroes create history

11 Is there such a thing as a democratic self imagination Compared to what

A democratic

12 Did Whitman believe in God

MARCHING THROUGH GEORGIA

Bring the good old bugle boys weill sing another song-shySing it with a spirit that will start the world along-shySing it as we used to sing it fifty thousand strong

While we were marching through Georgia

Hurrah hurrah we bring the jubilee Hurrah hurrah the flag that makes you free So we sang the chorus from Atlanta to the sea While we were marching through Georgia

How the darkies shouted when they heard the joyful sound How the turkeys gobbled which our commissary found How the sweet potatoes even started from the ground

While we were marching through Georgia

Yes and there were Union men who wept with joyful tears When they saw the honored flag they had not seen for years Hardly could they be restrained from breaking forth in cheers

While we were marching through Georgia

So we made a thoroughfare for Freedom and her train Sixty miles in latitude three hundred to the main Treason fled before us for resistance was in vain

While we were marching through Georgia

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

9

I do not know it-- it is without name-- it is a word unsaid

It is not in any dictionary utterance symbol (Song of Myself Sec 50)

D Another caesural effect Jannacone callsthesis and arsis because the second halfline echoes the thought echoes the thought of the first and receives a weaker stress and perhaps a lower pitch

Great are the myths-- I too delight in them Great are Adam and Eve-- I too look back and

accept them (Great Are the Myths II Sec 1)

THE CATALOG

There are of course numerous examples of the catalog throughout Leaves of Grass Consider the example below

Pleasd with the native and pleasd with the foreign pleasd with the new and old

Pleasd with the homely woman as well as the handsome Pleasd with the quakeress as she puts off her bonnet and

talks melodiously Pleasd with the tune of the choir of the whitewashd

church Pleasd with the earnest words of the sweating Methodist

preacher impressd seriously at the camp-meeting (Song of Myself Sec 33)

IMAGERY AND FIGURES

The actual simile is not found so often in as in most other poetry yet we do have it occasionally (see eg Thou Mother with Thy Equal Brood and The Return of the Heroes 1)

is of course rich in metaphor and poetic

CONVENTIONAL POETIC TECHNIQUES

association

Although Whitmans organic theory of poet ntyle is commonly assumed to be completely antithetical to conventional teChl 2

there is no logical reason why the poet might not occasionally

10

have an experience or an emotion which would find natural expression in rhyme and meter Lois Ware has said that Whitman exemplified at some point or other virtually all of the conventions that he professed to eschew and that he employed some of these conventions on a large scale (Poetic Conventions in Leaves of Grass Studies in Philology 26 [1929] 47)

For conventional scansion of Whitmans verses see Bradleys scansion of Tears (Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry II American Literature 10 (1939) 437-59)

10

Tanner 6 15-89

NOTES ON THE STRUCTURE OF SONG OF MYSELF

A According to James E Miller Song of Myself- as Inverted Mystical Experience A Critical Guide to Leaves of Grass Chicago U of Chicago P 1951 6 35

1 Sections 1-5 Entry into the mystical state 2 Sections 6-16 Awakening of self 3 Sections 17 3 Purification of self 4 Sections 33-37 Illumination and the dark night of

the soul 5 Sections 38-43 Union (faith and love) 6 Sections 44-49 Union (perception) 7 Sections 50-52 Emergence from the mystical etate

B According to Carl F Strauch The Structure of Walt Whitmans rSong of Myself English Journal (College Edition) XXVII (1938) 597-601

1 Paragraphs 1-18 the Self mystical interpenetration of the Self with all life and experience

Paragraphs 19-25 definition of the Self identification with the degraded and transfiguration of it final merit of Self withheld silence end of the first half of the poem

3 Paragraphs 26-38 life flowing in upon Self then evolutionary interpenetration of life

4 Paragraphs 39-41 the Superman 5 Paragraphs 42-52 larger questions of life-shy

religion faith God death immortality and happiness mystically affirmed

C According to Gay Wilson Allen Walt Whitman Handbook

INTRODUCTION (sec 1) PART 1 WALT AS EXEMPLAR OF PANPSYCHISM (sees 2 17)

A The Principle of Unity of the world stuff (sec 2)

B The Principle of Identify Birth into the Physical Universe (secs 3-5)

C Death Immortality Cosmic Evolution (sec 6) D Recapitulation of thematic material (sec 7) E Catalogues of Personal identification with

all life (secs 8-17) PART 2 WALT AS POET OF PANPSYCHISM (sees IS-50)

A Role of the Poet Captures all experience (sees 18-32)

1

2

B Vision of the Poet Vision of a Journey into Being (Primal Reality) (sees 33-41)

C Gospel of the Poet5 to His own generation Message of Panpsychism (sees 42-50)

CONCLUSION WALT READY TO DEPART INTO THE WORLD SOUL (secs 51-52)

D According to Roy Harvey Pearce Song of Myself In The Continuity of American Poetry 69-83 (Considering the poem as an epic the argument of the poem runs something like this)

Phase 1 (secs 1-5) the initial insight into the creative nature (the procreant urge) the self and the initiating of creative power which follows spontaneously upon that insight

Phase 2 (sec 6-16) Recognition of the relation of the self to its world and a seeking after the metamorphoses which follow spontaneously upon that recognition

Phase 3 (secs 17-25) The roles of the self in and through its world a return to the matter of sec 1-5 but with this difference--that self-knowledge now exists objectively a product not of sheer inwardness as in secs 1-5 but of a spontaneously formalized relation between the self and its world Now the poet is not simply a force but a force defined in terms of its world now he is fully a person and can name himself Walt Whitman a kosmos of Manhattan the son

Phase 4 (sec 26-52) The poet (as person) fully at home in his newly defined world fully sure of himself and his procreant urge He no longer needs to seek his world (as in secs 6-16) he cnn openly and lovingly address it as he at once creates and controls it and as he is created and controlled by it He is thus a religion God 1 in himself I am an acme of things accomplish~dJ and I am encloser of things to be

E According to Malcolm Cowley Walt Whitmans Leaves of Grass the First (1855) Edition [considering the poem as inspired prophecy]

First Sequence (chants 1-4) the poet or hero introduced to his audience

Second Sequence (chant 5) the ecstasy consists in the rapt union of the poet and his soul and it is described--figuratively--in terms of sexual union

3

Third Sequence (chants 6-19) the grass The keynote of this sequence (as Strauch also observes) is the two words r observe

Fourth Sequence (chants 20-25) themiddotpoet in person

Fifth Sequence (chants 26-29) ecstasy through the senses

Sixth Sequence (chants 30-38) the power of identification The keynote of this sequence is the two words til am [compare withn the Third Sequence]

Seventh Sequence (chants 39-41) the superman The poet is the universally beloved Answerer (chant 39) then the Healer raising men from their deathbeds (40) and then the prophet (41) of a new religion that outbids the old cautious hucksters by announcing that men are divine and will eventually be gods

Eighth Sequence (chants 42-50) the sermon

Ninth Sequence (chants 51-52) the poets farewell

Tanner 5

QUESTIONS ON WHITMAN AND LEAVES OF GRASS

1 The opening lines of Leaves of Grass Oneself I Sing yet utter the word democratic the word en masse sets the stage for the essential tension in the book--the individual and the community Does Leaves of Grass intelli shygently deal with this crucial problem of democracy

2 Can Leaves of Grass be considered a Bible for democracy

3 Can Leaves of Grass be considered an etiquette manual for democracy

4 Does Whitmans celebration of the body present problems for the democratic social order

5 Does Whitmans insistence on a poetry of sexuality have relevance for us today

6 Whitman says Resist much obey little Can this doctrine be taken literally in modern democratic societies

7 Can Whitmans doctrine of self-fulfillment be reconciled and accommodated with his love of lithe divine average

8 What of Whitmans religious utterances Are they of use in practical terms (See Chanting the Square Deific)

9 How do Walt Whitman and Leaves of Grass fit into the modernist feminist movement

What is Whitmans stance towards history Does history create great heroes Or do great heroes create history

11 Is there such a thing as a democratic self imagination Compared to what

A democratic

12 Did Whitman believe in God

MARCHING THROUGH GEORGIA

Bring the good old bugle boys weill sing another song-shySing it with a spirit that will start the world along-shySing it as we used to sing it fifty thousand strong

While we were marching through Georgia

Hurrah hurrah we bring the jubilee Hurrah hurrah the flag that makes you free So we sang the chorus from Atlanta to the sea While we were marching through Georgia

How the darkies shouted when they heard the joyful sound How the turkeys gobbled which our commissary found How the sweet potatoes even started from the ground

While we were marching through Georgia

Yes and there were Union men who wept with joyful tears When they saw the honored flag they had not seen for years Hardly could they be restrained from breaking forth in cheers

While we were marching through Georgia

So we made a thoroughfare for Freedom and her train Sixty miles in latitude three hundred to the main Treason fled before us for resistance was in vain

While we were marching through Georgia

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

10

have an experience or an emotion which would find natural expression in rhyme and meter Lois Ware has said that Whitman exemplified at some point or other virtually all of the conventions that he professed to eschew and that he employed some of these conventions on a large scale (Poetic Conventions in Leaves of Grass Studies in Philology 26 [1929] 47)

For conventional scansion of Whitmans verses see Bradleys scansion of Tears (Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry II American Literature 10 (1939) 437-59)

10

Tanner 6 15-89

NOTES ON THE STRUCTURE OF SONG OF MYSELF

A According to James E Miller Song of Myself- as Inverted Mystical Experience A Critical Guide to Leaves of Grass Chicago U of Chicago P 1951 6 35

1 Sections 1-5 Entry into the mystical state 2 Sections 6-16 Awakening of self 3 Sections 17 3 Purification of self 4 Sections 33-37 Illumination and the dark night of

the soul 5 Sections 38-43 Union (faith and love) 6 Sections 44-49 Union (perception) 7 Sections 50-52 Emergence from the mystical etate

B According to Carl F Strauch The Structure of Walt Whitmans rSong of Myself English Journal (College Edition) XXVII (1938) 597-601

1 Paragraphs 1-18 the Self mystical interpenetration of the Self with all life and experience

Paragraphs 19-25 definition of the Self identification with the degraded and transfiguration of it final merit of Self withheld silence end of the first half of the poem

3 Paragraphs 26-38 life flowing in upon Self then evolutionary interpenetration of life

4 Paragraphs 39-41 the Superman 5 Paragraphs 42-52 larger questions of life-shy

religion faith God death immortality and happiness mystically affirmed

C According to Gay Wilson Allen Walt Whitman Handbook

INTRODUCTION (sec 1) PART 1 WALT AS EXEMPLAR OF PANPSYCHISM (sees 2 17)

A The Principle of Unity of the world stuff (sec 2)

B The Principle of Identify Birth into the Physical Universe (secs 3-5)

C Death Immortality Cosmic Evolution (sec 6) D Recapitulation of thematic material (sec 7) E Catalogues of Personal identification with

all life (secs 8-17) PART 2 WALT AS POET OF PANPSYCHISM (sees IS-50)

A Role of the Poet Captures all experience (sees 18-32)

1

2

B Vision of the Poet Vision of a Journey into Being (Primal Reality) (sees 33-41)

C Gospel of the Poet5 to His own generation Message of Panpsychism (sees 42-50)

CONCLUSION WALT READY TO DEPART INTO THE WORLD SOUL (secs 51-52)

D According to Roy Harvey Pearce Song of Myself In The Continuity of American Poetry 69-83 (Considering the poem as an epic the argument of the poem runs something like this)

Phase 1 (secs 1-5) the initial insight into the creative nature (the procreant urge) the self and the initiating of creative power which follows spontaneously upon that insight

Phase 2 (sec 6-16) Recognition of the relation of the self to its world and a seeking after the metamorphoses which follow spontaneously upon that recognition

Phase 3 (secs 17-25) The roles of the self in and through its world a return to the matter of sec 1-5 but with this difference--that self-knowledge now exists objectively a product not of sheer inwardness as in secs 1-5 but of a spontaneously formalized relation between the self and its world Now the poet is not simply a force but a force defined in terms of its world now he is fully a person and can name himself Walt Whitman a kosmos of Manhattan the son

Phase 4 (sec 26-52) The poet (as person) fully at home in his newly defined world fully sure of himself and his procreant urge He no longer needs to seek his world (as in secs 6-16) he cnn openly and lovingly address it as he at once creates and controls it and as he is created and controlled by it He is thus a religion God 1 in himself I am an acme of things accomplish~dJ and I am encloser of things to be

E According to Malcolm Cowley Walt Whitmans Leaves of Grass the First (1855) Edition [considering the poem as inspired prophecy]

First Sequence (chants 1-4) the poet or hero introduced to his audience

Second Sequence (chant 5) the ecstasy consists in the rapt union of the poet and his soul and it is described--figuratively--in terms of sexual union

3

Third Sequence (chants 6-19) the grass The keynote of this sequence (as Strauch also observes) is the two words r observe

Fourth Sequence (chants 20-25) themiddotpoet in person

Fifth Sequence (chants 26-29) ecstasy through the senses

Sixth Sequence (chants 30-38) the power of identification The keynote of this sequence is the two words til am [compare withn the Third Sequence]

Seventh Sequence (chants 39-41) the superman The poet is the universally beloved Answerer (chant 39) then the Healer raising men from their deathbeds (40) and then the prophet (41) of a new religion that outbids the old cautious hucksters by announcing that men are divine and will eventually be gods

Eighth Sequence (chants 42-50) the sermon

Ninth Sequence (chants 51-52) the poets farewell

Tanner 5

QUESTIONS ON WHITMAN AND LEAVES OF GRASS

1 The opening lines of Leaves of Grass Oneself I Sing yet utter the word democratic the word en masse sets the stage for the essential tension in the book--the individual and the community Does Leaves of Grass intelli shygently deal with this crucial problem of democracy

2 Can Leaves of Grass be considered a Bible for democracy

3 Can Leaves of Grass be considered an etiquette manual for democracy

4 Does Whitmans celebration of the body present problems for the democratic social order

5 Does Whitmans insistence on a poetry of sexuality have relevance for us today

6 Whitman says Resist much obey little Can this doctrine be taken literally in modern democratic societies

7 Can Whitmans doctrine of self-fulfillment be reconciled and accommodated with his love of lithe divine average

8 What of Whitmans religious utterances Are they of use in practical terms (See Chanting the Square Deific)

9 How do Walt Whitman and Leaves of Grass fit into the modernist feminist movement

What is Whitmans stance towards history Does history create great heroes Or do great heroes create history

11 Is there such a thing as a democratic self imagination Compared to what

A democratic

12 Did Whitman believe in God

MARCHING THROUGH GEORGIA

Bring the good old bugle boys weill sing another song-shySing it with a spirit that will start the world along-shySing it as we used to sing it fifty thousand strong

While we were marching through Georgia

Hurrah hurrah we bring the jubilee Hurrah hurrah the flag that makes you free So we sang the chorus from Atlanta to the sea While we were marching through Georgia

How the darkies shouted when they heard the joyful sound How the turkeys gobbled which our commissary found How the sweet potatoes even started from the ground

While we were marching through Georgia

Yes and there were Union men who wept with joyful tears When they saw the honored flag they had not seen for years Hardly could they be restrained from breaking forth in cheers

While we were marching through Georgia

So we made a thoroughfare for Freedom and her train Sixty miles in latitude three hundred to the main Treason fled before us for resistance was in vain

While we were marching through Georgia

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

Tanner 6 15-89

NOTES ON THE STRUCTURE OF SONG OF MYSELF

A According to James E Miller Song of Myself- as Inverted Mystical Experience A Critical Guide to Leaves of Grass Chicago U of Chicago P 1951 6 35

1 Sections 1-5 Entry into the mystical state 2 Sections 6-16 Awakening of self 3 Sections 17 3 Purification of self 4 Sections 33-37 Illumination and the dark night of

the soul 5 Sections 38-43 Union (faith and love) 6 Sections 44-49 Union (perception) 7 Sections 50-52 Emergence from the mystical etate

B According to Carl F Strauch The Structure of Walt Whitmans rSong of Myself English Journal (College Edition) XXVII (1938) 597-601

1 Paragraphs 1-18 the Self mystical interpenetration of the Self with all life and experience

Paragraphs 19-25 definition of the Self identification with the degraded and transfiguration of it final merit of Self withheld silence end of the first half of the poem

3 Paragraphs 26-38 life flowing in upon Self then evolutionary interpenetration of life

4 Paragraphs 39-41 the Superman 5 Paragraphs 42-52 larger questions of life-shy

religion faith God death immortality and happiness mystically affirmed

C According to Gay Wilson Allen Walt Whitman Handbook

INTRODUCTION (sec 1) PART 1 WALT AS EXEMPLAR OF PANPSYCHISM (sees 2 17)

A The Principle of Unity of the world stuff (sec 2)

B The Principle of Identify Birth into the Physical Universe (secs 3-5)

C Death Immortality Cosmic Evolution (sec 6) D Recapitulation of thematic material (sec 7) E Catalogues of Personal identification with

all life (secs 8-17) PART 2 WALT AS POET OF PANPSYCHISM (sees IS-50)

A Role of the Poet Captures all experience (sees 18-32)

1

2

B Vision of the Poet Vision of a Journey into Being (Primal Reality) (sees 33-41)

C Gospel of the Poet5 to His own generation Message of Panpsychism (sees 42-50)

CONCLUSION WALT READY TO DEPART INTO THE WORLD SOUL (secs 51-52)

D According to Roy Harvey Pearce Song of Myself In The Continuity of American Poetry 69-83 (Considering the poem as an epic the argument of the poem runs something like this)

Phase 1 (secs 1-5) the initial insight into the creative nature (the procreant urge) the self and the initiating of creative power which follows spontaneously upon that insight

Phase 2 (sec 6-16) Recognition of the relation of the self to its world and a seeking after the metamorphoses which follow spontaneously upon that recognition

Phase 3 (secs 17-25) The roles of the self in and through its world a return to the matter of sec 1-5 but with this difference--that self-knowledge now exists objectively a product not of sheer inwardness as in secs 1-5 but of a spontaneously formalized relation between the self and its world Now the poet is not simply a force but a force defined in terms of its world now he is fully a person and can name himself Walt Whitman a kosmos of Manhattan the son

Phase 4 (sec 26-52) The poet (as person) fully at home in his newly defined world fully sure of himself and his procreant urge He no longer needs to seek his world (as in secs 6-16) he cnn openly and lovingly address it as he at once creates and controls it and as he is created and controlled by it He is thus a religion God 1 in himself I am an acme of things accomplish~dJ and I am encloser of things to be

E According to Malcolm Cowley Walt Whitmans Leaves of Grass the First (1855) Edition [considering the poem as inspired prophecy]

First Sequence (chants 1-4) the poet or hero introduced to his audience

Second Sequence (chant 5) the ecstasy consists in the rapt union of the poet and his soul and it is described--figuratively--in terms of sexual union

3

Third Sequence (chants 6-19) the grass The keynote of this sequence (as Strauch also observes) is the two words r observe

Fourth Sequence (chants 20-25) themiddotpoet in person

Fifth Sequence (chants 26-29) ecstasy through the senses

Sixth Sequence (chants 30-38) the power of identification The keynote of this sequence is the two words til am [compare withn the Third Sequence]

Seventh Sequence (chants 39-41) the superman The poet is the universally beloved Answerer (chant 39) then the Healer raising men from their deathbeds (40) and then the prophet (41) of a new religion that outbids the old cautious hucksters by announcing that men are divine and will eventually be gods

Eighth Sequence (chants 42-50) the sermon

Ninth Sequence (chants 51-52) the poets farewell

Tanner 5

QUESTIONS ON WHITMAN AND LEAVES OF GRASS

1 The opening lines of Leaves of Grass Oneself I Sing yet utter the word democratic the word en masse sets the stage for the essential tension in the book--the individual and the community Does Leaves of Grass intelli shygently deal with this crucial problem of democracy

2 Can Leaves of Grass be considered a Bible for democracy

3 Can Leaves of Grass be considered an etiquette manual for democracy

4 Does Whitmans celebration of the body present problems for the democratic social order

5 Does Whitmans insistence on a poetry of sexuality have relevance for us today

6 Whitman says Resist much obey little Can this doctrine be taken literally in modern democratic societies

7 Can Whitmans doctrine of self-fulfillment be reconciled and accommodated with his love of lithe divine average

8 What of Whitmans religious utterances Are they of use in practical terms (See Chanting the Square Deific)

9 How do Walt Whitman and Leaves of Grass fit into the modernist feminist movement

What is Whitmans stance towards history Does history create great heroes Or do great heroes create history

11 Is there such a thing as a democratic self imagination Compared to what

A democratic

12 Did Whitman believe in God

MARCHING THROUGH GEORGIA

Bring the good old bugle boys weill sing another song-shySing it with a spirit that will start the world along-shySing it as we used to sing it fifty thousand strong

While we were marching through Georgia

Hurrah hurrah we bring the jubilee Hurrah hurrah the flag that makes you free So we sang the chorus from Atlanta to the sea While we were marching through Georgia

How the darkies shouted when they heard the joyful sound How the turkeys gobbled which our commissary found How the sweet potatoes even started from the ground

While we were marching through Georgia

Yes and there were Union men who wept with joyful tears When they saw the honored flag they had not seen for years Hardly could they be restrained from breaking forth in cheers

While we were marching through Georgia

So we made a thoroughfare for Freedom and her train Sixty miles in latitude three hundred to the main Treason fled before us for resistance was in vain

While we were marching through Georgia

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

2

B Vision of the Poet Vision of a Journey into Being (Primal Reality) (sees 33-41)

C Gospel of the Poet5 to His own generation Message of Panpsychism (sees 42-50)

CONCLUSION WALT READY TO DEPART INTO THE WORLD SOUL (secs 51-52)

D According to Roy Harvey Pearce Song of Myself In The Continuity of American Poetry 69-83 (Considering the poem as an epic the argument of the poem runs something like this)

Phase 1 (secs 1-5) the initial insight into the creative nature (the procreant urge) the self and the initiating of creative power which follows spontaneously upon that insight

Phase 2 (sec 6-16) Recognition of the relation of the self to its world and a seeking after the metamorphoses which follow spontaneously upon that recognition

Phase 3 (secs 17-25) The roles of the self in and through its world a return to the matter of sec 1-5 but with this difference--that self-knowledge now exists objectively a product not of sheer inwardness as in secs 1-5 but of a spontaneously formalized relation between the self and its world Now the poet is not simply a force but a force defined in terms of its world now he is fully a person and can name himself Walt Whitman a kosmos of Manhattan the son

Phase 4 (sec 26-52) The poet (as person) fully at home in his newly defined world fully sure of himself and his procreant urge He no longer needs to seek his world (as in secs 6-16) he cnn openly and lovingly address it as he at once creates and controls it and as he is created and controlled by it He is thus a religion God 1 in himself I am an acme of things accomplish~dJ and I am encloser of things to be

E According to Malcolm Cowley Walt Whitmans Leaves of Grass the First (1855) Edition [considering the poem as inspired prophecy]

First Sequence (chants 1-4) the poet or hero introduced to his audience

Second Sequence (chant 5) the ecstasy consists in the rapt union of the poet and his soul and it is described--figuratively--in terms of sexual union

3

Third Sequence (chants 6-19) the grass The keynote of this sequence (as Strauch also observes) is the two words r observe

Fourth Sequence (chants 20-25) themiddotpoet in person

Fifth Sequence (chants 26-29) ecstasy through the senses

Sixth Sequence (chants 30-38) the power of identification The keynote of this sequence is the two words til am [compare withn the Third Sequence]

Seventh Sequence (chants 39-41) the superman The poet is the universally beloved Answerer (chant 39) then the Healer raising men from their deathbeds (40) and then the prophet (41) of a new religion that outbids the old cautious hucksters by announcing that men are divine and will eventually be gods

Eighth Sequence (chants 42-50) the sermon

Ninth Sequence (chants 51-52) the poets farewell

Tanner 5

QUESTIONS ON WHITMAN AND LEAVES OF GRASS

1 The opening lines of Leaves of Grass Oneself I Sing yet utter the word democratic the word en masse sets the stage for the essential tension in the book--the individual and the community Does Leaves of Grass intelli shygently deal with this crucial problem of democracy

2 Can Leaves of Grass be considered a Bible for democracy

3 Can Leaves of Grass be considered an etiquette manual for democracy

4 Does Whitmans celebration of the body present problems for the democratic social order

5 Does Whitmans insistence on a poetry of sexuality have relevance for us today

6 Whitman says Resist much obey little Can this doctrine be taken literally in modern democratic societies

7 Can Whitmans doctrine of self-fulfillment be reconciled and accommodated with his love of lithe divine average

8 What of Whitmans religious utterances Are they of use in practical terms (See Chanting the Square Deific)

9 How do Walt Whitman and Leaves of Grass fit into the modernist feminist movement

What is Whitmans stance towards history Does history create great heroes Or do great heroes create history

11 Is there such a thing as a democratic self imagination Compared to what

A democratic

12 Did Whitman believe in God

MARCHING THROUGH GEORGIA

Bring the good old bugle boys weill sing another song-shySing it with a spirit that will start the world along-shySing it as we used to sing it fifty thousand strong

While we were marching through Georgia

Hurrah hurrah we bring the jubilee Hurrah hurrah the flag that makes you free So we sang the chorus from Atlanta to the sea While we were marching through Georgia

How the darkies shouted when they heard the joyful sound How the turkeys gobbled which our commissary found How the sweet potatoes even started from the ground

While we were marching through Georgia

Yes and there were Union men who wept with joyful tears When they saw the honored flag they had not seen for years Hardly could they be restrained from breaking forth in cheers

While we were marching through Georgia

So we made a thoroughfare for Freedom and her train Sixty miles in latitude three hundred to the main Treason fled before us for resistance was in vain

While we were marching through Georgia

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

3

Third Sequence (chants 6-19) the grass The keynote of this sequence (as Strauch also observes) is the two words r observe

Fourth Sequence (chants 20-25) themiddotpoet in person

Fifth Sequence (chants 26-29) ecstasy through the senses

Sixth Sequence (chants 30-38) the power of identification The keynote of this sequence is the two words til am [compare withn the Third Sequence]

Seventh Sequence (chants 39-41) the superman The poet is the universally beloved Answerer (chant 39) then the Healer raising men from their deathbeds (40) and then the prophet (41) of a new religion that outbids the old cautious hucksters by announcing that men are divine and will eventually be gods

Eighth Sequence (chants 42-50) the sermon

Ninth Sequence (chants 51-52) the poets farewell

Tanner 5

QUESTIONS ON WHITMAN AND LEAVES OF GRASS

1 The opening lines of Leaves of Grass Oneself I Sing yet utter the word democratic the word en masse sets the stage for the essential tension in the book--the individual and the community Does Leaves of Grass intelli shygently deal with this crucial problem of democracy

2 Can Leaves of Grass be considered a Bible for democracy

3 Can Leaves of Grass be considered an etiquette manual for democracy

4 Does Whitmans celebration of the body present problems for the democratic social order

5 Does Whitmans insistence on a poetry of sexuality have relevance for us today

6 Whitman says Resist much obey little Can this doctrine be taken literally in modern democratic societies

7 Can Whitmans doctrine of self-fulfillment be reconciled and accommodated with his love of lithe divine average

8 What of Whitmans religious utterances Are they of use in practical terms (See Chanting the Square Deific)

9 How do Walt Whitman and Leaves of Grass fit into the modernist feminist movement

What is Whitmans stance towards history Does history create great heroes Or do great heroes create history

11 Is there such a thing as a democratic self imagination Compared to what

A democratic

12 Did Whitman believe in God

MARCHING THROUGH GEORGIA

Bring the good old bugle boys weill sing another song-shySing it with a spirit that will start the world along-shySing it as we used to sing it fifty thousand strong

While we were marching through Georgia

Hurrah hurrah we bring the jubilee Hurrah hurrah the flag that makes you free So we sang the chorus from Atlanta to the sea While we were marching through Georgia

How the darkies shouted when they heard the joyful sound How the turkeys gobbled which our commissary found How the sweet potatoes even started from the ground

While we were marching through Georgia

Yes and there were Union men who wept with joyful tears When they saw the honored flag they had not seen for years Hardly could they be restrained from breaking forth in cheers

While we were marching through Georgia

So we made a thoroughfare for Freedom and her train Sixty miles in latitude three hundred to the main Treason fled before us for resistance was in vain

While we were marching through Georgia

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

Tanner 5

QUESTIONS ON WHITMAN AND LEAVES OF GRASS

1 The opening lines of Leaves of Grass Oneself I Sing yet utter the word democratic the word en masse sets the stage for the essential tension in the book--the individual and the community Does Leaves of Grass intelli shygently deal with this crucial problem of democracy

2 Can Leaves of Grass be considered a Bible for democracy

3 Can Leaves of Grass be considered an etiquette manual for democracy

4 Does Whitmans celebration of the body present problems for the democratic social order

5 Does Whitmans insistence on a poetry of sexuality have relevance for us today

6 Whitman says Resist much obey little Can this doctrine be taken literally in modern democratic societies

7 Can Whitmans doctrine of self-fulfillment be reconciled and accommodated with his love of lithe divine average

8 What of Whitmans religious utterances Are they of use in practical terms (See Chanting the Square Deific)

9 How do Walt Whitman and Leaves of Grass fit into the modernist feminist movement

What is Whitmans stance towards history Does history create great heroes Or do great heroes create history

11 Is there such a thing as a democratic self imagination Compared to what

A democratic

12 Did Whitman believe in God

MARCHING THROUGH GEORGIA

Bring the good old bugle boys weill sing another song-shySing it with a spirit that will start the world along-shySing it as we used to sing it fifty thousand strong

While we were marching through Georgia

Hurrah hurrah we bring the jubilee Hurrah hurrah the flag that makes you free So we sang the chorus from Atlanta to the sea While we were marching through Georgia

How the darkies shouted when they heard the joyful sound How the turkeys gobbled which our commissary found How the sweet potatoes even started from the ground

While we were marching through Georgia

Yes and there were Union men who wept with joyful tears When they saw the honored flag they had not seen for years Hardly could they be restrained from breaking forth in cheers

While we were marching through Georgia

So we made a thoroughfare for Freedom and her train Sixty miles in latitude three hundred to the main Treason fled before us for resistance was in vain

While we were marching through Georgia

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

MARCHING THROUGH GEORGIA

Bring the good old bugle boys weill sing another song-shySing it with a spirit that will start the world along-shySing it as we used to sing it fifty thousand strong

While we were marching through Georgia

Hurrah hurrah we bring the jubilee Hurrah hurrah the flag that makes you free So we sang the chorus from Atlanta to the sea While we were marching through Georgia

How the darkies shouted when they heard the joyful sound How the turkeys gobbled which our commissary found How the sweet potatoes even started from the ground

While we were marching through Georgia

Yes and there were Union men who wept with joyful tears When they saw the honored flag they had not seen for years Hardly could they be restrained from breaking forth in cheers

While we were marching through Georgia

So we made a thoroughfare for Freedom and her train Sixty miles in latitude three hundred to the main Treason fled before us for resistance was in vain

While we were marching through Georgia

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

THE BATTLE CRY OF FREEDOM

Yes well rally round the flag boys Well rally once again

Shouting the Battle Cry of Freedom We will rally from the hillside

Well gather from the plain Shouting the battle cry of freedom

The Union forever hurrah boys hurrah Down with the traitor and up with the stars While we rally round the flag boys Rally once again Shouting the Battle Cry of Freedom

I

We are springing to the call Of our brothers gone before

Shouting the Battle Cry of Freedom And well fill the vacant ranks

With a million freemen more Shouting the Battle Cry of Freedom

We will welcome to our numbers The loyal true and brave

Shouting the Battle Cry of Freedom And altho they may be poor

Not a man shall be a slave Shouting the Battle Cry of Freedom

So were springing to the call From the East and from the West

Shouting the Battle Cry of Freedom And we middot11 hurl the rebel crew From the land we love the best Shouting the Battle Cry of Freedom

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

Kent Bowman

WHITMAN AND THE CIVIL WAR BIBLIOGRAPHY

Aaron Daniel The unwritten War American writers and the civil War New York Oxford University Press 1979

Bartlett Irving H The American Mind in the Mid-Nineteenth Century New York Thomas Y Crowell 1971

Botkin BA ed A civil War Treasury of Tales Legends and Folktales New York Promontory Press 1981

Dolph Edward A ed Sound Off Soldier Songs from the Revolution to World War II New York Farrar and Rinehart 1942

~~Goetzmannl William H (creator) The West of the Imagination ~ ~~ 6 parts 55 minutes each Dallas KERA 1986

Hamm Charles Yesterdays Popular Song in America New York WW Norton 1979

Howe Julia Ward Note on The Battle Hymn of the Republic Century Magazine 34 (1877) 629-30

McPherson James M Battle Cry of Freedom The Civil War Era New York Oxford University Press 1988

Matthiessen FO American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1968

Moore Frank The Civil War in Song and story New York FP Collier 1889

Parrington Vernon Louis Main Currents in American Thought An Interpretation of American Literature from the Beginning to 1920 New York Harcourt Brace and Co 1930

Peary Gerald and Roger Shatzkin eds The Classic American Novel and the Movies New York Frederick Ungar Publishing Co 1977

Songs of the Civil War (Stereo National Geographic Society

00789) 1976

Washington DC The

Southern Confederacy 1860-1864

Wilson Edmund Patriotic Gore Studies in the Literature of the American Civil War New York Farrar strauss amp Giroux 1962

Wolfe Don M The Image of Man in America New York Thomas Y Crowell 1970

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

James TF Tanner

WALT WHITMAN AND LEAVES OF GRASS BIBLIOGRAPHY

BIBLIOGRAPHY

Giantvalley Scott Walt Whitman 1838-1939 A Reference Guide Boston G K Hall amp Co 1981

Kummings Donald D Walt Whitman 1940-1975 A Reference Guide Boston G K Hall amp Co 1982

Walt Whitman Quarterly Review (formerly Walt Whitman Review) Quarterly lists of books articles reviews etc

CONCORDANCE

Eby Edwin Harold ed A Concordance to Walt Whitmans LEAVES OF GRASS and Selected Prose Writings Seattle U of Washington P 1955

-WCOLLECTED WRITINGS A len Gay Wilson and E Sculley Bradley General Editors The

Collected Writings of Walt Whitman New York UP 1961-1980 - 15 vols contains the three-volume Leaves of Grass Textual

Variorum

BIOGRAPHY

Allen Gay Wilson The Solitary Singer A Critical Biography of Walt Whitman New York UP 1955 The definitive biography to date

K plan Justin Walt Whitman A Life New York Simon Schuster 1980 Excellent readable biography relates Walt Whitman

to the intellectual currents of his time ~ JOURNALS

Walt Whitman ouarterly Review (formerly Walt Whitman Review)

Calamus Walt Whitman Quarterly--International

Mickle Street Review

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

Tanner 2

west Hills Review A Walt Whitman Journal

CRITICISM

Allen Gay Wilson American Prosody New York octagon Books 1966 Chapter 8 (Walt Whitman) is still the best single introduction to Whitmans difficult poetic method The relationship between the King James Bible and Whitmans techniques seems well establishedbull

bull The New Walt Whitman Handbook New York UP 1975 A standard source Includes a chronological table notes excellent bibliographies index and chapters on The Growth of Walt Whitman Biography The Growth of Leaves of Grass The Realm of Whitmans Ideas Literary Technique in Leaves of Grass and Walt Whitman and World Literature

Anderson Quentin The Imperial Self An Essay in American Literary and Cultural History New York Knopf 1971 Chapter 3 (Consciousness and Form in Whitman) discusses Whitmans subversiveness generally Chapter 4 (liThe World in the Body) is an explication of Whitmans Crossing Brooklyn Ferry Discusses the absolutism of the self (in consciousshyness and in body) in Whitmans poetry Anderson also deals with Hawthorne and James

Bellah Robert N et al Habits of the Heart Individualism and Commitment in American Life Berkeley U of California P 1986 (Rev in New Yorker by Naomi Bliven 21 Apr 1986 1986 119-24)

Four American personality types have emerged in historical succession the biblical (John Winthrop the republican (Thomas Jefferson) the utilitarian individual (Benjamin Franklin) the

_ expressive individualist (Walt Whitman)

~rcovitch Sacvan The Puritan Origins of the American Self New Haven Yale UP 1976

Feidelson Charles Symbolism and American Literature Chicago U of Chicago P 1953

French R W Whitmans Overstaid Fraction Section 38 of Song of Myself II Walt Whitman Quarterly Review 5 (1988) 17-22

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

Tanner 3

Gonnaud Maurice An Uneasy Solitude Individual and Society in the Work of Ralph Waldo Emerson Trans Lawrence Rosenwald Princeton Princeton UP 1987

Kaplan Harold Democratic Humanism and American Literature

Chicago U of Chicago P1988

The interplay between democratic assumptions and literary performance in the works of Emerson Thoreau Hawthorne Melville Cooper Poe Whitman Twain and James

L wrence D H Studies in Classic American Literature 1923 New York Viking 1964

Leverenz David Manhood and the American Renaissance Ithaca NY Cornell UP 1989

wis R W B The American Adam Innocence Tragedy and ~ Tradition in the Nineteenth Century Chicago U of Chicago~ P 1955

Matthiessen F o American Renaissance Art and Expression in the Age of Emerson and Whitman New York Oxford UP 1941 An indispensable source for scholarship on American literature during 1850-1855

Miller Edwin Haviland Walt Whitmans Song of Myself A Mosaic of Interpretations U of Iowa P 1989

ler James E Jr A Critical Guide to LEAVES OF GRASS chicago U of Chicago P 1957 Perhaps the best single introduction to Leaves of Grass for the student who has no previous knowledge of Whitman

Miller James E Jr ed Whitmans Song of Myself Origin Growth Meaning New York Dodd Mead 1964

Mitchell Lee Clark Witnesses to a Vanishing America The Nineteenth-Century Response Lawrenceville NJ Princeton UP 1987 344 pp

Americans expressed growing apprehensions about the westward movement building an empire meant destroying a wilderness

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

Tanner 4

Morgan Edmund S Inventing the People The Rise of Popular Sovereignty in England and America New York Norton 1988

Popular sovereignty according to Morgan is a myth invented to enable a powerful few to rule over the many

Reynolds David S Beneath the American Renaissance The Subshyversive Imagination in the Age of Emerson and Melville New York Knopf 1988

Roots of Whitmans hymns to sexual passion in the popular writings of his day

Reynolds Larry J European Revolutions and the American Liter-Literary Renaissance New Haven Yale UP 1988

Argues that the European revolutions of 1848-49 quickened the American literary imagination and shapedthe characters plots and themes of the American renaissance Deals with Emerson Fuller Hawthorne Melville Whitman and Thoreau

Steele Jeffrey The Representation of the Self in the American Renaissance Chapel Hill Univ of North Carolina P 1985

mas M Wynn The Lunar Light of Whitmans Poetry Cambridge MA Harvard UP 1987

Whitmans idealistic expectations of American democracy

Wilson Edmund ed The Shock of Recognition The pevelopment of Literature in the United states Recorded by the Men Who Made It New York Modern Library 1955 [Orig pub in 1943]

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

11

CRITICAL INTERPRETATIONS OF WALT WHITMAN~S LITERARY TECHNIQUE

A SELECTED BIBLIOGRAPHY

Compiled by James T F Tanner

Allen Gay Wilson Biblical Analogies for Walt Whitmanrs Prosody Revue Anglo-Americaine 10 (1933) 490-507 (First detailed study of the subject)

Walt Whitman American Prosody New York American Book Co 1935 217-42 (Presents parallelism as Whitmans main prosodic technigue--an interpretation modified by Bradley gv)

Asselineau Roger The Evolution of Walt Whitman The Creation of a Book Cambridge MA Harvard UP 1962 102-3 (Interprets the catalogues as spiritual exercises)

Bradley Sculley The Fundamental Metrical Principle in Whitmans Poetry American Literature 10 (1939) 437 59 (Argues that Whitmans organic rhythms are fundamentally metrical)

Buell Lawrence Transcendentalist Catalogue Rhetoric Vision Versus Form American Literature 40 (1968) 325-39 (Relates Whitmans use of the catalogue to transcendentalist idealism)

Catel Jean Rhythme et langage dans la leI edition des Leaves of Grass 1855 Paris Les Editions Rieder 1930 (Regards oratory as the greatest influence on Whitmans poetic style )

Coffman Stanley K Crossing Brooklyn Ferry A Note on the Catalogue Technique in Whi tman s Poetry MQdern PbD_clQgY 51 (1954) 225-32 (Defends the artfulness of the catalogue as a structural device in this poem)

Cox Rebecca A Study of Whitmans Diction 1JnlJL~ty of Texas Studies in English 16 (1936) 115-24

De Selincourt Basil Walt Whitman A Critical Study London Martin Seeker 1914 73 ff (Stresses the analogies with mus )

Erskine John A Note on Whi tman s Prosody Studies i_n Philology 20 (1923) 336-44 (Shows the importance of Whitmans line as the verse-unit)

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

12

Furness Clifton Joseph Walt Whitmans Workshop Cambridge MA Harvard UP 1928 (Acute critical interpretations of style in the editorial notes)

tJannaccone P La Poesia di Walt Whitman e L ~ Evoluzione delk rprme Ri tmiche Torino 1898 (Demonstrates Whi tman s use of primitive techniques Whitmans reiterations are called psych rime)

Jarrell Randall Some Lines from Whitman Poetry arui~ New York 1955 101-20 (A distinguished poets

appreciation of Whitmans poetic power)

Kdnnedy ~lilljC1m Sloane The Style of Leaves of Grass(jJI Reminiscences of Walt Whitman London Alexander Ga r 1896 149-90 (Sympathetic interpretation of the organic principle in Whitman~s style)

Matthiessen F O Only a Language Experiment American New York OUP 1941 (Interprets the style of

Leaves of Grass as above all else as major experiment in the use of language)

Mitchell Roger A Prosody for Whitman PMLA 84 (1969) - 1606-12 (Systematic study of the subject shows that the

parabola is Whitmans most consistent rhythmic form and that it shows a formality and intricacy not usually attributed to Whitman)

More Paul Elmer Walt Whitman Shelburne Essays 4th ed new ser Boston Houghton Mifflin 1922 180-211

Musgrove S T S Eliot and Walt Whitman Wellington New Zealand UP 1952 (Compares Eliot Band Whi tman B prosod imiddot techniques)

Pound Louise Wal t Whi tman and the French Language Amt~-hjcan

Speech 1 (1926) 421-30

Walt Whitman and Italian Music 6 (1925) 58-63 (Influence of Italian opera style )

Wal t Whi tman s Neologisms Americgn Mercury 4 (1925) 199--201 (Examples and analysis of the poet s coinages)

Reed Harry B The Heraclitan Obsession of Whitman Personalist 15 (1934) 125-38 (On flux and endless progression in Whitmans style)

on Whi tman s

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

13

Ross F~ C Whitmans Verse Modern Language Notes 55 (1930) 363-64 (Points out the importance of punctuation in Whitmans end-stopped lines)

Schumann Detlev W Enumerative Stytle and Its Significance in Whitman Rilke Werfel Modern Language Quarterly 3 (1942) 171-204 (Three characteristically different variations of a mysticism whose central article of faith is the oneness of existence)

Scot t Fred Newton A Note on Whi tman s Prosody Journ(~)~

English and Germanic Philolggy 7 (1908) 134 53

Swayne Mattie Whitmans Catalog Rhetoric University of Texas Studies in English 21 (1941) 162-78 (Characteristic grammatical patterns used by Whitman in the catalogs)

Ware Lois Poetic Conventions in Leaves of Grass Philology 26 (1929) 47-57 (Rhyme stanza alliteration etc )

Warfel Harry R Whitmans Structural Principles in Spontaneous Me College English 18 (1957) 190-9t) (Detects unity and movement in the apparent randomness of a catalogue)

Weeks Ruth M Phrasal Prosody Eni1isb Journal 10 (19~~ 1) 11-19

Wiley Autrey Nell Reiterative Devices in Leaves of Grass American Li terature 1 (1929) 161-70 (Epanaphora and epanalepsis in Whitmans poet style)

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

Randolph B Campbell

WHITMAN AND TWAIN BIBLIOGRAPHY

Blassingame John W The Slave community Plantation Life in the Antebellum South Rev Ed (New York 1979) Chapters four and five deal with the slave family and with rebels and runaways (Twain)

Canby Henry Seidel Walt Whitman An American (New York 1943) Places particular emphasis on Whitmans American nationalism and his democratic faith

Gabriel Ralph Henry The Course of American Democratic Thought 2nd ed (New York 1956) The first two sections of this study detail the rise of the American democratic faith from the early nineteenth century through the civil War Chapter lIon Walt Whitman and the Civil War is especially imporshytant to our subject

Kaplan Justin Walt Whitman A Life (New York 1980) An outstanding biography Kaplan also has written on other major literary figures including Mark Twain

Stampp Kenneth M The Peculiar Institution Slavery in the Antebellum South (New York 1956) Although dated in a variety of ways this is probably still the best general account of slavery Chapters three through six are the most relevant to slavery as it appears in Huckleberry Finn

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

Campbell 2

QUESTIONS ON WHITMAN AND TWAIN

1 Walt Whitman subscribed to the democratic faith and believed that the civil War upheld democracy In what sense was the civil War which was anything but a peaceful democratic

settlement of political differences a triumph for democracy

2 Slavery was a bad institution but Tom Sawyers relatives who held slaves and captured Jim are not presented as bad people Does Twain give any explanation of how good people do bad things

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

~ WHAT IS IT

~ EITECT ON MODERNISM

HOTIS OR EXISTDTIALISK

An introspective humanism or theory ot man which expresses the individuals intense awareness of his contlgency and freedom a theory which stresses the individuals responsibility for making hUe_lt what he is

bull 1 An analysis ot uns concrete existence thereto otten a

ringinl protest against every intellectual social and eccle1aatical torce which whould destroy genuine freedom

2 Be~ns man to a spiritual and psychological struggle with hlMelt Society 15 answers cannot be the ind1vidals unlebullbull he chooe thea ot his tree w~

1 Protest against all torma ot rationalism 2 PIotest against all views which tend to regard nan as it he

were amp thing ) Make amp drastic distinction between subjeqtive and Objective

truth 4 Reprda _n as fundaraentally ambiguous S Stressina ot the subjective can obscure the objective untU it

is disregaded 6 Isolates the indiv1dual so that he becoae preoccupied with

hi own subjective realitybull

1 The existential paradoxl the condition of individuality within finitude (Man has a symbolic identity which brings him sharply out of nat1l2e He is a creature with a mnd that soars this 1Iulense expansion thi dexterity thir ethereality this selt-consclousshybullbullbull give to an literally the status of a small god (Renaissance)

VS (Man is a w01lI and tha food for worms (Eastern)

-THEREFORE the piradox I He is out of nature and hopelessly 1n 1 t

2 Modern mans anxiety is a function or his sheer ambiguity and of his complete powerlessness to overcome that ambiguity to be straightforwardly an an1mal or an angel He caMot liva heedless of his fateJnor can he take sure control over that fate and triumph over it by being outside the human condition

) To develop personally modem man needs to acknowledge reality_--shythe reality of ones limits He lacks the power to subml t to those l1a1ts Therero~ instead of summoning back possibility into necessjty man pursues the possibility and at best cannot flnd his ray back to himself

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-

) Why a) no ready ade world views to tit oneself with dependency

b) VICTIM of his own dis1llwsionent (he has been disinherited bJ his own analytIcal strellgth)

c) loss of IQ8tery a naive belief a s1lllple Dl1nded hope

EFFECTS ON ~ )ITpoundRATtLOE bull In an attempt to resolve this anblaulty a genre of literature emerged

the paychological n~vel the st~ of consciousness technique Modern Literatures protagonists are ambulatory sch1zaphrenics

1 l-1it1 can be lied about but anxiety cannot Artists face up to anxiety-reveal self-truth- and theretore open new personal possibilities He who is educated bl dzead (anxiety) 1s educated

bJ poaaibUity Kierkegaard FREEDOM ANXIETY

~ 2Men are so necessarily mad that not to be mad would aJDOIlt to

another torm of madness Pascal rtJrILrrY

) The artist and the madman are trapped by their own fabrications

they wallow in their own anality in their protest that they are really something special i~ creation Becker ISOLATION

4Plunge into experience and then renect the meaning of it Goethe ABSURDITY

S The modern tragedy of man---he is an orphan Becker ALIENATION

The modern question of human life iSI on what level of 1l1usion does one live Whats the best 11e we can lIve with The modernists pursue theIr own truth exclusively tor themselves The reader can joinin the pursuit vicar10usly if he wishes the author doesnt enlist our approval or participation he is wr1ting for himself

-