2. Birth and Early Career
• Born 31 May 1819 near
Huntington, Long Island,
New York
• Second child (of 8) born
to Walter and Louisa Van
Velsor Whitman.
• Works as printer’s
apprentice (to 1835) and
as a schoolteacher.
3. The Journalist, 1844
• Worked for several
different newspapers
• Wrote short fiction
from 1841-1848
• Themes and
techniques borrowed
from Poe and
Hawthorne
4. The Brooklyn Eagle
• 1846-1848. Becomes chief editor of the
Brooklyn Eagle, a post he holds from from
March 5, 1846 to January 18, 1848.
• In May 1848, Whitman is fired because his
politics conflict with those of the publisher.
A “free soil” or “locofoco”Democrat,
Whitman opposes the expansion of slavery
into new territories.
5. “Pulp Fiction”
• Franklin Evans, 1842
• Temperance novel
• Sold 20,000 copies,
more than any other
work Whitman published
in his lifetime
6. New Orleans
• Lives in New Orleans for 4
months as editor of the
Daily Crescent.
• Sees slavery and slave-
markets at first hand
• Experiences with nature
(“live oaks, with moss”) and
with French language later
appear in his poetry.
7. Influences: Literature and Music
• Italian opera: “Were it not for the opera, I
could never have written Leaves of Grass.”
• Shakespeare, especially Richard III.
Whitman saw Junius Brutus Booth (father
of John Wilkes Booth) perform.
• The Bible
• Thomas Carlyle’s Sartor Resartus
9. Literary Acquaintances
• Edgar Allan Poe
• William Cullen Bryant
• Amos Bronson Alcott
• Henry David Thoreau
• Friends at Pfaff’s Restaurant
(“Bohemians”)(1859-1862)
– Elihu Vedder, E.C. Stedman,
Ada Clare, Henry Clapp
10. Whitman and Phrenology
• July 16, 1849: A
phrenological
examination confirms
Whitman’s sense of his
own character, revealing
bumps of “Sympathy,
Sublimity, and Self-
Esteem” along with the
“dangerous fault of
Indolence”
11. Whitman in 1854
• His friend Dr. Maurice
Bucke called this “the
Christ likeness” in
which the poet as seer
begins to emerge.
• In Leaves of Grass,
Whitman would write,
“I am the man, I
suffer’d, I was there.”
12. Leaves of Grass, 1855
Twelve poems, including
• “Song of Myself”
• “I Sing the Body Electric”
• “The Sleepers”
Only 795 copies printed
Family tradition says that
Whitman set some of the type
for this edition.
13. Leaves of Grass, 1855
Walt Whitman, an American, one
of the roughs, a kosmos,
Disorderly fleshy and sensual . . . .
eating drinking and breeding,
No sentimentalist . . . . no stander
above men and women or apart
from them . . . . no more
modest than immodest.
Whoever degrades another
degrades me . . . . and whatever
is done or said returns at last to
me,
And whatever I do or say I also
return.
14. Whitman’s Themes
• Transcendent power of love, brotherhood, and
comradeship
• Imaginative projection into others’ lives
• Optimistic faith in democracy and equality
• Belief in regenerative and illustrative powers of
nature and its value as a teacher
• Equivalence of body and soul and the unabashed
exaltation of the body and sexuality
15. Whitman’s Poetic Techniques
• Free verse: lack of metrical regularity and conventional
rhyme
• Use of repeated images, symbols, phrases, and
grammatical units
• Use of enumerations and catalogs
• Use of anaphora (initial repetition) in lines and
“Epanaphora” (each line hangs by a loop from the line
before it)
• The Whitman “envelope”
• Contrast and parallelism in paired lines
16. From “Song of Myself”
• Where the heifers browse, and the geese nip their food with short
jerks;
• Where the sundown shadows lengthen over the limitless and lonesome
prairie,
• Where the herds of buffalo make a crawling spread of the square
miles far and near;
• Where the hummingbird shimmers . . . . where the neck of the
longlived swan is curving and winding
• Where the laughing-gull scoots by the slappy shore and laughs her
near-human laugh . . .
17. Whitman’s Use of Language
• Idiosyncratic spelling and punctuation.
• Words used for their sounds as much as their
sense; foreign languages
• Use of language from several disciplines
• The sciences: anatomy, astronomy, botany
(especially the flora and fauna of America)
• Businesses and professions, such as carpentry
• Military and war terms; nautical terms
18. Reviews: Praise
• Ralph Waldo Emerson, letter to Whitman,
21 July 1855:
• “I find [Leaves of Grass] the most
extraordinary piece of wit & wisdom that
America has yet contributed. . . . I greet you
at the beginning of a great career, which yet
must have had a long foreground
somewhere, for such a start.”
19. Reviews: Praise
• I am not unaware that the charge of
coarseness and sensuality has been affixed
to them. My moral constitution may be
hopelessly tainted or - too sound to be
tainted, as the critic wills, but I confess that
I extract no poison from these Leaves - to
me they have brought only healing. --Fanny
Fern, critic and popular essayist
20. Reviews and Protests
• “Foul work" filled with"libidinousness"
(The Christian Examiner)
• There are too many persons, who imagine they
demonstrate their superiority to their fellows, by
disregarding all the politenesses and decencies of
life, and, therefore,justify themselves in indulging
the vilest imaginings and shamefullest license.
(Rufus Griswold, The Criterion)
21. Early Editions of Leaves of Grass
1855 Self-published the first edition
1856 Added new poems and revised old ones.
1860 Began grouping poems thematically; includes
“A Child’s Reminiscence,” which will become
“Out of the Cradle, Endlessly Rocking”
1867 Incorporates Drum-Taps (1865), including
“When Lilacs Last in the Dooryard Bloom’d” and
“O Captain, My Captain”
22. Leaves of Grass, 1856
• Whitman has Emerson’s praise printed on
the spine in gold letters: “I greet you at the
beginning of a great career.”
• “I do not believe that all the sermons, so-
called, that have been preached in this land
put together are equal to it for preaching."
Henry David Thoreau
23. Leaves of Grass, 1860
• 146 new poems added to the 32
poems of the second edition,
including “I hear America
singing”
• Enfans d’Adam section, 15
poems on “amativeness” or love
for women, and Calamus, 32
poems on “adhesiveness” or
love between men
24. Civil War
• After his brother is wounded
at Fredericksburg (1862),
Whitman goes to
Washington to care for him
and stays for nearly 3 years,
visiting the wounded, writing
letters, and keeping up their
spirits.
25. One Wounded Soldier’s View
• “Every Sunday there were half a dozen old
roosters who would come into my ward and
preach and pray and sing to us, while we
were swearing to ourselves all the time, and
wishing the blamed old fools would go
away. Walt Whitman’s funny stories, and
his pipes and tobaccos, were worth more
than all the preachers and tracts in
Christendom.”
26. Whitman and Lincoln
• Whitman saw Lincoln
often, but the two never
met face to face.
• “When lilacs last in the
dooryard bloom’d”
• “O Captain, My
Captain”
27. Walt Whitman, Civil Servant
• 1862, Clerk at the Paymaster’s Office
• 1865. 1 January. Becomes a clerk at the
Bureau of Indian Affairs, a post he enjoys.
• Fired in May because Secretary of the
Interior James Harlan sees Leaves of Grass
in Whitman’s desk drawer and denounces it
as immoral.
28. The Good Gray Poet
• May 1865. Whitman’s friend
William Douglas O’Connor
secures him a job at the
Attorney General’s office, a
post he holds until he leaves
after he suffers a stroke in 1873.
• O’Connor publishes The Good
Gray Poet: A Vindication
(1866), the beginning of a shift
in Whitman’s public persona
and popularity.
29. Later Editions of Leaves of Grass
1872 Includes 120-page “annex,” A Passage to India
1881-1882 The firm of James R. Osgood
discontinues publishing Leaves of Grass after it is
banned in Boston; Whitman takes the copies and
binds and sells them himself.
1888-1889 Leaves of Grass (Birthday Edition) is the
first pocket-sized version.
1891-92 “Deathbed Edition”
30. Leaves of Grass, 1872
• Includes Drum-Taps
and Sequel to Drum-
Taps
• Includes an “annex,” A
Passage to India
31. Specimen Days and Collect, 1882
• Autobiographical work with
focus on the Civil War and
Whitman’s trip west to Kansas
and Colorado
• Counterpart to the 1881-1882
edition of Leaves of Grass
• Begun much earlier as
Memoranda During the War and
partly inspired by Louisa May
Alcott’s Hospital Sketches
32. 328 Mickle Street, Camden
• In 1884, Whitman
purchases a house
at 328 Mickle
Street, Camden,
New Jersey, for
$1750.
• It is the first house
he has ever owned.
33. Leaves of Grass, 1889 and 1891
• 1891 edition includes Good-
Bye, My Fancy
• These editions mix
autobiographical prose
reminiscences with poetry.
34. The Poet at Home
• Whitman would allow no one
to pick up his papers, saying
that whatever he wanted
surfaced sooner or later.
• Whitman died on 26 March
1892 at about 6:30 p.m. and is
buried in the tomb that he had
designed.
35. Credits
• Sources are given in the notes section of the
slides except as noted in the notes below.
• Pictures are courtesy of the Walt Whitman
Hypertext Archive at the University of
Virginia:
http://jefferson.village.virginia.edu/whitman
/
Notas do Editor
The title “America’s Poet” is often applied to Whitman.
Parents were Deists but with a Quaker background. Whtiman’s father had long been a follower of Thomas Paine
Radical Quakerism of Elizas Hicks--anti-institutional, placing much emphasis on the inner light.
Emanuel Swedenborg.
Although the family moved to Brooklyn when Whitman was 4 and he lived there and in New York and Washington for much of his life, he often drew on Long Island and its seashore--calling the island Paumonok, the Native American name for the place--in poems such as “Out of the Cradle, Endlessly Rocking.”
In 1838-9, Whitman founds and publishes The Long Islander; writes for the Long Island Democrat.
1842 Whitman works as an editor for New York City’s Aurora and publishes Franklin Evans: The inebriate
Locofoco Party
In U.S. history,the locofocos were a radical wing of the Democratic Party, organized in New York City in 1835. Made up primarily of workingmen and reformers, the Locofocos were opposed to state banks, monopolies, paper money, tariffs, and generally any financial policies that seemed to themantidemocratic and conducive to special privilege. The Locofocos received their name (which was later derisively applied by political opponents to all Democrats) when party regulars in New York turned off the gas lights to oust the radicals from a Tammany Hall nominating meeting.The radicals responded by lighting candles with the new self-igniting friction matches known as locofocos, and proceeded to nominate their own slate.
Whitman loved the bel canto style of opera. Bel canto consists of long passages of simple melody alternating with outbursts of elaborate vocal scrollwork, which turns the voice into a complex wind instrument. The desired effect was to heighten the dramatic meaning and significance of the words through attention to pitch, dynamics, melody, and rhythm. This highly emotional and intense use of the human voice was in Whitman’s view the highest form of art.
His favorite singer: Marietta Alboni (in NY 1852-1853). Her work influenced the aria of the mockingbird in “Out of the Cradle endlessly Rocking” and the carol of the hermit thrush in “When Lilacs Last in the Dooryard Bloom’d.” These 2 poems employ a recitative-aria structured modeled on Italian operatic style. (WW Enchclopedia 485).
“Look at Emerson: he was not only possibly the greatest of our land, our time, but great with the greatness of any land, any time, all worlds.”
Whitman had read Emerson’s Nature and the “Divinity School Address,” and he had attended lectures by the philosopher/poet in New York. Emerson visited Whitman in December 1855 and sent Alcott and Thoreau later, in 1856.
Transcendentalism belief in the essential unity of all creation, the innate goodness of man, and the supremacy of insight over logic and
experience for the revelation of the deepest truths.. Eclectic and cosmopolitan in its sources and part of the Romantic movement, New England Transcendentalism originated in the area around Concord,Mass., and from 1830 to 1855 represented a battle between the younger and older generations and the emergence of a new national culture based on native materials.
Whitman on Poe: “I have seen Poe--met him: he impressed me very favorably; was dark, quiet, handsome--southern from top to toe: languid, tired out, it is true, but altogether ingratiating.” (Traubel, from Whitman in his Own Time, 252)
Alcott and Thoreau visited Whitman in 1856
Alcott: Ocotber 4, 1856. I have been to see Walt Whitman. . . A nondescript, he is not so easily described, nor seen to be sudescribed. Broad-shouldered, rouge-fleshed, Bacchus-browed, bearded like a satyr, and rank, he wears his man-Bloomer in defiance of everybody, having these as everything else after his own fashion, and for example to all men hereafter. Red flannel undershirt, open-breasted, exposing his brawny neck; striped calico jacket over this, the collar Byroneal, with coarse cloth overalls buttoned to it; cowhide boots; a heavy round-about, with huge outside pockets and buttons to match; and a slouched hat, for house and street alike. Eyes gray, unimaginative, cautious yet sagacious; his voice deep, sharp, tender sometimes and almost melting. When talking will recline upon the couch at length, pillowing his head upon his bended arm, and informing you naively how lazy he is, and slow. Listens well. … He has never been sick, he says, nor taken medicine, nor sinned, and so is quite innocent of repentance and man’s fall.
Bet, 1859-62, Whitman was often at Pfaff’s, a gathering spot for New York Bohemians who disdained bourgeois conventions. His “Out of the Cradle” was first published in publisher Henry Clapp’s weekly Saturday Press.
Whitman and Phrenology
July 16, 1849. Whitman visits the busy phrenological emporium of Fowler and Wells to literally have his head examined. A nineteenth-century “science” that has long been discredited, phrenology sought to identify traits of character by the bumps and depressions on a human skull, with each area corresponding to a particular trait such as conscientiousness, destructiveness, mirthfulness, intellectual faculties, benevolence, and so forth. Whitman’s analysis pleased him so much that he reprinted parts of it in several editions of Leaves of Grass: This man has a grand physical construction, and power to live to a good old age. He is undoubtedly descended from the soundest and hardiest stock. Size of head large. Leading traits of character appear to be Friendship, Sympathy, Sublimity and Self-Esteem, and markedly among his combinations the dangerous faults of Indolence, a tendency to the pleasure of Voluptuousness and Alimentiveness, and a certain reckless swing of animal will, too unmindful, probably, of the conviction of others.
Whitman would use the phrenological principles of “amativeness” (love of women) and “adhesiveness” (love of men) to characterize sections of Leaves of Grass.
In a section of Song of Myself
All this I swallow and it tastes good . . . . I like it well, and it becomes mine,
I am the man . . . . I suffered . . . . I was there.
I am the hounded slave, I wince at the bite of dogs . . .
He tells of the massacre at Goliad and of other battles.
First edition wasn’t signed, although the author’s name became known from an early verse.
Draws from Sara Payson Willis Parton’s Fanny Fern, Fern Leaves from Fanny’s Portfolio.
Whitman had many themes in his poetry; these are only a few.
For example, in section 48 of “Song of Myself”:
I have said that the sould is not more than the body
And I have said that the body is not more than the soul,
And nothing, not God, is greater to one than one’s self is,
And whoever walks a furlong without sympathy walks to his own funeral drest in his shroud
….
And I say to any man or woman, Let your soul stand cool and composed before a million universes.
Use of varying line lengths with varying numbers of syllables per line. Critic Gay Wilson Allen identified the Whitman "envelope": a short beginning line, long middle lines, and a short ending line.
Where the mockingbird sounds his delicious gurgles, and cackles and screams and weeps,
Where the hay-rick stands in the barnyard, and the dry-stalks are scattered, and the brood cow waits in the hovel,
Where the bull advances to do his masculine work, and the stud to the mare, and the cock is treading the hen,
Where the heifers browse, and the geese nip their food with short jerks; Where the sundown shadows lengthen over the limitless and lonesome prairie,
Where the herds of buffalo make a crawling spread of the square miles far and near;
Where the hummingbird shimmers . . . . where the neck of the longlived swan is curving and winding
Where the laughing-gull scoots by the slappy shore and laughs her near-human
laugh;
Note the word use (alliteration--slappy shore), repetition of Where, long lines, parallel structures.
Well baptized: fresh, hardy, and grown for the masses. Walt Whitman, the world needed a "Native American" of thorough, out and out breed . . . who dared speak out his strong,honest thoughts, in the face of pusillanimous, toadeying, republican aristocracy. . . .
This is but a rough sketch of the versions of Leaves of Grass. Whitman was to publish many versions and variations, of which this list gives only the principal ones.
In addition, William Michael Rosetti published a selected edition of the poems (American poems) in 1872, and his efforts on Whitman's behalf led to many subscriptions for the 1876 Centennial edition of the poems.
Adds 20 new poems and includes several reviews of the first edition, including two written by Whitman himself.
Despite doubts about its sexual content, Thoreau praises the volume.
Emerson is said to be understandably annoyed at Whitman’s unauthorized use of the letter, which has been affixed to a volume containing poems that he has never seen.
After his brother is wounded at Fredericksburg in 1862, Whitman goes to Washington to take care of him and stays on to visit the wounded in the Washington hospitals.
One of the first sights that greets him is a pile of amputated legs and arms, for the .58 caliber Minie balls or bullets, fired at slow velocity, resulted in shattered bones and gaping wounds and infections.
Whitman visits the wounded every day for several years, until his health breaks down. He writes letters, reads to the men, brings them goodies--tobacco, which he doesn’t use himself, fruit, brandy--and lifts their spirits.
Whitman’s experiences in New York with helping hurt stage and wagon drivers was helpful.
During this time, he met Peter Doyle, to whom he became close for a period of several years.
From Roy Morris’s The Better Angel: Walt Whitman in the Civil War (Oxford U P, 2001).
Whitman saw Lincoln often and regarded him as a great leader of the country. Lincoln’s assassination plunged the poet, like the rest of the nation, into a numbing grief, and Whitman’s elegies to Lincoln are among his best-known work.
O Captain, My Captain, is uncharacteristically conventional in form. Whitman said later that he was sorry that he wrote it, since it was a popular favorite and not at all characteristic of his verse.
“When lilacs last in the dooryard bloom’d” is one of his great poems. It uses images of sight--the evening star--of sound,--the mournful thrush--and of smell--the lilacs--to memorialize the Western leader and mourn his passing.
Horace Traubel, a neighbor, visits Whitman daily from 1888-1892 and records Whitman’s conversations, eventually publishing With Walt Whitman in Camden, 9 volumes of biography, published 1906-1914)
In his last years,
Whitman’s death notice is still preserved at the house, as are his slippers, hat, rocking chair, and other artifacts.
The cause of death was mostly old age: Whitman’s lungs had collapsed, although he had suffered health problems for several years since his stroke in 1873.
This was the man, who, as he says in Song of Myself,
I too am not a bit tamed, I too am untranslatable.
I sound my barbaric yawp over the roofs of the world.
The song of myself begins with “I,” but it ends with “you.”
Information has been derived from these sources:
Allen, Gay Wilson. A reader's guide to Walt Whitman. (1970)
Kreig, Joanne P. A Whitman Chronology. U of Iowa P, 1998.
Loving, Jerome. Walt Whitman: The Song of Himself. Berkeley: University of California Press, 1999.
---. Whitman in his own time : a biographical chronicle of his life, drawn from recollections, memoirs, and interviews by friends and associates (1991).
Reynolds, David. Walt Whitman: A Cultural Biography. New York: Knopf, 1995.
Price, Kenneth, ed. Walt Whitman : the contemporary reviews. Cambridge U P, 1996.
Zweig, Paul. Walt Whitman: The Making of the Poet. Basic Books, 1984.
This presentation was originally created to accompany a lecture and is used my American literature classes. It is used for non-commercial, educational purposes only.