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A century after his death, Whitman is still celebrated as America's greatest poet. In this startling new edition of his work, Whitman biographer Gary Schmidgall presents over two hundred poems in their original pristine form, in the chronological order in which they were written, with Whitman's original line breaks and punctuation. Included in this volume are facsimilies of Whitman's original manuscripts, contemporary and generally blistering reviews of Whitman's poetry (not surprisingly Henry James hated it), and early pre-Leaves of Grass poems that return us to the physical Whitman, rejoicing sometimes graphically in homoerotic love.
Unlike the many other available editions, all drawn from the final authorized or "deathbed" Leaves of Grass, this collection focuses on the exuberant poems Whitman wrote during the creative and sexual prime of his life, roughly between 1853 and 1860. These poems are faithfully presented as Whitman first gave them to the world fearless, explicit, and uncompromised before he transformed himself into America's respectable, mainstream Good Gray Poet through thirty years of revision, self-censorship, and suppression.
Whitman admitted that his later poetry lacked the "ecstasy of statement" of his early verse. Revealing that ecstasy for the first time, this edition makes possible a major reappraisal of our nation's first great poet.
About the Author
Gary Schmidgall is the author of several studies of Shakespeare and biographies of Oscar Wilde and Walt Whitman. He has been a fellow of the American Council of Learned Societies and the Mellon and Guggenheim Foundations.
Read an Excerpt
Selected Poems 1855â"1892
By Gary Schmidgall
St. Martin's PressCopyright © 1999 Gary Schmidgall
All rights reserved.
Leaves of Grass.
* * *
Brooklyn, New York: 1855.
AMERICA does not repel the past or what it has produced under its forms or amid other politics or the idea of castes or the old religions. ... accepts the lesson with calmness ... is not so impatient as has been supposed that the slough still sticks to opinions and manners and literature while the life which served its requirements has passed into the new life of the new forms ... perceives that the corpse is slowly borne from the eating and sleeping rooms of the house ... perceives that it waits a little while in the door ... that it was fittest for its days ... that its action has descended to the stalwart and wellshaped heir who approaches ... and that he shall be fittest for his days.
The Americans of all nations at any time upon the earth have probably the fullest poetical nature. The United States themselves are essentially the greatest poem. In the history of the earth hitherto the largest and most stirring appear tame and orderly to their ampler largeness and stir. Here at last is something in the doings of man that corresponds with the broadcast doings of the day and night. Here is not merely a nation but a teeming nation of nations. Here is action untied from strings necessarily blind to particulars and details magnificently moving in vast masses. Here is the hospitality which forever indicates heroes. ... Here are the roughs and beards and space and ruggedness and nonchalance that the soul loves. Here the performance disdaining the trivial unapproached in the tremendous audacity of its crowds and groupings and the push of its perspective spreads with crampless and flowing breadth and showers its prolific and splendid extravagance. One sees it must indeed own the riches of the summer and winter, and need never be bankrupt while corn grows from the ground or the orchards drop apples or the bays contain fish or men beget children upon women.
Other states indicate themselves in their deputies. ... but the genius of the United States is not best or most in its executives or legislatures, nor in its ambassadors or authors or colleges or churches or parlors, nor even in its newspapers or inventors ... but always most in the common people. Their manners speech dress friendships — the freshness and candor of their physiognomy — the picturesque looseness of their carriage ... their deathless attachment to freedom — their aversion to anything indecorous or soft or mean — the practical acknowledgment of the citizens of one state by the citizens of all other states — the fierceness of their roused resentment — their curiosity and welcome of novelty — their self-esteem and wonderful sympathy — their susceptibility to a slight — the air they have of persons who never knew how it felt to stand in the presence of superiors — the fluency of their speech — their delight in music, the sure symptom of manly tenderness and native elegance of soul ... their good temper and openhandedness — the terrible significance of their elections — the President's taking off his hat to them not they to him — these too are unrhymed poetry. It awaits the gigantic and generous treatment worthy of it.
The largeness of nature or the nation were monstrous without a corresponding largeness and generosity of the spirit of the citizen. Not nature nor swarming states nor streets and steamships nor prosperous business nor farms nor capital nor learning may suffice for the ideal of man ... nor suffice the poet. No reminiscences may suffice either. A live nation can always cut a deep mark and can have the best authority the cheapest ... namely from its own soul. This is the sum of the profitable uses of individuals or states and of present action and grandeur and of the subjects of poets. — As if it were necessary to trot back generation after generation to the eastern records! As if the beauty and sacredness of the demonstrable must fall behind that of the mythical! As if men do not make their mark out of any times! As if the opening of the western continent by discovery and what has transpired since in North and South America were less than the small theatre of the antique or the aimless sleepwalking of the middle ages! The pride of the United States leaves the wealth and finesse of the cities and all returns of commerce and agriculture and all the magnitude of geography or shows of exterior victory to enjoy the breed of fullsized men or one fullsized man unconquerable and simple.
The American poets are to enclose old and new for America is the race of races. Of them a bard is to be commensurate with a people. To him the other continents arrive as contributions ... he gives them reception for their sake and his own sake. His spirit responds to his country's spirit. ... he incarnates its geography and natural life and rivers and lakes. Mississippi with annual freshets and changing chutes, Missouri and Columbia and Ohio and Saint Lawrence with the falls and beautiful masculine Hudson, do not embouchure where they spend themselves more than they embouchure into him. The blue breadth over the inland sea of Virginia and Maryland and the sea off Massachusetts and Maine and over Manhattan bay and over Champlain and Erie and over Ontario and Huron and Michigan and Superior, and over the Texan and Mexican and Floridian and Cuban seas and over the seas off California and Oregon, is not tallied by the blue breadth of the waters below more than the breadth of above and below is tallied by him. When the long Atlantic coast stretches longer and the Pacific coast stretches longer he easily stretches with them north or south. He spans between them from east to west and reflects what is between them. On him rise solid growths that offset the growths of pine and cedar and hemlock and liveoak and locust and chestnut and cypress and hickory and limetree and cottonwood and tuliptree and cactus and wildvine and tamarind and persimmon. ... and tangles as tangled as any canebrake or swamp. ... and forests coated with transparent ice and icicles hanging from the boughs and crackling in the wind. ... and sides and peaks of mountains. ... and pasturage sweet and free as savannah or upland or prairie. ... with flights and songs and screams that answer those of the wild-pigeon and highhold and orchard-oriole and coot and surf-duck and redshouldered-hawk and fish-hawk and white-ibis and indianhen and cat-owl and water-pheasant and quabird and pied-sheldrake and blackbird and mockingbird and buzzard and condor and night-heron and eagle. To him the hereditary countenance descends both mothers and father's. To him enter the essences of the real things and past and present events — of the enormous diversity of temperature and agriculture and mines — the tribes of red aborigines — the weatherbeaten vessels entering new ports or making landings on rocky coasts — the first settlements north or south — the rapid stature and muscle — the haughty defiance of 76, and the war and peace and formation of the constitution. ... the union always surrounded by blatherers and always calm and impregnable — the perpetual coming of immigrants — the wharfhem'd cities and superior manne — the unsurveyed interior — the log-houses and clearings and wild animals and hunters and trappers. ... the free commerce — the fisheries and whaling and gold-digging the endless gestation of new states — the convening of Congress every December, the members duly coming up from all climates and the uttermost parts. ... the noble character of the young mechanics and of all free American workmen and workwomen. ... the general ardor and friendliness and enterprise — the perfect equality of the female with the male. ... the large amativeness — the fluid movement of the population — the factories and mercantile life and laborsaving machinery — the Yankee swap — the New-York firemen and the target excursion — the southern plantation life — the character of the northeast and of the northwest and southwest — slavery and the tremulous spreading of hands to protect it, and the stern opposition to it which shall never cease till it ceases or the speaking of tongues and the moving of lips cease. For such the expression of the American poet is to be transcendant and new. It is to be indirect and not direct or descriptive or epic. Its quality goes through these to much more. Let the age and wars of other nations be chanted and their eras and characters be illustrated and that finish the verse. Not so the great psalm of the republic. Here the theme is creative and has vista. Here comes one among the wellbeloved stonecutters and plans with decision and science and sees the solid and beautiful forms of the future where there are now no solid forms.
Of all nations the United States with veins full of poetical stuff most need poets and will doubtless have the greatest and use them the greatest. Their Presidents shall not be their common referee so much as their poets shall. Of all mankind the great poet is the equable man. Not in him but off from him things are grotesque or eccentric or fail of their sanity. Nothing out of its place is good and nothing in its place is bad. He bestows on every object or quality its fit proportions neither more nor less. He is the arbiter of the diverse and he is the key. He is the equalizer of his age and land. ... he supplies what wants supplying and checks what wants checking. If peace is the routine out of him speaks the spirit of peace, large, rich, thrifty, building vast and populous cities, encouraging agriculture and the arts and commerce — lighting the study of man, the soul, immortality — federal, state or municipal government, marriage, health, freetrade, intertravel by land and sea. ... nothing too close, nothing too far off ... the stars not too far off. In war he is the most deadly force of the war. Who recruits him recruits horse and foot ... he fetches parks of artillery the best that engineer ever knew. If the time becomes slothful and heavy he knows how to arouse it ... he can make every word he speaks draw blood. Whatever stagnates in the flat of custom or obedience or legislation he never stagnates. Obedience does not master him, he masters it. High up out of reach he stands turning a concentrated light ... he turns the pivot with his finger ... he baffles the swiftest runners as he stands and easily overtakes and envelops them. The time straying toward infidelity and confections and persiflage he withholds by his steady faith ... he spreads out his dishes ... he offers the sweet firmfibred meat that grows men and women. His brain is the ultimate brain. He is no arguer ... he is judgment. He judges not as the judge judges but as the sun falling around a helpless thing. As he sees the farthest he has the most faith. His thoughts are the hymns of the praise of things. In the talk on the soul and eternity and God off of his equal plane he is silent. He sees eternity less like a play with a prologue and denouement. ... he sees eternity in men and women ... he does not see men and women as dreams or dots. Faith is the antiseptic of the soul ... it pervades the common people and preserves them ... they never give up believing and expecting and trusting. There is that indescribable freshness and unconsciousness about an illiterate person that humbles and mocks the power of the noblest expressive genius. The poet sees for a certainty how one not a great artist may be just as sacred and perfect as the greatest artist ...... The power to destroy or remould is freely used by him but never the power of attack. What is past is past. If he does not expose superior models and prove himself by every step he takes he is not what is wanted. The presence of the greatest poet conquers ... not parleying or struggling or any prepared attempts. Now he has passed that way see after him! there is not left any vestige of despair or misanthropy or cunning or exclusiveness or the ignominy of a nativity or color or delusion of hell or the necessity of Hell . .... and no man thenceforward shall be degraded for ignorance or weakness or sin.
The greatest poet hardly knows pettiness or triviality. If he breathes into any thing that was before thought small it dilates with the grandeur and life of the universe. He is a seer. ... he is individual ... he is complete in himself. ... the others are as good as he, only he sees it and they do not. He is not one of the chorus. ... he does not stop for any regulation ... he is the president of regulation. What the eyesight does to the rest he does to the rest. Who knows the curious mystery of the eyesight? The other senses corroborate themselves, but this is removed from any proof but its own and foreruns the identities of the spiritual world. A single glance of it mocks all the investigations of man and all the instruments and books of the earth and all reasoning. What is marvellous? what is unlikely? what is impossible or baseless or vague? after you have once just opened the space of a peachpit and given audience to far and near and to the sunset and had all things enter with electric swiftness softly and duly without confusion or jostling or jam.
The land and sea, the animals fishes and birds, the sky of heaven and the orbs, the forests mountains and rivers, are not small themes ... but folks expect of the poet to indicate more than the beauty and dignity which always attach to dumb real objects. ... they expect him to indicate the path between reality and their souls. Men and women perceive the beauty well enough .. probably as well as he. The passionate tenacity of hunters, woodmen, early risers, cultivators of gardens and orchards and fields, the love of healthy women for the manly form, seafaring persons, drivers of horses, the passion for light and the open air, all is an old varied sign of the unfailing perception of beauty and of a residence of the poetic in outdoor people. They can never be assisted by poets to perceive ... some may but they never can. The poetic quality is not marshalled in rhyme or uniformity or abstract addresses to things nor in melancholy complaints or good precepts, but is the life of these and much else and is in the soul. The profit of rhyme is that it drops seeds of a sweeter and more luxuriant rhyme, and of uniformity that it conveys itself into its own roots in the ground out of sight. The rhyme and uniformity of perfect poems show the free growth of metrical laws and bud from them as unerringly and loosely as lilacs or roses on a bush, and take shapes as compact as the shapes of chestnuts and oranges and melons and pears, and shed the perfume impalpable to form. The fluency and ornaments of the finest poems or music or orations or recitations are not independent but dependent. All beauty comes from beautiful blood and a beautiful brain. If the greatnesses are in conjunction in a man or woman it is enough. ... the fact will prevail through the universe. ... but the gaggery and gilt of a million years will not prevail. Who troubles himself about his ornaments or fluency is lost. This is what you shall do: Love the earth and sun and the animals, despise riches, give alms to every one that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence toward the people, take off your hat to nothing known or unknown or to any man or number of men, go freely with powerful uneducated persons and with the young and with the mothers of families, read these leaves in the open air every season of every year of your life, reexamine all you have been told at school or church or in any book, dismiss whatever insults your own soul, and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body ........ The poet shall not spend his time in unneeded work. He shall know that the ground is always ready ploughed and manured. ... others may not know it but he shall. He shall go directly to the creation. His trust shall master the trust of everything he touches. ... and shall master all attachment.
The known universe has one complete lover and that is the greatest poet. He consumes an eternal passion and is indifferent which chance happens and which possible contingency of fortune or misfortune and persuades daily and hourly his delicious pay. What balks or breaks others is fuel for his burning progress to contact and amorous joy. Other proportions of the reception of pleasure dwindle to nothing to his proportions. All expected from heaven or from the highest he is rapport with in the sight of the daybreak or a scene of the winter woods or the presence of children playing or with his arm round the neck of a man or woman. His love above all love has leisure and expanse. ... he leaves room ahead of himself. He is no irresolute or suspicious lover ... he is sure ... he scorns intervals. His experience and the showers and thrills are not for nothing. Nothing can jar him. ... suffering and darkness cannot — death and fear cannot. To him complaint and jealousy and envy are corpses buried and rotten in the earth. ... he saw them buried. The sea is not surer of the shore or the shore of the sea than he is of the fruition of his love and of all perfection and beauty.
Excerpted from Walt Whitman by Gary Schmidgall. Copyright © 1999 Gary Schmidgall. Excerpted by permission of St. Martin's Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
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Table of Contents
LEAVES OF GRASS 1855,
LEAVES OF GRASS 1856,
LEAVES OF GRASS 1860,
SEQUEL TO DRUM-TAPS 1865-66,
LEAVES OF GRASS 1867,
LEAVES OF GRASS 1871-72,
LEAVES OF GRASS 1871-72,
AS A STRONG BIRD ON PINIONS FREE 1872,
TWO RIVULETS 1876,
LEAVES OF GRASS 1881,
NOVEMBER BOUGHS 1888,
LEAVES OF GRASS 1891-92,
AUTHOR'S NOTE TO 1891-92 EDITION,
PREFACE NOTE TO GOOD-BYE MY FANCY,
Most Helpful Customer Reviews
Whitman's revisions and self-censorship -- which he felt necessary to protect his reputation as 'the good gray poet,' having lived into the era when people began to be consciously aware of 'homosexuality' -- significantly weakened his work. This edition, which collects about half of Whitman's poetry, almost always in its original form, is -- pardon the cliché -- a breath of fresh air. Whitman's work is again vigorous and exciting. It's a must-have for anyone even remotely interested in Whitman -- especially those who don't like his poetry.
I loved this book it was so awesome. Since i thought it was so awesome i tried eating it after i read the book. It was very good too.
It was good and sad but anyone who likes back than you will love it !!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!