05/31/2026
This is a long one today folks…
On this bright, sunny Sunday morning, we celebrate the birth date of Walt Whitman (May 31, 1819, West Hills, Long Island, N.Y. — March 26, 1892, Camden, N.J.), American poet, journalist, and essayist whose verse collection Leaves of Grass, first published in 1855, is a landmark in the history of American literature.
In 1846 Whitman became editor of the Brooklyn Daily Eagle, a fairly important newspaper of the time.
Whitman spent a great deal of his time walking and observing in New York City and Long Island. He had visited the theatre frequently and seen many plays of William Shakespeare, and he had developed a strong love of music, especially opera. During these years, he had also read extensively at home and in the New York libraries, and he began experimenting with a new style of poetry.
By the spring of 1855 Whitman had enough poems in his new style for a thin volume. Unable to find a publisher, he sold a house and printed the first edition of Leaves of Grass at his own expense. No publisher’s name and no author’s name appeared on the first edition in 1855. But the cover had a portrait of Walt Whitman.
Though little appreciated upon its appearance, Leaves of Grass was warmly praised by the poet and essayist Ralph Waldo Emerson, who wrote to Whitman on receiving the poems that it was “the most extraordinary piece of wit and wisdom” America had yet contributed.
Whitman continued practicing his new style of writing in his private notebooks, and in 1856 the second edition of Leaves of Grass appeared. This collection contained revisions of the poems of the first edition and a new one, the “Sun-down Poem” (later to become “Crossing Brooklyn Ferry”). The second edition was also a financial failure, and once again Whitman edited a daily newspaper, the Brooklyn Times, but was unemployed by the summer of 1859.
In 1860 a Boston publisher brought out the third edition of Leaves of Grass, greatly enlarged and rearranged, but the outbreak of the American Civil War bankrupted the firm. The 1860 volume contained the “Calamus” poems, which record a personal crisis of some intensity in Whitman’s life, an apparent gay love affair, and “Premonition” (later entitled “Starting from Paumanok”), which records the violent emotions that often drained the poet’s strength. “A Word out of the Sea” (later entitled “Out of the Cradle Endlessly Rocking”) evoked some somber feelings, as did “As I Ebb’d with the Ocean of Life”.
After the outbreak of the Civil War in 1861, Whitman’s brother was wounded at Fredericksburg, and Whitman went there in 1862, staying some time in the camp, then taking a temporary post in the paymaster’s office in Washington. He spent his spare time visiting wounded and dying soldiers in the Washington hospitals, spending his scanty salary on small gifts for Confederate and Union soldiers alike and offering his usual “cheer and magnetism” to try to alleviate some of the mental depression and bodily suffering he saw in the wards.
In May 1865 a collection of war poems entitled Drum-Taps showed Whitman’s readers a new kind of poetry, in free verse, moving from the oratorical excitement with which he had greeted the falling-in and arming of the young men at the beginning of the Civil War to a disturbing awareness of what war really meant. “Beat! Beat! Drums!” echoed the bitterness of the first of the battles of Bull Run, and “Vigil Strange I Kept on the Field One Night” had a new awareness of suffering, no less effective for its quietly plangent quality.
The Sequel to Drum-Taps, published in the autumn of 1865, contained “When Lilacs Last in the Dooryard Bloom’d,” his great elegy on Pres. Abraham Lincoln. Whitman’s horror at the death of democracy’s first “great martyr chief ” was matched by his revulsion from the barbarities of war. Whitman’s prose descriptions of the Civil War, published later in Specimen Days & Collect (1882–83), are no less effective in their direct, moving simplicity.
The fourth edition of Leaves of Grass, published in 1867, contained much revision and rearrangement. Apart from the poems collected in Drum-Taps, it contained eight new poems, and some poems had been omitted. In the late 1860s Whitman’s work began to receive greater recognition. From this time on throughout his life Whitman attempted to dress the part and act the role of the shaggy, untamed poetic spokesman of the proud young nation. For the expression of this persona he also created a form of free verse without rhyme or metre, but abounding in oratorical rhythms and chanted lists of American place-names and objects.
Both the content and the style of his verse also caused Whitman’s early biographers, and even the poet himself, to confuse the symbolic self of the poems with their physical creator. In reality Whitman was quiet, gentle, courteous; neither “rowdy” (a favorite word) nor lawless. He advocated greater s*xual freedom and tolerance, but s*x in his poems is also symbolic—of natural innocence, “the procreant urge of the world,” and of the regenerative power of nature. In his greatest poems, such as parts of “Song of Myself” and all of “Out of the Cradle Endlessly Rocking,” s*x is spiritualized.
Though biographers continue to debate Whitman's s*xuality, he is usually described as either homos*xual or bis*xual in his feelings and attractions. Whitman's s*xual orientation is generally assumed on the basis of his poetry, which depicts love and s*xuality in a more earthy, individualistic way common in American culture before the medicalization of s*xuality in the late 19th century.
Whitman had intense friendships with many men throughout his life and biographers cite letters, journal entries, and other sources that they claim as proof of the s*xual nature of some of his relationships.
Peter Doyle may be the most likely candidate for the love of Whitman's life. Doyle was a bus conductor whom Whitman met around 1866, and the two were inseparable for several years. Interviewed in 1895, Doyle said: "We were familiar at once—I put my hand on his knee—we understood. He did not get out at the end of the trip—in fact went all the way back with me." In his notebooks, Whitman disguised Doyle's initials using the code "16.4" (P.D. being the 16th and 4th letters of the alphabet). Oscar Wilde met Whitman in the United States in 1882 and related that Whitman's s*xual orientation was beyond question —"I have the kiss of Walt Whitman still on my lips."
Whitman’s greatest theme is a symbolic identification of the regenerative power of nature with the deathless divinity of the soul. His poems are filled with a religious faith in the processes of life, particularly those of fertility, s*x, and the “unflagging pregnancy” of nature: sprouting grass, mating birds, vegetation, the maternal ocean, and planets in formation (“the journey-work of stars”). The poetic “I” of Leaves of Grass transcends time and space, binding the past with the present and intuiting the future, illustrating Whitman’s belief that poetry is a form of knowledge, the supreme wisdom of humankind.
After suffering a paralytic stroke in early 1873, Whitman was induced to move from Washington to the home of his brother—George Washington Whitman, an engineer—at 431 Stevens Street in Camden, New Jersey. His mother, having fallen ill, was also there and died that same year in May. Both events were difficult for Whitman and left him depressed. When his brother and sister-in-law were forced to move for business reasons, he bought his own house at 328 Mickle Street (now 330 Dr. Martin Luther King Jr. Boulevard). First taken care of by tenants, he was completely bedridden for most of his time in Mickle Street.
Whitman died on March 26, 1892 at his home at 328 Mickle Street, Camden, NJ. A public viewing of his body was held at his Camden home; over 1,000 people visited in three hours. Four days after his death, he was buried in his tomb at Harleigh Cemetery in Camden.
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Quotes and Poems by Walt Whitman
Note: The last two poems in the following post are fairly long; take your time and enjoy!
“re-examine all you have been told in school or church or in any book, and 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.
[From the preface to Leaves Grass]”
― Walt Whitman, Leaves of Grass
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“Now I see the secret of making the best person: it is to grow in the open air and to eat and sleep with the earth.”
― Walt Whitman
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“A writer can do nothing for men more necessary, satisfying, than just simply to reveal to them the infinite possibility of their own souls.”
― Walt Whitman
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“I bequeath myself to the dirt to grow from the grass I love
If you want me again look for me under your boot-soles.
You will hardly know who I am or what I mean
But I shall be good health to you nonetheless
And filter and fibre your blood.”
― Walt Whitman
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Song of Myself [Part I]
I Celebrate myself, and sing myself,
And what I assume you shall assume,
For every atom belonging to me as good belongs to you.
I loafe and invite my soul,
I lean and loafe at my ease observing a spear of summer grass.
My tongue, every atom of my blood, form'd from this soil,
this air,
Born here of parents born here from parents the same, and
their parents the same,
I, now thirty-seven years old in perfect health begin,
Hoping to cease not till death.
Creeds and schools in abeyance,
Retiring back a while sufficed at what they are, but never
forgotten,
I harbor for good or bad, I permit to speak at every hazard,
Nature without check with original energy.
--Walt Whitman, Leaves of Grass
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The Voice of the Rain
And who art thou? said I to the soft-falling shower,
Which, strange to tell, gave me an answer, as here translated:
I am the Poem of Earth, said the voice of the rain,
Eternal I rise impalpable out of the land and the bottomless sea,
Upward to heaven, whence, vaguely form'd, altogether changed, and
yet the same,
I descend to lave the drouths, atomies, dust-layers of the globe,
And all that in them without me were seeds only, latent, unborn;
And forever, by day and night, I give back life to my own origin,
and make pure and beautify it;
(For song, issuing from its birth-place, after fulfilment, wandering,
Reck'd or unreck'd, duly with love returns.)
--Walt Whitman, Leaves of Grass
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We Two Boys Together Clinging
We two boys together clinging,
One the other never leaving,
Up and down the roads going--North and South excursions making,
Power enjoying--elbows stretching--fingers clutching,
Arm'd and fearless--eating, drinking, sleeping, loving,
No law less than ourselves owning--sailing, soldiering, thieving,
threatening,
Misers, menials, priests alarming--air breathing, water drinking, on
the turf or the sea-beach dancing,
Cities wrenching, ease scorning, statutes mocking, feebleness
chasing,
Fulfilling our foray.
--Walt Whitman, Leaves of Grass
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O Captain My Captain!
O CAPTAIN! my Captain! our fearful trip is done;
The ship has weather'd every rack, the prize we sought is won;
The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring:
But O heart! heart! heart!
O the bleeding drops of red,
Where on the deck my Captain lies,
Fallen cold and dead.
O Captain! my Captain! rise up and hear the bells;
Rise up--for you the flag is flung--for you the bugle trills; 10
For you bouquets and ribbon'd wreaths--for you the shores a-crowding;
For you they call, the swaying mass, their eager faces turning;
Here Captain! dear father!
This arm beneath your head;
It is some dream that on the deck,
You've fallen cold and dead.
My Captain does not answer, his lips are pale and still;
My father does not feel my arm, he has no pulse nor will;
The ship is anchor'd safe and sound, its voyage closed and done;
From fearful trip, the victor ship, comes in with object won; 20
Exult, O shores, and ring, O bells!
But I, with mournful tread,
Walk the deck my Captain lies,
Fallen cold and dead.
--Walt Whitman
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When I Heard at the Close of the Day
When I heard at the close of the day how my name had been receiv'd
with plaudits in the capitol, still it was not a happy night
for me that follow'd;
And else, when I carous'd, or when my plans were accomplish'd, still
I was not happy;
But the day when I rose at dawn from the bed of perfect health,
refresh'd, singing, inhaling the ripe breath of autumn,
When I saw the full moon in the west grow pale and disappear in the
morning light,
When I wander'd alone over the beach, and un******ng, bathed,
laughing with the cool waters, and saw the sun rise,
And when I thought how my dear friend, my lover, was on his way
coming, O then I was happy;
O then each breath tasted sweeter--and all that day my food nourish'd
me more--and the beautiful day pass'd well,
And the next came with equal joy--and with the next, at evening, came
my friend;
And that night, while all was still, I heard the waters roll slowly
continually up the shores,
I heard the hissing rustle of the liquid and sands, as directed to
me, whispering, to congratulate me,
For the one I love most lay sleeping by me under the same cover in
the cool night,
In the stillness, in the autumn moonbeams, his face was inclined
toward me,
And his arm lay lightly around my breast--and that night I was happy.
--Walt Whitman, Leaves of Grass, Calamus Poems
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Crossing Brooklyn Ferry
Flood-tide below me! I watch you face to face;
Clouds of the west! sun there half an hour high! I see you also face
to face.
Crowds of men and women attired in the usual costumes! how curious
you are to me!
On the ferry-boats, the hundreds and hundreds that cross, returning
home, are more curious to me than you suppose;
And you that shall cross from shore to shore years hence, are more to
me, and more in my meditations, than you might suppose.
The impalpable sustenance of me from all things, at all hours of the
day;
The simple, compact, well-join'd scheme--myself disintegrated, every
one disintegrated, yet part of the scheme:
The similitudes of the past, and those of the future;
The glories strung like beads on my smallest sights and hearings--on
the walk in the street, and the passage over the river;
The current rushing so swiftly, and swimming with me far away;
The others that are to follow me, the ties between me and them;
The certainty of others--the life, love, sight, hearing of others.
Others will enter the gates of the ferry, and cross from shore to
shore;
Others will watch the run of the flood-tide;
Others will see the shipping of Manhattan north and west, and the
heights of Brooklyn to the south and east;
Others will see the islands large and small;
Fifty years hence, others will see them as they cross, the sun half
an hour high;
A hundred years hence, or ever so many hundred years hence, others
will see them,
Will enjoy the sunset, the pouring in of the flood-tide, the falling
back to the sea of the ebb-tide.
It avails not, neither time or place--distance avails not;
I am with you, you men and women of a generation, or ever so many
generations hence;
I project myself--also I return--I am with you, and know how it is.
Just as you feel when you look on the river and sky, so I felt;
Just as any of you is one of a living crowd, I was one of a crowd;
Just as you are refresh'd by the gladness of the river and the bright
flow, I was refresh'd;
Just as you stand and lean on the rail, yet hurry with the swift
current, I stood, yet was hurried;
Just as you look on the numberless masts of ships, and the thick-
stem'd pipes of steamboats, I look'd.
I too many and many a time cross'd the river, the sun half an hour
high;
I watched the Twelfth-month sea-gulls--I saw them high in the air,
floating with motionless wings, oscillating their bodies,
I saw how the glistening yellow lit up parts of their bodies, and
left the rest in strong shadow,
I saw the slow-wheeling circles, and the gradual edging toward the
south.
I too saw the reflection of the summer sky in the water,
Had my eyes dazzled by the shimmering track of beams,
Look'd at the fine centrifugal spokes of light around the shape of my
head in the sun-lit water,
Look'd on the haze on the hills southward and southwestward,
Look'd on the v***r as it flew in fleeces tinged with violet,
Look'd toward the lower bay to notice the arriving ships,
Saw their approach, saw aboard those that were near me,
Saw the white sails of schooners and sloops--saw the ships at anchor,
The sailors at work in the rigging, or out astride the spars,
The round masts, the swinging motion of the hulls, the slender
serpentine pennants,
The large and small steamers in motion, the pilots in their pilot-
houses,
The white wake left by the passage, the quick tremulous whirl of the
wheels,
The flags of all nations, the falling of them at sun-set,
The scallop-edged waves in the twilight, the ladled cups, the
frolicsome crests and glistening,
The stretch afar growing dimmer and dimmer, the gray walls of the
granite store-houses by the docks,
On the river the shadowy group, the big steam-tug closely flank'd on
each side by the barges--the hay-boat, the belated lighter,
On the neighboring shore, the fires from the foundry chimneys burning
high and glaringly into the night,
Casting their flicker of black, contrasted with wild red and yellow
light, over the tops of houses, and down into the clefts of
streets.
These, and all else, were to me the same as they are to you;
I project myself a moment to tell you--also I return.
I loved well those cities;
I loved well the stately and rapid river;
The men and women I saw were all near to me;
Others the same--others who look back on me, because I look'd forward
to them;
(The time will come, though I stop here to-day and to-night.)
What is it, then, between us?
What is the count of the scores or hundreds of years between us?
Whatever it is, it avails not--distance avails not, and place avails
not.
I too lived--Brooklyn, of ample hills, was mine;
I too walk'd the streets of Manhattan Island, and bathed in the
waters around it;
I too felt the curious abrupt questionings stir within me,
In the day, among crowds of people, sometimes they came upon me,
In my walks home late at night, or as I lay in my bed, they came upon
me.
I too had been struck from the float forever held in solution;
I too had receiv'd identity by my Body;
That I was, I knew was of my body--and what I should be, I knew I
should be of my body.
It is not upon you alone the dark patches fall,
The dark threw patches down upon me also;
The best I had done seem'd to me blank and suspicious;
My great thoughts, as I supposed them, were they not in reality
meagre? would not people laugh at me?
It is not you alone who know what it is to be evil;
I am he who knew what it was to be evil;
I too knitted the old knot of contrariety,
Blabb'd, blush'd, resented, lied, stole, grudg'd,
Had guile, anger, lust, hot wishes I dared not speak,
Was wayward, vain, greedy, shallow, sly, cowardly, malignant;
The wolf, the snake, the hog, not wanting in me,
The cheating look, the frivolous word, the adulterous wish, not
wanting,
Refusals, hates, postponements, meanness, laziness, none of these
wanting.
But I was Manhattanese, friendly and proud!
I was call'd by my nighest name by clear loud voices of young men as
they saw me approaching or passing,
Felt their arms on my neck as I stood, or the negligent leaning of
their flesh against me as I sat,
Saw many I loved in the street, or ferry-boat, or public assembly,
yet never told them a word,
Lived the same life with the rest, the same old laughing, gnawing,
sleeping,
Play'd the part that still looks back on the actor or actress,
The same old role, the role that is what we make it, as great as we
like,
Or as small as we like, or both great and small.
Closer yet I approach you;
What thought you have of me, I had as much of you--I laid in my
stores in advance;
I consider'd long and seriously of you before you were born.
Who was to know what should come home to me?
Who knows but I am enjoying this?
Who knows but I am as good as looking at you now, for all you cannot
see me?
It is not you alone, nor I alone;
Not a few races, nor a few generations, nor a few centuries;
It is that each came, or comes, or shall come, from its due emission,
From the general centre of all, and forming a part of all:
Everything indicates--the smallest does, and the largest does;
A necessary film envelopes all, and envelopes the Soul for a proper
time.
Now I am curious what sight can ever be more stately and admirable to
me than my mast-hemm'd Manhattan,
My river and sun-set, and my scallop-edg'd waves of flood-tide,
The sea-gulls oscillating their bodies, the hay-boat in the twilight,
and the belated lighter;
Curious what Gods can exceed these that clasp me by the hand, and
with voices I love call me promptly and loudly by my nighest
name as I approach;
Curious what is more subtle than this which ties me to the woman or
man that looks in my face,
Which fuses me into you now, and pours my meaning into you.
We understand, then, do we not?
What I promis'd without mentioning it, have you not accepted?
What the study could not teach--what the preaching could not
accomplish, is accomplish'd, is it not?
What the push of reading could not start, is started by me
personally, is it not?
Flow on, river! flow with the flood-tide, and ebb with the ebb-tide!
Frolic on, crested and scallop-edg'd waves!
Gorgeous clouds of the sun-set! drench with your splendor me, or the
men and women generations after me;
Cross from shore to shore, countless crowds of passengers!
Stand up, tall masts of Mannahatta!--stand up, beautiful hills of
Brooklyn!
Throb, baffled and curious brain! throw out questions and answers!
Suspend here and everywhere, eternal float of solution!
Gaze, loving and thirsting eyes, in the house, or street, or public
assembly!
Sound out, voices of young men! loudly and musically call me by my
nighest name!
Live, old life! play the part that looks back on the actor or
actress!
Play the old role, the role that is great or small, according as one
makes it!
Consider, you who peruse me, whether I may not in unknown ways be
looking upon you;
Be firm, rail over the river, to support those who lean idly, yet
haste with the hasting current;
Fly on, sea-birds! fly sideways, or wheel in large circles high in
the air;
Receive the summer sky, you water! and faithfully hold it, till all
downcast eyes have time to take it from you;
Diverge, fine spokes of light, from the shape of my head, or any
one's head, in the sun-lit water;
Come on, ships from the lower bay! pass up or down, white-sail'd
schooners, sloops, lighters!
Flaunt away, flags of all nations! be duly lower'd at sunset;
Burn high your fires, foundry chimneys! cast black shadows at
nightfall! cast red and yellow light over the tops of the
houses;
Appearances, now or henceforth, indicate what you are;
You necessary film, continue to envelop the soul;
About my body for me, and your body for you, be hung our divinest
aromas;
Thrive, cities! bring your freight, bring your shows, ample and
sufficient rivers;
Expand, being than which none else is perhaps more spiritual;
Keep your places, objects than which none else is more lasting.
We descend upon you and all things--we arrest you all;
We realize the soul only by you, you faithful solids and fluids;
Through you color, form, location, sublimity, ideality;
Through you every proof, comparison, and all the suggestions and
determinations of ourselves.
You have waited, you always wait, you dumb, beautiful ministers! you
novices!
We receive you with free sense at last, and are insatiate
henceforward;
Not you any more shall be able to foil us, or withhold yourselves
from us;
We use you, and do not cast you aside--we plant you permanently
within us;
We fathom you not--we love you--there is perfection in you also;
You furnish your parts toward eternity;
Great or small, you furnish your parts toward the soul.
--Walt Whitman, Leaves of Grass
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Out of the Cradle Endlessly Rocking
Out of the cradle endlessly rocking,
Out of the mocking-bird's throat, the musical shuttle,
Out of the Ninth-month midnight,
Over the sterile sands and the fields beyond, where the child
leaving his bed wander'd alone, bareheaded, barefoot,
Down from the shower'd halo,
Up from the mystic play of shadows twining and twisting as
if they were alive,
Out from the patches of briers and blackberries,
From the memories of the bird that chanted to me,
From your memories sad brother, from the fitful risings and
fallings I heard,
From under that yellow half-moon late-risen and swollen as
if with tears,
From those beginning notes of yearning and love there in
the mist,
From the thousand responses of my heart never to cease,
From the myriad thence-arous'd words,
From the word stronger and more delicious than any,
From such as now they start the scene revisiting,
As a flock, twittering, rising, or overhead passing,
Borne hither, ere all eludes me, hurriedly,
A man, yet by these tears a little boy again,
Throwing myself on the sand, confronting the waves,
I, chanter of pains and joys, uniter of here and hereafter,
Taking all hints to use them, but swiftly leaping beyond them,
A reminiscence sing.
Once Paumanok,
When the lilac-scent was in the air and Fifth-month grass
was growing,
Up this seashore in some briers,
Two feather'd guests from Alabama, two together,
And their nest, and four light-green eggs spotted with brown,
And every day the he-bird to and fro near at hand,
And every day the she-bird crouch'd on her nest, silent, with
bright eyes,
And every day I, a curious boy, never too close, never
disturbing them,
Cautiously peering, absorbing, translating.
Shine! shine! shine!
Pour down your warmth, great sun!
While we bask, we two together.
Two together!
Winds blow south, or winds blow north,
Day come white, or niqht come black,
Home, or rivers and mountains from home,
Singing all time, minding no time,
While we two keep together.
Till of a sudden,
May-be kill'd, unknown to her mate,
One forenoon the she-bird crouch'd not on the nest,
Nor return'd that afternoon, nor the next,
Nor ever appear'd again.
And thenceforward all summer in the sound of the sea,
And at night under the full of the moon in calmer weather,
Over the hoarse surging of the sea,
Or flitting from brier to brier by day,
I saw, I heard at intervals the remaining one, the he-bird,
The solitary guest from Alabama.
Blow! blow! blow!
Blow up sea-winds along Paumanok's shore;
I wait and I wait till you blow my mate to me.
Yes, when the stars glisten'd,
All night long on the prong of a moss-scallop'd stake,
Down almost amid the slapping waves,
Sat the lone singer wonderful causing tears.
He call'd on his mate,
He pour'd forth the meanings which I of all men know.
Yes my brother I know,
The rest might not, but I have treasur'd every note,
For more than once dimly down to the beach gliding,
Silent, avoiding the moonbeams, blending myself with the
shadows,
Recalling now the obscure shapes, the echoes, the sounds
and sights after their sorts,
The white arms out in the breakers tirelessly tossing,
I, with bare feet, a child, the wind wafting my hair,
Listen'd long and long.
Listen'd to keep, to sing, now translating the notes,
Following you my brother.
Soothe! soothe! soothe!
Close on its wave soothes the wave behind,
And again another behind embracing and lapping, every one close,
But my love soothes not me, not me.
Low hangs the moon, it rose late,
It is lagging--O I think it is heavy with love, with love.
O madly the sea pushes upon the land,
With love, with love.
O night! do I not see my love fluttering out among the breakers?
What is that little black thing I see there in the white?
Loud! loud! loud!
Loud I call to you, my love!
Hiqh and clear I shoot my voice over the waves,
Surely you must know who is here, is here,
You must know who I am, my love.
Low-hanging moon!
What is that dusky spot in your brown yellow?
O it is the shape, the shape of my mate!
O moon do not keep her from me any longer.
Land! land! O land!
Whichever way I turn, 0 I think you could give me my mate
back again if you only would,
For I am almost sure I see her dimly whichever way I look.
O rising stars!
Perhaps the one I want so much will rise, will rise with some of you.
O throat! 0 trembling throat!
Sound clearer through the atmosphere!
Pierce the woods, the earth,
Somewhere listening to catch you must be the one I want.
Shake out carols!
Solitary here, the niqht's carols!
Carols of lonesome love! death's carols!
Carols under that lagging, yellow, waning moon!
O under that moon where she droops almost down into the sea!
O reckless despairing carols.
But soft! sink low!
Soft! let me just murmur,
And do you wait a moment you husky-nois'd sea,
For somewhere I believe I heard my mate responding to me,
So faint, I must be still, be still to listen,
But not altogether still, for then she miqht not come immediately
to me.
Hither my love!
Here I am! here!
With this just-sustain'd note I announce myself to you,
This gentle call is for you my love, for you.
Do not be decoy'd elsewhere,
That is the whistle of the wind, it is not my voice,
That is the fluttering, the fluttering of the spray,
Those are the shadows of leaves.
O darkness! 0 in vain!
0 I am very sick and sorrowful.
O brown halo in the sky near the moon, drooping upon the sea!
O troubled reflection in the sea!
O throat! 0 throbbing heart!
And I singing uselessly, uselessly all the niqht.
0 past! 0 happy life! 0 songs of joy!
In the air, in the woods, over fields,
Loved! loved! loved! loved! loved!
But my mate no more, no more with me!
We two together no more.
The aria sinking,
All else continuing, the stars shining,
The winds blowing, the notes of the bird continuous echoing,
With angry moans the fierce old mother incessantly moaning,
On the sands of Paumanok's shore gray and rustling,
The yellow half-moon enlarged, sagging down, drooping,
the face of the sea almost touching,
The boy ecstatic, with his bare feet the waves, with his hair
the atmosphere dallying,
The love in the heart long pent, now loose, now at last
tumultuously bursting,
The aria's meaning, the ears, the soul, swiftly depositing,
The strange tears down the cheeks coursing,
The colloquy there, the trio, each uttering,
The undertone, the savage old mother incessantly crying,
To the boy's soul's questions sullenly timing, some drown'd
secret hissing,
To the outsetting bard.
Demon or bird! (said the boy's soul,)
Is it indeed toward your mate you sing? or is it really to me?
For I, that was a child, my tongue's use sleeping, now I
have heard you,
Now in a moment I know what I am for, I awake,
And already a thousand singers, a thousand songs, clearer,
louder and more sorrowful than yours,
A thousand warbling echoes have started to life within me,
never to die.
O you singer solitary, singing by yourself, projecting me,
O solitary me listening, never more shall I cease
perpetuating you,
Never more shall I escape, never more the reverberations,
Never more the cries of unsatisfied love be absent from me,
Never again leave me to be the peaceful child I was before
what there in the night,
By the sea under the yellow and sagging moon,
The messenger there arous'd, the fire, the sweet hell within,
The unknown want, the destiny of me.
O give me the clew! (it lurks in the night here somewhere,)
O if I am to have so much, let me have more!
A word then, (for I will conquer it,)
The word final, superior to all,
Subtle, sent up--what is it?--I listen;
Are you whispering it, and have been all the time, you sea-
waves?
Is that it from your liquid rims and wet sands?
Whereto answering, the sea,
Delaying not, hurrying not,
Whisper'd me through the night, and very plainly before
daybreak,
Lisp'd to me the low and delicious word death,
And again death, death, death, death,
Hissing melodious, neither like the bird nor like my arous'd
child's heart,
But edging near as privately for me rustling at my feet,
Creeping thence steadily up to my ears and laving me softly
all over,
Death, death, death, death, death.
Which I do not forget,
But fuse the song of my dusky demon and brother,
That he sang to me in the moonlight on Paumanok's gray
beach,
With the thousand responsive songs at random,
My own songs awaked from that hour,
And with them the key, the word up from the waves,
The word of the sweetest song and all songs,
That strong and delicious word which, creeping to my feet,
(Or like some old crone rocking the cradle, swathed in sweet
garments, bending aside,)
The sea whisper'd me.
--Walt Whitman, Leaves of Grass
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To the Reader at Parting
NOW, dearest comrade, lift me to your face,
We must separate awhile--Here! take from my lips this kiss.
Whoever you are, I give it especially to you;
So long!--And I hope we shall meet again.
--Walt Whitman
[from Leaves of Grass: The Complete 1855 and 1891-92 Editions: A Library of America Paperback Classics (2011)]
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