So one of the major things that really stuck out to me, as lame is this might be, was the punctuation adjustments going on between these two versions. It seems that in the deathbed edition, Whitman removed a lot of the commas throughout the poems, as well as dashes (which he sometimes replaced with commas or just plain removed). This really bothered me, probably a lot more than it should have. Every time I would notice it I would wonder why Whitman did that, and for the most part I felt like he was “tidying” up the poem. I mean it definitely shifts the rhythm and emphasis of different sections, but I just didn’t really see the point for the most part, other than maybe he looked at it on the page and thought the lines looked too cluttered.
For instance, in A Word Out of the Sea, all the commas gave it this amazing rhythm. I was reading it out loud to myself, and getting really into it (thank goodness my roommate was not around). The rhythm fit really well with the idea of the waves going back and forth and the circular motion he was trying to show through the poem. Then I read Out of the Cradle Endlessly Rocking, and it wasn’t drastically different, but he removed around half, maybe more, of all the commas. Like I said before, it seems like mostly he was just making the poem neater. One of the things I really love about Whitman is the way everything is so stream of consciousness, like he’s incorporating every idea that he’s having at every second into the poem. I love the rawness of his writing. Maybe I am making too much out of it, but I feel like he took that away along with the commas.
Another change I found interesting in this poem was the change in capitalization. In the first version (A Word…) the words sun and death are capitalized, and in Out of the Cradle, they are not. I was really curious why he did this, especially with sun, because it’s harder for me to see the reasoning behind that one. One possible theory I had for that is that when sun was capitalized, (Pour down your warmth, great Sun!) it personifies and addresses the sun,whereas taking away the capitalization, while still addressing the sun, takes away the emphasis from it. Since he didn’t seem to personify much else within the poem, I thought maybe he just changed it because he thought it was too random and didn’t necessarily fit with the rest of the text.
The change in capitalization of the word death was more drastic. This is the original passage:
Lisp’d to me the low and delicious word DEATH;
And again Death—ever 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.
In the deathbed edition though, every thing is lowercase. I can see why Whitman would have wanted to change that, mostly because it seemed like in this edition he was trying to make the poem more generalized, and I think maybe he thought there was too much emphasis on “death” when that wasn’t necessarily where he wanted the emphasis (though it was most definitely an important aspect of the poem). When I read the 1867 version though, this section, and up until the end was really powerful to me, aided by the all caps DEATH and then the subsequent capitalizations. Reading the 1891 version removed that powerfulness for me. The first time around I felt like Whitman was shouting at me, the second time just calmly reading to me. Going along with this, I didn’t like the way he added in the second to last line in the 1891 version:
(Or like some old crone rocking the cradle, swathed in sweet garments, bending aside,)
It completely took me out of the poem in a way that didn’t happen in the 1867 version. I thought maybe he was trying to connect the images of the cradle and then the previously mentioned nagging mother, but it didn’t work for me. I thought the first version was way more powerful. It just really makes me wonder what he was thinking while making all of these revisions.
Categories: