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November 3rd, 2009:

Christine for 11/5

“Years of the Modern” is the poem that was particularly interesting to me this evening while I read for Thursday because it was one of the poems that related directly with my Material Cultural Museum project. Because my project was on the telegraph, I noticed a lot of the technological connections that Whitman attempted to make in regards to the expansion of acceptance between races and cultural combinations of the peoples of America and the internationally. In this poem, I noticed that Whitman is discussing the progression of not only America, but other countries as well in regards to technology, freedoms, and breaking of boundaries.

Whitman always seemed to be an advocate of the self – to be self-indulgent and then further, to be proud of it. From this poem, I get the sense that Whitman is alluding to being quite the opposite; instead of being involved in oneself, to be involved in the development of onself with others and the greater good of the country and humanity. 

I really like the part where Whitman says, “Are all nations communing? is there going to be but one heart to the globe?” (Whitman, 598). I feel like in this instance, Whitman is pointing to the idea that internationally there is an effort to come together in understanding of other people and other viewpoints, no matter what the subject.

Another great poem from the selection for Thursday was “Song at Sunset” because I could completely imagine the sunset that Whitman describes, even though I can never experience exactly what he was experiencing in that moment. I think it’s wonderful how Whitman relishes in the events of the day and how he is completely amazed by even the smallest things. This amazement in minor items can be seen in “Leaves of Grass” like when he mentions “mullein” and similar weed-like flowers. It is within the mundane things that Whitman feels most connected and attracted to. Back to “Song at Sunset” – Whitman says, “O amazement of things – even the least particle!” – he is specifically pointing out the volume that even the littest items possess.

My reactions to pages 607-608: Why the heck are these poems so short?? Are they even poems; seems more like “line-ers”, whatever that may mean…they are just snipits of Whitman’s mind, like he couldn’t even decide what to write about so he just kind of threw some quick thoughts on the page. Was this to make the reader confused, to question his purpose, to question even more the greatness of these ideas, something else?!

What about “Portals” (608), I wonder…Whitman alludes to the portals of death-moving from life to death but portals in general are just a transition from one stage in life to another; the transcendence of a state of being into another. The power of portals is incredible when one thinks about life in general in that every situation or event or person is meant for a special purpose. Perhaps each of these things is a metaphorical portal that carries a person from ignorance into revelation. I can see that Whitman’s writing can be viewed as a portal into his mind and imagination, as small as the portal may be, it’s possible.

Christine for 11/5

“Years of the Modern” is the poem that was particularly interesting to me this evening while I read for Thursday because it was one of the poems that related directly with my Material Cultural Museum project. Because my project was on the telegraph, I noticed a lot of the technological connections that Whitman attempted to make in regards to the expansion of acceptance between races and cultural combinations of the peoples of America and the internationally. In this poem, I noticed that Whitman is discussing the progression of not only America, but other countries as well in regards to technology, freedoms, and breaking of boundaries.

Whitman always seemed to be an advocate of the self – to be self-indulgent and then further, to be proud of it. From this poem, I get the sense that Whitman is alluding to being quite the opposite; instead of being involved in oneself, to be involved in the development of onself with others and the greater good of the country and humanity. 

I really like the part where Whitman says, “Are all nations communing? is there going to be but one heart to the globe?” (Whitman, 598). I feel like in this instance, Whitman is pointing to the idea that internationally there is an effort to come together in understanding of other people and other viewpoints, no matter what the subject.

Another great poem from the selection for Thursday was “Song at Sunset” because I could completely imagine the sunset that Whitman describes, even though I can never experience exactly what he was experiencing in that moment. I think it’s wonderful how Whitman relishes in the events of the day and how he is completely amazed by even the smallest things. This amazement in minor items can be seen in “Leaves of Grass” like when he mentions “mullein” and similar weed-like flowers. It is within the mundane things that Whitman feels most connected and attracted to. Back to “Song at Sunset” – Whitman says, “O amazement of things – even the least particle!” – he is specifically pointing out the volume that even the littest items possess.

My reactions to pages 607-608: Why the heck are these poems so short?? Are they even poems; seems more like “line-ers”, whatever that may mean…they are just snipits of Whitman’s mind, like he couldn’t even decide what to write about so he just kind of threw some quick thoughts on the page. Was this to make the reader confused, to question his purpose, to question even more the greatness of these ideas, something else?!

What about “Portals” (608), I wonder…Whitman alludes to the portals of death-moving from life to death but portals in general are just a transition from one stage in life to another; the transcendence of a state of being into another. The power of portals is incredible when one thinks about life in general in that every situation or event or person is meant for a special purpose. Perhaps each of these things is a metaphorical portal that carries a person from ignorance into revelation. I can see that Whitman’s writing can be viewed as a portal into his mind and imagination, as small as the portal may be, it’s possible.

Christine for 11/5

“Years of the Modern” is the poem that was particularly interesting to me this evening while I read for Thursday because it was one of the poems that related directly with my Material Cultural Museum project. Because my project was on the telegraph, I noticed a lot of the technological connections that Whitman attempted to make in regards to the expansion of acceptance between races and cultural combinations of the peoples of America and the internationally. In this poem, I noticed that Whitman is discussing the progression of not only America, but other countries as well in regards to technology, freedoms, and breaking of boundaries.

Whitman always seemed to be an advocate of the self – to be self-indulgent and then further, to be proud of it. From this poem, I get the sense that Whitman is alluding to being quite the opposite; instead of being involved in oneself, to be involved in the development of onself with others and the greater good of the country and humanity. 

I really like the part where Whitman says, “Are all nations communing? is there going to be but one heart to the globe?” (Whitman, 598). I feel like in this instance, Whitman is pointing to the idea that internationally there is an effort to come together in understanding of other people and other viewpoints, no matter what the subject.

Another great poem from the selection for Thursday was “Song at Sunset” because I could completely imagine the sunset that Whitman describes, even though I can never experience exactly what he was experiencing in that moment. I think it’s wonderful how Whitman relishes in the events of the day and how he is completely amazed by even the smallest things. This amazement in minor items can be seen in “Leaves of Grass” like when he mentions “mullein” and similar weed-like flowers. It is within the mundane things that Whitman feels most connected and attracted to. Back to “Song at Sunset” – Whitman says, “O amazement of things – even the least particle!” – he is specifically pointing out the volume that even the littest items possess.

My reactions to pages 607-608: Why the heck are these poems so short?? Are they even poems; seems more like “line-ers”, whatever that may mean…they are just snipits of Whitman’s mind, like he couldn’t even decide what to write about so he just kind of threw some quick thoughts on the page. Was this to make the reader confused, to question his purpose, to question even more the greatness of these ideas, something else?!

What about “Portals” (608), I wonder…Whitman alludes to the portals of death-moving from life to death but portals in general are just a transition from one stage in life to another; the transcendence of a state of being into another. The power of portals is incredible when one thinks about life in general in that every situation or event or person is meant for a special purpose. Perhaps each of these things is a metaphorical portal that carries a person from ignorance into revelation. I can see that Whitman’s writing can be viewed as a portal into his mind and imagination, as small as the portal may be, it’s possible.

Whitman(i)ac Brilliance: Poems on Fieldtrips

“Get Well Soon :)

Once steady hands now faltering from your fall,

this hand that penned mountains, sung through ferry waters, hewn rough earth boys, their bodies taken by war as your body has taken you.

You, the kosmos, can not be taken by such human failings.

Calamus cane in hand, stand erect, your perpetual journey is still left to tramp.

Your America is orphaned without your voice, your body; without your arms to encircle her.

You shall yet whisper your secrets in my ear, leaning on my shoulder should you need it.

Comrade, let me now take your hand and show you what you have shown me.

                                                                                                                                    —Jessica and Erin

 

O spew that slicks the trash can beside us!
You do not demean, you do not debase,
You ennoble the pig history,
and call up dead cats, 
and provoke my soul and throat alike.
O great herds of men!
Move on like cattle,
Rattle in your corners, trapped
behind signs and glass-cases
coats!  Take what you can!
Don’t slow the time- pus 
impeding to the balcony.
—-
Come Children!  From Stafford, from
Fredericksburg, from Virginia-
worthy of the North- and Pittsburgh-
just as equal to the South.
Fill my city, flush out its
stubborn geometry,
press against the corners and angles,
passing impenetrable limousines.
I know you have felt unworthy-
I know you have marveled at my materials,
Stared inside my bag,
(What where you looking for?
What would you have hoped to find?  Would I
have left something?  I spare nothing.  Not even
myself.)
Take my hair and complete the rest!
Take it!
The librarian sees far less than we.
And I know best what to watch.
Never mind overstepping me,
Never mind the route around the library,
Never mind punctuality,
Never mind the rain-
I fill all spaces.
I press against the sidewalks’ undersides.
                                                                                                                    –Courtney and Sam P

“Rise o Dancers from your Courtyard Plaza”

Rise o dancers from your courtyard plaza, till you stomping, snapping, spin,

Sidelong my eyes devoured what your practice gave me,

Long I roamed the streets of DC, long I watched the rain pouring,

I traveled Walt Whitman Way and slept in the seats of Ford’s Theatre, I crossed the streets, I jumped the puddles,

I descended to the secret tunnel and sail’d out to the Metro,

I sailed through the storm, I was soaked by the storm,

I watched with joy Chelsea threatening Sam

I mark’d the water lines where puddles splashed so high,

I heard the wind piping, I saw the black clouds,

Saw from afar what thrilled and moonwalked (O hilarious! O ridiculous as my heart, and

            corny!)

Heard the continuous beat as it bellowed over the car horns.

                                                                                                                    —Brendon and Sam K.

 

“O Wondrous Washington!”

O wondrous Washington!

City of rain and wind,

You drench us in amorous drops;

Our limbs move weary in recycled steps—

O wretched limbs!

Let us deliciously journey

And see your scribbled ink,

And feel the buzz of your presence,

And read the immortal words,

And rattle our frames with splendid, tattered images,

And depart limp and satiated.

O to find you and taste fully of your knowledge!

Wet lips, wet shoes, wet hair—

Wondrous, enriched fatigue.

                                                                                                                                  –Allison and Sarah

 

On Sunken Road I heard the calls of soldiers past—

O, Sergeant Richard Kirkland, you cradle one, my brother comrade, I could have sworn you were an angel watching me from your periphery, adoring.

It being the real, still-standing portion of the wall, I imagine the sons of the nation, and also the daughters, facing each other, their hearts join’d as joints of a wall by perforation;

Limbs erect as the rifles readied by their masters to unroot the Calamus,

I walk’d the gravel path with Kirkland, Lee, Whitman—fearless of intolerant rebels who might flank the figures of my mind:

White opposition approaches—a different union entire.

                                                                                                         —Meghan, Virginia, and Natalie

 

I sing the now-pav’d road which underneath my soles spanned the nubbed monument to the beds of delicate soldiers,

Where my callous hands soothed wounds from a war of brother against brother,

The road, infinite, wandering past Georgetown and the Potomac and the garbage eating pigs

And the mud and Andrew Jackson airing laundry and the doors of Saint John’s church  looking out onto the White Mansion and the canals, and the old warriors walking five stories for one month’s check, and the theatre where my brother, my comrade, fell and spoke no more

Oh road now pav’d over blood! Pav’d over me! I trod your streets once known in dirt

you conceal me, can I learn your roads once more?

                                                                                                                     —Chelsea and Ben 

Whitman(i)ac Brilliance: Poems on Fieldtrips

“Get Well Soon :)”

Once steady hands now faltering from your fall,

this hand that penned mountains, sung through ferry waters, hewn rough earth boys, their bodies taken by war as your body has taken you.

You, the kosmos, can not be taken by such human failings.

Calamus cane in hand, stand erect, your perpetual journey is still left to tramp.

Your America is orphaned without your voice, your body; without your arms to encircle her.

You shall yet whisper your secrets in my ear, leaning on my shoulder should you need it.

Comrade, let me now take your hand and show you what you have shown me.

                                                                                                                                    —Jessica and Erin

 

O spew that slicks the trash can beside us!
You do not demean, you do not debase,
You ennoble the pig history,
and call up dead cats, 
and provoke my soul and throat alike.
O great herds of men!
Move on like cattle,
Rattle in your corners, trapped
behind signs and glass-cases
coats!  Take what you can!
Don’t slow the time- pus 
impeding to the balcony.
—-
Come Children!  From Stafford, from
Fredericksburg, from Virginia-
worthy of the North- and Pittsburgh-
just as equal to the South.
Fill my city, flush out its
stubborn geometry,
press against the corners and angles,
passing impenetrable limousines.
I know you have felt unworthy-
I know you have marveled at my materials,
Stared inside my bag,
(What where you looking for?
What would you have hoped to find?  Would I
have left something?  I spare nothing.  Not even
myself.)
Take my hair and complete the rest!
Take it!
The librarian sees far less than we.
And I know best what to watch.
Never mind overstepping me,
Never mind the route around the library,
Never mind punctuality,
Never mind the rain-
I fill all spaces.
I press against the sidewalks’ undersides.
                                                                                                                    –Courtney and Sam P

“Rise o Dancers from your Courtyard Plaza”

Rise o dancers from your courtyard plaza, till you stomping, snapping, spin,

Sidelong my eyes devoured what your practice gave me,

Long I roamed the streets of DC, long I watched the rain pouring,

I traveled Walt Whitman Way and slept in the seats of Ford’s Theatre, I crossed the streets, I jumped the puddles,

I descended to the secret tunnel and sail’d out to the Metro,

I sailed through the storm, I was soaked by the storm,

I watched with joy Chelsea threatening Sam

I mark’d the water lines where puddles splashed so high,

I heard the wind piping, I saw the black clouds,

Saw from afar what thrilled and moonwalked (O hilarious! O ridiculous as my heart, and

            corny!)

Heard the continuous beat as it bellowed over the car horns.

                                                                                                                    —Brendon and Sam K.

 

“O Wondrous Washington!”

O wondrous Washington!

City of rain and wind,

You drench us in amorous drops;

Our limbs move weary in recycled steps—

O wretched limbs!

Let us deliciously journey

And see your scribbled ink,

And feel the buzz of your presence,

And read the immortal words,

And rattle our frames with splendid, tattered images,

And depart limp and satiated.

O to find you and taste fully of your knowledge!

Wet lips, wet shoes, wet hair—

Wondrous, enriched fatigue.

                                                                                                                                  –Allison and Sarah

 

On Sunken Road I heard the calls of soldiers past—

O, Sergeant Richard Kirkland, you cradle one, my brother comrade, I could have sworn you were an angel watching me from your periphery, adoring.

It being the real, still-standing portion of the wall, I imagine the sons of the nation, and also the daughters, facing each other, their hearts join’d as joints of a wall by perforation;

Limbs erect as the rifles readied by their masters to unroot the Calamus,

I walk’d the gravel path with Kirkland, Lee, Whitman—fearless of intolerant rebels who might flank the figures of my mind:

White opposition approaches—a different union entire.

                                                                                                         —Meghan, Virginia, and Natalie

 

I sing the now-pav’d road which underneath my soles spanned the nubbed monument to the beds of delicate soldiers,

Where my callous hands soothed wounds from a war of brother against brother,

The road, infinite, wandering past Georgetown and the Potomac and the garbage eating pigs

And the mud and Andrew Jackson airing laundry and the doors of Saint John’s church  looking out onto the White Mansion and the canals, and the old warriors walking five stories for one month’s check, and the theatre where my brother, my comrade, fell and spoke no more

Oh road now pav’d over blood! Pav’d over me! I trod your streets once known in dirt

you conceal me, can I learn your roads once more?

                                                                                                                     —Chelsea and Ben 

Brian for Nov 3

This post concerns Whitman’s “Passage to India” from the Songs of Parting cluster in Leaves of Grass.

Quick history lesson: During the time of Whitman’s writing, present-day India as well as many surrounding areas were ruled by British colonial rule known as “British Raj” – a period that lasted from 1858-1947. The Viceroy of India from 1864 until the beginning of 1869 was Sir John Lawrence, a baron from north Ireland. The Viceroy from mid-January 1869 until the beginning of 1872 was Lord Mayo [Richard Bourke] from Dublin.

Now, although the title of this poem is “Passage to India,” the central location of events Whitman is commemorating – the creation of the Suez Canal – took place in Egypt. The Suez Canal was created to connect the Mediterranean Sea to the Red Sea.

Suez Canal as seen from space

Suez Canal as seen from space

The completion of the Suez Canal took place in November of 1869 [and it is upon this occasion that Whitman composes], though construction began 10 years earlier. Whitman’s general enthusiasm is not a sentiment limited to himself; in fact, the opening of the canal was “the cause of international celebration and was attended by royalty from all over the world.”

Suez Canal at the beginning

Suez Canal at the beginning

This early postcard depicts a steamer at Port Said, which was the entrance of the Suez Canal along the Mediterranean. The steamer would eventually reach Suez, where it would exit into the Red Sea.

The central sentiment of Whitman in “Passage to India” is the expressed hope for a unity of people of all races and places – [editor's note: Whitman here returns to his old "Brotherhood (and Sisterhood in this case) of Humanity" theme, one which he had briefly abandoned to focus on America and national unity].

Now, there are a couple potential ironies that I couldn’t help but consider related to Whitman’s poem:

First, Whitman’s celebration of a “passage to India” is ironic because the British Empire, in charge of India at the time, was fiercely opposed to the construction of the Suez Canal [allegedly because of the use of forced labor to build it]. So, at the time Whitman is celebrating the new passage to India, “India” was not celebrating it.

Second, again, India is under British rule at this time. So as far away as India may be from America [the other end of the world], Whitman is still essentially talking about connecting geographically to more English-speaking parts of the world. This may in Whitman’s mind help facilitate his envisioned brotherhood of humanity [if English is spoken all over the world, it'll be easier for us all to connect, right?], but it also seems convenient for a white English-speaking male to celebrate the connecting of two empires headed up by white English-speaking males.

I won’t hold these potential hangups against Whitman: As he had previously expressed a longing and desire for a brotherhood of humanity, I’m willing to give him the benefit of a doubt here. He likely simply saw the celebration as the perfect occasion to echo his vision for the world.

Brian for Nov 3

This post concerns Whitman’s “Passage to India” from the Songs of Parting cluster in Leaves of Grass.

Quick history lesson: During the time of Whitman’s writing, present-day India as well as many surrounding areas were ruled by British colonial rule known as “British Raj” – a period that lasted from 1858-1947. The Viceroy of India from 1864 until the beginning of 1869 was Sir John Lawrence, a baron from north Ireland. The Viceroy from mid-January 1869 until the beginning of 1872 was Lord Mayo [Richard Bourke] from Dublin.

Now, although the title of this poem is “Passage to India,” the central location of events Whitman is commemorating – the creation of the Suez Canal – took place in Egypt. The Suez Canal was created to connect the Mediterranean Sea to the Red Sea.

Suez Canal as seen from space

Suez Canal as seen from space

The completion of the Suez Canal took place in November of 1869 [and it is upon this occasion that Whitman composes], though construction began 10 years earlier. Whitman’s general enthusiasm is not a sentiment limited to himself; in fact, the opening of the canal was “the cause of international celebration and was attended by royalty from all over the world.”

Suez Canal at the beginning

Suez Canal at the beginning

This early postcard depicts a steamer at Port Said, which was the entrance of the Suez Canal along the Mediterranean. The steamer would eventually reach Suez, where it would exit into the Red Sea.

The central sentiment of Whitman in “Passage to India” is the expressed hope for a unity of people of all races and places – [editor's note: Whitman here returns to his old "Brotherhood (and Sisterhood in this case) of Humanity" theme, one which he had briefly abandoned to focus on America and national unity].

Now, there are a couple potential ironies that I couldn’t help but consider related to Whitman’s poem:

First, Whitman’s celebration of a “passage to India” is ironic because the British Empire, in charge of India at the time, was fiercely opposed to the construction of the Suez Canal [allegedly because of the use of forced labor to build it]. So, at the time Whitman is celebrating the new passage to India, “India” was not celebrating it.

Second, again, India is under British rule at this time. So as far away as India may be from America [the other end of the world], Whitman is still essentially talking about connecting geographically to more English-speaking parts of the world. This may in Whitman’s mind help facilitate his envisioned brotherhood of humanity [if English is spoken all over the world, it'll be easier for us all to connect, right?], but it also seems convenient for a white English-speaking male to celebrate the connecting of two empires headed up by white English-speaking males.

I won’t hold these potential hangups against Whitman: As he had previously expressed a longing and desire for a brotherhood of humanity, I’m willing to give him the benefit of a doubt here. He likely simply saw the celebration as the perfect occasion to echo his vision for the world.

Brian for Nov 3

This post concerns Whitman’s “Passage to India” from the Songs of Parting cluster in Leaves of Grass.

Quick history lesson: During the time of Whitman’s writing, present-day India as well as many surrounding areas were ruled by British colonial rule known as “British Raj” – a period that lasted from 1858-1947. The Viceroy of India from 1864 until the beginning of 1869 was Sir John Lawrence, a baron from north Ireland. The Viceroy from mid-January 1869 until the beginning of 1872 was Lord Mayo [Richard Bourke] from Dublin.

Now, although the title of this poem is “Passage to India,” the central location of events Whitman is commemorating – the creation of the Suez Canal – took place in Egypt. The Suez Canal was created to connect the Mediterranean Sea to the Red Sea.

Suez Canal as seen from space

Suez Canal as seen from space

The completion of the Suez Canal took place in November of 1869 [and it is upon this occasion that Whitman composes], though construction began 10 years earlier. Whitman’s general enthusiasm is not a sentiment limited to himself; in fact, the opening of the canal was “the cause of international celebration and was attended by royalty from all over the world.”

Suez Canal at the beginning

Suez Canal at the beginning

This early postcard depicts a steamer at Port Said, which was the entrance of the Suez Canal along the Mediterranean. The steamer would eventually reach Suez, where it would exit into the Red Sea.

The central sentiment of Whitman in “Passage to India” is the expressed hope for a unity of people of all races and places – [editor's note: Whitman here returns to his old "Brotherhood (and Sisterhood in this case) of Humanity" theme, one which he had briefly abandoned to focus on America and national unity].

Now, there are a couple potential ironies that I couldn’t help but consider related to Whitman’s poem:

First, Whitman’s celebration of a “passage to India” is ironic because the British Empire, in charge of India at the time, was fiercely opposed to the construction of the Suez Canal [allegedly because of the use of forced labor to build it]. So, at the time Whitman is celebrating the new passage to India, “India” was not celebrating it.

Second, again, India is under British rule at this time. So as far away as India may be from America [the other end of the world], Whitman is still essentially talking about connecting geographically to more English-speaking parts of the world. This may in Whitman’s mind help facilitate his envisioned brotherhood of humanity [if English is spoken all over the world, it'll be easier for us all to connect, right?], but it also seems convenient for a white English-speaking male to celebrate the connecting of two empires headed up by white English-speaking males.

I won’t hold these potential hangups against Whitman: As he had previously expressed a longing and desire for a brotherhood of humanity, I’m willing to give him the benefit of a doubt here. He likely simply saw the celebration as the perfect occasion to echo his vision for the world.

Brian for Nov 3

This post concerns Whitman’s “Passage to India” from the Songs of Parting cluster in Leaves of Grass.

Quick history lesson: During the time of Whitman’s writing, present-day India as well as many surrounding areas were ruled by British colonial rule known as “British Raj” – a period that lasted from 1858-1947. The Viceroy of India from 1864 until the beginning of 1869 was Sir John Lawrence, a baron from north Ireland. The Viceroy from mid-January 1869 until the beginning of 1872 was Lord Mayo [Richard Bourke] from Dublin.

Now, although the title of this poem is “Passage to India,” the central location of events Whitman is commemorating – the creation of the Suez Canal – took place in Egypt. The Suez Canal was created to connect the Mediterranean Sea to the Red Sea.

Suez Canal as seen from space

Suez Canal as seen from space

The completion of the Suez Canal took place in November of 1869 [and it is upon this occasion that Whitman composes], though construction began 10 years earlier. Whitman’s general enthusiasm is not a sentiment limited to himself; in fact, the opening of the canal was “the cause of international celebration and was attended by royalty from all over the world.”

Suez Canal at the beginning

Suez Canal at the beginning

This early postcard depicts a steamer at Port Said, which was the entrance of the Suez Canal along the Mediterranean. The steamer would eventually reach Suez, where it would exit into the Red Sea.

The central sentiment of Whitman in “Passage to India” is the expressed hope for a unity of people of all races and places – [editor’s note: Whitman here returns to his old “Brotherhood (and Sisterhood in this case) of Humanity” theme, one which he had briefly abandoned to focus on America and national unity].

Now, there are a couple potential ironies that I couldn’t help but consider related to Whitman’s poem:

First, Whitman’s celebration of a “passage to India” is ironic because the British Empire, in charge of India at the time, was fiercely opposed to the construction of the Suez Canal [allegedly because of the use of forced labor to build it]. So, at the time Whitman is celebrating the new passage to India, “India” was not celebrating it.

Second, again, India is under British rule at this time. So as far away as India may be from America [the other end of the world], Whitman is still essentially talking about connecting geographically to more English-speaking parts of the world. This may in Whitman’s mind help facilitate his envisioned brotherhood of humanity [if English is spoken all over the world, it’ll be easier for us all to connect, right?], but it also seems convenient for a white English-speaking male to celebrate the connecting of two empires headed up by white English-speaking males.

I won’t hold these potential hangups against Whitman: As he had previously expressed a longing and desire for a brotherhood of humanity, I’m willing to give him the benefit of a doubt here. He likely simply saw the celebration as the perfect occasion to echo his vision for the world.

First class, first post, favorite passage…


p19“I saw the marriage of the trapper in the open air in the far-west . . . . the bride was
a red girl,

Her father and his friends sat nearby crosslegged and dumbly smoking . . . . they
had moccasins to their feet and large thick blankets hanging from their
shoulders;
On a bank lounged the trapper . . . . he was dressed mostly in skins . . . . his luxuriant
beard and curls protected his neck,
One hand rested on his rifle . . . . the other hand held firmly the wrist of the red girl,
She had long eyelashes . . . . her head was bare . . . . her coarse straight locks
descended upon her voluptuous limbs and reached to her feet.
The runaway slave came to my house and stopped outside,
I heard his motions crackling the twigs of the woodpile,
Through the swung half-door of the kitchen I saw him limpsey and weak,
And went where he sat on a log, and led him in and assured him,
And brought water and filled a tub for his sweated body and bruised feet,
And gave him a room that entered from my own, and gave him some coarse clean
clothes,
And remember perfectly well his revolving eyes and his awkwardness,
And remember putting plasters on the galls of his neck and ankles;
He staid with me a week before he was recuperated and passed north,

I had him sit next me at table . . . . my firelock leaned in the corner.”


Although there are many sections in the poem that are just breathtaking, I chose this passage from the 1855 version of “Leaves of Grass” as my favorite. Walt Whitman is, in my humble opinion, one of the few poets that succeeds in portraying the exact image to his readers. While reading this passage about the marriage of a trapper and a red girl and the story about the runaway slave, I was more than astonished by the scenes that seemed to happen right in front of me.

At the time when the poem was written there were many talks and debates concerning tolerance, slavery, equality etc. These two scenes show Whitman’s stance on the matter, and very well draw a pretty precise sketch of my opinion on these antebellum problems.

I was positively overwhelmed with the amount of work we did during our first class period on the 31st. The introductory class was great and the high point was definitely reading the poem out loud, and holding the old green “Leaves of Grass” copy. Can’t wait for Saturday!

Leaves








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