The prompt for this week reminded me of something I had thought about while reading about the ARG being sponsored by Levi’s right now (the GO FORTH treasure hunt game that goes along with those commercials). In the game someone was given an 1882 edition of Leaves of Grass to use as a cipher for one of the clues. I’m sure that 1882’s are easier to come by so that’s why it was used, but my initial reaction was “What? Why the heck would they use that edition, I didn’t even know that one existed!” We have talked about the “deathbed” 1892 edition, the “Walt Whitman, recently immigrated from an unknown planet” 1855 edition, and the “strange” 1867 edition, but not really much else. So I went on the Whitman archive, and read “about” section for that edition, and then I felt kind of dumb. The 1882 edition and the 1892 edition are basically the same; there are no significant changes to the text. I may have missed this in class somewhere, so maybe this is only news to me, but I found that interesting. I also found it interesting that apparently the 1882 edition was set to follow an almost narrative pattern. The clusters were arranged in such a way as to have a definite build-up, with Drum-Taps as the climax, and then resolution in the Lincoln poems and other following clusters. Originally my perception of the various editions is that they should be looked at as specific representations of different times in Whitman’s life. He adjusted each edition to his particular purpose and message at that time, so it seems logical to view them that way. Knowing that the deathbed edition doesn’t follow this thread complicates things. Many people view this edition as the “definitive” edition, and yet fundamentally it’s different from all the previous ones. The fact that it’s based in a narrative, and none of the other editions are, makes it harder to compare to the rest of them. There’s just a completely different motivation going into the assembly and ordering of this book. In essence, I don’t ever think we can say that there’s a definitive Leaves of Grass. They each mean different things to their different times. Personally, I like the 1855 Song of Myself better, but as I mentioned in my last post, the Song of Myself from 1892 is powerful in its own ways to me as well. There’s so much layering between each of these editions that by picking one of them as the text that we should go with above all the other texts seems rather unfortunate and narrow minded. I like the idea, even though it’s a frustrating one, of having to just pick things out of every edition, taking them each for what they are at each separate time. Whitman gave us something that no other poet has with these multiple works, and I think it’s important that instead of trying to whittle it down, we appreciate it in its “multitudes.”
November 9th, 2009:
Erin for 11/10
The prompt for this week reminded me of something I had thought about while reading about the ARG being sponsored by Levi’s right now (the GO FORTH treasure hunt game that goes along with those commercials). In the game someone was given an 1882 edition of Leaves of Grass to use as a cipher for one of the clues. I’m sure that 1882’s are easier to come by so that’s why it was used, but my initial reaction was “What? Why the heck would they use that edition, I didn’t even know that one existed!” We have talked about the “deathbed” 1892 edition, the “Walt Whitman, recently immigrated from an unknown planet” 1855 edition, and the “strange” 1867 edition, but not really much else. So I went on the Whitman archive, and read “about” section for that edition, and then I felt kind of dumb. The 1882 edition and the 1892 edition are basically the same; there are no significant changes to the text. I may have missed this in class somewhere, so maybe this is only news to me, but I found that interesting. I also found it interesting that apparently the 1882 edition was set to follow an almost narrative pattern. The clusters were arranged in such a way as to have a definite build-up, with Drum-Taps as the climax, and then resolution in the Lincoln poems and other following clusters. Originally my perception of the various editions is that they should be looked at as specific representations of different times in Whitman’s life. He adjusted each edition to his particular purpose and message at that time, so it seems logical to view them that way. Knowing that the deathbed edition doesn’t follow this thread complicates things. Many people view this edition as the “definitive” edition, and yet fundamentally it’s different from all the previous ones. The fact that it’s based in a narrative, and none of the other editions are, makes it harder to compare to the rest of them. There’s just a completely different motivation going into the assembly and ordering of this book. In essence, I don’t ever think we can say that there’s a definitive Leaves of Grass. They each mean different things to their different times. Personally, I like the 1855 Song of Myself better, but as I mentioned in my last post, the Song of Myself from 1892 is powerful in its own ways to me as well. There’s so much layering between each of these editions that by picking one of them as the text that we should go with above all the other texts seems rather unfortunate and narrow minded. I like the idea, even though it’s a frustrating one, of having to just pick things out of every edition, taking them each for what they are at each separate time. Whitman gave us something that no other poet has with these multiple works, and I think it’s important that instead of trying to whittle it down, we appreciate it in its “multitudes.”
jennifer for nov 10
source: http://www.endlessbookshelf.net/bklynhistsoclib.jpg
Last week, our class met up at the Brooklyn Historical Society to learn about how we can find the history of certain places and buildings. We were taught by Elizabeth, the librarian that guided us, on how to do house and building research. I learned that there are so many ways we can dig up the history of just one building. There are historic atlases which are fire insurance maps and it shows Brooklyn block by block. Then there are land conveyances, which are documents that show the seller and buyers information of the building that was being sold. At the Brooklyn Historical Society, there are so many information providers such as Brooklyn directories, image database, architecture books. There is not only 1 Brooklyn directory; there are 3 types you can choose from for your research. You can search by Name or Address or even by Blue books which is a collection of social directories. We also have access to the Brooklyn & Long Island Scrapbook Collection and Real Estate Brochure Collection. The Brooklyn and Long Island Scrapbook Collection is a collection of newspaper articles from the 1860’s to the 1960’s. The articles are put into microfiche today. Microfiche is like a small sheet of microfilm that can store pages to preserve them. The Real Estate Brochure Collection holds real estate brochures, mostly is organized by neighborhood that advertise new apartment buildings from the 1920’s to the 1950’s.
This was my first time visiting the Brooklyn Historic Society and I was very particular fascinated by the architectural designs of the library located on the second floor. It looked like everything was made out of wood, and the stacks on the shelf I can tell was very old books. It looked very vintage but at the same time, it appealed like a grand library to me. When I was walking around the library, I can tell it holds a lot of history. This was a great experience for me; I learned a lot of new things, new methods of researching and also new sources that I can research from.
Jessica for Nov. 10th
In Whitman’s Second Annex: Good-bye My Fancy, it appears that Whitman is waiting to die, and moreover is completely accepting and ready for death. Throughout much of his poetry and has spoke of the universe and everything’s interconnectedness, both of space and time. Therefore, Whitman is not afraid of death because he is quite assured that it is merely the next journey within the inifinity of the universe.
He begins this grouping with the poem “Sail Out for Good, Eidolon Yacht!” saying, “Now on for aye our infinite free venture wending, Spurning all yet tired ports, seas, hawsers, densities, gravitation, Sail out for good, eidolon yacht of me!”. Whitman is ready to leave his “solid earth” form, and make his way into his infinite existence. His annotation of “Good-bye” says, “Behind a Good-bye there lurks much of the salutation of another begining – to me, Development, Continuity, Immortality, Transformation, are the chiefest life-meanings of Nature and Humanity, and are the sine qua non of all facts, and each fact”. He doesnt see “Good-bye” as a term of departing, but as a salutation of another beginning.
Sine qua non (pronounced as anglicized /ˌsaɪni kweɪ ˈnɒn/ or more Latinate /ˌsɪneɪ kwɑː ˈnoʊn/)[1] or conditio sine qua non (plural sine quibus non) was originally a Latin legal term for “(a condition) without which it could not be” or “but for…” or “without which (there is) nothing.” It refers to an indispensable and essential action, condition, or ingredient.
From Wikipedia
His use of sine qua non suggests that development, continuity, immortality, and transformation are all essential actions, conditions, or ingredients of death, and that these qualities are all important for all of life and nature.
Whitman is not afraid of death because he is “wafting to other work, to unknown songs, conditions…”. It is refreshing to read poetry from someone who has such a positive outlook on aging and death. So many poets write about the sadness that comes from the death of innoncence and the move to experience. Whitman, however, seems to beleive that life is all about the experience, ”My life and recitative, containing birth, youth, mid-age years … inseparably twined and merged in one — combining all”. Whitman acknowledges that every part of his life is important in its completion of the whole, just as everything in the universe is important as its part of the whole.
Whitman clearly embraces his old age, and in his other footnote he says, “I always felt the sunset or late afternoon sounds more penetrating and sweeter – seem’d to touch the soul – often the evening thrushes, two or three of them, responding and perhaps blending. Though I miss’d some of the mornings, I found myself getting to be quite strictly punctual at the evening utterances”. It seems that Whitman is using his love of the sunset as a symbol for his love and acceptance of his age. Although he misses some aspects of his youth as “the first always exhilarated, and perhaps seem’d more joyous and stronger”, he has a greater appreciation for what it is to age and is accepting of it. His use of nature as a metaphor for life is not the same cliche we’ve all heard before, but a lovely way to appreciate all aspects of one’s life, and not to obsess over the past and over the loss of youth and strength.
That being said, Whitman does have a sympathy for those who die before reaching old age. Although Whitman sees death as the next part of the journey which he is quite ready for, he does have compassion for those who must meet death before thier time. This seems to come mostly from his time spent with the soldiers in the hospital. Whitman says that “wrapt in these little potencies of progress, poitics, culture, wealth, inventions, civilization” we forget about death. And, it seems he is saying we not only forget about death but forget about those who died so that we may have all those things.
Finally, in “Unseen Buds” Whitman wants to show the reader that although we must die, the budding of life is all around us, and that is inspiring. ” On earth and in the sea – the universe – the stars there in the heavens” there are unseen buds of life “urging slowly, surely forward, forming endless, andwaiting ever more, forever more behind”.
Jessica for Nov. 10th
In Whitman’s Second Annex: Good-bye My Fancy, it appears that Whitman is waiting to die, and moreover is completely accepting and ready for death. Throughout much of his poetry and has spoke of the universe and everything’s interconnectedness, both of space and time. Therefore, Whitman is not afraid of death because he is quite assured that it is merely the next journey within the inifinity of the universe.
He begins this grouping with the poem “Sail Out for Good, Eidolon Yacht!” saying, “Now on for aye our infinite free venture wending, Spurning all yet tired ports, seas, hawsers, densities, gravitation, Sail out for good, eidolon yacht of me!”. Whitman is ready to leave his “solid earth” form, and make his way into his infinite existence. His annotation of “Good-bye” says, “Behind a Good-bye there lurks much of the salutation of another begining – to me, Development, Continuity, Immortality, Transformation, are the chiefest life-meanings of Nature and Humanity, and are the sine qua non of all facts, and each fact”. He doesnt see “Good-bye” as a term of departing, but as a salutation of another beginning.
Sine qua non (pronounced as anglicized /ˌsaɪni kweɪ ˈnɒn/ or more Latinate /ˌsɪneɪ kwɑː ˈnoʊn/)[1] or conditio sine qua non (plural sine quibus non) was originally a Latin legal term for “(a condition) without which it could not be” or “but for…” or “without which (there is) nothing.” It refers to an indispensable and essential action, condition, or ingredient.
From Wikipedia
His use of sine qua non suggests that development, continuity, immortality, and transformation are all essential actions, conditions, or ingredients of death, and that these qualities are all important for all of life and nature.
Whitman is not afraid of death because he is “wafting to other work, to unknown songs, conditions…”. It is refreshing to read poetry from someone who has such a positive outlook on aging and death. So many poets write about the sadness that comes from the death of innoncence and the move to experience. Whitman, however, seems to beleive that life is all about the experience, ”My life and recitative, containing birth, youth, mid-age years … inseparably twined and merged in one — combining all”. Whitman acknowledges that every part of his life is important in its completion of the whole, just as everything in the universe is important as its part of the whole.
Whitman clearly embraces his old age, and in his other footnote he says, “I always felt the sunset or late afternoon sounds more penetrating and sweeter – seem’d to touch the soul – often the evening thrushes, two or three of them, responding and perhaps blending. Though I miss’d some of the mornings, I found myself getting to be quite strictly punctual at the evening utterances”. It seems that Whitman is using his love of the sunset as a symbol for his love and acceptance of his age. Although he misses some aspects of his youth as “the first always exhilarated, and perhaps seem’d more joyous and stronger”, he has a greater appreciation for what it is to age and is accepting of it. His use of nature as a metaphor for life is not the same cliche we’ve all heard before, but a lovely way to appreciate all aspects of one’s life, and not to obsess over the past and over the loss of youth and strength.
That being said, Whitman does have a sympathy for those who die before reaching old age. Although Whitman sees death as the next part of the journey which he is quite ready for, he does have compassion for those who must meet death before thier time. This seems to come mostly from his time spent with the soldiers in the hospital. Whitman says that “wrapt in these little potencies of progress, poitics, culture, wealth, inventions, civilization” we forget about death. And, it seems he is saying we not only forget about death but forget about those who died so that we may have all those things.
Finally, in “Unseen Buds” Whitman wants to show the reader that although we must die, the budding of life is all around us, and that is inspiring. ” On earth and in the sea – the universe – the stars there in the heavens” there are unseen buds of life “urging slowly, surely forward, forming endless, andwaiting ever more, forever more behind”.
Jessica for Nov. 10th
In Whitman’s Second Annex: Good-bye My Fancy, it appears that Whitman is waiting to die, and moreover is completely accepting and ready for death. Throughout much of his poetry and has spoke of the universe and everything’s interconnectedness, both of space and time. Therefore, Whitman is not afraid of death because he is quite assured that it is merely the next journey within the inifinity of the universe.
He begins this grouping with the poem “Sail Out for Good, Eidolon Yacht!” saying, “Now on for aye our infinite free venture wending, Spurning all yet tired ports, seas, hawsers, densities, gravitation, Sail out for good, eidolon yacht of me!”. Whitman is ready to leave his “solid earth” form, and make his way into his infinite existence. His annotation of “Good-bye” says, “Behind a Good-bye there lurks much of the salutation of another begining – to me, Development, Continuity, Immortality, Transformation, are the chiefest life-meanings of Nature and Humanity, and are the sine qua non of all facts, and each fact”. He doesnt see “Good-bye” as a term of departing, but as a salutation of another beginning.
Sine qua non (pronounced as anglicized /ˌsaɪni kweɪ ˈnɒn/ or more Latinate /ˌsɪneɪ kwɑː ˈnoʊn/)[1] or conditio sine qua non (plural sine quibus non) was originally a Latin legal term for “(a condition) without which it could not be” or “but for…” or “without which (there is) nothing.” It refers to an indispensable and essential action, condition, or ingredient.
From Wikipedia
His use of sine qua non suggests that development, continuity, immortality, and transformation are all essential actions, conditions, or ingredients of death, and that these qualities are all important for all of life and nature.
Whitman is not afraid of death because he is “wafting to other work, to unknown songs, conditions…”. It is refreshing to read poetry from someone who has such a positive outlook on aging and death. So many poets write about the sadness that comes from the death of innoncence and the move to experience. Whitman, however, seems to beleive that life is all about the experience, “My life and recitative, containing birth, youth, mid-age years … inseparably twined and merged in one — combining all”. Whitman acknowledges that every part of his life is important in its completion of the whole, just as everything in the universe is important as its part of the whole.
Whitman clearly embraces his old age, and in his other footnote he says, “I always felt the sunset or late afternoon sounds more penetrating and sweeter – seem’d to touch the soul – often the evening thrushes, two or three of them, responding and perhaps blending. Though I miss’d some of the mornings, I found myself getting to be quite strictly punctual at the evening utterances”. It seems that Whitman is using his love of the sunset as a symbol for his love and acceptance of his age. Although he misses some aspects of his youth as “the first always exhilarated, and perhaps seem’d more joyous and stronger”, he has a greater appreciation for what it is to age and is accepting of it. His use of nature as a metaphor for life is not the same cliche we’ve all heard before, but a lovely way to appreciate all aspects of one’s life, and not to obsess over the past and over the loss of youth and strength.
That being said, Whitman does have a sympathy for those who die before reaching old age. Although Whitman sees death as the next part of the journey which he is quite ready for, he does have compassion for those who must meet death before thier time. This seems to come mostly from his time spent with the soldiers in the hospital. Whitman says that “wrapt in these little potencies of progress, poitics, culture, wealth, inventions, civilization” we forget about death. And, it seems he is saying we not only forget about death but forget about those who died so that we may have all those things.
Finally, in “Unseen Buds” Whitman wants to show the reader that although we must die, the budding of life is all around us, and that is inspiring. ” On earth and in the sea – the universe – the stars there in the heavens” there are unseen buds of life “urging slowly, surely forward, forming endless, andwaiting ever more, forever more behind”.
Reflections On War
This Wednesday, November 11 is Veterans Day. On May 13, 1938, Armistice was made a legal holiday, a day dedicated to the cause of world peace. In 1953 the day was expanded to celebrate all veterans of war and on May 26, 1954, Dwight D. Eisenhower signed into law the observation of Veterans Day on November 11 of each year.
I find it quite poignant that we are reading Whitman’s war poetry as Veterans Day approaches.
In honor of all the men and women who have fought in the wars, present and past, I would like to take a moment to say thank you. And for those we have lost, a moment of silence.
For those we have lost….
My father’s father, Warren T. Schneider, was in the Army Infantry in WWII. It was 1944. He was killed in a recognizance mission in the French Pyrenees mountains. He was 22 years old. My dad was eight days old.
Each Memorial Day my father and I put flowers at his fathers grave. A few years ago it became clear just how young my grandfather was when he died. As I looked through the cemetery, I saw it with a different set of eyes than ever before. These men were the same age as the men and women fighting in our present war.
Our present war…
…our future veterans.
Regardless of your thoughts and opinions on war, I urge you to take a moment to thank a soldier on Wednesday. And if you feel compelled, leave a thought here about those who fight, those we’ve lost, those we love.
Reflections On War
This Wednesday, November 11 is Veterans Day. On May 13, 1938, Armistice was made a legal holiday, a day dedicated to the cause of world peace. In 1953 the day was expanded to celebrate all veterans of war and on May 26, 1954, Dwight D. Eisenhower signed into law the observation of Veterans Day on November 11 of each year.
I find it quite poignant that we are reading Whitman’s war poetry as Veterans Day approaches.
In honor of all the men and women who have fought in the wars, present and past, I would like to take a moment to say thank you. And for those we have lost, a moment of silence.
For those we have lost….
My father’s father, Warren T. Schneider, was in the Army Infantry in WWII. It was 1944. He was killed in a recognizance mission in the French Pyrenees mountains. He was 22 years old. My dad was eight days old.
Each Memorial Day my father and I put flowers at his fathers grave. A few years ago it became clear just how young my grandfather was when he died. As I looked through the cemetery, I saw it with a different set of eyes than ever before. These men were the same age as the men and women fighting in our present war.
Our present war…
…our future veterans.
Regardless of your thoughts and opinions on war, I urge you to take a moment to thank a soldier on Wednesday. And if you feel compelled, leave a thought here about those who fight, those we’ve lost, those we love.
Reflections On War
This Wednesday, November 11 is Veterans Day. On May 13, 1938, Armistice was made a legal holiday, a day dedicated to the cause of world peace. In 1953 the day was expanded to celebrate all veterans of war and on May 26, 1954, Dwight D. Eisenhower signed into law the observation of Veterans Day on November 11 of each year.
I find it quite poignant that we are reading Whitman’s war poetry as Veterans Day approaches.
In honor of all the men and women who have fought in the wars, present and past, I would like to take a moment to say thank you. And for those we have lost, a moment of silence.
For those we have lost….
My father’s father, Warren T. Schneider, was in the Army Infantry in WWII. It was 1944. He was killed in a recognizance mission in the French Pyrenees mountains. He was 22 years old. My dad was eight days old.
Each Memorial Day my father and I put flowers at his fathers grave. A few years ago it became clear just how young my grandfather was when he died. As I looked through the cemetery, I saw it with a different set of eyes than ever before. These men were the same age as the men and women fighting in our present war.
Our present war…
…our future veterans.
Regardless of your thoughts and opinions on war, I urge you to take a moment to thank a soldier on Wednesday. And if you feel compelled, leave a thought here about those who fight, those we’ve lost, those we love.
Jillian’s Trip to the Whitman House
On Saturday November 7, myself, Dr. Hoffman and some of my classmates met for a tour of the Whitman House at 328 Mickle Street (now known as Martin Luther King Blvd). To be honest, I was kind of dreading this trip. A Saturday morning, in Camden, at the Walt Whitman House was not my idea of a fun time. But the truth is, I loved it.
When we first arrived we were greeted outside and given a brief overview of the area during the time Whitman lived there. Presently, the house is part of only four row homes standing across from a prison. We were told that it is something of a miracle that the house still stands and I agree. When you think about all of the changes Camden has gone through, the fact that this house is still there, is amazing.
Before we went into the house we met Dick, our tour guide, and he gave us a short history of Whitman’s time in Camden. Dick was knowledgeable, funny and overall a great tour guide. You could tell talking about Whitman excited him, and in turn I also felt excited by the idea of being in the same place Whitman once lived.
As we toured through the house we were able to look up close at personal items of Walt’s like his furniture, pictures, boots and even his bathtub! As we toured through the house, Dick told stories about Walt and his family and friends. My favorite part of the house was the stained glass window that shined down the stairwell- it was simply beautiful. In fact, “simply beautiful” is the perfect way to sum up Whitman’s House. From the architecture, to the wall paper, to the photos on the wall, everything was something to awe at and I was taken with how close the house was to the original. Dick had pictures from when Whitman lived there and in it’s restoration, the house has truly been made to look like it did when he was there. Although some of the items are replicas, many of them are actual items of Whitman’s that were donated back from either his family or his friends.
While this is not a trip I feel compelled to take again, I encourage anyone interested in Whitman to make a visit to the house once in their life. Not only was this a lesson on Whitman’s life but I also learned a lot about the history of Camden as well.