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WWWalt Whitman

Walt Whitman

Life dates: 1819 AD — 1892 AD

American poet whose extended verse connects observation with questions about the self and belonging. Read complete poems and attend to the changes between anthology wording and related editions.

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Life and writing

Walt Whitman lived from 1819 to 1892. The Academy of American Poets documents his work in printing, teaching and journalism, and the first publication of Leaves of Grass in 1855. It also describes his continuing revisions of that collection. Those facts explain why an edition deserves attention when reading a short excerpt. This profile supplies documented lifetime context for the existing archive identity while preserving its undated records and the separate uncertainty of supplied attributions.

A Noiseless Patient Spider moves from an observed creature to an address to the soul, making connection an imaginative undertaking. Quicksand Years instead asks what remains when external arrangements lose their stability. Both poems have checked locations in the linked collection, but their relation to the signed anthology differs. The spider selection uses how where this e-text uses where, and threads where it uses thread. Quicksand Years matches under limited punctuation, case and spacing comparison. These comparisons do not establish which edition an anthology compiler used.

Reading this voice

Begin with A Noiseless Patient Spider and Quicksand Years in full. Compare how each voice handles isolation or uncertainty without making the metaphor a literal rule. The 170 associated records include six signed historical anthology selections and 164 supplied records; the latter remain independently unverified. The linked text’s print edition is unspecified, and the 1855 first-publication fact does not date every poem or archive passage.

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Words to begin with

Quotations and sayings

04c. 1855 AD
Poets to ComePOETS to come! orators, singers, musicians to come!Not to-day is to justify me, and answer what I am for;But you, a new brood, native, athletic, continental, greater than before known,Arouse! Arousefor you must justify meyou must answer.I myself but write one or two indicative words for the future,I but advance a moment, only to wheel and hurry back in the darkness.I am a man who, sauntering along, without fully stopping, turns a casual look upon you, and then averts his face,Leaving it to you to prove and define it,Expecting the main things from you.
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06c. 1855 AD
Song of myselfA child said What is the grass? fetching it to me with full hands; How could I answer the child? I do not know what it is any more than he. I guess it must be the flag of my disposition, out of hopeful green stuff woven. Or I guess it is the handkerchief of the Lord, A scented gift and remembrancer designedly dropt, Bearing the owner's name someway in the corners, that we may see and remark, and say Whose? Or I guess the grass is itself a child, the produced babe of the vegetation.
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14c. 1855 AD
Have you reckon'd a thousand acres much? have you reckon'd the earth much? Have you practis'd so long to learn to read? Have you felt so proud to get at the meaning of poems? Stop this day and night with me and you shall possess the origin of all poems, You shall possess the good of the earth and sun, (there are millions of suns left,) You shall no longer take things at second or third hand, nor look through the eyes of the dead, nor feed on the spectres in books, You shall not look through my eyes either, nor take things from me, You shall listen to all sides and filter them from your self.
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17c. 1855 AD
The last scud of day holds back for me, It flings my likeness after the rest and true as any on the shadow'd wilds, It coaxes me to the vapor and the dusk.I depart as air, I shake my white locks at the runaway sun, I effuse my flesh in eddies, and drift it in lacy jags.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 your nevertheless,And filter and fibre your blood.Failing to fetch me at first keep encouraged,Missing me one place, search another,I stop somewhere waiting for you.
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21c. 1855 AD
When the full-grown poet came,Out spake pleased Nature (the round impassive globe, with all its shows of day and night,) saying, He is mine;But out spake too the Soul of man, proud, jealous and unreconciled, Nay, he is mine alone;— Then the full-grown poet stood between the two, and took each by the hand;And to-day and ever so stands, as blender, uniter, tightly holding hands,Which he will never release until he reconciles the two,And wholly and joyously blends them.
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23c. 1855 AD
Song of myselfWith music strong I come, with my cornets and my drums, I play not marches for accepted victors only, I play marches for conquer'd and slain persons. Have you heard that it was good to gain the day? I also say it is good to fall, battles are lost in the same spirit in which they are won. I beat and pound for the dead, I blow through my embouchures my loudest and gayest for them. Vivas to those who have fail'd! And to those whose war-vessels sank in the sea! And to those themselves who sank in the sea! And to all generals that lost engagements, and all overcome heroes! And the numberless unknown heroes equal to the greatest heroes known!
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24c. 1855 AD
Song of myselfNow I will do nothing but listen, To accrue what I hear into this song, to let sounds contribute toward it. I hear bravuras of birds, bustle of growing wheat, gossip of flames, clack of sticks cooking my meals, I hear the sound I love, the sound of the human voice, I hear all sounds running together, combined, fused or following, Sounds of the city and sounds out of the city, sounds of the day and night, Talkative young ones to those that like them, the loud laugh of work-people at their meals, The angry base of disjointed friendship, the faint tones of the sick, The judge with hands tight to the desk, his pallid lips pronouncing a death-sentence, The heave'e'yo of stevedores unlading ships by the wharves, the refrain of the anchor-lifters, The ring of alarm-bells, the cry of fire, the whirr of swift-streaking engines and hose-carts with premonitory tinkles and color'd lights, The steam-whistle, the solid roll of the train of approaching cars, The slow march play'd at the head of the association marching two and two, (They go to guard some corpse, the flag-tops are draped with black muslin.) I hear the violoncello, ('tis the young man's heart's complaint,) I hear the key'd cornet, it glides quickly in through my ears, It shakes mad-sweet pangs through my belly and breast. I hear the chorus, it is a grand opera, Ah this indeed is music--this suits me.
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