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Synopsis Drum Taps
Drum-Taps Synopsis “Drum-Taps” is a sequence of 43 poems about the Civil War, and stands as the finest war poetry written by an American. In these poems Whitman presents, often in innovative ways, his emotional experience of the Civil War. The sequence as a whole traces Whitman's varying responses, from initial excitement (and doubt), to direct observation, to a deep compassionate involvement with the casualties of the armed conflict. The mood of the poems varies dramatically, from excitement to woe, from distant observation to engagement, from belief to resignation. Written ten years after "Song of Myself," these poems are more concerned with history than the self, more aware of the precariousness of America's present and future than of its expansive promise. In “Drum-Taps” Whitman projects himself as a mature poet, directly touched by human suffering, in clear distinction to the ecstatic, naive, electric voice which marked the original edition of Leaves of Grass . First published as a separate book of 53 poems in 1865, the second edition of Drum-Taps included eighteen more poems ( Sequel to Drum-Taps ). Later the book was folded into Leaves of Grass as the sequence “Drum-Taps,” though many individual poems were rearranged and placed in other sections. By the final version (1881), "Drum-Taps" contained only 43 poems, all but five from Drum-Taps and Sequel . Readers looking for a reliable guide to the diverse issues raised in the sequence would be advised to turn to the fine study by Betsy Erkkila. Interested readers will find the more ironic and contemplative poems of Herman Melville's Battle Pieces and Aspects of the War (1866) a remarkable counterpoint to Whitman's poems. -
The (Queer) Wound Dresser For
The (Queer) Wound Dresser: Expanding Walt Whitman’s Place in Nursing History by Tyler Gaedecke If asked to identify an example of a well-known LGBTQ+ person in the nursing profession’s history, very few people would immediately have a name in mind. Lacking specific physical or apparent characteristics across time, Lesbian, Gay, Bisexual, Transgender, and Queer individuals are easily passed over in historical analysis. These individuals, often grouped under the umbrella term “queer” (depending on who you ask), have not looked the same throughout history – and they still do not. This fact has interacted with ever-changing social constructions of gender and sexuality to create a historical veil of heteronormativity that obscures those individuals we might conceive of as queer in modern terms. Is it any surprise, then, that such a gendered profession as nursing would be no exception? If queer individuals are people who fall outside of norms surrounding sex and gender, one could guess that these people would find nursing’s rigid and gendered history unforgiving. However, to assume that such queer nurses did not exist reflects a failure to understand that history has a tendency to gloss over difference. A quick reach into America’s history reveals that the answers may be under our noses if we take the time to revisit them. In this case, one can look to Walt Whitman. An incredibly well-known American poet, his writing also often identifies him as a prominent queer individual in the country’s history—but he was also a volunteer nurse. Though Walt Whitman’s image as an iconic, queer American poet is well-known, his time as a nurse in the Civil War is far less prominent. -
Walt Whitman (1819-1892)
Whitman 1 Walt Whitman (1819-1892) 2 Section headings and information Poems 6 “In Cabin’d Ships at Sea” 7 “We Two, How Long We Were Foole’d” 8 “These I Singing in Spring” 9 “France, the 18th Year of These States” 10 “Year of Meteors (1859-1860)” 11 “Song for All Seas, All Ships” 12 “Gods” 13 “Beat! Beat! Drums!” 14 “Vigil Strange I Kept on the Field one Night” 15 “A March in the Ranks Hard-Prest, and the Road Unknown” 16 “O Captain! My Captain!” 17 “Unnamed Lands” 18 “Warble for Lilac-Time” 19 “Vocalism” 20 “Miracles” 21 “An Old Man’s Thought of School” 22 “Thou Orb Aloft Full-Dazzling” 23 “To a Locomotive in Winter” 24 “O Magnet-South” 25 “Years of the Modern” Source: Leaves of Grass. Sculley Bradley and Harold W. Blodgett, ed. NY: W.W. Norton & Company, 1973. Print. Note: For the IOC, copies of the poems will contain no information other than the title, the poem’s text, and line numbers. Whitman 2 Leaves of Grass, 1881, section headings for those poems within this packet WW: Walt Whitman LG: Leaves of Grass MS: manuscript “Inscriptions” First became a group title for the opening nine poems of LG 1871. In LG 1881 the group was increased to the present twenty-four poems, of which one was new. “Children of Adam” In two of his notes toward poems WW set forth his ideas for this group. One reads: “A strong of Poems (short, etc.), embodying the amative love of woman—the same as Live Oak Leaves do the passion of friendship for man.” (MS unlocated, N and F, 169, No. -
Ralph Waldo Emerson and the Ever-Evolving Art of Self
RALPH WALDO EMERSON AND THE EVER-EVOLVING ART OF SELF-RELIANT READING BY THEODORE REND BARTON A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS English December 2012 Winston-Salem, North Carolina Approved by: Eric Wilson, Ph.D., Advisor Barry Maine, Ph.D., Chair Omaar Hena, Ph.D. My efforts and their results are dedicated to my grandmothers Irene Sauban and Jeanne Barton whose lives demonstrated the magnanimous effects of constant reading, and also to my brother William Barton who never hesitates to read from the text of the world. ii ACKNOWLEDGEMENTS This project and I are indebted to innumerable people for their love, support, and patience. I will always have indefatigable gratitude for my time with Eric Wilson, and for his indelible influence on my intellectual development while at Wake Forest University and in London. It must be rare that a graduate student is given the opportunity to study with a mentor whom he truly admires and looks up to, and I am cognizant of how lucky I’ve been. Similarly, it’s difficult to express the extent of my appreciation for Omaar Hena, but it’s clear that Wake is unbelievably lucky to employ him for what is certain to be a ground breaking and distinguished career in post-colonial studies. I also must thank my Cal. State professors Chad Luck, Margaret Doane, Cynthia Cotter, and Julie Sophia Paegle for preparing me for the rigors of graduate school and for their encouragement. -
Calamus, Drum-Taps, and Whitman's Model of Comradeship
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1996 Calamus, Drum-Taps, and Whitman's Model of Comradeship Charles B. Green College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Literature Commons Recommended Citation Green, Charles B., "Calamus, Drum-Taps, and Whitman's Model of Comradeship" (1996). Dissertations, Theses, and Masters Projects. Paper 1539626051. https://dx.doi.org/doi:10.21220/s2-61z8-wk77 This Thesis is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. "CALAMUS," DRUM-TAPS, AND WHITMAN’S MODEL OF COMRADESHIP A Thesis Presented to The Faculty of the Department of English The College of William and Mary in Virginia In Partial fulfillment of the Requirements for the Degree of Master of Arts by Charles B. Green 1996 APPROVAL SHEET This thesis is submitted in partial fulfillment of the requirements for the degree of Master of Arts Author Approved, December 1996 Kenneth M. Price Robert SdnoLhick Li chard Lowry 11 ACKNOWLEDGEMENTS The writer wishes to express his appreciation to Professor Kenneth M. Price, under whose supervision this project was conducted, for his patient guidance and criticism throughout the process. ABSTRACT The purpose of this paper is to explore the relationship between Whitman's "Calamus" and Drum-Taps poems, and to determine the methods by which the poet communicates what Michael Moon calls in his Disseminating Whitman: Revision and Corporeality in Leaves of Grass "a program" of revising the "meaning of bodily experience" in terms of man to man affection. -
Crossing Brooklyn Ferry: an Online Critical Edition
ride. A review journal for digital editions and resources published by the IDE Crossing Brooklyn Ferry: An Online Critical Edition Crossing Brooklyn Ferry: An Online Critical Edition, Jesse Merandy (ed.), 2008. http://msr- archives.rutgers.edu/CBF/ (Last Accessed: 24.06.2017). Reviewed by Mellissa Hinton (Long Island University/Post Campus), Mellissa.Hinton (at) liu.edu. Abstract Jesse Merandy’s legacy project, Crossing Brooklyn Ferry: An Online Critical Edition (2008-09), presents new avenues for reading and studying American poet Walt Whitman’s iconic work. Aimed at an audience of students and scholars, the site includes the text of Whitman’s acclaimed poem as it evolved through five editions of Leaves of Grass published during the poet’s lifetime. The site also includes critical commentary and analysis; edition comparisons; still and moving images; audio files; and a walking tour of Brooklyn, New York. The site is archived as an issue of Mickle Street Review, an online journal published by Rutgers University at its Camden, New Jersey campus. Its archiving ensures a measure of stability and user expectation that Merandy’s website will remain accessible as an open access resource. However, the static archiving also prevents site updating. As a result, many broken links remain on the site, as do typos, and textual transcription errors. There is no evidence of TEI/XML coding which limits reusability of text. Since quality transcription is expected in a scholarly digital edition, as is an XML layer, this site cannot be considered a scholarly digital edition. In spite of the limitations, however, Merandy’s project is a fascinating one that provides the user with a multi- sensory experience that transcends what one would have experienced in a print-only environment. -
A Higher Sphere of Thought”
“A HIGHER SPHERE OF THOUGHT”: EMERSON’S USE OF THE EXEMPLUM AND EXEMPLUM FIDEI By CHARLA DAWN MAJOR Master of Arts Oklahoma State University Stillwater, Oklahoma 1995 Bachelor of Arts The University of Texas at Dallas Richardson, Texas 1990 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of DOCTOR OF PHILOSOPHY December, 2005 “A HIGHER SPHERE OF THOUGHT”: EMERSON’S USE OF THE EXEMPLUM AND EXEMPLUM FIDEI Dissertation Approved: _______________Jeffrey Walker________________ Dissertation Adviser _____________William M. Decker_______________ _______________Edward Jones________________ ________________L. G. Moses_________________ ______________A. Gordon Emslie_______________ Dean of the Graduate College ii ACKNOWLEDGEMENTS I wish to express my sincere appreciation to my advisor, Dr. Jeffrey Walker, for his guidance, support, and friendship, not only during the considerable duration of this work but throughout the entire course of my graduate studies here at Oklahoma State University. No one could ask for a better teacher, advisor, mentor, and friend, and I have gained immeasurably from this long association. I consider myself extremely fortunate and blessed. My gratitude extends to my committee members. Dr. William Decker has been a continual source of guidance and resources and has consistently perpetuated my interest in both this subject and literary period. Dr. Edward Jones, who has been there from the very beginning, has been a great source of guidance, assistance, encouragement, and friendship and has demonstrated a welcome propensity for being available to me at critical points in my education. And Dr. L. G. Moses, my most recent acquaintance, has offered a unique intelligence and wit that made this dissertation a truly enjoyable learning experience. -
The Self and the World Or the Spirit of America in Walt Whitman's 'Song of Myself'*
Maria João Pires Universidade do Porto The Self and the World or the Spirit of America in Walt Whitman’s ‘Song of Myself’* Clear and sweet is my soul, and clear and sweet is all that is not my soul. Lack one lacks both and the unseen is proved by the seen, Till that becomes unseen and receives proof in its turn. Walt Whitman In the Preface to the first edition of Leaves of Grass, Walt Whitman announced, con- ventionally enough, a demand that, in the seventy-ninth year of the American Revolu- tion, had become almost a formula. For a new nation there must be a new literature, forsaking whatever traditions were now lifeless, inventing ways to reveal whatever in America was yet unsung. And given the possibilities of the subject, the task seemed one that could be approached directly enough. "The United States themselves are essentially the greatest poem”, he wrote. He began to give examples. The common people – "the picturesque looseness of their carriage”, “their good temper and open handedness – the terrible significance of their elections – the President's taking off his hat to them not they to him – these too are unrhymed poetry”. He continued, describing the continent itself, its fauna and flora. “So rich and various a subject! A poet who would be truly America's poet need only act reflexively: the land itself, he said, was creative and had “vista”. “It awaits the gigantic and generous treatment worthy of it” (Whitman, 1959: 411-12). Whitman's words at first summon an essentially descriptive, visualist poetry reciting the grandeur of the continent and the vitality and diversity of human life in the demo- cracy that flourished there. -
Mary Moody Emerson
MARY MOODY EMERSON GAVE HIGH COUNSELS. IT WAS THE PRIVILEGE OF CERTAIN BOYS TO HAVE THIS IMMEASURABLY HIGH STANDARD INDICATED TO THEIR CHILDHOOD; A BLESSING WHICH NOTHING ELSE IN 1 EDUCATION COULD SUPPLY. 1. This description was created by Elizabeth Hoar and would appear on Miss Mary Moody Emerson’s tombstone. HDT WHAT? INDEX T N A M U R Y A A M I T A 2 MISS MARY “POLLY” MOODY EMERSON WALDO’S RELATIVES “NARRATIVE HISTORY” AMOUNTS TO FABULATION, THE REAL STUFF BEING MERE CHRONOLOGY 2. “Tnamurya” and “Amita” were names used by Waldo Emerson to mask or minimize the influence upon him of his Aunt Mary. HDT WHAT? INDEX A M I T A T N A M U R Y A Table of Altitudes Yoda 2 ' 0 '' Lavinia Warren 2 ' 8 '' Tom Thumb, Jr. 3 ' 4 '' Lucy (Australopithecus Afarensis) 3 ' 8 '' Hervé Villechaize (“Fantasy Island”) 3 ' 11'' Charles Proteus Steinmetz 4 ' 0 '' Mary Moody Emerson per FBS (1) 4 ' 3 '' Alexander Pope 4 ' 6 '' Benjamin Lay 4 ' 7 '' Dr. Ruth Westheimer 4 ' 7 '' Gary Coleman (“Arnold Jackson”) 4 ' 8 '' Edith Piaf 4 ' 8 '' Queen Victoria with osteoporosis 4 ' 8 '' Linda Hunt 4 ' 9 '' Queen Victoria as adult 4 ' 10 '' Mother Teresa 4 ' 10 '' Margaret Mitchell 4 ' 10 '' length of newer military musket 4 ' 10'' Charlotte Brontë 4 ' 10-11'' Tammy Faye Bakker 4 ' 11'' Soviet gymnast Olga Korbut 4 ' 11'' jockey Willie Shoemaker 4 ' 11'' Henri de Toulouse-Lautrec 4 ' 11'' Joan of Arc 4 ' 11'' Bonnie Parker of “Bonnie & Clyde” 4 ' 11'' Harriet Beecher Stowe 4 ' 11'' Laura Ingalls Wilder 4 ' 11'' a rather tall adult Pygmy male 4 ' 11'' Gloria Swanson 4 ' 11''1/2 Clara Barton 5 ' 0 '' Isambard Kingdom Brunel 5 ' 0 '' Andrew Carnegie 5 ' 0 '' Thomas de Quincey 5 ' 0 '' Stephen A. -
Whitman's "Word of the Modern" and the First Modern War
Volume 7 Number 1 ( 1989) pps. 1-14 Whitman's "Word of the Modern" and the First Modern War Katherine Kinney ISSN 0737-0679 (Print) ISSN 2153-3695 (Online) Copyright © 1989 Katherine Kinney Recommended Citation Kinney, Katherine. "Whitman's "Word of the Modern" and the First Modern War." Walt Whitman Quarterly Review 7 (Summer 1989), 1-14. https://doi.org/10.13008/2153-3695.1230 This Essay is brought to you for free and open access by Iowa Research Online. It has been accepted for inclusion in Walt Whitman Quarterly Review by an authorized administrator of Iowa Research Online. For more information, please contact [email protected]. WHITMAN'S "WORD OF THE MODERN" AND THE FIRST MODERN WAR KATHERINE KINNEY IN THE GETTYSBURG ADDRESS, Abraham Lincoln accomplished what few other Americans of the day could manage; in the face of the Civil War's most terrible effects, Lincoln offered no qualification for placing the War within a providential vision of American history. Standing at Gettysburg, on the ground where, just four months before, over 50,000 men had fallen in three days of battle, Lincoln affirmed without equiv ocation that the blood which soaked the ground had consecrated the nation's rebirth. In The Unwritten War, Daniel Aaron describes the doubts and conflicts which plagued the leading authors of the day, preventing, as Aaron argues, anyone from producing the long hoped for national epic-the American Paradise Lost. In particular, Aaron sug gests, writers like Herman Melville, Mark Twain, and Henry Adams feared that the North as well as the South had been destroyed by the war. -
The Saylor Foundation 1 Ralph Waldo Emerson's “The Poet”
Ralph Waldo Emerson’s “The Poet” While now best known as a philosopher, essayist, and lecturer, Emerson, at different times in his career, avowed that he saw himself first and foremost as a poet. First appearing in his collection Essays: Second Series (1844), “The Poet” marks Emerson’s most sustained attempt at defining the vocation of the poet and his central importance within Emerson’s broader philosophical thought. Like all of Emerson’s essays, “The Poet” is difficult to summarize as it moves from point to point, working more through suggestiveness and the reworking of similar ideas in slightly different formulations rather than through sustained argument. Certain chief ideas stand out, however, echoing Emerson’s comments throughout his career on the role of art in human life—the celebration of intuition and inspiration over learning and technique; the connections among the material universe of nature, the individual mind, and the divine, universal, spiritual truth; and a tension between an egalitarian emphasis on the capacity of every human to access this truth and his exaltation of the few who most fully provoke or lead the rest to see the truth. One of Emerson’s most famous phrases appears early in “The Poet,” placing him squarely within Romanticism’s emphasis on organic, as opposed to imposed, form: “For it is not meters, but a meter-making argument that makes a poem,--a thought so passionate and alive that like the spirit of a plant or an animal it has an architecture of its own, and adorns nature with a new thing.” While most of Emerson’s poetry was fairly conventional in its form, in terms of meter and rhyme, stanzaic construction, etc., he emphasizes the form should follow from the inspiration, the feeling, or thought that creates the poem and gives it life. -
Actualizing Identity, Self-Actualization in Emily Dickinson's Poetry
Journal of Novel Applied Sciences Available online at www.jnasci.org ©2014 JNAS Journal-2014-3-3/337-343 ISSN 2322-5149 ©2014 JNAS Actualizing Identity, Self-Actualization in Emily Dickinson’s Poetry Nasim Zahedi Doost1* and Leila Baradaran Jamili2 1- MA Student of English Language and Literature, Islamic Azad University, Boroujerd Branch, Iran 2- Assisstant Professor of English Language and Literature, Islamic Azad University, Boroujerd Branch, Iran Corresponding author: Nasim Zahedi Doost ABSTRACT: Searching for or actualizing identity is to become what one truly is, indeed, self- actualization refers to the fact of using one’s ability to achieve the meaning of life as much as he can. Having a strong identity, which helps people to be successful in their life, needs a strong self-confidence. Actualizing identity helps man to find a sense of selfhood resulting in or leading to a sense of self- actualization. In this sense, Emily Elizabeth Dickinson (1830-1886), the American poet, who was greatly influenced by Ralph Waldo Emerson’s (1803-1882) doctrine of self-reliance, attempts to reach self- actualization. Dickinson’s poems, offering the power and completeness of self, show a theme of selfhood, autonomy and self-actualization. For instance, “The Soul Selects her own Society,” “On a Columnar Self, You’ll Know it,” and “I’m Ceded—I’ve Stopped Being Their’s—” are some of her famous poems, which contain a lot of signs of actualizing identity and self-actualization; they also emphasize the soul’s power. The present paper uses the theory of self-actualization by Abraham Harold Maslow (1908- 1970) and Carl Rogers (1902-1987), to challenge and analyze different aspects of actualization, and self-actualization in Dickinson’s poetry.