Drum-Taps: Whitman's Problematic Legacy As a War Poet
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War Poets Anthology
,The War Poets An Anthology if the War Poetry -of the 20th Century . Edited with :an Introduction by Oscar Williams \\ . [, l , The]ohn Day Company • New York Virginia Commonwealth Univers~ty library :,\ " . P/1" I::}J$ Contents COPYRIGHT, 1945, BY OSCAR WILLIAMS W5~" , Introduction 3 All rights reserved. This book, or parts thereof, must not be reproduced in any form without permission. ,,Comments by the Poets. 12 Poems must not be reprinted without permission E. E. Cummings, 12; Geoffrey Grigson, 13; John Mani from the poets, their publishers or theiro agents. fold, 14; Donald Stau!fer, 15; Vernon Watkins, 16; Mark Van Doren, 17; Julian Symons, 17; Richard Eberhart, 18; Henry Treece, 20; Frederic Prokosch, ,21; Selden Rod Second Impression man, 22; Wallace Stevens, 23; Alan Ross, 24; Muriel Rukeyser, '25; Edwin Muir, 26; Karl Shapiro, 26; Hubert Creekmore, 27; Gavin Ewart, 28; John Pudney, 29; John Be"yman,29. , , , ' ;,THOMAS HARDY S POEM ON THE TURN OF THE . I CENTURY: The Darkling Thrush 31 ,'1 THE POETRY OF WORLD WAR I The Pity of It,' by THOMAs HARDY 33 WILFRED OWEN , Greater Love, 35; Arms and the Boy, 35; Inspection, 36; Anthem for Doomed Youth, 36; Dulce Et Decorum Est 37; Exposure, 38; Disabled,. 39; The Show, 40; Memai Cases, 41; Insensibility, 42; A Terre, 44; Strange Meeting 46. ' RUPERT BROOKE The Soldier; 48; The Great Lover, 48. E. E. CUMMINGS I Sing of Olaf, 51; my sweet old etcetera, 52. ROBERT GRAVES Recalling War, 54; Defeat of the Rebels, 55. HERBERT READ The End of a War, 56. -
David Bottoms, Poet Laureate of Georgia Featured at Georgia Poetry Society 118Th Quarterly Meeting
GEORGIA POETRY SOCIETY: SERVING GEORGIA’S POETS SINCE 1979 Volume 30, Number 2: Summer 2008 DAVID BOTTOMS, POET LAUREATE OF GEORGIA FEATURED AT GEORGIA POETRY SOCIETY 118TH QUARTERLY MEETING Come enjoy another exciting Other program highlights include the ever-popular program on Saturday, July 19, 2008 at member readings. Dr. Robert Simon will read from his new Kennesaw State University (KSU). We book of poetry, Jill Jennings will provide a workshop and the thank Dr. Robert Simon, faculty member Dr. Robert Lynn will unveil the GPS 2008 anthology, The at KSU and to the Department of Foreign Reach of Song. Languages and the College of Humanities Simon is Assistant Professor of Spanish at KSU. He has and Social Sciences for their support. taught both Spanish and Portuguese languages and has It is our good fortune to have as our investigated the presence of Surrealism, Mysticism and featured reader, David Bottoms, Poet Laureate of Georgia. postmodernism in Contemporary Peninsular Literature. He Bottoms was born in Canton Georgia in 1949. His first book, is widely published in several journals (The Reach of Song, Shooting Rats at the Bibb County Dump, was selected by The American Poetry Journal and The New York Quarterly) Robert Penn Warren as winner of the 1979 Walt Whitman and has a book of poetry, New Poems from the Airplane and Award of the Academy of American Poets. Bottoms’ poems Graveyard. He explains his poetry as “an exploration of the have been published in a wide variety of magazines that intimate connection between love, death, and the languages includes The Atlantic, The New Yorker, Harper’s, The Paris that harness and define me as both a poet and a scholar.” Review and Poetry, and more than four dozen anthologies Jennings has won top awards from several poetry and and textbooks. -
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. -
Artymiuk, Anne
UHI Thesis - pdf download summary Today's No Ground to Stand Upon A Study of the Life and Poetry of George Campbell Hay Artymiuk, Anne DOCTOR OF PHILOSOPHY (AWARDED BY OU/ABERDEEN) Award date: 2019 Awarding institution: The University of Edinburgh Link URL to thesis in UHI Research Database General rights and useage policy Copyright,IP and moral rights for the publications made accessible in the UHI Research Database are retained by the author, users must recognise and abide by the legal requirements associated with these rights. This copy has been supplied on the understanding that it is copyright material and that no quotation from the thesis may be published without proper acknowledgement, or without prior permission from the author. Users may download and print one copy of any thesis from the UHI Research Database for the not-for-profit purpose of private study or research on the condition that: 1) The full text is not changed in any way 2) If citing, a bibliographic link is made to the metadata record on the the UHI Research Database 3) You may not further distribute the material or use it for any profit-making activity or commercial gain 4) You may freely distribute the URL identifying the publication in the UHI Research Database Take down policy If you believe that any data within this document represents a breach of copyright, confidence or data protection please contact us at [email protected] providing details; we will remove access to the work immediately and investigate your claim. Download date: 29. Sep. 2021 ‘Today’s No Ground to Stand Upon’: a Study of the Life and Poetry of George Campbell Hay Anne Artymiuk M.A. -
Judgments Inexorable Rev
Judgments Inexorable Rev. Ken Read-Brown First Parish in Hingham (Old Ship Church) Unitarian Universalist May 24, 2015 Readings Isaiah 2:3-5 Many peoples will come and say, Come, let us go up to the mountain of the LORD, to the temple of the God of Jacob. He will teach us his ways, so that we may walk in his paths.” The law will go out from Zion, the word of the LORD from Jerusalem. He will judge between the nations and will settle disputes for many peoples. They will beat their swords into plowshares and their spears into pruning hooks. Nation will not take up sword against nation, nor will they train for war anymore. Come, descendants of Jacob, let us walk in the light of the LORD. “Reconciliation” from Drum-Taps by Walt Whitman Word over all, beautiful as the sky! Beautiful that war, and all its deeds of carnage, must in time be utterly lost; That the hands of the sisters Death and Night, incessantly softly wash again, and ever again, this soil’d world: …For my enemy is dead – a man divine as myself is dead; I look where he lies, white-faced and still, in the coffin – I draw near; I bend down and touch lightly with my lips the white face in the coffin. Sermon In the summer of 1865 a woman named Mary Dunbar Williams of Winchester, Virginia, organized a group of women to give proper burial to Confederate dead whose bodies were found in the countryside, and then to decorate those graves annually. -
Crane Chorus Crane Symphony Orchestra
JOHANNES BRAHMS A German Requiem JOSEPH FLUMMERFELT, Conductor 2015 Dorothy Albrecht Gregory Visiting Conductor* with the Crane Chorus and the Crane Symphony Orchestra NICOLE CABELL, soprano CRAIG VERM, baritone Saturday, May 2, 2015 at 7:30 pm Hosmer Hall at SUNY Potsdam *The partnership of the Dorothy Albrecht The Lougheed-Kofoed Festival of the Gregory Visiting Conductor Fund, established Arts is made possible by the generosity by Dorothy Albrecht Gregory ’61, and the and artistic vision of Kathryn (Kofoed) Adeline Maltzan Crane Chorus Performance ’54 and Donald Lougheed (Hon. ’54). Tour Fund, established by Dr. Gary C. Jaquay ’67, brings distinguished conductors to The Crane Media Sponsor School of Music for festival performances by the Crane Chorus and Crane Symphony Orchestra, and funds travel for major performances to venues outside of Potsdam. Welcome to the concluding performance of the fourth Lougheed-Kofoed Festival of the Arts, whose scope embracing all the arts, in a continuation of our campus’ historic Spring Festival of the Arts, is generously supported by the visionary gifts of Kathy Kofoed Lougheed ’54 and her husband Don Lougheed (Hon.) ’54. The featured choral-orchestral work on this evening’s program, Johannes Brahms’ beloved German Requiem, had been among those performed most frequently in the Spring Festival, having been featured on nine separate occasions, and having been conducted by some of the iconic figures in the Festival’s history. Helen Hosmer herself conducted it just two years after the beginning of this venerable series, in 1934; and in 1939 her friend and colleague Nadia Boulanger conducted the work. -
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. -
The Bard of the Black Chair: Ellis Evans and Memorializing the Great War in Wales
Volume 3 │ Issue 1 │ 2018 The Bard of the Black Chair: Ellis Evans and Memorializing the Great War in Wales McKinley Terry Abilene Christian University Texas Psi Chapter Vol. 3(1), 2018 Article Title: The Bard of the Black Chair: Ellis Evans and Memorializing the Great War in Wales DOI: 10.21081/AX0173 ISSN: 2381-800X Key Words: Wales, poets, 20th Century, World War I, memorials, bards This work is licensed under a Creative Commons Attribution 4.0 International License. Author contact information is available from the Editor at [email protected]. Aletheia—The Alpha Chi Journal of Undergraduate Scholarship • This publication is an online, peer-reviewed, interdisciplinary undergraduate journal, whose mission is to promote high quality research and scholarship among undergraduates by showcasing exemplary work. • Submissions can be in any basic or applied field of study, including the physical and life sciences, the social sciences, the humanities, education, engineering, and the arts. • Publication in Aletheia will recognize students who excel academically and foster mentor/mentee relationships between faculty and students. • In keeping with the strong tradition of student involvement in all levels of Alpha Chi, the journal will also provide a forum for students to become actively involved in the writing, peer review, and publication process. • More information and instructions for authors is available under the publications tab at www.AlphaChiHonor.org. Questions to the editor may be directed to [email protected]. Alpha Chi is a national college honor society that admits students from all academic disciplines, with membership limited to the top 10 percent of an institution’s juniors, seniors, and graduate students. -
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. -
Sidney Keyes: the War-Poet Who 'Groped for Death'
PINAKI ROY Sidney Keyes: The War-Poet Who ‘Groped For Death’ f the Second World War (1939-45) was marked by the unforeseen annihilation of human beings—with approximately 60 million military and civilian deaths (Mercatante 3)—the second global belligerence was also marked by an Iunforeseen scarcity in literary commemoration of the all-destructive belligerence. Unlike the First World War (1914-18) memories of which were recorded mellifluously by numerous efficient poets from both the sides of the Triple Entente and Central Powers, the period of the Second World War witnessed so limited a publication of war-writing in its early stages that the Anglo-Irish litterateur Cecil Day-Lewis (1904-72), then working as a publications-editor at the English Ministry of Information, was galvanised into publishing “Where are the War Poets?” in Penguin New Writing of February 1941, exasperatedly writing: ‘They who in folly or mere greed / Enslaved religion, markets, laws, / Borrow our language now and bid / Us to speak up in freedom’s cause. / It is the logic of our times, / No subject for immortal verse—/ That we who lived by honest dreams / Defend the bad against the worse’. Significantly, while millions of Europeans and Americans enthusiastically enlisted themselves to serve in the Great War and its leaders were principally motivated by the ideas of patriotism, courage, and ancient chivalric codes of conduct, the 1939-45 combat occurred amidst the selfishness of politicians, confusing international politics, and, as William Shirer notes, by unsubstantiated feelings of defeatism among world powers like England and France, who could have deterred the offensive Nazis at the very onset of hostilities (795-813). -
Drum-Taps and Battle-Pieces
Reconciliation as Sequel and Supplement: Drum-Taps and Battle-Pieces PETER J. BELLIS University of Alabama at Birmingham Whitman and Melville could have ended their books of Civil War poems with the close of hostilities, but for both writers an additional movement toward reunification and reconciliation is required to give the war shape and meaning: Drum-Taps requires a sequel and Battle-Pieces a supplement. In both cases, however, thematic or conceptual completion brings formal disruption: reconciliation is deferred or displaced into a separate section of the text and marked by an all too visible scar or seam. The break in Whitman’s text marks the point between wartime conflict and postwar reconciliation, a necessary pivot in what he comes to see as a single temporal and psychological process. For Melville, on the other hand, reconciliation is blocked by the politicized struggle of Reconstruction, a discursive shift that leaves the volume not so much temporally incomplete as structurally flawed. Whitman sees reconciliation as a task that poetry can still accomplish, given time; Melville fears that it may lie beyond the reach of discourse altogether. Mickle Street Review 21 | Spring 2016 | 2 hy does Drum-Taps require a sequel, and Battle-Pieces a supplement? Walt Whitman and Herman Melville could simply have ended their books with W the close of Civil War hostilities, but each decides against it. For both of them, something more is needed to give the war shape and meaning: an additional movement toward reunification and reconciliation. But in both cases, thematic or conceptual completion brings formal disruption: reconciliation is deferred or displaced into a separate section of the text and marked by an all too visible scar or seam.