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Leaves of Grass

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About the Author

Life and Background
A Whitman Chronology

From Inscriptions

“One’s-Self I Sing”
“As I Ponder’d in Silence”
“For Him I Sing”
“To the States”
“I Hear America Singing”
“Poets to Come”
“To You”
“Thou Reader”

“Song of Myself”

Introduction
Sections 1-5, lines 1-98
Sections 6-19, lines 99-388
Sections 20-25, lines 389-581
Sections 26-38, lines 582-975
Sections 39-41, lines 976-1053
Sections 42-52, lines 1054-1347

From Children Of Adam

“To the Garden of the World”
“Spontaneous Me”
“Ages and Ages Returning at Intervals”
“As Adam Early in the Morning”

From Calamus

“In Paths Untrodden”
“Scented Herbage of My Breast”
“Whoever You Are Holding Me Now in Hand”
“When I Heard at the Close of the Day”
“Are You the New Person Drawn Toward Me?”
“Not Heat Flames Up and Consumes”
“I Saw in Louisiana a Live-Oak Growing”
“Full of Life Now”
“Crossing Brooklyn Ferry”
“Song of the Broad-Axe”
“Pioneers! O Pioneers!”
“Out of the Cradle Endlessly Rocking”
“When I Heard the Learn’d Astronomer”
“Beat! Beat! Drums!”
“Cavalry Crossing a Ford”
“When Lilacs Last in the Dooryard Bloom’d”
“As Consequent, Etc.”
“There Was a Child Went Forth”
“Passage to India”
“The Sleepers”
“To a Locomotive in Winter”
“As the Time Draws Nigh”
“So Long!”
“Queries to My Seventieth Year”
“America”
“Good-Bye My Fancy!”

Critical Analysis

Form
Style
Themes
The Quintessential American Poet
Whitman’s Achievement

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From Calamus

“Crossing Brooklyn Ferry”

Thus section 5 is the central core of the poem. The poet, in seeking his own physical and spiritual identity, endeavors to unite his sensibility with that of his reader. His experience transcends the limits of the Brooklyn ferry and is universalized. His quest now becomes more intellectual than before; the “curious abrupt questionings” are no longer emotional. Wishing to suggest the quality of spiritual unification, Whitman has used the metaphor of a chemical solution: “The float forever held in solution” is the infinite ocean of spiritual life which contains the “potential” of all life. The spiritual solution is the source of one’s being. The use of the term “solution” is significant because it indicates the merging of man’s existence with his spirit. Spiritually, he is united with future generations and with all of mankind.

In section 6 the poet tells us that he has been engulfed by the same “dark patches” of doubt which have engulfed the reader. His best actions have appeared “blank” and “suspicious.” He, too, has known “what it was to be evil” and he, too, “blabb’d, blush’d, resented, lied, stole, grudg’d,/Had guile, anger, lust, hot wishes I dared not speak.” But life, finally, is what we make it—”the same old role ... as great as we like,/Or as small as we like.” The “old knot of contrariety” the poet has experienced refers to Satan and his evil influence on man, which creates the condition of contraries, of moral evil and good in human life. The poet suffered from these evil influences, as have all men. So, the poet implies, do not feel alone because you have been this way—one must accept both the pure and the impure elements of life.

In section 7, the poet, addressing his reader, says: “Closer yet I approach you.” The poet is thinking as much of the reader-yet-unborn as the reader, while he reads, is now thinking of the poet. And perhaps now, though he cannot be seen, the poet is watching the reader. The poet is trying to establish a link between himself and his future readers. The link is not only of location (as on the ferry) but of thought processes as well. These thought processes will eventually lead to the mystical fusion between the poet and the reader.

In section 8, Whitman describes the beauty of the Manhattan harbor, the sunset on the river, the seagulls, and the twilight. He realizes that the bonds between himself and other people are subtle but enduring. Between himself and the person who “looks in my face” is the subtlest bond. The union between himself and others cannot be understood in ordinary terms, by teaching, or by preaching—it is more mystical and intuitive. Recalling the scene of the river and the people with whom he was associated, he evokes the spiritual bond that links man with his fellow men. The reference to fusion (“which fuses me into you now”) is the basic ideal the poet sought in the beginning. The union with the reader is mystical and beyond the bounds of rational thought or philosophy.

In section 9, the poet invokes the river to flow “with the flood-tide,” the clouds to shower upon him and the other passengers, and the “tall masts of Mannahatta” to stand up. He calls on everything—the bird, the sky, and the water—to keep on fulfilling their function with splendor, for everything is part of the universal life flow. The poet desires that the “eternal float of solution” should suspend itself everywhere. Physical objects, like “dumb, beautiful ministers,” wait for their union with the poet’s soul. Thus, at the end of the poem, Whitman addresses himself to material objects, which are also part of the life process because they are useful to man.

This section is significant in that it uses the language of incantation. The poet invokes the images of his experiences to suggest the flowing of time. The physical existence of man is like a ferry plying between the two shores of mortality and immortality. He and his fancy (his imagination) use objects to express the idea of the search for the eternal beyond the transient. This search, or the function of fancy, is exemplified by the ferry ride which moves from a point in the physical world to a destination in the spiritual world. This journey of the spirit can take place easily in a universe which is harmonious and well adjusted.


“Crossing Brooklyn Ferry”: 1 2
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