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Anwar Mammoth
Anwar Mammoth

Leaves Of Grass REPACK

On May 15, 1855, Whitman registered the title Leaves of Grass with the clerk of the United States District Court, Southern District of New Jersey, and received its copyright.[7] The title is a pun, as grass was a term given by publishers to works of minor value, and leaves is another name for the pages on which they were printed.[8] The first edition was published in Brooklyn at the printing shop of two Scottish immigrants, James and Andrew Rome, whom Whitman had known since the 1840s.[9] The shop was located at Fulton Street (now Cadman Plaza West) and Cranberry Street, now the site of apartment buildings that bear Whitman's name.[10][11] Whitman paid for and did much of the typesetting for the first edition himself.

leaves of grass

In a constantly changing culture, Whitman's literature has an element of timelessness that appeals to the American notion of democracy and equality, producing the same experience and feelings within people living centuries apart.[34] Originally written at a time of significant urbanization in America, Leaves of Grass also responds to the impact such has on the masses.[35] The title metaphor of grass, however, indicates a pastoral vision of rural idealism.

The land and sea, the animals, fishes and birds, the sky of heaven and the orbs, the forests mountains and rivers, are not small themes . . . but folk expect of the poet to indicate more than the beauty and dignity which always attach to dumb real objects. . . . they expect him to indicate the path between reality and their souls. Men and women perceive the beauty well enough . . . probably as well as he. The passionate tenacity of hunters, woodmen, early risers, cultivators of gardens and orchards and fields, the love of healthy women for the manly form, seafaring persons, drivers of horses, the passion for light and the open air, all is an old varied sign of the unfailing perception of beauty and of a residence of the poetic in outdoor people. They can never be assisted by poets to perceive. . . . some may but they never can. The poetic quality is not marshalled in rhyme or uniformity or abstract addresses to things nor in melancholy complaints or good precepts, but is the life of these and much else and is in the soul. The profit of rhyme is that it drops seeds of a sweeter and more luxuriant rhyme, and of uniformity that it conveys itself into its own roots in the ground out of sight. The rhyme and uniformity of perfect poems show the free growth of metrical laws and bud from them as unerringly and loosely as lilacs or roses on a bush, and take shapes as compact as the shapes of chestnuts and oranges and melons and pears, and shed the perfume impalpable to form. The fluency and ornaments of the finest poems or music or orations or recitations are not independent but dependent. All beauty comes from beautiful blood and a beautiful brain. If the greatnesses are in conjunction in a man or woman it is enough. . . . the fact will prevail through the universe . . . but the gaggery and gilt of a million years will not prevail. Who troubles himself about his ornaments or fluency is lost. This is what you shall do: Love the earth and sun and the animals, despise riches, give alms to every one that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence toward the people, take off your hat to nothing known or unknown or to any man or number of men, go freely with powerful uneducated persons and with the young and with the mothers of families, read these leaves in the open air every season of every year of your life, re-examine all you have been told at school or church or in any book, dismiss whatever insults your own soul, and your very flesh shall be a great poem and have the richest fluency not only in its words but in the silent lines of its lips and face and between the lashes of your eyes and in every motion and joint of your body. . . . The poet shall not spend his time in unneeded work. He shall know that the ground is always ready ploughed and manured. . . . others may not know it but he shall. He shall go directly to the creation. His trust shall master the trust of everything he touches . . . and shall master all attachment.

The art of art, the glory of expression and the sunshine of the light of letters is simplicity. Nothing is better than simplicity. . . . nothing can make up for excess or for the lack of definiteness. To carry on the heave of impulse and pierce intellectual depths and give all subjects their articulations are powers neither common nor very uncommon. But to speak in literature with the perfect rectitude and insouciance of the movements of animals and the unimpeachableness of the sentiment of trees in the woods and grass by the roadside is the flawless triumph of art. If you have looked on him who has achieved it you have looked on one of the masters of the artists of all nations and times. You shall not contemplate the flight of the graygull over the bay or the mettlesome action of the blood horse or the tall leaning of sunflowers on their stalk or the appearance of the sun journeying through heaven or the appearance of the moon afterward with any more satisfaction than you shall contemplate him. The greatest poet has less a marked style and is more the channel of thoughts and things without increase or diminution, and is the free channel of himself. He swears to his art, I will not be meddlesome, I will not have in my writing any elegance or effect or originality to hang in the way between me and the rest like curtains. I will have nothing hang in the way, not the richest curtains. What I tell I tell precisely for what it is. Let who may exalt or startle or fascinate or sooth I will have purposes as health or heat or snow has and be as regardless of observation. What I experience or portray shall go from my composition without a shred of my composition. You shall stand by my side and look in the mirror with me.

Great is the faith of the flush of knowledge and of the investigation of the depth of qualities and things. Cleaving and circling here swells the soul of the poet yet is president of itself always. The depths are fathomless and therefore calm. The innocence and nakedness are resumed . . . they are neither modest nor immodest. The whole theory of the special and supernatural and all that was twined with it or educed out of it departs as a dream. What has ever happened. . . . what happens and whatever may or shall happen, the vital laws enclose all. . . . they are sufficient for any case and for all cases . . . none to be hurried or retarded. . . . any miracle of affairs or persons inadmissible in the vast clear scheme where every motion and every spear of grass and the frames and spirits of men and women and all that concerns them are unspeakably perfect miracles all referring to all and each distinct and in its place. It is also not consistent with the reality of the soul to admit that there is anything in the known universe more divine than men and women.

In the episode "Hazard Pay", Walt finds his copy of Leaves of Grass as he is packing up his bedroom, briefly smiles and leaves the book out to read. When Walt discovers the book, he is at an especially high time in his life, where he feels that things are coming together and he is succeeding in all ventures. A poem in the book, "Song of Myself", is based on many of these same feelings, furthering the connection between Walt's life and Whitman's poetry.

BibGuru offers more than 8,000 citation styles including popular styles such as AMA, ASA, APSA, CSE, IEEE, Harvard, Turabian, and Vancouver, as well as journal and university specific styles. Give it a try now: Cite Leaves of grass now!

In this quotation from section 6 of the 1891 version of 'Song of Myself', Whitman elevates nature (the grass) as something that is beyond plant or animal. This quotation embodies Romanticism by indicating that nature is something that is interconnected with the bodies of young men, particularly those who have died and been buried. The poem then goes on to explore more and more thoroughly how nature is something that is a part of humanity and the spirit as opposed to something separate.

Leaves of Grass was written immediately before the Symbolist movement in France in the late 1800s. Walt Whitman and the Symbolists had much in common, both using sensory perceptions to engage with the universe, and moving away from traditional poetic norms. Whitman uses plenty of symbols throughout his work, including grass, drums, the lilacs, the sky, etc. Many of Whitman's use of symbolism was integrated into the fabric of his poetry with expansive claims about the nature of the universe and humanity. 041b061a72


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