Walt Whitman is America’s world poet—a latter-day successor to Homer, Virgil, Dante, and Shakespeare. In Leaves of Grass (1855, 1891-2), he celebrated democracy, nature, love, and friendship. This monumental work chanted praises to the body as well as to the soul, and found beauty and reassurance even in death. Along with Emily Dickinson, Whitman is regarded as one of America’s most significant 19th-century poets and would influence later many poets, including Ezra Pound, William Carlos Williams, Allen Ginsberg, Simon Ortiz, C.K. Williams, and Martín Espada.

Born on Long Island, Whitman grew up in Brooklyn and received limited formal education. His occupations during his lifetime included printer, schoolteacher, reporter, and editor. Whitman’s self-published Leaves of Grasswas inspired in part by his travels through the American frontier and by his admiration for Ralph Waldo Emerson. This important publication underwent eight subsequent editions during his lifetime as Whitman expanded and revised the poetry and added more to the original collection of 12 poems. Emerson himself declared the first edition was “the most extraordinary piece of wit and wisdom that America has yet contributed.”

Whitman published his own enthusiastic review of Leaves of Grass. Critics and readers alike, however, found both Whitman’s style and subject matter unnerving. According to The Longman Anthology of Poetry, “Whitman received little public acclaim for his poems during his lifetime for several reasons:  this openness regarding sex, his self-presentation as a rough working man, and his stylistic innovations.” A poet who “abandoned the regular meter and rhyme patterns” of his contemporaries, Whitman was “influenced by the long cadences and rhetorical strategies of Biblical poetry.” Upon publishing Leaves of Grass, Whitman was subsequently fired from his job with the Department of the Interior. Despite his mixed critical reception in the US, he was favorably received in England, with Dante Gabriel Rossetti and Algernon Charles Swinburne among the British writers who celebrated his work.

During the Civil War, Whitman worked as a clerk in Washington, DC. For three years, he visited soldiers during his spare time, dressing wounds and giving solace to the injured. These experiences led to the poems in his 1865 publication, Drum-Taps, which includes, “When Lilacs Last in the Dooryard Bloom’d,” Whitman’s elegy for President Lincoln.

After suffering a serious stroke in 1873, Whitman moved to his brother’s home in Camden, New Jersey. While his poetry failed to garner popular attention from his American readership during his lifetime, over 1,000 people came to view his funeral. And as the first writer of a truly American poetry, Whitman’s legacy endures.
Taken from: https://www.poetryfoundation.org/poets/walt-whitman

 

O Captain! My Captain!

(an elegy written in 1865 to commemorate the death of President Abraham Lincoln)

O Captain! my Captain! our fearful trip is done,
The ship has weather’d every rack, the prize we sought is won,
The port is near, the bells I hear, the people all exulting,
While follow eyes the steady keel, the vessel grim and daring;
But O heart! heart! heart!
O the bleeding drops of red,
Where on the deck my Captain lies,
Fallen cold and dead.

O Captain! my Captain! rise up and hear the bells;
Rise up—for you the flag is flung—for you the bugle trills For you bouquets and ribbon’d wreaths—for you the shores a-crowding,
For you they call, the swaying mass, their eager faces turning;
Here Captain! dear father!
This arm beneath your head!
It is some dream that on the deck,
You’ve fallen cold and dead.

My Captain does not answer, his lips are pale and still,
My father does not feel my arm, he has no pulse nor will,
The ship is anchor’d safe and sound, its voyage closed and done,
From fearful trip the victor ship comes in with object won;
Exult O shores, and ring O bells!
But I with mournful tread,
Walk the deck my Captain lies,
Fallen cold and dead.

Walt Whitman, Image Credit George Collins Cox  ©President and Fellows of Harvard College

Walt Whitman, Image Credit George Collins Cox ©President and Fellows of Harvard College

Walt Whitman (1819-1892) ©1869 Whitman Archive

Walt Whitman (1819-1892) ©1869 Whitman Archive

Lecture held in New York City, April 14, 1887

Lecture held in New York City, April 14, 1887

The Evolution of Walt Whitman’s “O Captain! My Captain!”

April 24, 2019 by Anne Holmes

The following post was written by Cheryl Lederle, Barbara Bair, and Victoria Van Hyning of the Library of Congress. It originally appeared on the Teaching with the Library of Congress blog. The Library of Congress will celebrate the 200th anniversary of Whitman’s birthday in spring 2019 with a series of exhibits, public programs, and a digital crowdsourcing campaign to showcase the Library’s unparalleled collections of Whitman’s writings and artifacts. The full schedule can be found online here

Whitman portrait in “The Sleepers” (1855), corrected pages

The poet Walt Whitman revised almost everything he wrote, sometimes over and over. He often drafted his poems on odd scraps of available paper or bits of envelopes that he later pasted together, or in notebooks he carried in his pocket. Many poems started as just a jotted idea, a title, or a few trial lines.

The Library of Congress houses the largest archival collection of Walt Whitman materials in the world, all of which are now available online. Seeing portions of Whitman’s poems in various stages of composition reveals both his very active creative mind and his innovative ways of seeing the world and crafting poetic expressions.

For example, present students with this early draft of a familiar Walt Whitman poem and allow time for them to examine the layers of crossed out and replaced words. Invite them to focus on one set of changes and speculate on what effect the poet is achieving with the revisions.

https://blogs.loc.gov/catbird/2019/04/the-evolution-of-walt-whitmans-o-captain-my-captain/

 
O Captain! My Captain! printed copy with corrections, 1888

O Captain! My Captain! printed copy with corrections, 1888