Leaves of Grass
Autor Walt Whitmanen Limba Engleză Paperback – 3 apr 1855
The poems of Leaves of Grass are loosely connected and each represents Whitman's celebration of his philosophy of life and humanity. This book is notable for its discussion of delight in sensual pleasures during a time when such candid displays were considered immoral. Where much previous poetry, especially English, relied on symbolism, allegory, and meditation on the religious and spiritual, Leaves of Grass (particularly the first edition) exalted the body and the material world. Influenced by Ralph Waldo Emerson and the Transcendentalist movement, itself an offshoot of Romanticism, Whitman's poetry praises nature and the individual human's role in it. However, much like Emerson, Whitman does not diminish the role of the mind or the spirit; rather, he elevates the human form and the human mind, deeming both worthy of poetic praise.
With one exception, the poems do not rhyme or follow standard rules for meter and line length. Among the poems in the collection are "Song of Myself," "I Sing the Body Electric," "Out of the Cradle Endlessly Rocking." Later editions included Whitman's elegy to the assassinated President Abraham Lincoln, "When Lilacs Last in the Dooryard Bloom'd." In popular culture
Leaves of Grass plays a prominent role in the AMC TV series Breaking Bad. For example, episode 5.8 - titled "Gliding Over All" after poem 271 in the book - pulls together many of the series' references to Leaves of Grass, including the fact, noted in episode 4.4, "Bullet Points" and made more salient in "Gliding Over All," that the main character, Walter White, shares Walt Whitman's initials. Numerous reviewers have analyzed and discussed the various connections among Walt Whitman/Leaves of Grass/"Gliding Over All," the character Walter White, and the show Breaking Bad.
Leaves of Grass plays a major role in the John Green novel Paper Towns. The 1989 film Dead Poets Society makes repeated references to the poem O Captain My Captain from Leaves of Grass, along with other references to Whitman himself.
Preț: 31.85 lei
Nou
Puncte Express: 48
Preț estimativ în valută:
6.09€ • 6.44$ • 5.10£
6.09€ • 6.44$ • 5.10£
Carte tipărită la comandă
Livrare economică 01-15 ianuarie 25
Preluare comenzi: 021 569.72.76
Specificații
ISBN-13: 9781945644276
ISBN-10: 1945644273
Pagini: 46
Dimensiuni: 156 x 234 x 4 mm
Greutate: 0.09 kg
Editura: Chump Change
ISBN-10: 1945644273
Pagini: 46
Dimensiuni: 156 x 234 x 4 mm
Greutate: 0.09 kg
Editura: Chump Change
V-ar putea interesa
-
Preț: 20.07 lei -
The Great GatsbyF. Scott Fitzgerald-16%Preț: 16.39 lei19.51 lei -
Uncle Tom's CabinHarriet Beecher StowePreț: 25.03 lei -
The Rime of the Ancient Mariner and Other Poems (Collins Classics)Samuel Taylor Coleridge-16%Preț: 16.20 lei19.29 lei -
Thus Spoke ZarathustraFriedrich Nietzsche-27%Preț: 46.76 lei63.95 lei -
Stalking Jack the RipperKerri ManiscalcoPreț: 115.00 lei -
The Fall of the House of Usher and Other TalesEdgar Allan Poe-16%Preț: 30.29 lei36.07 lei -
Heart of DarknessJoseph Conrad-17%Preț: 20.77 lei25.15 lei -
The MabinogionLady Charlotte E. Guest-16%Preț: 39.86 lei47.67 lei -
Collected Poems: Dylan ThomasDylan Thomas-33%Preț: 42.39 lei63.55 lei -
The Communist ManifestoFriedrich Engels-16%Preț: 8.45 lei10.06 lei -
Preț: 54.99 lei -
Paradise LostJohn MiltonPreț: 67.37 lei -
Milk and HoneyRupi KaurPreț: 78.32 lei -
UlyssesJames Joyce-16%Preț: 21.44 lei25.53 lei -
Pride & Prejudice: PocketbookJane Austen-16%Preț: 19.08 lei22.71 lei -
Tess of the D'UrbervillesThomas HardyPreț: 22.81 lei -
A Portrait of the Artist as a Young ManJames JoycePreț: 21.93 lei -
Lord JimJoseph ConradPreț: 21.93 lei -
The Portrait of a LadyJr. James, HenryPreț: 23.73 lei -
Van GoghIngo F. WaltherPreț: 98.53 lei
Descriere
Descriere de la o altă ediție sau format:
'I spring from the pages into your arms'Walt Whitman's Leaves of Grass stands as one of the most influential and innovative literary works of the last two hundred years. Widely credited as the originator of free verse in English, Whitman abandoned the rules of traditional poetry--breaking the standard metred line, discarding the obligatory rhyming scheme, and using the emerging American vernacular with the formal precedents of the past while adopting the vernacular rhythms of his emergent American democracy. Most currently available texts reproduce the poetry from the "Deathbed" edition of Leaves, first published in 1892. Often obscured by the near-ubiquitous reprinting of this final edition, however, is the elaborate fluidity and daring of the various previous editions of Leaves. After the book's initial publication in June 1855, Whitman revised and expanded the project a further seven times, with subsequent editions appearing in 1856, 1860, 1867, 1870-71, 1876, 1881-82, and at intervals until 1891-92. His revisions to particular poems were often substantial, and the addition of new poems to each successive edition so extensive, that the book's dimensions altered dramatically. This edition introduces Whitman's ongoing labour of revision and renewal--his successive responses to the shattering years that encompassed the American Civil War and its aftermath. Beginning with the first edition of 1855, it moves chronologically, selecting and including the most substantial poems and "clusters" as Whitman first included them. In most cases, the present edition reprints the often more politically and sexually daring beginning, rather than the revised "end" of a particular poem's journey. It thereby provides a portrait of a poet who feverishly attempted to reshape his project in tandem with some of the most tumultuous decades in American history, and who in the process radically revised the parameters and possibilities of poetry itself.ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
'I spring from the pages into your arms'Walt Whitman's Leaves of Grass stands as one of the most influential and innovative literary works of the last two hundred years. Widely credited as the originator of free verse in English, Whitman abandoned the rules of traditional poetry--breaking the standard metred line, discarding the obligatory rhyming scheme, and using the emerging American vernacular with the formal precedents of the past while adopting the vernacular rhythms of his emergent American democracy. Most currently available texts reproduce the poetry from the "Deathbed" edition of Leaves, first published in 1892. Often obscured by the near-ubiquitous reprinting of this final edition, however, is the elaborate fluidity and daring of the various previous editions of Leaves. After the book's initial publication in June 1855, Whitman revised and expanded the project a further seven times, with subsequent editions appearing in 1856, 1860, 1867, 1870-71, 1876, 1881-82, and at intervals until 1891-92. His revisions to particular poems were often substantial, and the addition of new poems to each successive edition so extensive, that the book's dimensions altered dramatically. This edition introduces Whitman's ongoing labour of revision and renewal--his successive responses to the shattering years that encompassed the American Civil War and its aftermath. Beginning with the first edition of 1855, it moves chronologically, selecting and including the most substantial poems and "clusters" as Whitman first included them. In most cases, the present edition reprints the often more politically and sexually daring beginning, rather than the revised "end" of a particular poem's journey. It thereby provides a portrait of a poet who feverishly attempted to reshape his project in tandem with some of the most tumultuous decades in American history, and who in the process radically revised the parameters and possibilities of poetry itself.ABOUT THE SERIES: For over 100 years Oxford World's Classics has made available the widest range of literature from around the globe. Each affordable volume reflects Oxford's commitment to scholarship, providing the most accurate text plus a wealth of other valuable features, including expert introductions by leading authorities, helpful notes to clarify the text, up-to-date bibliographies for further study, and much more.
Notă biografică
In 1855, Walt Whitman (1819–92) published his great tribute to America, the volume of poems that was to become his masterpiece, Leaves of Grass. Although praised by Emerson, the work met with a disappointing reception, and Whitman went on to become a war correspondent and government clerk, devoting much of his time to caring for the sick and wounded in hospitals around Washington. His reactions to and interpretations of the struggle for freedom are to be found in Drum-Taps and the Civil War section of Specimen Days.
Billy Collins has published nine volumes of poetry, most recently Horoscopes of the Dead. He is also the editor of Poetry 180: A Turning Back to Poetry. He served as United States poet laureate from 2001 to 2003 and was New York State poet laureate from 2004 to 2006. He is a Distinguished Professor of English at Lehman College (CUNY) and the Senior Distinguished Fellow of the Winter Park Institute in Florida.
Peter Davison was the author of ten books of verse, culminating in The Poems of Peter Davison, 1957–1995, before his eleventh and final collection, Breathing Room. Davison also wrote a memoir, Half Remembered: A Personal History; a book of criticism, One of the Dangerous Trades: Essays on the Work and Workings of Poetry; and a literary chronicle, The Fading Smile: Poets in Boston from Robert Frost to Robert Lowell to Sylvia Plath, 1955–1960. He was also poetry editor of The Atlantic Monthly.
Elisabeth Panttaja Brink teaches writing in the Woods College of Advancing Studies at Boston College. She has a PhD in American Literature and is the author of scholarly essays, short stories, and two novels, Save Your Own and (as Elisabeth Elo) North of Boston.
Billy Collins has published nine volumes of poetry, most recently Horoscopes of the Dead. He is also the editor of Poetry 180: A Turning Back to Poetry. He served as United States poet laureate from 2001 to 2003 and was New York State poet laureate from 2004 to 2006. He is a Distinguished Professor of English at Lehman College (CUNY) and the Senior Distinguished Fellow of the Winter Park Institute in Florida.
Peter Davison was the author of ten books of verse, culminating in The Poems of Peter Davison, 1957–1995, before his eleventh and final collection, Breathing Room. Davison also wrote a memoir, Half Remembered: A Personal History; a book of criticism, One of the Dangerous Trades: Essays on the Work and Workings of Poetry; and a literary chronicle, The Fading Smile: Poets in Boston from Robert Frost to Robert Lowell to Sylvia Plath, 1955–1960. He was also poetry editor of The Atlantic Monthly.
Elisabeth Panttaja Brink teaches writing in the Woods College of Advancing Studies at Boston College. She has a PhD in American Literature and is the author of scholarly essays, short stories, and two novels, Save Your Own and (as Elisabeth Elo) North of Boston.
Caracteristici
Includes an extensive section on Whitman's life and works, notes and indexes
Recenzii
Whitman, the great poet, has meant so much to me. Whitman the one man breaking a way ahead. Whitman the one pioneer. Ahead of Whitman, nothing. Ahead of all poets, pioneering into the wilderness of unopened life, Whitman. Beyond him, none.
Cuprins
Introduction - i: Introduction Unit - 1: Inscriptions Chapter - 1: To Foreign Lands Chapter - 2: Song of Myself Chapter - 3: When I Read The Book Chapter - 4: To The States Chapter - 4: Shut Not Your Doors Unit - 2: Children of Adam Chapter - 1: I Sing the Body Electric Chapter - 2: A Woman Waits for Me Unit - 3: Calamus Chapter - 1: In Paths Untrodden Chapter - 2: Scented Herbage of my Breast Chapter - 3: Whoever You are Holding Me Now in Hand Chapter - 4: For You O Democracy Chapter - 5: The Base of All Metaphysics Chapter - 6: Recorders Ages Hence Chapter - 7: When I Heard at the Close of Day Chapter - 8: Are You the New Person Drawn toward Me Chapter - 9: I Saw in Louisiana a Live-Oak Growing Chapter - 10: To a Stranger Chapter - 11: This Moment Yearning and Thoughtful Chapter - 12: I Hear it was Charged Against Me Chapter - 13: When I Peruse the Conquer'd Flame Chapter - 14: We Two Boys together Clinging Chapter - 15: No Labor-Saving Machine Chapter - 16: A Glimpse Chapter - 17: What Think You I Take Pen in Hand? Chapter - 18: Sometimes with One I Love Chapter - 19: Song of the Open Road Chapter - 20: Crossing Brooklyn Ferry Unit - 4: Birds of Passage Chapter - 1: Pioneers! O Pioneers! Unit - 5: Sea Drift Chapter - 1: Out of the Cradle Endlessly Rocking Unit - 6: By the Roadside Chapter - 1: When I Heard the Learn'd Astronomer Unit - 7: Drum Taps Chapter - 1: Beat! Beat! Drums! Chapter - 2: Vigil Strange I Kept on the Field One Night Chapter - 3: The Wound-Dresser Chapter - 4: The Artilleryman's Vision Chapter - 5: O Tan-Faced Prairie Boy Chapter - 6: How Solemn as One by One Chapter - 7: As I Lay with My Head in Your Lap Camerado Chapter - 8: Spirit Whose Work is Done Unit - 8: Memoirs of President Lincoln Chapter - 1: When Lilacs Last in the Dooryard Bloom'd Chapter - 2: O Captain! My Captain! Chapter - 3: Hush'd be the Camps To-day Chapter - 4: By Blue Ontario's Shores Unit - 9: Autumn Rivulets Chapter - 1: There was a Child went Forth Chapter - 2: The City Dead-House Chapter - 3: Passage to India Chapter - 4: Prayer of Columbus Chapter - 5: The Sleepers Unit - 10: Whispers of Heavenly Death Chapter - 1: A Noiseless Patient Spider Unit - 11: From Noon to Starry Night Chapter - 1: The Mystic Trumpeter Unit - 12: Annex to Sands at Seventy Chapter - 1: As I Sit Writing Here Chapter - 2: Queries to My Seventieth Year Chapter - 3: Old Salt Kossabone Index - ii: Index of Poem Titles Index - iii: Index of First Lines
Extras
ONE'S-SELF I SING.
One's-self I sing, a simple separate person,
Yet utter the word Democratic, the word En-Masse.
Of physiology from top to toe I sing,
Not physiognomy alone nor brain alone is worthy for the Muse, I say the Form complete is worthier far,
The Female equally with the Male I sing.
Of Life immense in passion, pulse, and power,
Cheerful, for freest action form'd under the laws divine,
The Modern Man I sing.
AS I PONDER'D IN SILENCE.
As I ponder' in silence,
Returning upon my poems, considering, lingering long,
A Phantom arose before me with distrustful aspect,
Terrible in beauty, age, and power,
The genius of poets of old lands,
As to me directing like flame its eyes,
With finger pointing to many immortal songs,
And menacing voice, What singest thou? it said,
Know'st thou not there is but one theme for ever-enduring bards?
And that is the theme of War, the fortune of battles,
The making of perfect soldiers.
Be it so, then I answer'd,
I too haughty Shade also sing war, and a longer and greater one than any,
Waged in my book with varying fortune, with flight, advance and retreat, victory deferr&rsquod and wavering,
(Yet methinks certain, or as good as certain, at the last,) the field the world,
For life and death, for the Body and for the eternal Soul,
Lo, I too am come, chanting the chant of battles,
I above all promote brave soldiers.
IN CABIN'D SHIPS AT SEA.
In cabin'd ships at sea,
The boundless blue on every side expanding,
With whistling winds and music of the waves, the large imperious waves,
Or some lone bark buoy'd on the dense marine,
Where joyous full of faith, spreading white sails,
She cleaves the ether mid the sparkle and the foam of day, or under many a star at night,
By sailors young and old haply will I, a reminiscence of the land, be read,
In full rapport at last.
Here are our thoughts, voyagers' thoughts,
Here not the land, firm land, alone appears, may then by them be said,
The sky o'arches here, we feel the undulating deck beneath our feet,
We feel the long pulsation, ebb and flow of endless motion,
The tones of unseen mystery, the vague and vast suggestions of the briny world, the liquid-flowing syllables,
The perfume, the faint creaking of the cordage, the melancholy rhythm,
The boundless vista and the horizon far and dim are all here,
And this is ocean's poem.
Then falter not O book, fulfil your destiny,
You not a reminiscence of the land alone,
You too as a lone bark cleaving the ether, purpos'd I know not whither, yet ever full of faith,
Consort to every ship that sails, sail you!
Bear forth to them folded my love, (dear mariners, for you I fold it here in every leaf;)
Speed on my book! spread your white sails my little bark athwart the imperious waves,
Chant on, sail on, bear o'er the boundless blue from me to every sea,
This song for mariners and all their ships.
From the eBook edition.
One's-self I sing, a simple separate person,
Yet utter the word Democratic, the word En-Masse.
Of physiology from top to toe I sing,
Not physiognomy alone nor brain alone is worthy for the Muse, I say the Form complete is worthier far,
The Female equally with the Male I sing.
Of Life immense in passion, pulse, and power,
Cheerful, for freest action form'd under the laws divine,
The Modern Man I sing.
AS I PONDER'D IN SILENCE.
As I ponder' in silence,
Returning upon my poems, considering, lingering long,
A Phantom arose before me with distrustful aspect,
Terrible in beauty, age, and power,
The genius of poets of old lands,
As to me directing like flame its eyes,
With finger pointing to many immortal songs,
And menacing voice, What singest thou? it said,
Know'st thou not there is but one theme for ever-enduring bards?
And that is the theme of War, the fortune of battles,
The making of perfect soldiers.
Be it so, then I answer'd,
I too haughty Shade also sing war, and a longer and greater one than any,
Waged in my book with varying fortune, with flight, advance and retreat, victory deferr&rsquod and wavering,
(Yet methinks certain, or as good as certain, at the last,) the field the world,
For life and death, for the Body and for the eternal Soul,
Lo, I too am come, chanting the chant of battles,
I above all promote brave soldiers.
IN CABIN'D SHIPS AT SEA.
In cabin'd ships at sea,
The boundless blue on every side expanding,
With whistling winds and music of the waves, the large imperious waves,
Or some lone bark buoy'd on the dense marine,
Where joyous full of faith, spreading white sails,
She cleaves the ether mid the sparkle and the foam of day, or under many a star at night,
By sailors young and old haply will I, a reminiscence of the land, be read,
In full rapport at last.
Here are our thoughts, voyagers' thoughts,
Here not the land, firm land, alone appears, may then by them be said,
The sky o'arches here, we feel the undulating deck beneath our feet,
We feel the long pulsation, ebb and flow of endless motion,
The tones of unseen mystery, the vague and vast suggestions of the briny world, the liquid-flowing syllables,
The perfume, the faint creaking of the cordage, the melancholy rhythm,
The boundless vista and the horizon far and dim are all here,
And this is ocean's poem.
Then falter not O book, fulfil your destiny,
You not a reminiscence of the land alone,
You too as a lone bark cleaving the ether, purpos'd I know not whither, yet ever full of faith,
Consort to every ship that sails, sail you!
Bear forth to them folded my love, (dear mariners, for you I fold it here in every leaf;)
Speed on my book! spread your white sails my little bark athwart the imperious waves,
Chant on, sail on, bear o'er the boundless blue from me to every sea,
This song for mariners and all their ships.
From the eBook edition.
Textul de pe ultima copertă
It is not only the allusions to sex and physiology that disturbed Whitman's critics but also his departure from the rules of conventional poetry. He broke down the standard metred line, discard the obligatory rhyming scheme, and freely expressed himself in the living vernacular of American speech.