Leaves of Grass: The Complete 1855 and 1891-92 Editions: Library of America
Autor Walt Whitman John Hollanderen Limba Engleză Paperback – 31 dec 2010 – vârsta de la 18 ani
In 1855, a small volume appeared, self-published by a failed Brooklyn journalist and carpenter: twelve untitled poems and a preface announcing the author's aims. A commercial failure, this book was the first stage of a massive, lifelong enterprise. Six editions and thirty-seven years later, Leaves of Grass had been recognized as one of the central masterworks of world poetry. This Library of America Paperback Classic includes two complete texts: the 1855 first edition and the magnificent culminating edition of 1891-1892.
For almost thirty years, The Library of America has presented America's best and most significant writing in acclaimed hardcover editions. Now, a new series, Library of America Paperback Classics, offers attractive and affordable books that bring The Library of America's authoritative texts within easy reach of every reader. Each book features an introductory essay by one of a leading writer, as well as a detailed chronology of the author's life and career, an essay on the choice and history of the text, and notes.
The contents of this Paperback Classic are drawn from Walt Whitman: Poetry and Prose, edited by Justin Kaplan, volume #3 in the Library of America series.
For almost thirty years, The Library of America has presented America's best and most significant writing in acclaimed hardcover editions. Now, a new series, Library of America Paperback Classics, offers attractive and affordable books that bring The Library of America's authoritative texts within easy reach of every reader. Each book features an introductory essay by one of a leading writer, as well as a detailed chronology of the author's life and career, an essay on the choice and history of the text, and notes.
The contents of this Paperback Classic are drawn from Walt Whitman: Poetry and Prose, edited by Justin Kaplan, volume #3 in the Library of America series.
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Specificații
ISBN-13: 9781598530971
ISBN-10: 1598530976
Pagini: 731
Dimensiuni: 135 x 206 x 36 mm
Greutate: 0.7 kg
Editura: Library of America
Seria Library of America
ISBN-10: 1598530976
Pagini: 731
Dimensiuni: 135 x 206 x 36 mm
Greutate: 0.7 kg
Editura: Library of America
Seria Library of America
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Recenzii
"Whitman should be kicked from all decent society as below the level of a brute."
-The Intelligencer, 1855
"The greatest of our poets . . . the American bard, our Homer and our Milton."
-Harold Bloom, 2005
-The Intelligencer, 1855
"The greatest of our poets . . . the American bard, our Homer and our Milton."
-Harold Bloom, 2005
Notă biografică
Walt Whitman (1819-1892) was born on Long Island and educated in Brooklyn, New York. He served as a printer's devil, journeyman compositor, itinerant schoolteacher, editor, and unofficial nurse to Northern and Southern soldiers.
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.
Caracteristici
Includes an extensive section on Whitman's life and works, notes and indexes
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.