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Walt Whitman, arguably Americas Whitman had written in Song of Myself; Rossetti which eventual ly contributed to her insightful essay, A Womans.

Whitman's celebration of the soul as an immanent and palpable [End Page 72] presence brings him into line with other mystics in various religious traditions. The theme of "awakening" in Leaves of Grass connects the poet to Rumi, "Turkey's unofficial national saint," argues Judith Yarnall in "Whitman's Tekke " (SWR 83: 329-47). The ancient religions of India, which have proved a fruitful ground for comparative studies in Whitman scholarship, have yet to be exhausted, as O. P. Malhotra demonstrates in "Walt Whitman and Sri Aurobindo: The Mystics," pp. 11-18 in Indian Views on American Literature (Prestige). In "Whitman's 'Shadowy Dwarf ': A Source in Hindu Mythology" (WWQR 15: 185-87) Nathaniel H. Preston traces an allusion in Democratic Vistas to the story of Vamana, an avatar of Vishnu. In answer to critics who have treated Hindu readings of Whitman with skepticism on the grounds that Whitman's writings do not reveal overt familiarity with Hindu culture, Preston justly claims that his evidence proves that the poet "had a deeper acquaintance with [Indian religion] than most critics allow, and . . . used it both as a source of ideas and as a means to add an air of exoticism to his poems."

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Name: Instructor: Course: Date: The poem, Song of Myself was one of the untitled poems that were written by Walt Whitman. The poem was one of the brilliant di

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The political Whitman also figures in this year's comparative studies. In "Whitman and Lebanon's Adonis" (WWQR 15: 180-84) Roger Asselineau and Ed Folsom show how "talking back to Whitman" forms one strategy for the social and political critique of modern urban America in the work of the contemporary poet Ali Ahmed Said, who writes under the pen name of Adonis. A similar pattern emerges in the work of "the 'National' poet of the Dominican Republic," as Christopher Conway demonstrates in "Of Subjects and Cowboys: Frontier and History in Pedro Mir's 'Countersong to Walt Whitman' " (WWQR 15: 161-71). According to Conway, "Mir's representation of Whitman exalts the democratic potential of the U.S. and damns its imperial excesses through a retelling of U.S. history from the colonial period to the twentieth century." In "A Newer Realm of Poetry: Whitman and Ai Qing," Guiyou Huang compares the work of Whitman with that of Ai, who as a pioneering modernist in Chinese poetry published translations of Whitman's poems in his magazine the Poetry Journal. Though lacking Whitman's "inflating ego," Ai shared with the American poet a recognition of poetry's ideological function as "a catalyst to emotional and physical forces" as well as a willingness to experiment with form and a strong sense of "sympathy, freedom, and dedication to the common people." M. Wynn Thomas argues in "Walt Whitman and Risorgimento Nationalism," pp. 345-67 in Literature of Region and Nation, ed. Winnifred [End Page 73] M. Bogaards (Univ. of Brunswick in St. John), that Whitman's poetry surprisingly reproduces the central ambivalences of this 19th-century European concept of nationalism. In the same volume Maria Clara B. Paro's essay "Walt Whitman's Brazilian Readers" (pp. 368-80) considers the Brazilian reception of Whitman as poet and person in 20th-century periodicals and translations.

Walt Whitman : Poems - Poetry Archive

Study questions, discussion questions, essay topics for Song of Myself Song of Myself by Walt Whitman. Home as Whitman shows, your song can include lots of.

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Walt Whitman: Poems - Poetry Archive

An Analysis of Walt Whitman's Song of Myself Whitman was always asking questions. He believed that life's goal or cause was a mystery. He was surrounded by people.


Walt Whitman: Song of Myself - DayPoems

Nature and Death in Walt Whitman's Song of Myself Essay. 2673). The earth has now become our home, our restingplace, our lap, and here you are the mothers' lap.

An index of poems by Walt Whitman. POEMS BY WALT WHITMAN: Among the Multitude; Beat! Beat!

British writers are the subject of two interesting influence studies. In "Martin Tupper, Walt Whitman, and the Early Reviews of Leaves of Grass " (WWQR 16: 23-31) Matt Cohen takes up the work of a contemporaneous writer with whom Whitman was frequently (and often humorously) compared. From 1856 to 1860, eight reviews of Whitman allude to Martin Farquhar Tupper, a religious and politically conservative poet who actually had little in common with Whitman except for his use of free verse and his display of what reviewers perceived as a florid egotism. Cohen establishes that Whitman was familiar with Tupper's work before he wrote Leaves of Grass and may have borrowed certain techniques. This fact, as Cohen smartly notes, suggests a "curious irony": "that Whitman's famous formal innovations, now seemingly the inevitable poetics of a democratic bard, may have been shaped by the success of an aristocratic aspiring poet laureate" from the Old World. Whitman's influence on a British poet of the next generation, Gerard Manley Hopkins, receives brief treatment in Keith Sagar's "Hopkins and the Religion of the Diamond Body" (CQ 27: 15-44). In many ways Hopkins sought to eradicate the qualities he held in common with Whitman, above all his deep sympathy for nature and physical existence—a great tragedy, in Sagar's view, since Hopkins falls into the hubris that marks the condition of modern humanity, the self-conscious pride that alienates people from nature, from nonhuman life forms, and ultimately from their very selves (seeking after God, but hopelessly stuck in earthly existence). By contrast, Whitman's "exaltation of self is always qualified by his comedy . . . and balanced by an equally exaggerated humility."

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One article included in the special MLS issue, "Placing the Impalpable: Walt Whitman and Elias Hicks" (MLS 28, ii: 69-86) by Glenn N. Cummings, makes a stronger contribution by adding to the growing number of studies that explore the Quaker influence in Whitman's life and work. Cummings convincingly argues that we need to acknowledge [End Page 71] an important distinction in the history of Quakerism that often goes unnoticed in Whitman studies, the diverence between Hicksite Quakerism and other strains. Whitman's connection to a famous African American contemporary is demonstrated in Joann P. Krieg's "Whitman and Sojourner Truth" (WWQR 16: 32-36). Krieg presents evidence from an 1881 letter to Whitman from Elisa Leggett that Truth had heard Whitman's poems read and much admired them, but she can find no indication of Whitman's response. The influence of Whitman on the 20th-century American poet William Bronk is much clearer. In The "Winter Mind": William Bronk and American Letters (Fairleigh Dickinson) Burt Kimmelman shows how Bronk was drawn to what he perceived as Whitman's "dynamic and nurturing" notion of beauty (87) and his exuberant treatment of desire as central to the poetic enterprise.